Folk Dance Artistic Characteristics
The artistic characteristics of folk dance are rich and colorful, and should have at least the following features: regionality, closedness, ethnicity, nationality, folklore, mass, group, amateurism, playfulness, self-indulgence, catharsis, ceremoniality, performativity, amusement of the gods, amusement of the human nature, simplicity, repetition, participatory, plaza, earthy, living, imitative, realistic, purposeful, practical, festive, totemic, witchcraft, acrobatic, competitive, therapeutic, comprehensive, improvisational, theatrical, props, diversity, synthesis, improvisation. , purposeful, practical, festive, totemic, witchcraft, acrobatic, competitive, therapeutic, song and dance, dramatic, props, diverse, comprehensive, improvisational, free, social, cohesive *** 42 kinds.
Northeastern Yangge
First of all, Northeastern Yangge. The Northeast Yangge must start from Liaonan stilts. Liaonan stilts have a unique style and rhythmic characteristics, from the art of reflecting the character of the people of the Northeast and the aesthetic habits of the countryside, and these characteristics are the people of the Northeast in the long term in the formation of life. The vast plains of Northeast China are characterized by flat terrain and distinct heat and cold. The Han Chinese people living here are mostly laborers engaged in land reclamation, mining and portering, forming a tough, frank and stubborn character, and at the same time forming the aesthetic habits of the Northeastern people who like rich colors and rough lines. Over time, a whole set of dance movements and physical characteristics in line with the northeastern people's nature have been produced. The Northeast Yangge, which was bred and developed from Liaonan stilts, always maintains the characteristic of leaning forward in its posture, and when it kicks out, it kicks and lifts up powerfully; when it retracts, it lands fast and solidly, and it is the combination of the regular staccato of the knee and the sharpness of the dance when it is turned over, which has formed the special physical rhythm of the Northeast Yangge, which is known as the "Burgundy Strength". This kind of "Burgundy strength" also coincides with the strong and unyielding character of the people in Northeast China, reflecting the unique living customs and character temperament of the rural people in the Northeast Plain. From the above analysis, it can be seen that it is this kind of body movement fully expresses the openness and cheerfulness of the people of the Northeast, like the lively character, the formation of the Northeast rice-planting songs of the firestorm atmosphere of the art of infectious force.
Tibetan Dance
The Tibetan dance. In the four kinds of Tibetan folk dance we are familiar with - heap harmonic, fruit harmonic, pot Zhuang, strings - no matter which dance, its physical characteristics are characterized by sitting on the hips, bowed waist, curved back. Obviously, what is decisive for Tibetan dance is not only the natural environment that exists now, but also the character traits of the Tibetan people. To explore the more essential reasons for the formation of the physical characteristics of Tibetan dance, it is necessary to go deeper into the history of the Tibetan people and their social system and religion. The Tibetans are historically a nomadic and agricultural people on the high mountains and grasslands on the roof of the world, with a strong physique and a resilient . . national character. Although the natural environment of the Tibetan Plateau has brought many difficulties to the survival and reproduction of the local people, the Tibetan people who have lived here for generations have created a unique and long-lasting national culture and art tradition with their hard work and wisdom. In this special cultural and artistic tradition, religion constitutes a vein that runs through the life of the nation. Pious religious beliefs and emotional psychology, coupled with daily heavy physical labor and living habits, the formation of the Tibetan people in their daily lives in the stooped back life posture, reflected in the dance further caused by the Tibetan dance sit hips, bowed back, curved back of the basic physical characteristics, and the development of a whole set of rhythmic style system.
The analysis of the above two ethnic folk dance, from different religious beliefs, cultural traditions derived from the human body's artistic culture, is the recognition of the nation's spiritual goals and values, and after this recognition, the dance to emphasize and strengthen this spirit, so the nation is also united under the cohesion of the power, strong. Therefore, the folk dance culture built on the deep cultural foundation of a nation is inevitably recognized and loved by the people of the nation. As a product of the spirit, he has both a strong national cohesion, in the group together in song and dance, the hearts of the nation tightly linked together, to overcome all the difficulties and obstacles, in order to survive the struggle.
It can be seen that folk dance is not an accidental phenomenon, it is a product of human cultural development, is aimed at self-indulgence and the growth of the environment and its integration of the dance form. Folk dance has its own law of development, evolutionary trajectory and performance system, is not based on personal will for transfer. It has its own status and role in society, and it is an important part of the cultural property owned by the people, which should be respected and protected, so that it can evolve more healthily along its own development law.
Tibet's folk dance has a long history, a long history, many varieties, colorful. Tibetans are also a people who can sing and dance well. Tibetan folk dance not only embodies the vitality of the Tibetan people and their spirit of striving and fighting, but also has a strong fitness effect.
Tibetan folk dance has a long history, in the 1st century BC, the first generation of the Tubo dynasty, the first leader of the king of the Dele Xiaolei period, "Lulu" (static song) and "table" (dynamic dance) has been developed. There is a saying that "During the time of King Dele Xiaole, songs and dances were prevalent". In the 7th century A.D., Songtsen Gampo, the king of Tibet, formulated the "Ten Good Laws" in order to consolidate the power of the king and stabilize the society. According to 〈Tibet king system record〉 description: in the announcement of the code of law at the time, the Tibetan jubilation, "or decorated rhinoceros or lion and tiger, or the fireflies inspired by the people, in a variety of postures to offer music and dance ...... ". Tubo period of Tibetan soil wind dance, anthropomorphic animal dance, law inspired and religious witch dance has been very prosperous.
In Tibet, the folk dance forms and physical movements vary from region to region. In their many dance activities, there is a strong fitness role, there is a foot for the festival, even arm treading song, enthusiastic and joyful rural "fruit harmony" (circle song and dance); there is a step for the festival, heavy foot rhythmic point of change, enthusiastic and joyful "pile of harmony" (tap dance); there are both the animal dance and religious witch dance has been very prosperous. ); there are both dance and emotional performance, bold and unrestrained rural pastoral "fruit table" (potshuang dance) and so on. These songs and dances are integrated with entertainment and sports, lively, healthy and noble. It combines sports, entertainment and art into one, and is also a kind of sports and entertainment and art activity. Tibetan folk dance not only has many patterns and high skills, but also combines with Tibetan folk art, combining sports, music and dance into one, showing a high level of skill, which is not only entertainment, but also strengthens the body. In addition, in Tibet's temples and folk, also popular some imitation animal action dance, such as eagle dance, lion dance, yak dance, deer dance, monkey dance, etc., very similar to some of the five birds of the Han region, these dances have "declared Yu", "through the joints," the role of strengthening the body. These dances have the function of "promoting and guiding Yu", "facilitating the joints" and "strengthening the body". Dancing is not a single movement, it is always accompanied by music, is the movement rubbed in the music, music with the movement of a comprehensive activity. Modern medical research has proved that cheerful and relaxing music can make one's spirit uplifted, energetic, blood circulation, meridians and channels unimpeded. Therefore, often jumping Tibetan dance, not only can enrich the cultural life, promote physical health, but also can enjoy in it, nourish in it, medical in it. Tibetan folk dance and is a form of aerobic dance exercise, especially in the plateau environment, on the cardiovascular system of cardiovascular diseases, such as hypertension, coronary heart disease and so on help to adjust the mood, so that the mind and body to get relaxation, from the spirit of the pressure or make the blood pressure to get back to the good effect. Through the Tibetan dance this kind of aerobic fitness exercise therapy, can make the artery soft expansion, the blood flow is smooth, if often in the suitable place jumps the Tibetan dance, can make the blood vessel is in the beneficial soft expansion state, in order to stop the arteriosclerosis effectively. Because when dancing Tibetan folk dance, the dancers are required to hold out their chests, suck in their bellies, and harmonize the movements of their heads, strengths, backs, waists, hips, and ankles, and through the joint movement of all parts of the body, make the movements quite and not stiff, soft and unremitting, and solid and not loose, so as to achieve a beautiful unity. Folk dance can develop physical quality, especially coordination, sensitivity, and can promote the development of bones and flesh, internal organs and the nervous system, and folk dance can be said to be one of the positive ways of rest. People engaged in mental labor for a long time, after study and work or rest time to jump folk dance, transfer the brain in the "excitement of the stove" is a kind of beautiful enjoyment, but also can make the physiological and psychological functions to be regulated. Through the pleasant music and elegant dance, it not only cultivates the imagination, expressive power, infectious power and attraction of the athletes themselves, but also makes people's spirits uplifted and feel full of strength, which is more suitable for young people's energetic character traits. In short, Tibetan folk dance outstanding entertainment and fitness, can make the national fitness activities in the form of Tibetan people enjoyable, so as to achieve the purpose of physical and mental pleasure, physical fitness.
Other Classifications
Korean Folk Dance
In the ancient art history of China, Japan and Korea, Korea has always been the leading country in music and dance, while China and Japan are known for their poetry and paintings respectively. Therefore, the folk dances of the DPRK can be said to be both colorful and distinctive, fully demonstrating the subtle and introverted character of the Korean nation, which is tough and resolute. The representative folk dances are the ballad dance and the improvisation dance: the former is a form of singing and dancing, and the dance action is divided into hand-holding and non-hand-holding, while the content of the performance has the difference between men's praying and wishing, and women's dissolving of grudges; and the latter is the dance that the dancers improvise when they are in high spirits and at their own will. Improvisation dance, the law of nature, the combination of static and dynamic and vivid, which is the four basic characteristics of the Korean folk dance.
The Joseon Hat Dance, also known as the Nongrak Dance, is often seen in the performance of the Four Things Game.
In the specific dance programs, the most typical are the crane dance, fan dance, monk dance, the dance of grievances, the dance of the hat, the dance of peace and so on. The system of "intangible cultural assets" - "human national treasures" - created by Japan in 1950 and subsequently promoted by the United Nations, has led to proper protection and healthy development.
Arabic Folk Dance
Because of the prevalence of Islam in the Arabian region, folk dance in the region has not been given enough attention. One of the reasons for this is that most of the women in this region lead a life of seclusion and cannot dance in front of large crowds. However, as the most instinctive expression of human beings, the dancing nature of the Arabs, especially Arab women, has never died out, and the women of good families often danced in their homes behind closed doors to pleasure themselves or their families. Women from poor families do not have to take into account these rules and regulations, and can go to the dance, in order to maintain survival and support the family at the same time, but also enjoy the "living" of the pain.
From about the 17th century, Arab folk dances were gradually absorbed into folk theater, and the lowly status of women entered the theater, perpetuating the tradition of cross-dressing until the 20th century, when Christian and Jewish women took to the stage.
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