Difference between Mongolian Dance and Tibetan Dance
1, the difference between Mongolian Dance and Tibetan Dance
The Tibetan nation is a people who believe in Tibetan Buddhism, and at the same time, it is also an ethnic group that is good at singing and dancing. In the long history of the nation bred under a number of festivals, almost can not find not to sing and dance as the gods and entertain the people, by means of the festivals to the climax of the joyful atmosphere of the precedent.
The folk dances of the Inner Mongolia Autonomous Region of China, as well as Jilin, Heilongjiang and other provinces inhabited by the Mongolian people. The dance culture of the Mongolian people is closely related to their hunting and nomadic life. The primitive dance form of the ancestors of the Mongolian nation has vivid and real performance in the Yinshan cliff paintings and Ulanqab cliff paintings chiseled in the Neolithic and Bronze Ages. In ancient times, the Mongols had many dances imitating ferocious animals, such as the White Eagle Dance, Bear Dance, Lion Dance, Deer Dance and so on. The dancing characteristics of the dance for the festival still keep the characteristics of the Mongolian ancient widely popular dance.
2, the types of Mongolian dance
2. 1, is the Chamar. Performers two to four people, in the sutra hall chanting mainly through the gesture movement to the Buddha merit salute.
2. 2, Mira Chama. In the square in front of the temple called the stage performance. Characters have Mira, black and white old man, dog, deer (all played by people), etc., in the form of speech, singing, dance, music, celebrating the Mira left his family and abandoned his career, hard to practice, traveled all over the world, spreading the doctrine of Buddha, and finally came to fruition of the story.
3, the basic movements of Tibetan dance
Characteristics of Tibetan dance: "trembling", "open", "smooth", "left", "around" is a variety of different types of Tibetan dance **** the same characteristics, or known as the Tibetan dance of the five elements, which constitutes the difference between it and the other brotherly national dance aesthetic concept. The pace of Tibetan dance is very rich, from the foot action can be summarized as "rub", "drag", "step", "err", "point", "tuck", "kick", "planing", "kick", "suck", "cross", "twisted" and so on 12 kinds of basic pace.
The gestures of the Tibetan dance can be summarized as "pull", "leisurely", "throw", "around", "push", "rise", "Yang" seven changes. String: It is a slow tempo belonging to the Tibetan ethnic group. The rhythm is like on, the body slow up and slow down.
Characteristics of the Tibetan dance
The Tibetan people are a belief in Tibetan Buddhism, but also a people who can sing and dance. In the long history of the nation bred under a number of festivals, almost can not find not to sing and dance as a tribute to the gods and entertain the people, by means of the festivals to the climax of the joyful atmosphere of the precedent. Later on, simple upper body movements, in-situ rotations and formation changes were added, and it became a form of labor song and dance in which men and women alternately sang and danced. This labor song and dance has been put on the stage today, becoming a memorial to the art of labor in history.
Tibetan dance is the umbrella name for Tibetan folk dance. Tibetan dance culture has a long history and exchanges with Han Chinese dance culture, but also with neighboring ethnic groups and countries, forming a unique Tibetan culture in the Tibetan plateau region of China. Some of the more common Tibetan dances include the String Dance, the Pot Dance, and the Tap Dance. Tibetan folk dances are varied and distinctive.
In Tibetan folk festivals, hoping for a good harvest and celebrating the "Wangguo Festival" is the greatest expectation and joy of people after working hard for half a year. In the Tibetan language "look fruit festival" of the "look" word, meaning "field", "fruit" for the "Turning circle", "Wang Guo Festival" the whole meaning is: around the harvest of the field song and dance.
Tibetan dance harmony and Zhuo
Introduction
The Tibetan folk dance is a variety of different characteristics. In addition to the self-indulgent circle dances "Fruit Harmony" and "Fruit Zhuo", "Pile Kai", "Harmony" and "Zhuo" are extremely popular and famous dances.
Harmony
Tibetan people to the highest place in Tibet, the upper reaches of the Yarlung Tsangpo River, Tingri, Lhatse, Sakya and Ali area, collectively referred to as the "heap", popular here in the agricultural area of the self-entertainment circle dance, known as "heap of harmony". The biggest characteristic and difference of "Heap Harmony" is that the instrument six-stringed zither is added at the same time when people dance with singing. Later, because of the "heap kai" derived from the performance of the men's "tap dance", but the "heap kai" gradually prevalent in Lhasa and other places.
"heap harmonic" has a very long history, can still be seen in the 10th century AD, built in Tibet in the Alii region of the Guge dynasty palace fort assembly hall murals, painted in long skirts, the body in front of the cross linked hands, right foot in front of the left foot slightly behind the face to the left turn of the 10 young girls of the "heap kai" dance. The situation is still prevalent in the region, known as "spin" of the "pile of harmonic" dance posture is almost the same. In all the Tibetan self-indulgent circle dance, men and women before or after the body cross hands, is "heap harmonious" unique form.
The representative Tibetan men's Tap Dance comes from the Heap Harmony. Before the 17th century A.D., "heap harmonization" only by the song accompanied by dance, and then the six-stringed zither "Zamu Nian" as an accompanying instrument into the dance accompanied by singing the song as a prelude, interlude and coda performance, so that the original "heap harmonization" and then in the form of the dance has undergone a fundamental change. Due to the addition of the six-stringed zither, the "heap of harmonies" gradually got rid of the original by the singing of the words, sentences, paragraphs for the dance of the limitations, and become able to with the different rhythms of the music to carry out a variety of step changes in the dance.
To the middle of the 17th century, once in the annual "Xuedong Festival", all over the Tibetan opera troupe gathered in Lhasa. At that time, in the back of Tibet, "poor Ba Tibetan opera" in the Tibetan opera, interspersed by the six-stringed zither accompanied by the "heap harmonic" men's dance, the dance of the eclectic and cheerful, enthusiastic, aroused the people coincidentally novelty and surprise. From then on, this dance began to spread to Lhasa. After the folk artists to exchange and refine each other, in the original basic dance steps, emphasizing the second half of the beat, and created a new footsteps with the foot rhythmic sound, the dance structure and set of re-regulation, from then on, a new type of dance - the men's "tap dance" will be born. Later, the accompanying instruments were gradually added to the yangqin, flute, huqin, stringed bells, etc., so that the men's "Tap Dance" has become a performing dance on the stage and is much loved by the people.
Later, in order to enrich the sound and technique of "Tap Dance", the performer's ankle or calf is decorated with bells, so that the bells and the sound of footsteps with the same rise and fall, and even master the ringing of the bells in the process of footsteps in the rise, fall of the difficult skills, has become a measure of the level of "Tap Dance" a standard.
"Harmony", that is, for people familiar with the Tibetan dance "string". This folk self-indulgent dance, was prevalent in the present Sichuan Province, Batang, Chamdo, Ganzi and Qinghai Province, Tibetan areas, but the dance is the most charismatic and dashing, but also counts the Batang area of the "strings". Therefore, as long as people mention the "strings", will be added to the local name "Batang strings".
Whenever the festival, people get together, following one or several holding a huqin, accompanied by the zither accompaniment frequently dance after the accompaniment of men, flinging such as cloudy long-sleeved in the song and the sound of the zither change each other, dancing and dancing, and forgetting to go back to their homes. The dance of "Batang String" is mellow, wild and smooth. Under the clear and melodious sound of the zither, which is not very loud, the dance team suddenly gathers and then spreads out, suddenly follows the leading dancer in a circle, like a swimming dragon swinging its tail, and then raises its sleeves and rotates in a circle, like a white lotus blooming at the beginning of its life. In addition, by dragging step, shaking sleeve, point step turn and simulate the peacock and other gestures of the interspersed, under the combination, so that the whole dance vocabulary is rich, gesture dashing, so that both the dancers and the viewers are trapped in the endless intoxication and difficult to extricate themselves.
Zhuo
"Zhuo" is generally referred to by the Tibetan people as a "performing circle dance". In many of these dzos, there are performances of different "drums".
Since ancient times, the Tibetans believe that the "drum" can bring good luck and joy, is to seek the blessings of the gods indispensable instruments, and in some rituals and festivals in the dance, the drum must be played as a dance performance.
The Shannan region of Tibet is popular in a body sat on a flat circular drum, hands holding a horseshoe-shaped drum whip while beating the dance of the men's drum "Zhuo Harmonious", is extremely popular and has a long history of a folk drum. It is said that this "big drum" arose in the 8th century or so, the founder of Tibetan opera, White Lama Tang ZongJieBu for the construction of the Iron Bridge for the benefit of the people, the organization of song and dance performances around the process of charity shows, created. When the image of the drum dance, can still be built in Tibet in the famous Tang dynasty sang kisheng princess hall, large "celebrate sang kisheng temple inauguration of the map" mural to see. Those who carry a flat drum and whip dance, vivid "drum dance" image, and "Zhuo harmonic" dance is still almost no difference.
"Hot Bazhuo" and "Hot Bazhuo" belongs to the "Zhuo" in the performance of folk dance. Except for Tibetans, many people have difficulty in distinguishing the relationship between the two. Reba" refers to the past vagabond artists selling their skills to make a living, performed by the miscellaneous arts song and dance programs. It consists of three parts: "Folk Songs and Dances", "Bell Drums and Dances" and "Miscellaneous Songs and Performances" with certain plots. Circulating in the Chamdo, Gongbu area and Yunnan, Sichuan Province, the Tibetan area.
And the "Reba Zhuo" is to perform "bell drum dance" and a variety of difficult skills of dance. They start by running in a circle. Dance to open the required site and then, by the women first performance of the collective drum dance, in the number of unlimited, rigid and flexible girls dance, "top drum rotation", "wrapped around the head to hit the drum", "twisting the waist to hit points "and other drum skills, showing the Tibetan women's dance is characterized by graceful elegance. After that, it is the men's solo skillful dance performance accompanied by women's drumming.
The valiant athletes, one by one, in the call, to "lying body bouncer", "lying body flat turn", "kicking across the neck", "single-leg cross turn" and "rabbit jump" and other actions, won the audience's applause. At the request of the audience, with the accompaniment of drum beats, it is also possible to add the performance of women's "drum dance" with different routines and difficult skills. Dance fast, fierce, tumbling and leaping, dazzling, dazzling dance, and the program's initial performance of the women's collective "drum dance" formed a strong contrast between the beauty of the feminine and masculine. Whether it is "Rebazo" or "Reba" in the "bell drum dance", because of the richness of the performance and the beautiful dance, difficult skills and is loved by the people.
After the founding of New China, the wandering four directions of the "Reba" is no more, but literary workers had based on the "Reba Chuo" choreography "Reba on the Grassland", but in the world dance competitions won a bronze medal for the motherland to win the honor.
Mongolian dance artistic characteristics
The Mongolian people live in the vast steppe, by the mountains and by the water, mainly animal husbandry, with the nature of the fight, these features of life constitutes the Mongolian dance personality traits and emotional color. The stretching and graceful movement draws the picture of the wind blowing the grass and seeing the cattle and sheep, the passionate and bold movement makes people feel the galloping of the horses, and the implicit and calm character reveals the simplicity and deepness of the herdsmen.
Dance should be the people in a strong emotional drive under the inevitable performance, Mongolian dance is precisely because it contains a national custom characterized by dance movements and more attractive and infected people. From the theme of Mongolian dance, it is easy to see that the Mongolian dance is mostly about praising the prairie, mother, love and life, and at the same time, they praise bravery, nature, and tenacity, and show that the children of the prairie's exuberant vitality and unyielding spirit of struggle, the nomadic people galloped on the prairie, with the blue sky as a tent, and the green field as a blanket, and the long-term herding and hunting life, practiced a strong, healthy body. The first is to be a good example of a strong, healthy body.
Mongolian dance style characteristics
Mongolia is a nomadic people in northern China, engaged in animal husbandry and hunting production. Due to the long-term living in the grasslands of the geographical environment and climatic conditions, since ancient times, the worship of heaven and earth, mountains and rivers and the eagle totem, thus forming the Mongolian dance thick, subtle, stretching, bold characteristics. Mongolian folk dance mainly has the following kinds:
First, the cup and bowl dance. Bowl dance is generally a female solo dance, with a classical dance style. Dancers head porcelain bowl, holding two cups, accompanied by music, according to the rhythm of the cups touch, the two arms constantly stretching and flexing, the body or forward or backward, intended to show that Mongolian women are dignified and tranquil, soft and rigid character temperament. The dance utilizes the dance vocabulary such as "soft hands", "shaking shoulders" and "broken steps", which are characteristic of Mongolian dance style, to show the elegant and subtle style of Cup and Bowl Dance. The Cup and Bowl Dance passed down in Ordos folklore is simple and simple, with no strict rules of movement.
The second is the chopstick dance. Chopstick dance is characterized by shoulder movements and is usually performed by men. The dancers hold chopsticks in their right hands and hit their hands, legs, shoulders, feet and other parts of the body from time to time, and sometimes they also hit the ground (or the stage). With the flipping of the wrist, sometimes the shoulder shrugs lively, sometimes the leg jumps flexibly, sometimes the dancer turns to the left and sometimes to the right. The shoulder movements have a sense of rhythm and a special flavor, combining cheerfulness, grace and athleticism. Although the movement is simple, it pleases the audience with its skill, so it has a certain performance nature. Chopstick Dance passed down in Ordos folklore has both male solo dance and male and female group dance. In the form of performance, it develops from holding chopsticks with one hand to holding chopsticks with two hands, and the dance vocabulary of shoulders, waist and legs is more abundant. Therefore, the dance seems to be cheerful, bright and novel, which expresses the Mongolian people's passionate, cheerful, swarthy and heroic national personality.
Third is the Andai dance. Andai dance in the late Ming and early Qing dynasties in the southern end of the horqin grassland Kulun Banner. Initially, it is a kind of shamanic dance used to heal the disease, containing prayers for the gods to protect, get rid of the devil to eliminate the meaning of the disaster, and then slowly evolved into the expression of joyful emotions of the national folk dance. The traditional Andai dance has several procedures, including preparation, initiation, climax and closing, all of which are presided over by the "Bo". With the development of history and social progress, Xing'an area with superstitious colors of the Andai dance has ceased to exist, but as a folk song and dance passed down. In horqin area, in the New Year festivals, in the celebration of the harvest days, in the funeral and wedding and welcome the guests at the banquet, people have to dance and dance. The girl daughter-in-law waved the turban jump, the young man took off his boots barefoot jump, the children do the ghost face jump ...... dance moves have flung the towel step, around the towel step, swinging the towel step, clapping hands crossed the waist, forward running, flip jump, air kick, pengkong curled body, left and right rotation, fling silk squat step, arms swinging the silk, etc., these beautiful and elegant movement, the These beautiful and graceful movements, which are stable, accurate, sensitive, light, soft, healthy, beautiful, rhyme, love as a whole, formed a grand carnival scene, pushing the beauty and the pursuit of beauty to the extreme.
The origin of the Andai Dance, according to legend, a long time ago, in the northern China Horqin prairie, lived a father and daughter. They depend on each other, one day the daughter got a strange disease, how to cure can not be cured, the old father had to use the oxcart to pull the sick daughter to go outside to seek medical treatment. Unexpectedly, the car in the middle of the road, encountered wind and rain, the wheels stuck in the mud, the axle is broken, the poor old father was anxious and do not know what to do, around the oxcart back and forth. Daughter dying, life is at stake, the old father cried tears also dry, around the oxcart singing and praying for God's blessing. This song attracted the crowd of villagers, they see also wept, followed by the old man flung arm stomping feet, around the oxcart mournful song. This singing and dancing moved the gods, the rain stopped, the sun came out, the girl's illness is also good, she also joined the crowd dancing, singing, dancing.
This strange news spread, and then the grassland, whether it is to seek rain, Ovoo, Naadam event, are used in this form of singing and dancing, express people's feelings. People in a circle, open the hem of the robe, the right hand to take a piece of silk scarf, while singing and dancing, melodious and melodious tunes, people gave this dance a name called "Andai".
Fourth, Chama. Chama is Tibetan Buddhism in order to promote Buddhism, spread the teachings, to prevent the evil temptation, firm beliefs and organized a kind of celebration with the nature of the art activities. Historically, in the "temple majestic, compared to the Buddha's country," the horqin area and even throughout the Inner Mongolia autonomous region, the vast majority of monasteries called temple has been once a year by lamas to perform this dance. To this day, some temples still perform this dance. Chama has an important position in the Mongolian dance culture.
The Chama in horqin area has three forms of expression: one is the Chama. Performers two to four people, in the hall chanting mainly through gestures on the Buddha merit salute. The second is Mira Chama. In the square in front of the temple called the stage performance. Characters are Mira, black and white old man, dog, deer (all played by people), etc., in the form of speaking, singing, dancing, music, celebrating the Mira leave home and abandon their careers, bitter practice, traveling around, spreading the Buddha's teachings, and ultimately achieve the right results of the story. Third, the square Chama. Performed in the square in front of the Maharishi Temple. Numerous characters, fixed program, standardized action, the strongest dance, more common circulation. In the Chama show, those who appear collectively referred to as the protector of the gods. Protector of the gods are divided into large Chama (the main god), small Chama (converted to God) two categories. Chama generally consists of 13-15 dance passages. All belong to the big Chama, are in the form of a single dance to perform an independent dance; there is also a god as many gods, according to the east, west, south, north and south at the same time dance. The small chamas mostly appear in the form of a four-person dance; they can also accompany the main god as attendants when he dances. Relatively speaking, the dance of the big Chama's movements calm and rugged, transcendent, hands and feet are very stylized, reflecting the strong religious connotations and the character of the ideological and emotional; the small Chama is flexible, fast-paced, unconstrained form, less God's authority, there is a very strong rhythmic nature. Some of the larger temple, in order to facilitate the inheritance, but also similar characters to standardize the action, to determine the name.
Fifth, horqin "Bo" dance. "Bo", is a shamanic shaman, researchers call "shaman". Mongolians call themselves Bo. The religious rituals performed by Bo are called Bo. Bo dance is the dance performed by Bo. Bo religion once for the Mongolian people for a long time, but since the introduction of Tibetan Buddhism is declining, only a small number of remnants, mainly circulating in horqin grasslands. Bo dance preserved more complete is Xing'an League and Tongliao City. Bo dance as an ancient art form, due to its own rich connotation and its artistry and entertainment, not only still have a certain vitality, but also has a high research value. The line of Bo in the Horqin area is mainly used for rituals to seek blessings and exorcisms to cure diseases. The main feature of the performance is the singing and dancing to serve the gods and to cure diseases and drive away demons.
Horqin region of the Bo dance action is basically the same, but the style is different, some simple and majestic, some elegant and beautiful, some soft and strong, some funny and humorous, some soothing and delicate, and some sprightly and bright. Individual female Bo dance, the dance is more delicate and soft, distinctive charm. Bo dance also has its *** with the same characteristics, that is, they are in the line of Bo Bo shall wear a heavy copper five Buddha crown, waist tie nine round copper mirror, dressed in law skirt, law suit, etc.; line Bo process to make trembling legs, twisting, rotating, jumping and other movements, and can be drums, whip, mirror, sword, knife, etc. use of ease. Rough, fiery, crazy passionate performance is the unique style of Horqin Bo Dance.
In short, the Mongolian dance has long been famous, there is a happy thing to dance. The most distinctive feature of the Mongolian dance is the fast rhythm, dance steps, in a wave, a whip, a jump between the Mongolian people's simplicity, enthusiasm, bravery, rough and tough, showing their cheerful and open-minded character and bold and heroic temperament, with a strong national character. Mongolian dance has an inseparable relationship with wine. In folklore, almost any wine must be accompanied by song and dance, and any song and dance must be accompanied by wine. It is not too much to say that the Mongolian people are a nation of song and dance.
Saerden is the most important folk dance of the Mongolian people in Xinjiang, which is widely spread in the Mongolian areas and loved by the people. Xinjiang Mongolian men and women, young and old, almost everyone will jump Saerdan. Sa'urdun is both the name of the Xinjiang Mongolian folk dance and song and dance song, but also the folk dance of the general term. Saerden often in the festivals, men and women married, welcome guests to send guests to the family feast and other recreational activities jump. Activity site, the number of people is not limited, generally in the felt room and felt room near the grass. Sagurdon jumped unarmed, jumped with a tool, jumped with songs and dances and songs and dances jumped in several forms.