1. Han
Since ancient times, the Han people various folk dances are mostly performed in the New Year, ancestor worship, temple fairs, and welcoming the gods in the temple fair. Performers in the fight for skill, each new tricks to win praise. Han folk dance is in this skill to seek the essence of the continuous development.
(1) Anhui flower-drum lantern. Flower Drum Lantern in the "pan drum" part, is the most characteristic skill performance part. It is divided into the upper pan drum, the middle pan drum, the ground pan drum. Upper Pan Drum is a skillful performance in which the orchids are posed in various postures on the shoulder or waist of the drum frame. The center plate drum is a two-player martial arts performance with orchids on the waist, legs and hands of the drummer. Ground Pan Drum is a single person performing techniques such as "Swallow three water", "reverse climbing city", "Grasping on the ground", "Dolphin Jumping "and so on. While displaying their skills, the artists have developed their own characteristics and specialties. Often, they are overflowing with talent and ability in their unpredictable turns and rare tricks. For example, Shi Jingli (stage name "Stone Monkey") from Huaiyuan, Hong Yun (stage name "Little Water"), and Wu Peixuan (stage name "Gas Monkey") from Fengtai can be seen from their stage names. Their names tell you a lot about their skill and athleticism.
(2) Shandong drum rice-planting songs. Since ancient times, the drum rice-planting songs have been divided into cultural and martial arts fields, and the martial arts field is exactly the part where "drums", "sticks" and "umbrellas" show off their dancing skills. Dancers in the running step big body low, feet rooted, stomping feet dust, solid and powerful; jumping is to emphasize the dry plucking and scurrying, as if "dry ground pulling green onions". If you can't skillfully master the props skills, and can't master all kinds of squatting, kicking, jumping and turning skills, then the steady and dashing, simple and vigorous style of the Drum Rice Song will be hard to reflect. Huimin and Shanghe in the north of Lu, the birthplace of the drum rice-planting song, are close to Cangxian County, the hometown of martial arts and Wuqiao, the hometown of acrobatics in Hebei. The influence of martial arts and acrobatics has greatly enriched the skillful performance of drums and rice-planting songs.
(3) There are also Han folk dances such as Anse Waist Drums, Guangdong Yingge, Hunan Flower Drums, Liaonan Stilts, and Northeast Rice-planting Songs, which are all highly skillful dances.
2. Tibetan
Tibetan dances, the Reba, are highly skillful dances, which are performed by hereditary wandering artists in folklore. Among them, the bell drum dance is the main part of the performance. The male performers hold yak tails and bells, while the female performers hold a single-handled tambourine in their right hand and a long drumstick in their left hand to beat it. At the beginning, men and women perform together, with the men jumping and waving the bells and the women rotating and beating the drums. When the atmosphere is enthusiastic, they open the stage for a small performance of skills. First of all, the female performers collectively perform the drum skills, there are "top drum rotation", "wrapped around the head to hit the drum", "twisting the waist to hit the point" and other skillful movements. After the performance of the drum technique, the drum team spread out and stood aside, by the male performers on the stage, accompanied by drums, one after another in response to the call, shaking the shoulders of the "law", each performing
different skills action, there is a "one-legged cross-turn", In addition, they also perform some gadgets, such as "rolling hair", "swinging back" and so on. The bell drum dance has many sets of drum beats, and each set of drum beats has a set of different skill movements. Actors should dance to the sound of the drums on the field, leaping and flying, and ending in rapid footsteps. Another example is the Tibetan folk dance "Zhuo", is also a skill performance to express the emotions of the dance, jumping up and down rough, magnificent.
3. Meng
Meng dance in the Taiping drum dance, cup and bowl dance, chopstick dance is a very strong technical dance. The Taiping Drum Dance is performed by women during the festivals of the year of plenty, and is divided into two forms of performance: the group dance and the solo dance. When dancing, they hold the drum handle in their left hand and a wooden stick with spikes in their right hand, and dance while striking the drum. The body movements are generally more exaggerated, the basic dance posture is mostly waist as the axis of the tilt, tilt, side, the dance is vigorous and elastic, mixed with jumping and other skills, skilled people can dance at the same time to play four or five drums, circling around different parts of the body, with athletic colors. Cup and Bowl Dance, also known as "playing cups". In the past by male performers, after the 1920s, the cup and bowl dance is mostly performed by women, the movement stretching smooth, soft and dignified, the climax of more than to do the "board waist", "spinning waist" and other skills, skilled, but also the head of the lantern dance. The Chopsticks Dance is performed by a single man on occasions of celebrations and banquets. The dancer holds a chopstick with one or both hands in place, and with the flexibility of leg flexion and extension, the body swings from side to side, shakes the shoulders quickly and brokenly, and the two arms loosely and smoothly use the chopsticks to hit various parts of the hands, waist, legs, and other parts of the body. The dancers sometimes turn around and hit the ground, sometimes squatting and jumping and hitting the feet, going from slow to fast, and finally ending in the climax of the fast performance.
4. Vi?t Nam
The Plate Dance is a highly technical and difficult dance among the Vi?t Nam dancers. The Plate Dance is the common name for the performative props dance, the "Dance of the Top Bowl and the Small Plate Dance," which is usually performed by a woman alone. During the performance, the dancers hold a small plate in each hand, holding hand chopsticks in their fingers, and dance with the music while playing and spinning. The dancer holds a bowl of water on her head. In addition, the spinning technique in the Maishilaipu folk dance of the Dolan district of Xinjiang can be called a masterpiece. The fast part of the pair from the pair of spinning developed into a competitive spinning, a time a variety of kneeling, air spinning, tucked legs standing spinning, flat spinning have been on the scene, so people are dazzled and amazed.
5. Korean
The Elephant Hat Dance and the Long Drum Dance are both characteristic of the Korean dance and very skillful. The dancers wear special helmets with long tassels that can be twirled around, and when they dance, they swing their heads so that the tassels twirl and fly around their heads and sides. The more skillful the dancer is, the longer the tassel on his head becomes. The dancers beat a small drum in their hands and jump forward with the "magpie step", such as shooting in the air and charging forward, while the tassel on their heads continues to twirl. Long drum dance is mostly performed by women, and later by men. The performer carries a staff drum, the right hand holds a bamboo key to beat the treble drum surface, the left hand palm beat the bass drum surface. The high and low tones of the drums and the many patterns of the drum beats are a perfect match. When the performance reaches its climax, the drums are often rotated continuously in a marching motion. For those who are highly skilled, they can make dozens of revolutions.
In summary, the Chinese folk dance not only has its own skills, and its "resources" are still very rich. Our skills "resources" can be divided into two categories in general: one is the original folk dance in a variety of unarmed movement skills, one is the original folk dance in a variety of props dance skills. This can be seen from the above description and analysis of the five major ethnic groups of Han, Tibet, Mongolia, Wei and Chao, which are rich in characteristics of the technical dance.
The relationship between Chinese folk dance techniques and Chinese classical dance techniques
It is well known that the techniques of Chinese classical dance have been developed on the basis of certain techniques borrowed from opera, martial arts and ballet. And many skillful dances in Chinese folk dances were also developed and formed after absorbing nutrients from martial arts, opera and acrobatics. Especially in the Han folk dance, many unarmed skill movements, such as flying feet, bouncing, spinning, sweeping wade, tiger pouncing, shoulder stacking, Zanbu and other skills, they are classical dance and folk dance **** there. It can be seen that the roots of the technical skills of Chinese classical dance and Chinese folk dance are the same, just the same source and different streams. Why are people always used to call these techniques classical dance techniques? I think there may be a preconceived reason. The Department of Chinese Classical Dance was established earlier than the Department of Chinese Folk Dance, and it has successfully established its own technical training system. The Chinese folk dance department has not yet perfected its own technical training system, and basically relies on the basic training materials of classical dance for basic skills training. Therefore, these techniques are naturally and conventionally written with the surname of classical dance. In fact, it is very difficult to define the attributes of these techniques, and we can only say that they are all our national techniques. If we have to define them, it depends on the purpose of their use. It should not be who use "early" is who, but should be who use "good" is who, the so-called use of "good" is the use of skills in line with the aesthetic style of dance, in line with the content and shaping of the dance works. The so-called "good" is that the use of skills is in line with the aesthetic style of the dance, the content of the dance and the need to shape the character image. Third, the positioning of Chinese folk dance technique
Gorky once said: "If the artist does not master the technique, even the richest feelings will be paralyzed." His words precisely illustrate the importance of technique. His words precisely illustrate the importance of the use of technique to artistic creation. Technique exists for the sake of art, while art without technique cannot exist. Technique also plays an important role in Chinese folk dance. In a sense, technique in Chinese folk dance is not only a form of artistic expression, but also an important means of expression that reflects the style of folk dance. Chinese folk dance is a highly stylized dance performance art, how can we not need to be skillful and skillful?
In the first national lotus cup dance competition, by the famous folk dancer Haili and wood. Stick choreographed by the famous folk dancer Haili and Mu. Stick's "Top Bowl Dance" won the gold medal in the folk dance group dance program. The reason for the great success of this program is that it cleverly uses the top bowl technique in the original folk dance of the Vi?t Nam. Actresses in the performance of the head full of water in a small bowl, in the beautiful and cheerful music, calmly and smoothly move the dance steps and change the formation, as if the sweet spring of Tianshan Mountain flowing endlessly, as if the grassland flowers fluttering in the wind. Its superb top bowl skills and fresh unique artistic style, immediately conquered the presence of all the judges and the audience.
Last June, I had the honor to observe the large-scale music and dance from Tibet, "Everest", and now recalling the hot-pot drum dance, will still make my blood boil, excited. The whole music and dance is in the women's hotba drumming and men's braided drumming performance to the climax. The female performers of the hot drum skills simply reached the realm of perfection, whether it is to do the top drum rotation, or drum spinning and drum roll, are so swift, sharp, clean, beautiful, attracted the audience a burst of admiration and warm applause. The male performers' braided drum dance was even more powerful and had a kind of wild beauty. They shake the braid drums, swing freely, the rhythm from slow to fast, the atmosphere is extremely warm, it is a superb drumming skills coupled with the rich snow style of the strong artistic infectivity, so that we are intoxicated, excited and invigorated.
The above two dances are good works in line with the positioning of folk dance techniques. They are both through the reasonable use of prop-based dance techniques, reflecting their unique artistic style and cultural connotation.
Four, the development trend of Chinese folk dance technique 1. technique stylization
Chinese classical dance technique pursues the limit of the ability to demonstrate the quality, while Chinese folk dance technique pursues the perfect embodiment of the aesthetic style. The technique and body rhythm in classical dance can be independent of each other, while the technique in folk dance is closely integrated with the dance style, which is difficult to separate. In other words, the technique of folk dance is not pure technique, but stylized technique. The development trend of Chinese folk dance technique should be the strengthening and development of stylized technique. Stylized techniques include all kinds of props dance techniques in folk dances, as well as spinning, jumping, turning and other techniques unique to folk dances of different nationalities. Ming Wenjun, Associate Professor of the Department of Chinese Folk Dance, in his article "Thoughts from the Graduation Class of Xiamen Class", has put forward the idea of developing the use of props to the limit and constituting the teaching conception of folk dance skills. Practice has proved that this teaching concept is scientific and feasible. Our folk dance has many characteristic props dance forms, which can be excavated, researched and developed. For example, the Han Chinese handkerchiefs, fans, drums, umbrellas, sticks; Tibetan Jeba drums, braided drums, back drums; Mongolian chopsticks, cups and bowls; Korean long drums, elephant hats and so on. There are also various kinds of rotations in folk dances, which are also highly stylized techniques. For example, the Uyghur dance in a variety of kneeling turn, Shak turn, air turn, flat turn, fast, colorful, abruptly still, like a falcon circling in the wind. While the Korean folk dance in the rotation of the smooth, elegant, as if the crane leisurely.
2. Technique emotional
The technique in folk dance is closely related to the exudation of life emotion and atmosphere of the scene, is the materialization of the inner passion of folk dancers. If there is no emotional input, the most difficult and exquisite technique form in folk dance will become pale and colorless.
I once watched some folk dance repertoire on TV video, and now I can't remember their names. But what I remember vividly is that they are "skillful" are very strong, the performance of the movement is spinning 3600, static leg control 1800....... But these skills have become away from the dancer's emotions
and dance style outside the "heartless action", and thus no artistic infectivity to speak of, in turn, let a person feel puzzled. In this regard, I am more appreciative of the Yunnan Provincial Song and Dance Troupe created by the men's trio dance "boy, four strings, horse cherry blossom", its enthusiasm and fun, simple and unadorned style so that people never tire of watching, memorable. This program also arranges some techniques such as kicking the purple gold crown upside down, small flip, grabbing the face, etc., but these techniques are accomplished in the natural outpouring of the actors' emotions, and in the layers and layers of the dance's mood. This kind of emotional technique greatly enriches the artistic expression of the dancers and enhances the artistic influence of the dance.
3. Artistic skills
With the development of the times, with the folk dance from the square to the theater of the transformation, the function of folk dance skills is not only limited to venting emotions and rendering the atmosphere, it will be gradually shaped to the image of the dance, the performance of the character psychology, to create the artistic direction of the stage mood development.
Some people say, Yang Liping performs folk dance has no skill at all, why can get the general public's favorite and the experts of the tide of praise? In fact, when analyzed carefully, Yang Liping's unique use of movement vocabulary is the highest embodiment of the artistic skills of folk dance. The dance modeling and dynamics in "The Spirit of the Bird" is different from the original Dai Peacock Dance in the square. Through artistic exaggeration and deformation, it further sublimates the noble and transcendent spirituality of the peacock, creating an artistic wonderland that seems to be real and unreal. As Prof. Yu Ping commented, "The excellence of The Spirit of the Peacock lies in the fact that it uses 'technique' to create 'form' without being 'technique' or 'form' oriented. The best thing about The Spirit of the Sparrow is that it uses 'technique' to create 'form' without being burdened by 'technique' and 'form'. When you are enjoying Yang Liping's "Spirit of the Bird", you can't find any traces of skills at all, because "Yang Liping is using the life consciousness of 'technique to seek the way' to create 'the spiritual light of life'. In that leaping and dancing peacock, Yang Liping poured all her own life feeling, life realization, life interest and life wisdom, so that this dance monologue overflows with a quiet sense of life harmony and perseverance of life self-confidence." Therefore, I think that the highest state of folk dance skills is to use the art, so that the whole process of skills completely hidden in the dance performance of the rationale, rhythm, but not "show the mountain", deliberately.
Since the establishment of the Department of Chinese Folk Dance in 1987, it has been exploring the establishment and improvement of its own technical skill training system, and has made certain progress and achievements. Prof. Pan Zhitao, in the construction of folk dance technique class, put forward the idea that some basic skills of folk dance, such as "broken step" and "beating leg", are technical skills in themselves at an early stage, which guided the excavation of folk dance technique teaching materials. Associate Professor Ming Wenjun started from analyzing the unique props dance skills of folk dance, from the aesthetic style of folk dance, and then put forward the teaching idea that folk dance skills should be inherited and innovated on the basis of highlighting the stylistic attributes of folk dance. The so-called "inheritance" means that the unarmed movement skills and prop skills in the original folk dance should be scientifically and y excavated and organized, and used in teaching. The so-called "innovation" means that under the premise of conforming to the aesthetic style of folk dance, we should boldly draw on the techniques of other dances and other artistic disciplines, and use the "stone of other mountains" to perfect the "jade" of Chinese folk dance. "He carries this teaching idea into his teaching style. He implemented this teaching idea in the teaching experiment and research work of Xiamen class, and achieved success. The successful experience of the Xiamen class in folk dance technique class plays an important guiding role in the organization and completion of the syllabus of Chinese folk dance technical technique