The origin and development of Han dance
In the artistic river of Chinese dance, Han dance leads the way with its fresh, strong and magnificent artistic style. After the Qin cultural tyranny of the coals trampled on, the Han dance with its wild level of momentum, to the world to show the great elegance of the Han National Dance Art.
Unlike the rules and elegance of the pre-Qin music and dance and the splendor of the Tang music and dance, the Han dance style is full of sensibility, boldness and simplicity of the artistic charm, and glows with the realization of the political situation of the great unification of the Chinese nation after the vibrant vitality of the Chinese nation.
Traditional Chinese culture was at its peak during the Han Dynasty. The Han Dynasty was a historical period of close communication between various ethnic groups internally and unprecedentedly active exchanges externally. Han Dynasty dance style colorful and generous compatibility, is a prominent manifestation of this cultural atmosphere. For example, the Bayu Dance from the ethnic minorities of Southwest China was favored by Liu Bang, the High King of China, and became the elegant music of the Han court. And widely prevalent in the folk and court? The Hundred Operas Naturally, there is no lack of dance and acrobatic performances by artists from Central Asian countries. The Han Book? Emperor Wu Di Ji:? (Yuanfeng) three years (108 years ago) in the spring, for the corner of the play, within 300 miles are (to) watch. (Yuanfeng) six years (105 years ago) in the summer, the capital city people to watch Jiaojia in the Shanglin Pingle Hall. Jiaojia? also known as? Hundreds of plays? The Han Dynasty music and dance acrobatics of the general term. This song and dance acrobatic performances organized by the Palace, not only unprecedented scale, and attracted the capital inside and outside, and even hundreds of miles away from the people to come to see, see the great and magnificent Han dance artistic style and artistic charm. Not only to the internal music and dance activities to show that the king and the people of the same music, the world of peace and prosperity of the weather, the Han Dynasty emperor is also more than a scene of magnificent large-scale music and dance feast guests from all over the world. For example, in the second year of Emperor Xuandi's reign, when he married Liu Wu, the granddaughter of King of Chu, to the King of Wusun, he performed the "Great Horn Dance" in Pingxian. Dajiaodai? The music was played to send the princess to marry, and entertained Xiongnu emissaries and other foreign guests (see "Han Shu"). Biography of the Western Regions"). During the reigns of Emperor Wen and Emperor Jing, the emperor set up a banquet hall and a meat forest to entertain his guests. set up wine pools and meat forests to entertain guests from all directions, and made "Ba Yu", "Du Lu", "Dangdang Pole" in the sea, "Manyan Fish and Dragons", and "Jiaojie" plays to watch. (ibid)
By the time of Emperor Wudi, it was more often to? The Hundred Opera? Entertainment of foreign dignitaries and envoys, showing the strength and prosperity of the Han Dynasty. This shows that, not only from the folk of many songs and dance programs on the princes and nobles of the hall of elegance, and foreign rich and colorful cultural performances have also become hospitality guests, the great Han Dynasty style of the court of the elegant music. In the history of Chinese dance, the Han Dynasty is following the pre-Qin music and dance, another monument to the development of dance, it is its generous, tolerant style of art in the annals of history.
Full of realism and individuality of the art of infectious, expressive heart, the original style of dance and dance, in the Western Han Dynasty, the beginning of the state, a sweep of the pre-Qin missionary politicization, nostalgia and retro music and dance legacy, refreshing. History, Han Gaozu Liu Bang in the pacification of Huainan King Brandon cloth rebellion, after? Over Pei, stay. Wine Pei Palace, all called the old man father and son of a long wine, hair Pei in the child got a hundred and twenty people, teaching the song. Drinking soundly, Gaozu struck the building, and sang a poem for himself: "The great wind rises and the clouds fly up. The wind rises and the clouds fly, the might of the sea and return to their hometowns, and get a fierce warrior to guard the four directions! The children were all singing and practicing. Gaozu was up and dancing, and sobbed a few lines. (The Records of the Grand Historian (史记)). (Gaozu Benji) this kind of feelings and move, improvised dance style, since the beginning of the Han Dynasty has become a trend, the history of the book. For example, in Han Dynasty banquets, it was widely popular to dance with each other. Dance with each other? The etiquette of fellowship dance, that is, in the process of the banquet, the guests invited each other to dance custom. This? social dance with dance? The social dance, with obvious improvisation characteristics, both ritual, but also contains the color of self-indulgence. In fact, as early as the time of the Chu-Han conflict, there will be the Hongmen Banquet in the? Xiangzhuang dance sword? The move into the history books, after the establishment of the Han Dynasty, this kind of improvisation between the original dance style is more common. Such as the Western Han Dynasty Changsha Ding Wang Liu Fa, is the son of Emperor Jingdi, because his mother is not favored, so his fiefdom is small and poor. Once all the kings went to Beijing for an audience, Liu Fa obeyed the order to bless the emperor with songs and dances. When Liu Fa danced, he made a gesture of shrinking his arms and legs, and the audience ridiculed him for his clumsy movements. The emperor also felt strange and asked him why he made such a gesture of dancing, and King Ding replied: "My country is small and the land is narrow, so it is not enough for me to return to my country. The emperor was surprised and asked him why he did this dance, to which King Ding replied: ? (See Han Shu? King (Emperor) thirteen Wang biography" should be Shao note) can be seen in this kind of impromptu dance style, not only has the function of entertainment, but also can be cathartic emotion of the heart of the sadness and happiness. Han Shu? Su Jian (with son Su Wu) biography, Su Wu mission to the Xiong Nu in the detained for nineteen years, through trials and tribulations, in the first six years (81 years ago) was released back to the Han. Before the trip, Li Ling, a Han general who had already surrendered to the Xiong Nu, hosted a banquet to bid him farewell. During the banquet, Li Ling danced and sang: ? After 10,000 miles, I will fight for the Xiongnu. The road is endless, the vectors are pressing, the soldiers are dying, and the name has been blocked. My mother is dead, though I want to repay my kindness, how can I return? After the song and dance. Farewell to Su Wu. Mrs. Qi, the favorite concubine of Emperor Gaozu of Han, could sing and dance well, and was very happy with Liu Bang. When she and Liu Bang wanted to abolish the crown prince Liu Ying (the son of Empress Lu) and set up Mrs. Qi's son as the crown prince plan failed, Mrs. Qi was grief-stricken. Liu Bang made Mrs. Qi dance for him. Chu Dance? And personally to? Chu song? and to remove the pent-up frustration in her chest. (See Han Shu? Zhang Liang biography") and then the son of Emperor Wu of the Han Dynasty, Yan Wang Liu Dan plotting rebellion, was found, want to send troops and can not, depressed, set up a banquet in the palace with guests and ministers, concubines *** drink. During the banquet, Liu Dan sang to himself: "Return to the empty city. Return to the empty city Ruoxi, the dog does not bark, the chicken does not sing, horizontal technique He Guangguang Ruoxi, certainly know that no one in the country! Mrs. Huarong danced and sang:? Hair has been placed in the canal, the bones are full of the dead residence, the mother seeks the death of her son, the wife seeks the death of her husband. Pei back between the two canals Ruoxi, gentleman alone live in peace! The audience all wept. (See Han Shu? Prince Wu biography") to the late Eastern Han Dynasty, this kind of tragedy is repeated in the Han Palace. However, the role was no longer that of a prince, but of the emperor himself. In the sixth year of the Zhongping era (189), Emperor Ling died and Liu Wei, the youngest emperor, assumed the throne. Dong Zhuo, a warlord with real power, entered the capital with his troops and deposed Liu as the King of Hongnong, installed Liu Xie as Emperor Xian, and then killed Liu with poisoned wine. When Liu Defender was having a farewell banquet in the palace with Empress Tang Ji and the palace staff, he was overwhelmed with emotion, so he made Tang Ji dance and sing while dancing to express his feelings of parting. (See (Hou Han Shu? Empress of the record") this dance to dance words, dance lyric, dance to vent their feelings of the inner world of the dance bad Song and the ancient Greek dance of the pursuit of external physical beauty of the aesthetic interest, indeed very different, conveying the different nationalities, different cultures, different aesthetic styles,
The Han dynasty court music is also not lacking in the life from life, the expression of life of the vivid dance style, penetration and exudes the rustic artistic flavor. For example, in the Han elegant music, it is preserved when Liu Bang over Pei County, improvised high-pitched (Dafeng Song) (the end of the Han Dynasty, in the Pei Palace to sacrifice to Gaozu, has been used in the "Dafeng Song" of the songs and dances). In the sixth year of Gaozu's reign (199 B.C.), he ordered the world to set up the Lingxing Shrine to honor the god Houji. The dance used for this ritual, the "Lingxing Dance," was a dance that simulated the movements of farmers' labor. According to the "Book of the Later Han Dynasty? Sacrifices, the dance was performed by sixteen boys. Dancers like teaching the field, the first mow, the second plowing, rue mattress, drive the bird and get Liu, spring bumps of the shape, like their work. This kind of direct from life, performance of life, I'm afraid, is also unheard of, reflecting the Han dance close to the society's honest and simple style.
The formation of this artistic style of the Han dance style, both with its social and cultural infiltration of breeding, but also with the ruler's own artistic aesthetic orientation of the table. In the early Han Dynasty, the ideology of the Huanglao ideology, discard luxury and advocate simplicity, which originated from the life of the original dance creations and dance styles to provide a good and loose space for survival and development, and close to the people's livelihood, entertain the public dance style and undoubtedly with the rulers? and people's rest and recuperation? and the ruling philosophy of the rulers, so the princes and nobles were naturally active in promoting and happy to participate in it. As for the latter, Liu Bang, the founding emperor of the Han Dynasty, was a commoner, who said that he was a man of the cloth and a man of the sword. He said that he would take the world with a three-foot sword in a cloth coat. ("Records of the Grand Historian"). Gaozu Benji"), from the bottom of the social strata and to good? Chu song? and Chu dance? Known to the world, its words and deeds are not lacking in the bold and rugged Chu style. Chu culture's romantic, refreshing temperament and Huang Lao Taoism's frankness, return to simplicity, the purpose of the original is a blend of water and milk, complement each other (in terms of its original, Taoism is originally the Chu culture of the flow of rhyme and color). Liu Bang, in the Chu-Han wars, used the Chu song on all sides? The momentum shook and shocked Xiang Yu's soldiers. History shows that Liu Bang has always been a favorite of the Chu dance. Chu dance? and he himself is especially good at it. He is especially good at the dance of the sleeve and the waist. This? The dance of "Bending the Waist with Arched Sleeves" is what Zhang Heng described in his "Nandu Fu". dance is what Zhang Heng said in his "Nandu Fugue". This is the dance that Zhang Heng said in his "Nandu Fugue", complaining about the Jingxi's folding disk. in his Nandu Fugue. Chu Dance? The style of the dance, this dance to the soft waist and show the charm of the dance. In his later years, he was still fond of and attached to the "Chu Song". Chu Song? and in his later years, he was still fond of and devoted to the "Chu Song" and "Chu Dance". Chu dance? in order to release its heart and mind (see "Han Shu? Zhang Liang biography"). Han dance magnificent bold, magnificent temperament, to a large extent, whether it should be attributed to the art of Chu culture infiltration? This feature, we can from then many literati about the dance of literature (such as "Dance Fugue", "Xijing Fugue", "Nandu Fugue" and so on) can be evidenced. In the current excavation of a large number of Han dynasty portraits of the many subtle and evocative depiction of artistic images, we can really feel the Han dance style to show, promote out of the bold, agile, romantic:? The long sleeves are crossed from the wind. (Zhang Heng's "Dance Fugue"),? The skirt is like a flying luan, and the sleeves are like snow. (Zhang Heng "Dance Fugue") of the beautiful art of dance charm.
Well-known Han dance
Treading Song
Han culture and art in the realm of attention. Early Han people sat on the ground and often lit a pillar of sandalwood incense when they played the zither. The clanging zither, the curling smoke, and the fragrance dissolved an ethereal atmosphere on the sounding seven strings. The ancient Chinese qin, chess, calligraphy, painting, poetry and song, often bring people into a transcendental silence? The Han dance is also characterized by the same.
"Tap Song" - not "Tap Song" as in "Li Bai was about to leave in his boat, when he suddenly heard the sound of tapping songs on the shore", but a stage work created by Mr. Sun Ying, a scholar of Chinese classical dance, in the 1990s, which won the Gold Medal for "Chinese Classical Dance" at the first "Lotus Flower Prize" Dance Competition of the whole country. After that, "Treading Song" quickly became popular, and in the 1990s, it was Zhang Jigang's "Daughter River" that was the most popular lyrical dance for women, and in the later years, it was Mr. Sun's "Treading Song" that was the most popular lyrical dance for women.
Treading Song was originally a dance in the group dance Yanhuang Sacrifice, with Manpo Ancestral Mother, Ding Soul, Chu Waist, Hundred Pawns Music, Flying Rainbow to Drum, Ne Shang Fei Yi, Sword Love, Strong Men's Walking and Scenes from the Beijing Municipal Government, etc*** together they formed a o(︶^︶) o Alas. Looking back at Mr. Sun Ying's conception from the composition of "︶^︶", one can see several intentions: firstly, Mr. Sun Ying tries to discover the image of dance in each era, and his examination of the traditional dance culture of the Han people is comprehensive and systematic. Secondly, Mr. Sun Ying tries to pour his concern for the national spirit into each dance image, thus making his examination of the Chinese Kabuki dance culture full and profound. Thirdly, Mr. Sun Ying also tries to explain the spirit of "Sun Ying's classical dance" through the ordering of historical dance images and historical and cultural spirits.
Regarding the cultural construction of Chinese classical dance, Mr. Sun Ying has published two important papers, namely, Trial Discussion of Chinese Classical Dance and Re-examination of Chinese Classical Dance. In these two papers, Mr. Sun Ying, through reviewing and reflecting on the ancient dance forms, believes that restoring historical dance and exploring the historical aspects of classical dance in a more comprehensive way are the prerequisites for the formation of a national system of classical dance, which is a basic project. Mr. Sun also advocated the creation of the Han and Tang schools of ancient dance, which would bring together and embrace the whole history (including the artistic achievements of the brotherly peoples), and find a way out from China's history and culture, and must form forms and styles unique in the world, which would be regarded as obtaining the artistic life of Chinese classical dance. In response to this claim, Mr. Sun Ying especially discussed the reason why the construction of Chinese classical dance should take the Han and Tang Dynasties as the basis, because the Han Dynasty dance is the first development climax driven by the cultural merger of the Jianghuai and Yellow River systems; the Tang Dynasty dance is the second development climax formed by the second north-south cultural merger and communication between the Central Plains (in a broader sense) and the Western cultures in the context of the North-South Dynasty and becomes the heyday. Without digging and tracing the norms, styles, and aesthetic characteristics of these two pivot points of ancient dance development, it is impossible to emerge a classical dance that can represent the artistic style and achievements of ancient Chinese dance.
In order to realize this "spiritual demand", Mr. Sun Ying's exploration was reflected in the dance drama Bronze Sparrow Kabuki before the group dance Yanhuang Sacrifice. One review says: "Sun Ying captured the dance style of the Han Dynasty by grasping the cultural flavor of the Han and Wei Dynasties. At that time, the culture of Han Kabuki was the culture of historians, characterized by less fantasy and more realism; less ostentation and more simplicity; less delicacy and more grandeur; less stillness and more movement. But since Cao Wei Jian'an, and a new change - from the original cleverness in the clumsy, the beauty of the park appeared? The clumsiness and simplicity of the gradual disappearance of the skill and beauty of the increase? The trend? The choreographer paid attention to the characteristics of the alternating artistic styles of this era, recognizing that the style has both the ancient, grandiose, and flowing side, and the delicate, elegant, and playful side" (Zhou Rong, "A Trial Review of the Ethnic Dance Drama Bronze Sparrow Kabuki"). And Mr. Sun Ying himself in the play's "Creative Statement", especially mentioned that "The Bronze Sparrow" is expected to do some attempts in two aspects: one is to open up the field of Chinese classical dance, make full use of their own classical dance, and the other is to make use of their own classical dance. Expanding the field of Chinese classical dance, making full use of its own cultural resources, creating and renovating within its cultural matrix, and creating and renovating within its cultural matrix. Combining? style, opera style, ? Silk Road style. style in addition to forming a Han Dynasty dance style;? Secondly, it is the experiment of artistic creation direction, that is to say, the pursuit of cultural flavor and cultural depth of structure, characters and language, the pursuit of artistic flavor, and the pursuit of individuality and characteristics ("Some thoughts, views and others on the creation of Bronze Sparrow Kabuki"). In fact, these two aspects are fundamentally united - Mr. Sun seeks to open up the field of Chinese classical dance through an artistic creation rich in cultural flavor and cultural depth, in pursuit of a "classical dance" that can represent the style and achievement of ancient Chinese dance art.
As one of the dancers of Tap Song, Su Ya, an undergraduate student of the Department of Ethnic Dance and Theatre at the Beijing Dance Academy, said, "After studying Tap Song choreographed by Ms. Sun Ying, I have a different feeling about classical dance. First of all, the movements in Tap Song are large in amplitude and the center of gravity is more flexible. Ms. Sun believes that the most beautiful part of this dance is when the center of gravity is out of control in a split second during the movement transition. Secondly, "Treading Song" starts from? Shun? Although the movement is smooth, it still follows the principle of "flat circle, standing circle, figure of eight". Although the movement is smooth, it still follows the trajectory of "flat circle, standing circle, 8-character circle". The movements still follow the trajectory of "flat circle, standing circle, 8-character circle", and still utilize "lift, sink, punch, lean". Lifting, sinking, charging and leaning. The movement elements of "Lift, Sink, Punch, Lean" are still utilized. Once again, "Tap Song" has a novel approach to footwork, which makes up for the lack of rich dance postures and poor steps in previous classical dances; it makes us realize that the control of the depth of breathing, the grasp of amplitude size, and the flickering of the center of gravity are all extremely rich in expressive power.
The dance "Tap Song" performed by Tai Lihua, a deaf-mute girl, is a flowing Chinese painting; an ancient poem sung; a cup of intriguing tea. Tai Lihua should not be a stranger? It is the Spring Festival night performance? Tai Lihua is the dancer of the Song and Dance Troupe for the Disabled who performs in the Spring Festival. The company is one of the dancers of the Disabled People's Song and Dance Troupe.
The perfection and demise of the Han dance
Since the Zhou and Tang 2000 years of history, the Han dance inheritance is orderly, continuous improvement, and finally in the Sheng Tang reached the peak level. Tang dynasty died, a large number of artists and music and dance works scattered in the folk. The rise of the Song Dynasty, the court ? Nuo ritual? still retained. Song dynasty court held annually as a rule ? Nuo ceremony? Activities, by the teaching workshop actors dressed as the door god, judge, Zhong Kui, Zaojun, landlord and other gods image, wearing masks dance. ? Nuo ritual? With the then opera performance ingredients. Ming and Qing court ? Nuo? has continued, but the style is more relaxed. Under the influence of the development of opera, ? Nuo rituals? activities, gradually to the development of opera forms, become ? Nuo opera?
Since the Song Dynasty, urban development, commercial prosperity, the rise of the guild system. In such a newborn social soil, folk dance such as the emergence of a new army, showing another landscape of the development of dance. The Song Dynasty saw the emergence of a huge folk dance performance team called ? Dance Team? (or ? Social fire?) This kind of performance team combines music, dance, and music-technology. This kind of performance team will music, dance, martial arts and acrobatics and other skills programs together, in the form of *** team, exhibition performance. This folk dance performance activities, generally in the New Year, Lantern Festival, Qingming Festival, Mid-Autumn Festival and other days. At this time, the city has appeared in the specialized performance place ? The city had already seen the emergence of specialized performance venues in the city. Folk dances were usually performed in The folk dance activities were usually performed in the "Gulan Tile House" or in the square. or in squares. In the folk dance activities, there are a lot of acrobatic, skillful programs, such as in several zhang high pole on the horizontal wood, and in the horizontal wood on the smoke and fire, playing God, the effect is thrilling. Or edge of several feet high pole and grab the golden chicken. At that time, when the palace festival, folk dance artists, especially those with good looks and high skills of female artists, was called into the palace performance. Famous folk dance programs in the Song Dynasty include: the small song and dance "Village Field Music" that performs the life of farmers, the masked dance "holding the gong", the comical dance "Dancing Bao Lao", "Dry Dragon Boat" that expresses the swinging of a boat, "Bamboo Horse" that expresses the dancing of a horseback rider, the satirical and comical dance "Ten Sai Lang", the mime dance "Playing the Monk", the dance "Dancing Judge" that expresses Zhong Kui to fight against the ghosts, the dance "Puffing Flag" that performs the flag dance, the dance "Brute Card" that expresses the life of the military formation, and the dance "War Card" that expresses the life of the war. There are also dances such as the "Lion Dance" and the "Waist Drum". In the folk dance activities, each dance team is organized. Dance Teams The dance programs can last all day long. Dance programs can last all day long. During festivals, folk artists are organized into societies to perform, and they are disbanded after the festivals. Dance teaching in the form of master and apprentice, this situation has enabled the development of many folk dances.