What is the difference between Jiaozhou Yangge and Northeast Yangge
As the saying goes, "There are Yangge in the north and Flower Drum Lanterns in the south," they are both similar and different, but they belong to the same category of Yangge. What are the differences? Let's learn:
Historical Background
Giaozhou rice-planting song originated in Giaozhou City, Ma Dian Dong Xiaotun, Nanwang Village, and Haiyang rice-planting song, Shanghe drums and known as the three major rice-planting songs in Shandong, has a history of more than 300 years, was included in the first batch of intangible cultural heritage in 2006. According to legend, at the beginning of the Qing Dynasty, two people surnamed Ma and Zhao fled from foreign lands and settled in Dong Xiaotun, Jiaozhou, selling a kind of homemade processed tobacco for a living. After that, Ma and Zhao started to break into Guandong, singing and begging on the way to escape from the famine, and then changed to dancing and singing, and gradually formed some simple dance programs. After they returned to their hometown, through the generations, to the middle of the Qing Dynasty, the formation of the Jiaozhou dance rice-planting song this folk music.
Jiaozhou rice-planting songs start with a big field of rice-planting songs and flip-flop skills, and then play a small drama in the countryside, playing the role of the character in the lead is the "cream guest", in the singing of rice-planting songs on the basis of the absorption of foreign forms and the formation of a combination of dance and theater forms of performance. Their roles are divided into Cuihua, Fan Girl and Little Man, and their performance programs are divided into Cross Plum, Big Pendulum, Positive Heart Dredging, Anti-Heart Dredging and Two Doors. The age difference and character of these three roles are reflected in their respective dance dynamics: Cuihua moves freely with her two arms swinging in a wide range, and her movements are spacious, lively and cheerful; the fan in the hand of the fan girl flutters up and down, and her body is as light as the spring breeze brushing the willow, and she is graceful; Little Man's two arms are on the elbows, and she dances like a butterfly, which gives a lively and playful sense of dynamics.
The Northeast rice-planting song, originated from the rice-planting and plowing of the labor life, is a form of dance for the working people to celebrate the harvest of self-joy. It is also related to the songs of praise and sacrifice sung in ancient times to the gods of agriculture to pray for a good year and to pray for the avoidance of disasters. The Northeast Rice-planting Song is famous for its roughness and boldness, passion and exuberance, the large number of people, the flexibility of the dance form, and the hilarity and festivity of the Northeast. This kind of square song and dance activity contains many forms and contents, and reflects the footsteps of the Chinese era in the continuous change. Kangxi period of the Qing Dynasty, by the prisoners exiled to the northern part of the artists and scribes, the mainland opera songs and dances brought to the Northeast, there is the 15th of the first month to do rice-planting custom. Side dance side song, all night long.
Qianjia period, this song and dance activities and the enthusiasm of the people of the Northeast romantic combination together, formed a unique steady, terrier, warped style of rice-planting dance, especially the gradual molding of rice-planting music, with gongs, drums, cymbals, suona, etc. played a warm and cheerful, fun and upside down tunes, it is unforgettable. By the end of the Qing Dynasty and the beginning of the Republic of China, most of them were organized by rich families as a kind of entertainment during the Spring Festival. A wide range of participants, men and women, young and old, can jump and dance; a large number of people, a large scene, magnificent, shocking. Thirty to fifty people, a hundred or eight people, or even hundreds of people can dance together with the drums, gongs, cymbals and suona. The movement is coordinated, neat and tidy, and very nice to look at.
The characteristics of the two rhythms
Jiaozhou Yangge used to be performed on stilts, which was later abandoned. The movements of women in the dance are the most distinctive. It has the atmosphere of Shandong women, but also has the passion and spiciness of northern women. Fans and handkerchiefs are the main props. The movements emphasize strong individuality and the pursuit of "three bends" in the form of "quick power and slow extension". The rhythmic characteristics of Jiaozhou Yangge can be summarized as "stretching, toughness, grinding, screwing, twisting" five characteristics.
"Stretching": it is the momentary continuity of the movement form when starting or reaching the extreme space, and it shows a sense of extension of force.
"Twist": refers to the waist as the axis, twisting outward to form the "three curves" posture. The "twisting" of the feet as the force point of the movement makes the body lines of Jiaozhou Yangge bend softly, and the dance movements are gentle, but not losing the strength and vigor, and the exuberance and spontaneity.
"Grinding": in the process of forming or moving the center of gravity, the knee is pushed and reflected in the rotational force of the foot. The rhythmic characteristics of the "grind", in terms of dance movements, are mainly presented in the feet.
"Twist": the milling of the foot and heel of the power foot to do the movement of the fulcrum, which affects the waist and upper body parts of the twist and the formation of the flow of the "three curves" curve characteristics, but also and the original dance on stilts have a direct relationship.
"Toughness": is in the flow of movement deformation, the performance of a force of character, is through the small arm around the word 8, the hand overturning the bowl of organic cooperation, training the body up and down the coordination and internal control of the body's ability to give people an uninterrupted extension of the sense of beauty of the Jiaozhou rice-plantation song to mobilize the whole body parts, "twisting, grinding, crushing, and then wave the waist and upper body parts twisted to form the flow of "three curves" curve characteristics, but also directly related to the original dance on stilts. The Jiaozhou Yangge mobilizes all parts of the body, "twisting, grinding, twisting, toughness, stretching", so that the female performers of the dance movement to lift up faster, feet landing and light, twisting run floating.
The Northeast Rice-planting Song has a long history, is the long-term creation and accumulation of the artistic wealth of the northern working people, which originated in the rice-planting and cultivation of the labor life, and the ancient worship of the gods of agriculture to pray for a good harvest, pray for blessing and sacrifice to avoid the disaster of the song related to the song, and in the process of development, constantly absorbing the agricultural songs, ling songs, folk martial arts, acrobatics, and opera techniques and forms, so that the general singing of rice-planting songs to today's development of the popularity of the masses. At present, what I call Northeast Yangge includes three parts: Northeast Yangge on stilts, Two People's Opera, and Ground Yangge. Early Yangge is not on stilts, in order to let more people see the performance, gradually adopted the form of stilts.
The Northeastern rice-planting songs emphasize the "steady wave", "wave in the playful", "playful in the burgundy". The whole dance is characterized by the use of walking, steady, drums and props. Today's Northeastern Yangge has a witty form and unique style, and the vast black land gives it a simple and bold spirit and flavor, combining spiciness, humor, quietness and stability, and bringing out the warm and simple character traits of the Northeastern people, who are strong and flexible, to the fullest extent. The most important features of the Northeast Ranges are the waves within the waves, the stems within the waves, and the curved stems within the stems. At the same time, the many different patterns of the "hand flowers", the fast-paced and elastic drum beats, and the rhythms that are funny, playful, quiet, steady, and beautiful are all characteristics of the Northeast Ranges. For example, the women's group dance "Silk Flowers Welcoming Spring" choreographed by Qiao Liang and Men Wenyuan, first of all, visually feel the passion and exuberance of the girls in Northeast China; feel the rhythm of the dance in the music, and brew the dancer's emotion. Instead of just imitating the movements, the students were led by me to realize the uniqueness and flavor of the dance. In addition to having a good grasp of the basic elements of Northeast Rice-planting Song movements, the dancers are also required to know how to use the handkerchief flowers in a variety of ways, because from beginning to end of the dance, the dancers have the red, yellow, and green handkerchief flowers rotating and rolling in their hands, and the pirouetting flowers, which are especially wonderful, are thrown out by one dancer more than ten feet and then returned to his hand. The flower of the pirouette in their hands is even more wonderful.
The power of Jiaozhou Yangge comes from the twisting and grinding of the feet, and this bottom-up development extends to the waist, where a "phase" center is formed, so that the body forms a kind of resistance in the shoulders and hip joints on the basis of the plane with the waist as the center, and when the right shoulder is twisted forward, the left hip is also twisted forward accordingly, and the two form a resistance to the center. When the right shoulder is twisted forward, the left hip joint is also twisted forward accordingly, and the two form a centripetal twist. The centripetal twisting of the shoulders and hips makes the Jiaozhou Yangge's "three bends" body shape pull out horizontally and rotate vertically at the same time, so that the dynamic law of the "three bends" body shape shows a unique style, strength and sense of reality in the wringing, crushing, stretching and toughness. The power of the Northeast Yangge also comes from the feet, and is manifested in the "twisting" of the upper limbs with the focus on the movement driven by the "step" of the "burgundy strength", the "flower" of the wrist, and the "twisting" of the upper limbs with the focus on the movement of the upper limbs with the focus on the movement of the upper limbs. "The waist twists with the change of the center of gravity of the foot "lifting and kicking", forming the "three curves" of the Northeast Yangge. The body posture is a horizontal up and down movement, manifesting itself as a steady wave, The movement of the shoulder and hip joints is generated by the movement of the feet, and the point does not occur in the vertical wringing relationship.
The different power and realization of operation between Jiaozhou Yangge and Northeast Yangge Jiaozhou Yangge is called Running Yangge, a kind of walking Yangge, and because it is a walking Yangge, it emphasizes on "twisting", and the "three bends" are twisted, and the "nine movements and eighteen states" are twisted. "Nine Movements and Eighteen Styles". It is commonly known as "twisting the waist". Therefore, the "three bends" of the Jiaozhou Yangge are larger and more exaggerated. It has become the flowing "three bends" posture in twisting and grinding. In addition, there was a history of stepping on inches, the foot always rolls along the outer edge to complete the transition of the center of gravity, and the wringing strength of the foot contributes to the sticking strength of the knee, which leads to the twisting strength of the waist and the stretching strength of the arm, and the overall dynamics gives people a kind of tension. The "twisting" of Jiaozhou Yangge is mainly driven by the "twisting" and "crushing" of the feet and the twisting of the whole body. "
I think I'm not the only one who's been in the same boat for a long time.
I think the wringing and forceful movement is mutual unity, organic combination. This is why the unique curved artistic style of Jiaozhou Yangge is formed. If there is no twisting, the curved body of Jiaozhou Yangge cannot be formed. On the other hand, if there is only twisting and the extension of force is neglected, then the "twisting and breaking the waist" and "three curves" styles will not be possible to talk about. Therefore, twisting is the sinews of the Jiaozhou Yangge, force is the blood, and curve is the external form of the Jiaozhou Yangge. The organic combination of the three gives new vitality to the dynamic beauty of the Jiaozhou Yangge, making every part of the body lines appear to be soft in the rigidity, revealing the charm. The Northeast Yangge is mainly derived from the stilt Yangge of Liaonan, and nowadays the Northeast Yangge in the textbooks is mostly performed on foot, but the influence of stilt walking on the formation of the style characteristics of the Northeast Yangge is very obvious. The most important thing in dancing on stilts is to master the center of gravity. Therefore, the movements and postures of the Northeast Rice-planting Songs are all centered around this form.
The difference between the aesthetic effect of the "three bends" of the Jiaozhou Yangge and the Northeast Yangge
The "three bends" are representative of the Han folk dance Yangge, which is a psychological and physiological unity. It is a psychological and physiological unity. This dynamic has a strong infectious force, well expressed the unique dynamic beauty of women. It is a product of the Han people's aesthetic taste. The "three bends" of Jiaozhou Yangge are sprightly with stretching, and the stretching is graceful. It is graceful and elegant. The Northeast Rice-planting Song is a concentrated expression of the spirit, character and interest of the people who grew up in the Northeast Plain. Its "three bends" give people the feeling of "winding around the intestine three times". China is an ancient civilization, the Chinese people have created a long history and a bright culture on this piece of land. Under the influence of many reasons, the formation of the Han people since ancient times advocate the beauty of the aesthetic psychology of curves and Han folk dance female rhythm, "three curves" body **** sex. The most prominent feature is "twisting", often called "twisting rice-planting songs". The "three curves" are twisted out, it is a form in motion, is the human body twisted rice-planting song action in the formation of the body curve flow. Generally speaking, this curve refers to the curve of the human body's plane movement, which is the result of the lateral pulling out or folding back of the force generated by the twisting of the human body on the basis of the vertical axis, with a sense of inward and downward movement, which gives a person the "circle". Presentation. There are many similarities in Han folk dances. For example, the "three bends" can be found in any movement. However, if we analyze the root of the movement itself, we find that different power roots produce different movement styles, and different movement styles will affect the similarities and differences of the "three bends". I wrote this article to compare the similarities and differences of the "three bends" between the Northeast Yangge and the Jiaozhou Yangge in an attempt to more accurately grasp the most representative physical characteristics of this Yangge through comparison and analysis. There is the "three bends" dynamic posture in all Han folk dances for women, and in the "three bends" posture of each type of dance, there is a unique personality, and a subtle difference comes from a series of influences of the background of the type of dance in which it is performed. Therefore, it can be said that if you master the "three bends" of each dance type in your teaching, you will find the essence of that dance type. The "three bends" are both small and large, with a wide range of connotations.
Finally:
The dynamic style characteristics of the current Jiaozhou Yangge and the northeast Yangge's rhythm, both to have a national flavor, but also to continue to innovate, although there are differences in the two rhythms, origin, form, but they are out of the vulgar elegance, glowing with the breath of modernity. The social status of the dance art has been improved, and the audience's understanding of the dance art has been deepened, so that they are not limited to the pursuit of traditional dance forms, which provides a strong impetus for dancers to develop and innovate our folk dances. The development of the Jiaozhou Yangge and the Northeast Yangge needs more attention, and on the basis of retaining the original styles and characteristics, more people need to make unremitting efforts to develop and innovate it. The pursuit of dancers, like the pursuit of life, should be diversified, and its social functions are also diversified. In our time, many people from different social backgrounds and of different ages are devoting themselves to dance in their own ways. Dance culture is becoming more and more popular, and dance education is also expanding and developing, and it has become a necessity in the lives of ordinary people. Dance not only strengthens one's body, keeps one's youthfulness, and allows one to enjoy the joy of dancing in music, but has also become an extremely popular artistic activity in people's spiritual life. Dance is a kind of art popular among the masses, it helps people's social communication, emotional communication, carry out cultural recreation, promote physical and mental health, cultivate sentiment, improve the quality of the unity of aesthetic pleasure and aesthetic utility, now the dance culture and mass dance activities are widely popularized and developed, children's activities, fitness activities for the elderly, are more active and popularized, dance in the thousands of years of history and development process, so it can continue to flourish. In the thousands of years of historical development, the fundamental reason why dance can continue to flourish, spread through the ages and develop widely is that the art of dance itself has unique social functions and roles that cannot be replaced by other arts. So no matter which ethnic dance even if the two completely incompatible dances hope that the dancers and artists in the inheritance and innovation in the development of good.
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