First, the language of shamanic dance is colorful, not only the dance language of different dancers has its own characteristics, but also the dance language of shaman in the whole process of sorcery activities is also varied, but no matter whether it is a two-person or a three-person or a multi-person dance, which is inevitably a shaman who is mainly responsible for sacrificing to the gods, and whose dance movements take the center stage in the picture, and also have more characteristics.
In the shaman dance, the head of the more distinctive forms of expression, through the headdress, mask, head movements and eyes to show the shaman and the gods to meet the spiritual condition, of which the headdress is mainly feathers and antlers and other things, these things in primitive societies have some of the mystical color of the gods, rather than a simple ornamentation; masks in the shaman's activities play an important role in general, divided into animal masks, deity masks and masks. Masks play an important role in shamanic activities, generally divided into animal masks, deity masks and totem masks, through these masks can affect the gods represented by the masks, and the use of masks in the process of dance not only can make the whole dance activities with mysterious colors, but also increase the expressive power of the dance; shamanic dance head movements are more, there are shaking the head, raising the head, head tilted up, left and right side of the head, head bowing, and so on, so people can feel the rhythm of its movement. Shaman dancers also have more changes in the waist action, some straight upper body, some through the head up, chest, stomach, bend, body buttocks, legs, etc. to form a beautiful body curve, the material or give a person a sense of robust and powerful, or let a person produce charming and moving sigh. Shaman dance gesture changes are subtle, arm, palm, wrist, finger part are fully utilized, on the arm action, or forked hand in the waist, or arms outward, or flat stretch, or together in front of the chest, or arms up for the ring, or one hand crossed the waist of an arm down, the posture of the infinite changes, or solemn, or changes in the twists and turns, and the fingers are also popping, closing, spreading, holding, open, turn the wrist, etc., different changes, rich in rhythm, a sense of movement. Strong sense of motion. The legs of the shaman dancers are either bent inwardly or outwardly or in a horse stance or with two legs spanning or bending into a curved ring, with many variations, and these variations reflect the fact that people have been able to show different rates of movement through leg standing, jumping, bouncing, lifting, bending, hooking, kicking, etc. In a word, the shaman dance is performed through the head, the body and the body. In short, the shamanic dance through the head, upper limbs, waist, hands, legs, complete both rhythmic and rich meaning of the dance modeling, created with the hunting nomadic life and primitive beliefs closely linked to the dance form. In terms of the participants of the shamanic dance, there are several situations, one is the dance completed by the shaman alone, one by the officiating shaman and assistants *** with the completion of a shaman under the guidance of many members of the tribe collectively completed. The shape of the shamanic dance seems to vary depending on the participants. Specifically, by the shaman alone to complete the dance is more inclined to the serious style; and the duo to complete the dance is the main and secondary, action neat and rich in change; and the collective completion of the dance is more utilitarian color, generally directly related to hunting, nomadic, racial reproduction and other scenes, the dance action has obvious entertainment God color. Analyzed from the petroglyphs seen, the shaman dance is still basically in the tribal public **** space, hunting and nomadic scene, these spaces determine the shaman dance is not only the tribal members can collectively participate in, but also can play a direct role in the role of the gods to act on a variety of activities in the object of the role. Rock paintings in the type of shaman dance is quite rich, generally speaking in the following kinds of performance: (1) single dance (2) double dance (3) triple dance (4) group dance. Single dance is by the shaman to dance, dance action, although some changes, but the overall style is more solemn, mostly for the front pattern, the upper body is often straight, arms or flat or up or in front of the chest around, to maintain a balanced posture, legs or spread or horse stance, steady and powerful;
Two-dance is a shaman dance, and another dancer or auxiliary shaman to cooperate with the latter movement to imitate the former, the author has contacted the material, the three-dance (4) group dance, is quite rich. As far as the author's contact with the material, the double dance action is more than a single dance action to be rich, flexible, rich in change, quite dynamic, and two people dancing together also increased the sense of rhythm, it is estimated that the main entertainment of the dance of the gods;
Triple dance is led by the officiating shaman participants in the ritual activities together **** dance scene, from the inconsistency of the dancers' movements can be judged in the process the participants The identity of the participants in this process are not all trained shaman, because of this, the whole rock painting on the dance movement is quite rich and diverse, head, waist, hips, limbs and arms and legs of the movement are fully expressed, the trio dance is obvious entertainment dance;
From the present situation, the group dance movement is relatively simple, the picture, despite the number of dancers, but there is not much change in the movement, most of them are similar to the prayer movement, dancers The dancers dance around the main shaman or gods, the scene is spectacular, the movements are neat and powerful, quite imposing. Group dance participants are not all shamans, and their movements are so neat, there are two reasons to explain this phenomenon, one is that all the people are good shaman, although not everyone has the ability to communicate with the gods, but we have mastered the general movements of the dance of the gods. This is consistent with historical records, history books have repeatedly mentioned Hu witch, the prevalence of its momentum and the southern witch can be said to be on a par with the "state language - Chu" said Chu is "a mixture of people and gods, can not be squared, the lady for enjoyment, the family for the history of the witch," one of these movements have become a symbol, become a tribal or clan **** with the same cultural symbols, has the effect of influencing the gods, the people have become a kind of symbols, and the people have a role in influencing the gods. With the role of influencing the gods, people pray for the help of the gods through these symbols, therefore, once there is a need to pray to the gods or entertain the gods, people will collectively perform these dance movements. This kind of petroglyphs consisting of single, double, triple and multi-person dances constituting the whole ritual activities are more widely distributed in Guangxi and Central Asian shamanic petroglyphs. In this sense, the shamanic dance is not a mere expression of emotions and beliefs, but is meant to be a complete narrative of how the gods relate to humans and in turn endow them with divine power to overcome opposing forces, 1. There are no strict hierarchical boundaries between shamanic activities and participants in the shamanic dances, and members of the tribes are free to participate in accordance with the normative requirements of the entire shamanic activity throughout the There is no strict hierarchical boundary between the participants of shamanic activities and shamanic dances. Members of the tribes can freely participate in the whole shamanic activities according to the normative requirements of the whole shamanic activities without being restricted by their status and class. Not only do we not see any obvious class difference in the rock paintings of the dances, but also there is no such difference in the records of the early history of the Mongols, as can be seen from the several scenes about the tribal members dancing around the trees recorded in the Secret History of Mongolia, which show that the people of that time almost all of them participated in the dance activities either to entertain the deities or to appreciate the gods, and so on and so forth; < /p>
2, shaman activities and shamanic dance is mainly held in the nature of the pantheon of natural spaces, such as under the tree, mythologized a place, and closely related to the tribal production and life of the space, this space has the nature of the plaza, there is not too much built on the basis of social hierarchy differences in the norms, which will restrict people to enter a certain space, and the plaza is a space where people can enter and participate in the activities being held space. According to the descriptions of the rock paintings of the Mongolian ancestors, most of the shamanic activities were held in such natural spaces with sacredness, but rarely in spaces that were completely humanized to a certain extent - such as temples, palaces, and so on. -In the petroglyphs of Inner Mongolia, the author has only seen one petroglyph in which the dance was held in a house;
3. The shamanic dance certainly has a strict symbolism, a relatively fixed linguistic program, and a sacred relationship with the gods, but this kind of programming is only a fixed relationship between gods and humans, not an understanding of the relationship between humans and the gods. It is not a hierarchical construction of the relationship between human beings; this kind of shamanic activity is generally concerned with collective destiny, and therefore it does not refuse equal access to the programmed activities by the members of the tribe under the guidance of the shaman; on the contrary, it requires wide access by the members of the tribe to ensure the universality and absoluteness of the divine authority, which can be seen in many link-arm dances or other collective dances, and is especially common in some of the shamanic activities about hunting and nomadic pastoralism. In shamanic activities, it is even more common to see images of ordinary clan members dancing with the shaman.
4, from the shaman dance petroglyphs can be seen, the primitive form of the shaman dance and people's production life has a close relationship, the dancers or direct imitation of the production action, production process or production objects, or in the production of life space, even if it is the worship of the sky, the sun and other deities, shaman dance through the masks, movements, idols and so on, so that it is associated with the tribal production life.