In the morning light, the long tune is melodious, and in the mist, the Erguna River spreads a scroll between heaven and earth; the fog disperses and the clouds converge, and the meandering river, the swans, the vast grassland, and the leaping crowds are hidden ...... This is the picture presented in the Mongolian women's group dance, "The Erguna River". The work of the Erguna River as an artistic prototype, in the virtual and real, vivid mood creation, the Erguna River from an assumption of the mirror, the water ripples of the natural state of condensed into a romantic, aesthetic dance image, highlighting the aesthetic characteristics of the rigid-flexible, expressing the harmony between man and nature **** life.
The dance "Erguna River" was choreographed and directed by Shagun Ayi, a professor at the School of Dance of the Central University for Nationalities, and performed by students of the School of Dance of the Central University for Nationalities, and it won the second place in the twelfth China Dance "Lotus Flower Award" for ethnic folk dance. While maintaining the spirit of traditional folk dance, the work reconstructs the Mongolian dance vocabulary and gives it a unique aesthetic effect, expressing cultural richness and artistic creativity.
The Ergun River, which originates from the western foot of the Daxinganling Mountains, winds eastward and finally joins the Heilongjiang River in Mohe. Its main stream is more than 900 kilometers long, with a watershed area of 150,000 square kilometers. The river has been flowing for thousands of years, nourishing the rich land and the people along its banks, and is regarded as the mother river by the Mongolian people. Based on the Mongolian cultural background, the dance "Erguna River" starts from exploring the aesthetic value of Mongolian dance, and through exploring the relationship between Mongolian people and the Erguna River, shaping the image of Mongolian women, and scrutinizing the ecological environment, it provides a special aesthetic interpretation of the Mongolian dance through its unique choreography.
The work combines the Erguna River and the Mongolian women's image, and uses a variety of body language such as the dancer's arm bending, stretching, palm bending, shaking, waist twisting, and other choreographic designs such as the dance canon technique, the height comparison, the combination of static and dynamic, the stage scheduling, and rhythmic treatment, to express the river's morphological characteristics from form to spirit. The work unfolds in the soothing and distant Mongolian folk songs, and while preserving the basic stylistic features of the Mongolian dance, it reorganizes and transforms its movements by selecting its elements according to the aesthetic needs of contemporary people. After the actors appeared on stage, the group dances gathered in the middle of the stage from scattered points, and the leading dances were placed in the center, which made the stage picture vivid and vivid. At the same time, the actors fully utilize the typical materials of Mongolian dance, such as "hard wrist", "soft arm" and "soft hand", to show the serene and sparkling picture of the Erguna River. Secondly, the dancers repeatedly use the simple movement of one hand and soft arm, together with gazing back, to show the ripples on the water surface blown by the breeze. When all the dancers posed in a big horizontal row, it was like a row of waves coming up to meet the river at high tide, cutting a silver edge on the water. In the undulating dance, the performers showed the beauty of their body lines like clouds and water, and expressed the endless feminine beauty with the extension of the dance meaning.
Because of the aesthetic interpretation of traditional dance vocabulary from a modern perspective, the work is highly aesthetic and ornamental on stage. Whether it is the swan on the river that is transformed into a spinning skirt after the dancers get up, or the long white skirt in the mouth; whether it is the ripples caused by the fluttering of the skirt, or the dancers walking in a single-file row with dignity and elegance, all of them give people a pure, comfortable, and chic visual experience.
The work condenses the Mongolian people's deep emotion towards the Ergun River into a moving dance image, and the interweaving of the dual imagery of the woman and the river creates an imaginary and realistic mood, where the warmth of nature and the tenderness of women are intertwined. The creation of this mood is not only the transformation of the Erguna River from reality to the stage image of emotion, but also the expression of the river, swans and other real images to the abstract emotion, the inner meaning of the conveyance, but also the pursuit of the image outside the image and the imagination of the infinite space under the white space. In addition, the work's dynamic and smooth dance language extends the rhythm of the soft arm from the small space of the body to the large space of the stage in a continuous flow, revealing a dance form with a sense of openness and rhythm, which makes the whole dance seem lively.
At the end of the piece, the dancers form a horizontal s-shape in the flow of the formation, and in the seemingly static shape, it spreads infinitely to both ends, just like the meandering Erguna River, which shows that life is also like the flowing river that never stops, and it gives people endless reverie and reminiscence.