How to better show the inside story of national dance in creation and how to properly interpret it in modern culture? I searched and sorted out a model essay on Xinjiang national dance, mainly from two aspects: dance form and dance culture, national dance and modern interpretation, to further understand the importance and vitality of the cultural connotation of national dance. Welcome to reference reading, I hope you like it.
The protection and development of national culture has become the focus of global attention in the 26th century. In the historical process of economic globalization, how to better show the details of national dance in stage creation and how to interpret it in modern culture has become a common concern of dance researchers all over the world. In this case, as? Land of singing and dancing? Xinjiang, tap the cultural potential of national dance and come to dance culture? Ecological environment? It is particularly urgent to pay attention to it, and the study of national dance culture is of strategic significance.
First, dance forms and dance culture
In the history of human development, there has always been an essential connection between dance and the reality of human existence. In the field of cultural anthropology, dance is a symbol of culture. As the mother of human art, dance has been passed down with the evolution of human society. Its performance and media are not? Foreign body? It is the body movements of people with feelings and life, thus accumulating the primitive natural characteristics of human beings, storing the imprint of human evolution and becoming a symbol of the nation. As a manifestation of culture, people often transform the imagination and concept of various cultural factors into vivid and symbolic dance forms to convey their understanding of life and natural laws. From this perspective, any form of dance is determined by its cultural factors. Understanding and analyzing these dance forms means understanding the culture contained in these forms.
Xinjiang, located in the fortress of the ancient Silk Road, has been the intersection of eastern and western cultures since ancient times, with frequent activities of various ethnic groups and wide spread of various religions. Its culture has the characteristics of hybridity and pluralism, which breeds three different cultural types: oasis culture, grassland culture and plateau culture. Relying on these three cultural types, all ethnic groups present diverse styles in terms of production methods, living customs, costumes, cultural forms, etc., especially the dances of all ethnic groups, which fully show their individual characteristics, aesthetic tastes and value orientations.
Second, the modern interpretation of national dance
The development of today's culture requires more? What's more, what's more? Diversified development trend. Xinjiang's dance cultural resources are rich, diverse and varied, which can be called the essence of Chinese culture and art and the inexhaustible source of our dance creation. Artistic creation should not only inherit the tradition, but also learn from foreign fresh blood and make bold innovations in order to survive and develop. Over the years, according to the original theme of folk dance, there are many successful examples on the stage, such as the large-scale original ecological song and dance collection "Irish riverdance" and "Yunnan Image" organized by the famous dancer Yang li Ping. These successful works not only let us see the great potential of traditional folk dance, but also bring us more thoughts on how to develop and innovate folk songs and dances.
In the past, it was generally believed that national folk songs and dances were difficult to embody commercial value, let alone bring high profits. However, the success of riverdance and Yunnan Image has changed this understanding. Their success lies in: on the basis of inheriting the traditional dance style of their own nation, they dig deep into the connotation of dance, boldly innovate and endow it with distinctive characteristics of the times. The whole song and dance relies on strong modern consciousness and means in stage setting, lighting design and organizational form, with distinctive personality, ingenious conception, shocking rhythm and extreme emotional catharsis of limbs. The creation of these two songs and dances makes us appreciate the charm of folk song and dance culture again and realize the potential vitality and great value of folk dance. At the same time, it also explores a feasible way for the protection and development of the original ecological folk dance in the future.
Unfortunately, Xinjiang, with its profound cultural heritage and rich dance cultural resources, has only a handful of outstanding works with folk themes for so many years. In-depth analysis of this phenomenon, I think there are two main problems.
First, the loss of dance creation? Really? The phenomenon is more serious. Lack of distinctive national style and personality. The choreographer adopted a series of new dance ideas and made bold, exaggerated and distorted innovations in the language system of national dance, which played a positive role in expanding the vocabulary of national dance and enriching its expressive force. However, the emphasis on deformation or expansion has lost the authenticity and beauty of the national dance vocabulary.
Second, there is a lack of a profound grasp of the cultural connotation of national dance. Dance creation is a mere formality. Historically, people of all ethnic groups living in Xinjiang have created the music and dance culture in the western regions that attracted worldwide attention, which once had a far-reaching impact on the music and dance culture in the Central Plains and accumulated rich and colorful dance materials for us. But nowadays, in the creation of Xinjiang national dance, we often only pay attention to the superficial movements of national dance. Use? , or from a temporary creative goal, quick success? Catch? Action, but little attention is paid to the research and excavation of the cultural connotation of dance action. The backward creative concept further affects the artistic vitality and ideological connotation of the work, making it unable to stand scrutiny or long-term test. Only by deeply exploring, studying and grasping the spiritual essence of a national dance can we create excellent dance products with strong vitality and carry forward the song and dance art formed by various ethnic groups in Xinjiang for thousands of years.
Xinjiang is the hometown of song and dance, and it is also a province rich in dance resources. All ethnic groups living here have folk dances that represent their own national characteristics. Xinjiang's special geographical environment, diverse cultural types and rich cultural landscapes provide fertile soil for dance creation. Protecting and excavating this land requires our wisdom, courage and unremitting efforts. I believe that in the near future, Xinjiang song and dance art will glow with dazzling light and attract the attention of the world again.
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