In the study and work, many people have written a dissertation, right, the dissertation generally consists of title, author, abstract, keywords, body, references and appendices and other parts. So, how to go about writing a thesis? The following is the Dai Peacock Dance's origin, inheritance lineage and its existing form thesis that I have organized for your reference and reference, I hope it can help the friends who need it.
Abstract:
The Dai dance has experienced the development and flux from life to art in different periods, and this paper seeks to deepen the understanding and knowledge of the Dai folk dance culture by sorting out the development vein of the peacock dance and the development of the Dai Peacock Dance in different periods, analyzing its contemporary forms of existence, and thus firming up the cultural self-confidence and cultural self-reliance, and achieving the purpose of protecting, inheriting and promoting the folk dance, and to achieve the purpose of protection, inheritance and promotion.
Keywords:
Dai Peacock Dance; Development and Change; Contemporary Forms of Existence;
An Analysis of the Origin of the Dai Peacock Dance
(1) The Origins of Dai Peacock Dance
The Dai is an ethnic group with a long history and a deep cultural background, and it is concentrated in the Dai Autonomous Prefecture of Xishuangbanna in the Yunnan Province of China, Dehong Dai Jingpo Autonomous Prefecture and other cities in China's Yunnan Province, located near the 30th degree of north latitude, is a golden zone that nurtures life, culture and mysterious natural scenery, and is at the same latitude as the world's four major ancient civilizations and many sources of life. Before the Neolithic Age, the Dai people flourished in the watersheds of Nanjiao River, Salween River and Mengmao River (located in the Ruili area of Yunnan Province), etc. In 850 B.C., the Dai people established the Kingdom of Daguang, also known as the Kingdom of Mourning, and the Dai ancestors were called "Dianyue" in "The Records of the Historian - Dawan Lianzhuan" and "The Book of the Han - Zhangqian's Biography", and "The Book of the Later Han - Heti Benji" and "The Book of the Later Han - Heti Benji". In the record of "History - Dawan Liezhuan" and "Han Shu - Zhang Qian Biography", the Dai ancestors are called "Dian Yue", and in the record of "Hou Han Shu - He Di Ben Ji", the Dai ancestors are called "Shan" 1, and because of Dian Yue and Yue people with the same custom **** source so it is called "Dian Yue", and the land of Shan country is in the middle of Yunnan, Myanmar, Thailand and India is called "Shan country", so it can be seen that the Shan country is in the middle of Yunnan, Myanmar, Thailand and India. "and it can be seen that the Shan State is the Dian Yue.
In many ancient books have a variety of records about the peacock, as well as Yunnan Dianchi area unearthed a lot of bronze objects of the Han Dynasty have peacock carvings, from clothing, furnishings to labor tools, household items, all highlight the ancient Dai ancestors on the very favorite peacock. In the Dai mythology, peacock is also a symbol of happiness and goodness: legend has it that the god of creation, Yingba, in order to help Ba Alawu Jian Meng (now Jinghong area in Yunnan), released the peacock and let it fly to the faraway places to look for grains, and the undigested grains were used as the seeds, and from then on, people began to farm; the story of the Buddhist scriptures, "King of the Peacock," recorded that: peacock is a god bird, a holy bird, and it drank water from the wells and the river, and it recited the incantations, and people drank "Peacock" and "Peacock King". After drinking or bathing in "peacock water", people can cure diseases and increase their life expectancy without diseases.2 It is said that in the local Buddhist temples that were built completely, there were a pair of sacred birds beside the Buddha, i.e., "Jinnari (female)" "Jinnara (male)", and in the Buddhist temples, there were a pair of sacred birds, i.e., "Jinnari (female)" "Jinnara (male)", and in the Buddhist temples, there was a pair of sacred birds. It is said that in the complete construction of local Buddhist temples, there are a pair of sacred birds beside the Buddha, i.e. "Jin Nali (female)" and "Jin Nala (male)", and peacock feathers are also placed on the altar of the temple. It can be seen that the Dai people for the peacock is a favorite worship, but also because of this to nourish the soil of this dance.
(2) The origin of Dai Peacock Dance
In the minds of the Dai people, the peacock has always been regarded as a symbol of beauty and goodness, wisdom and intelligence, good luck and happiness, and a "god bird" and "holy bird" that does not fear violence, and the Dai people have never lost their reliance on the peacock. The Dai people's reliance on the peacock has never disappeared, and it can be seen through historical records and myths and legends that the "peacock" is closely related to the life, culture and beliefs of the Dai people.
In the ancient Dai totem myth, there exists a kind of peacock wearing a peacock frame with a human head and a peacock body, so the Dai forefathers unanimously believe that the peacock and the Dai ancient tribes have a close blood relationship; the "Peacock Dance" has always been accompanied by the Dai people's footsteps and never stops developing, and its influence on the Dai people is profound and long-lasting. Its influence on the Dai people is profound and long-lasting. There are many beautiful legends about the Peacock Dance in the folklore, one of which is that a long time ago, when the Buddha made a great swing, the people came to congratulate him, and a pair of animals with human faces and bird's feet came to congratulate him, and they danced elegantly, and the people followed them, and this dance is the Peacock Dance that people dance today; and the other is that the leader of the Dai people, Zhaomasu, led the people to search for the happiness story.
Most of the Dai area belongs to the subtropical hot and humid climate, comfortable temperature, rich in resources, the most representative of the Xishuangbanna region, dense forests, lush vegetation, breeding peacocks, elephants and other rare and exotic beasts, peacocks are active in the jungle, therefore, from the primitive period, human beings are very likely to be observed through the hunting way to imitate the peacock's form, movement and living habits.
According to historical records, as early as 7,000 years ago, Yunnan region produced a farming civilization, the earliest rice in China's territory; to Yao and Shun period of "elephant plowing and bird cultivation" legend, people tamed elephants to help their own ploughing, which shows that the link between humans and animals is inextricably linked, and also very The story is very old.
With the passage of time, human civilization continues to build, people no longer rely solely on labor to survive, economic and technological level of development of people's material life has a certain degree of security, so people began to pursue spiritual and cultural satisfaction. Peacock with its unique charm and elegant form to attract people, so more and more people began to imitate the peacock dance, but also produced a lot of legends about the peacock dance, which originated from nature, began to live, absorb the spirit of all things, y feel the Dai people's hard work, courage, gentleness and goodness of the 'national personality.
Second, the Dai Peacock Dance inheritance
(a) Early traditional folk peacock dance
Peacock dance, the Dai language called "Jaroyong" "annoying Luo Yong" or "Garnan Luo", that is, the peacock jumping, the peacock, the peacock, the peacock, the peacock, the peacock, the peacock, the peacock, the peacock, the peacock, the peacock.
The Peacock Dance is called "Jaroyong", "Bother Luo Yong" or "Garnan Luo" in Dai language, which means peacock jumping and symbolizes the traditional virtues of good fortune, justice and kindness, and is an expression of the Dai people's pursuit of good fortune, happiness and good life.
As the most widely distributed folk dance in Yunnan, the Peacock Dance is the most representative of the Dai dance, the most favorite and familiar to the Dai people, as well as the iconic folk traditional dance of the Dai people which has the greatest development, change and influence. The earliest Peacock Dance is performed by Dai men, and the performers should wear masks, costumes that resemble peacocks, and racks that resemble peacocks with open screens as decorations, and their action features mainly focus on the imitation of the basic forms and facial expressions of peacocks, and simulate the peacock's dance, strolling, drinking water, and spreading its wings through gestures, eyes, and steps, etc., and the content of the dance is mostly a narrative with the entrance of other animal players. The Peacock Dance has strict programs and requirements, fixed steps and routines, so much so that each movement is accompanied by a fixed drum language.
Most of the Dai people live in the border area of South Yunnan Province, and due to the less convenient transportation and the relationship between the spiritual beliefs of the nation, their national culture and folk culture are protected in a more complete way, with a unique style. The Peacock Dance belongs to the square folkloric performance dance according to the performance form and dance category, and it is a prop dance for the square rituals during the early grand festivals and the "Doing Pendulum" (the Buddhist meeting for repairing merits). The Peacock Dance, with its wide popularity and spread, is a symbolic cultural and artistic symbol of the Dai people.
(2) From the Folk to the Stage--"Peacock Dance for Two"
From the 1950s, the Dai folk dance artists began to try to reform the traditional peacock dance of the folk, and the most famous of them is the "Peacock Prince", who is known as "Mao Xiang". The most famous of them is the "Peacock Prince" Mao Sang, whose peacock dance is characterized by a unique style, with a dynamic gaze, vigorous movements and realistic images, and is regarded by the Burmese people as "the embodiment of the peacock". 1956, Mao Sang organized, processed and created the "Peacock Dance for Two" on the basis of the traditional folk peacock dance, which was presented at the Sixth World Youth Festival in 1957. In 1957, the Sixth World Youth Festival and the Hui actress Bai Wenfen*** won the silver medal by performing the "Double Peacock Dance", which made the Dai Peacock Dance from the folk to the stage.
Mao Xiang's "Double Peacock Dance" focuses on the performance of the peacock's habits, and mainly expresses the sweet love of a pair of male and female peacocks, the male peacock seeks for a partner in the forest, and female peacocks play in the forest, drinking water at the spring, chasing and dancing, the action performance is more in line with the theme content, making it a complete, undulating and changing performance works.
The movement of "Double Peacock Dance" is mainly based on the traditional step, which keeps the basic movement of up and down trembling with the inner rhythm; the dance creates one-legged deep squatting, slanting spreading of the wings and some aerial dance postures, and strengthens and highlights the broken shaking of the shoulder skills that existed in the original Dai Peacock Dance to express the state of joyful drinking of the peacock; the traditional movement of Dai Peacock Dance is still preserved in the choreography but the dynamic makes the Dai Dance style more suitable to the theme of the performance. His choreography still retains the traditional movements of the Dai Peacock Dance, but in terms of dynamics, it makes the Dai dance style more flavorful. Mao Xiang is the first person who refined the self-indulgent Peacock Dance into a stage art rich in imagination, he enhanced the ornamental and artistic nature of Peacock Dance, removed the heavy frame and mask of the folk Peacock Dance, liberated the limbs and head of the actors, and fully demonstrated the actor's dynamic expression, creating a pair of lifelike, style-accentuating image of the Peacock Dance for Two. Therefore, "Peacock Dance for Two" can be regarded as the "primary transformation" of the peacock dance, and Mao Xiang played a pioneering role in the creation of "Peacock Dance" for the later.
(3) The gender transformation of peacock dance performers--"Peacock Dance" and "Golden Peacock"
Traditional peacock dances are mostly men's solo dances, while "Peacock Dance" choreographed by Jin Ming and "Golden Peacock" choreographed by Knife Meilan made a great change in gender, and for the first time, the traditional peacock dance was transformed from male performance to female performance, and from male performance to female performance, and Mao Xiang played a pioneering role for the later "Peacock Dance" creation.
Jin Ming's Peacock Dance and Knife Meilan's Golden Peacock have made a great change in gender, switching the gender of the traditional peacock dance for the first time.
The women's group dance "Peacock Dance" choreographed by Jin Ming won the gold medal at the World Youth Festival Dance Competition in 1957, representing the highest level of the Dai Peacock Dance in the 1950s, as did the "Peacock Dance for Two". The structure of the whole dance starts from "Peacock Opening Screen", contains "Peacock Sucking Water", "Peacock Bathing", "Peacock Flying", and ends with "Peacock Flying". "
In the middle of the show, the peacock takes a bath and flies, and then the peacock climbs to the branch.
The aesthetic characteristics of ballet's extension and lengthening were borrowed in the movement processing, and at the same time, in order to reflect the ethnic characteristics of the Dai people, the basic elements of the up and down rhythm driven by breathing in the traditional Dai dance were emphasized, so as to maintain the style of the peacock dance as much as possible. In order to make the "peacock" look exquisite from the external form, and also to let the dancer's beautiful physique be fully demonstrated, Jinming changed the peacock dance costume from pants to a large skirt decorated with blue feathers, and the performance style has been fundamentally transformed since then.
Knife Meilan and Liu Jingo created the dance "Golden Peacock", which won the second prize for choreography in the first National Dance Competition in 1980; the beauty of the peacock is the blossoming of the peacock after trials and tribulations, and it creates a new image of the peacock with spreading wings and flying. Starting from the expression of the peacock's habits, the dance is choreographed in three segments: awakening, frolicking, and flying. In the choreography of the movement, the traditional spinning technique with the head buried in the armpit is changed to a rapid spinning with the eyes looking at the blue sky, the head held up, and the skirt pulled by the right hand, thus fully displaying the peacock's form of flying freely in the blue sky, symbolizing that the peacock is spreading its wings and soaring once again.
Knife Meilan, in her creation, inherited the artistic concept of her teacher Mao Xiang, absorbed the essence of the dance vocabulary of the brother ethnic groups while inheriting the traditional style of peacock dance, and further broke through the dance works into the women's solo dance performance with performativity and artistry; since Knife Meilan, the women's peacock dance has become the main form of performance of the Dai Peacock Dance.
(4) A brand-new art form--"The Spirit of the Bird"
Nowadays, when peacock dance is mentioned, the first thing that comes to mind must be the image of a vivid white peacock standing on the stage; the dance "The Spirit of the Bird" is a classic repertoire created and performed by Yang Liping, which won the first prize of the creation and performance of the Second National Dance Competition in 1986. In 1986, the dance won the First Prize of the Second National Dance Competition. The Spirit of the Peacock" captures the typical peacock habits of sucking water, combing feathers and flying, and extracts the most characteristic gestures of the Dai Peacock Dance, as well as the most curvaceous three-bend body movements.
Yang Liping's "The Spirit of the Peacock" is also a depiction of the Dai "Peacock Dance", but in the creation of the concept, the creation of new breakthroughs in the approach, she is not confined to the program of the traditional peacock dance (the traditional peacock dance is based on the imitation of the peacock's walks, open the screen, play in the water and other habits of the main line), the "The Spirit of the Peacock" emphasizes the word: "spirit," focusing on the beauty of expressing spirituality.
She boldly borrowed the choreographic elements of modern dance, starting from the basic image of the "peacock head" in the opening scene, expressing the peacock's agility and dexterity through rhythmic and layered rhythms, seeking the divine with the form, and using the most representative gestures in the peacock dance of the peacock's beak and the peacock's open tail to appear, and exploring new dance vocabulary; and based on this, "The Spirit of the Peacock" emphasized one word: "spirit", focusing on expressing the beauty of the spirit. On this basis, Yang Li continuously strengthened and reproduced the classic image of the peacock, and after repeated rendering, deepened the peacock's dynamic gestures, added the charm of the peacock's beauty, and at the same time, y reflected the image of the peacock's dynamic beauty in the audience's mind, which lingered on for a long time. In the dance dynamics, Yang Liping boldly carry out changes, peacock dance without the use of any props, completely liberated the upper limbs of the dancers, the use of the upper body of the arms and the head and neck of the movements of the peacock to imitate the spreading of the wings, reflecting the peculiar rhythms of the birds, so that the peacock on the stage is more dynamic. The Spirit of the Peacock" focuses on the spiritual level, and the bold innovation of the movement allows people to y appreciate and understand the worship of the peacock. "The Spirit of the Peacock" once again makes the external physical form of the Dai dance more expressive and textured, and is of epoch-making significance.
It can be seen that, from the traditional folk self-indulgent dance and ceremonial dance to the evolution of staged performance dance, the Dai dance artists for the inheritance, development and innovation of the Dai traditional folk dance has made outstanding contributions to the aesthetic needs of the audience at various stages of history, and promote the cause of the dance to a higher level, which marks the peacock dance towards a wider range of popular entertainment The Peacock Dance has developed in the direction of broader popular entertainment.
Three Contemporary Forms of Peacock Dance
(1) The Peacock Dance of the Dai People Passed Down in Folklore
Self-entertainment dance, as one of the earliest forms of dance art, originated from the people's labor and the need to satisfy their spiritual life. The peacock dance has been widely circulated and developed among the Dai folk, and the expression of the dance has gradually diversified along with the learning of different groups of people and their different aesthetic values, among which the peacock dances in Ruili City and Gengma County are the most colorful.
In today's Dai ethnic area, people often gather together during the "Water Festival", the "Door Closing Festival", the "Open Door Festival" and other folk festivals, ringing the big gongs, playing the drums and dancing the graceful dance of the peacock.
Nowadays, in many places in the Dai ethnic area, there are folk artists who specialize in peacock dance for a living, and most of them mainly imitate the peacock's attitude and movements, such as spreading the peacock's wings, taking a bath, shaking its feathers, looking sensitively at the exploration, and walking peacefully, etc. The peacock dance enhances the beauty of the Dai ethnic people, and the peacock dance is the most beautiful dance of the Dai ethnic people. Peacock dance enhances the cohesion between various groups of Dai people and becomes the deepest cornerstone of Dai culture. However, due to the different personal artistic experiences, artistic aesthetics and inheritance paths of each artist who specializes in the peacock dance, a variety of artistic styles and distinctive artistic personalities are presented.
Along with China's increasing attention to traditional culture in the context of the times, the party and the country continue to raise the importance of intangible cultural heritage heritage inheritance and protection work, through different forms to promote the development of Dai Dance Peacock Dance, the effective inheritance of China's national folk dance culture, thinking to strengthen the cognition of the cultural heritage of national folk dance. The author believes that we should advocate more art workers to "go deep into the folk, rooted in the folk" to learn, understand and study the most original and traditional minority cultures; maximize the use of their own professional skills, minority dances, music, costumes, etc. to conduct in-depth excavation, exploration, research, and constantly think about how to develop minority dances, music and costumes on the basis of the preservation of traditions. On the basis of retaining the tradition, we are constantly thinking about how to develop minority dances, music, etc., so that more people can familiarize themselves with and understand China's unique minority cultures, and carry forward the excellent traditional culture more widely.
(2) Dai Peacock Dance in Classroom Teaching
The Dai Peacock Dance, as one of the models of national dances, has attracted many scholars and experts to research, organize, innovate, and choreograph a systematic folk dance textbook, which is used as a teaching material by institutions of higher education and secondary specialized schools, and is applied in the folk dance classroom and other teaching.
Relative to the folk entertainment dance form, the Dai Peacock Dance was written into the textbook to further realize its value. The materials used in the textbook are extracted from the traditional folk dances by experts, and reasonably choreographed and innovated with the most typical and aesthetically most valuable elements of the dances, which not only retains the dance style and folk cultural connotation but also better brings into play the artistic value of the dances, and also makes the folk dances to be inherited.
Nowadays, in many colleges and universities, in a form similar to the non-heritage traditional culture on campus, inviting many national and provincial inheritors to enter the campus to communicate with teachers and students in the art of dance, traditional and original folk culture to teachers and students, through communication, communication, learning, so that teachers and students to return to their roots to feel the most traditional national folk art style. At present, students mostly study folk dance teaching materials in the form of systematic and standardized mastery of the Dai Peacock Dance, although to complete the training content required by the teaching materials, but for the traditional ethnic folk dance stylistic mastery is still far from enough, folk dance teachers should require students to take the initiative to consult the relevant ethnic information under the classroom, and in a different way to go into the folk, in-depth folk, learning folk, in order to more y feel the Dai Folk dance culture, accurately grasp its folk dance style; and advocate that students will pick the wind harvest and its feelings and insights into written materials, can be more profound record of this precious experience.
Fourth, conclusion
In today's rapid economic and cultural development, the development of dance art is also gradually mature, people's aesthetic needs are also becoming more and more diversified, different dances convey to people's artistic value and inner emotions are different, so the dance art continues to develop and innovate. In this process, the value of the dance itself will inevitably be ignored and cater to the aesthetic needs of the public, commercialized dance is inevitable, its existence value is for profit. In addition, there are many dances that imitate international dances in form, on the one hand, as innovation and development, and on the other hand, in order to cater to the aesthetics of the public nowadays. And as the heritage of the development of dance workers, need to grasp the artistic value of the dance itself, but also to avoid convergence.
This paper compares the development history of the Dai Peacock Dance, and looks at the artistic value of the Dai Peacock Dance from its historical roots, with the help of books, journals, networks and other means of access, and based on a certain amount of field research for writing. Dai dance is an important part of China's traditional folk culture, through the study of the development of the peacock dance, on the one hand, for the Dai folk dance teaching Dai Peacock Dance style mastery has certain help, on the other hand, for the Dai Peacock Dance creation concept and inheritance and protection can trigger thinking; should be fully aware of the value of the cultural dissemination of the Dai Peacock Dance, and to promote the further discovery of cultural connotations and symbolic significance behind each action, to feel the cultural value of Dai Peacock Dance, to feel the cultural value of Dai Peacock Dance. It should fully recognize the cultural communication value of the Dai Peacock Dance, promote further discovery of the cultural connotation and symbolism behind each movement, and feel the artistic charm of the Dai traditional culture; and allow more people to gradually favor and y understand the Peacock Dance, and then be able to love and study the Peacock Dance, and fully appreciate and feel the charm of the Dai Peacock Dance.
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