The ability to sing and dance is the nature of the Tibetan people, she made the "roof of the world" of the snowy mecca into a world-recognized "sea of song and dance". What are the Tibetan folk dance? We come together to understand.
What are the Tibetan folk dances11, pot Zhuang dance (that is, circle dance) is a collective dance, a few people to hundreds of people ranging from a circle, foot for the festival, even arm jumping song. Dancing while singing, the rhythm moves with the song, soothing and melodious, beautiful and spectacular. The potshuang dance has a history of more than a thousand years.
2, string dance, to strings, huqin accompaniment lead, the crowd sings and dances.
3, tap dance, called "pile of harmony" in Tibetan, the Department of classical court dance, originated in the 17th century, and then spread to the folk, and constantly improved and perfected, it is to step for the section, pay attention to the foot rhythm changes. It is also divided into the slower rhythm of the "drop harmonic", the faster rhythm of the "Jue Harmonic" two kinds.
4, Reba dance, Reba is the name of the folk artist, will be said, sung and danced into one, accompanied by golden bells and silver drums, also known as the "bells encouragement".
5, there is the Tibetan court song and dance, after the Tibetan big drum and the former Tibetan waist drum and so on.
What are the characteristics of Tibetan dance costumes
The earliest Tibetan dance is very primitive, mainly reflecting the labor and religion, with the development of the art of dance, the dance plus music and the use of makeup, decoration, clothing, props to enhance the dance performance, clothing plays a role in decorating and supporting the dance performance, and can strengthen the dance. Infectious, we can see from the rock paintings, murals, thangka, colored pottery, paintings and other materials on the development of dance art and clothing.
As early as in the eighth century AD, Master Lotus Sheng in the Sangye Monastery created the "dance of the gods" activities, with the development of the "dance of the gods" gradually formed a unique Tibetan dance costume art. With the development of "Dance of the Gods", a unique art of dance costume was formed. Up to now, the costume of dance is designed mainly for dance and serves for dance performance. Therefore, the style, color and decoration of the costumes are determined by the content of the dance itself.
Dance expression of the theme of thought, the background of the times, nationalities and so on to varying degrees with the help of clothing to show, so the dance costume design in the initiative by the main body of the dance constraints, dance costume designers in the design of the choreographer before the need for close cooperation with the choreographer. To understand the choreographer's intention and the dance reflects the main body and content, so that the clothing and dance harmony, only coordinated to produce a perfect artistic effect and visual effect.
Tibet, known as the ocean of song and dance, not only the regions, cities and counties have different forms of dance, but also a greater difference in clothing. Some dances are passionate, bold, strong and rough, like the men's dances of Kumba and northern Tibet. Some dances are lyrical, soft, quiet, cheerful and lively, like the Tibetan string dance. And Feng Yi Ting in the choice of Tibetan dance content of the clothing, deliberately with different colors to design, different colors give people different feelings, for example: red gives us a feeling of warmth, passion, reminiscent of sunshine, fire.
On the stage, the red color is most prominent, looks very sharp, beautiful, make people feel glorious, so show some passionate and unrestrained dance, often with red. Such as the unique infectious ` Tibet Changdu region of the hot bar dance, not only from the dance form or from the cheerful drumbeat sound, can see and feel the enthusiasm and exuberance of this dance. Most of the Tibetan dance costumes of Fengyi Pavilion are red or decorated with red, so that a better visual and expressive effect will be achieved, and the brightness and purity of red can also be adjusted, which will produce more different color grades of red, such as pink, which gives a sense of dainty, innocence and shyness.
Performance of soft, quiet dance, generally more pink. Like a large music and dance "Everest" in the performance of the Mother River dance, the designer used a wider pink as a decorative side, both Tibetan national characteristics and performance of the Tibetan women's soft side. In addition, like orange red, vermilion, orange and yellow these typical warm colors, it gives people excited lively, gorgeous feeling. Yellow in the seven colors in the highest brightness, the most distinctive, often used in solo and lead dance.
In addition, Feng Yi Ting in the production of Tibetan stage costumes, in addition to color, but also pay close attention to the brightness and purity of the lower tones, such as black, blue, coffee, etc. Coordination, which can be used in contrast with other colors, can play a role in setting off, especially for decoration, this dark color can make the decorative patterns stand out, so that the whole set of costumes vividness and brightness increased, making the color more intense, bright and cheerful. Bright, bright and cheerful. Colorless gold, silver is a gorgeous color, in the dance costumes is also essential, it can play a decorative and embellishment role, especially in the stage lighting, more can play its unique brightness and gorgeousness.
In the styling design, Feng Yiting's design point of view is that the dance costumes are not affected by popular factors, mainly by the dance content, that is to say, the content of the dance to show which region, which ethnic groups, the designer will use which region's original representative of the national life costumes, and on this basis for styling changes and color changes, of course, if you can integrate all the fashionable elements, Feng Yiting will never be spared. The designers will use the original representative ethnic costumes of the region and make changes in shape and color on the basis of them.
In the selection of fabrics, dance costumes do not need to consider the impact of warm and cold weather, it is necessary to choose materials to match the completion of the dance action, the main focus on the material of the suspension of the sense of gravity, elasticity and lightness, to use fabrics to try to embody the dancers on stage performance of the sense of beauty. Dance costumes through its own shape, the role of color fabrics, with the dance performance to the audience a beautiful visual enjoyment, so that the dance to add more charm, to support the atmosphere of the stage, so that the dance can better express the theme of the dance.
What are the Tibetan folk dance 2
1, fruit harmony Tibetan circle dance
"fruit", in the Tibetan language in the table circle, "harmony" in the Tibetan language in the table song and dance, the two together as one. The two are combined into one, which means circle singing and dancing. The "Fruit Harmonization", spread in the vast rural areas of Tibet, is commonly seen in village heads, squares, wheat fields and open fields, with as few as a dozen or as many as hundreds of participants, and is a kind of self-indulgent song and dance favored by the broadest Tibetan masses. The traditional Tibetan festival "Wang Guo Festival", in which "Wang" means "field" or "field" in Tibetan, and "Guo" means "fruit". "Fruit" means "parade" or "circle", and together they mean "parade in the field". In addition to the folk rituals held during the day, the main event of the festival is the gathering of farmers to perform the Gohono. The Gohon movement is derived from agricultural labor movements, but its artistry is much higher than that of agricultural labor movements. The structure of the dance and the complete form of expression is as follows: performers in a circle, including men, women, half of the circle, the forefront of the queue for men and women, respectively, Harmony Ben. Song and dance performance, the order of male singing a male and female **** dance → female singing a male and female **** dance (called "harmonization of a"), the performers sing and dance, and from left to right along the circle clockwise marching. The marching performance is divided into slow and fast, the first slow dance (called "Jue Harmony"), the slow performance ends with a crowd of dancers shouting in unison (e.g., "Hugh Hugh Hugh") or saying a few fast words, followed by a fast performance (called "Harmony Hugh"). After that, there will be a fast performance (called "Harmonizing Hugh"), and then after the fast performance, the dancers will shout out in unison, and the dance will end in a staccato rhythm. The entire dance performance is rarely used to play a musical instrument.
2, heap harmonic Tibetan tap dance
"heap harmonic" in the "heap" Tibetan means "on" or "high ground". The Tibetan word "heap" in "heap harmony" means "on" or "high ground", and "harmony" means "song and dance", so the Tibetan dance "heap harmony" refers to the Therefore, the Tibetan dance "Heap Harmony" generally refers to the rural circle dance in the upper reaches of the Yarlung Zangbo River in Tingri, Ngari, Lhatse, and Sakya counties, as well as in the area known as "Heap" in Ali. After Tibet was formally incorporated into the motherland, the Zha Nian, a musical instrument used as an accompaniment to folk dances, appeared in the "heap" area. The "Zha Nian" was gradually absorbed by the local people as the accompanying instrument of the "Fruit Harmony", which transformed the movement of the "Fruit Harmony" to tap, and three purely musical parts, namely, the prelude, interlude and coda, appeared in the songs and dances. In the song and dance, there were three purely musical parts, the intro, interlude and outro, which also constituted the prototype of tap dance. In the middle of the seventeenth century, this kind of dance flowed into Lhasa, and its basic rule of change was "three steps and one change", and at the same time, the feet stepped out of a variety of rhythmic sound, and then with the accompaniment of the orchestra made up of Yangqin, Jinghu, flute, six-stringed and other stringed instruments, the structure of the "heap of harmonic" dance music gradually became complete. The structure of the "Heap Harmony" dance music is gradually becoming complete, and the whole system mainly consists of "Descending Harmony" (slow song) → "Harmony individual" (song head) → "Jue Harmony" (fast song and dance) → "Harmony Hugh" (fast song and dance) → "Harmony Hugh" (fast song and dance). Harmonization is composed of four parts: "Harmonization" (slow song), "Harmonization" (song head), "Harmonization" (fast song and dance), and "Harmonization" (end). The heap of harmonic circulation area is relatively wide, the popular region of the heap of harmonic characteristics are also different. On the whole, there is a pile of harmony in Tingri, Lhazi pile of harmony and Lhasa pile of harmony in three folk pile of harmony song and dance music. Lhazi heap harmony, also known as the "north school heap harmony", mainly in Lhazi, Angren, Dingjie, Saga and other counties popular. Its music is beautiful and rhythmic, with a seven-tone scale as the main tone. Accompanied by a handful or more "Zainian", playing skills are higher, more flowers. There are two kinds of Lazhidu Harmony according to different musical structures: the first one is composed of two parts, namely, "Descending Harmony" (a slow song) and "Jue Harmony" (a fast song); the second one is composed of only "Jue Harmony", and the second one is composed of only "Jue Harmony", and the second one is composed of only "Jue Harmony". The second type has only "juehuan". The basic melodic structure of Lhazduhun consists of four to five parts in the introduction ("Guojue"), the slow movement, the fast movement, the interlude ("Baljue") or the coda ("Huujue"). Lazhi Dui Harmony emphasizes song and dance, and the dance is unrestrained and enthusiastic. Tingri heap harmony, also known as "celluloid harmony" or "south school heap harmony", mainly popular in Tingri, Jilong, Nyalamu and Saga and other counties. Tingri pile harmonic has very strong plateau characteristics, its music performance for the simple and rough, stretch and bold. The scale is mainly in pentatonic mode, and there is also a six-tone scale. Usually with a "Zainian" accompaniment, accompaniment type is relatively simple, mostly for a beat a sound. There are three types of Tingri Dui Harmony: the first consists of "descending harmonic" and "jueharmonic"; the second consists of only "jueharmonic"; and the third consists of "descending harmonic" and "jueharmonic". The first consists of "descending harmony" and "juehong"; the second consists of only "juehong"; and the third consists of "descending harmony" and "juehong", with no instrumental accompaniment on the loose plate. The songs of the first two structures are widely popular. In addition, Tingri Dui Harmony pays more attention to the collective singing style, and sings in a real voice, with a heavier guttural tone and less ornamentation. Lhasa heap harmonization is the most typical of the heap harmonization of a city heap harmonization, mainly circulated in Lhasa, Jiangzi and Shigatse and other cities. In addition to the "Zanian", the accompanying instruments of Lhasa Dui Huan also include Jinghu, flute, yangqin, stringed bells, and Teqin, etc. When Lhasa Dui Huan singers sing, they have a strong throaty voice with less ornamentation. Lhasa heap harmony singers sing the widest range of up to twelve degrees. When singing, the singer usually sings solo, and need to alternate between true and false voices. Lhasa heap harmonious dance movement light and dexterous, dance steady and small amplitude, mainly focusing on the foot tap action of the rhythm of change and skill.
3, strings Tibetan string dance
"strings", the Tibetan language for the "harmonic", the Tibetan hinterland known as "Kang Harmonious Batang, Chamdo area called "leaf", because of its dance accompanied by playing instruments for the bullhorn zither "Baiwang" and named. String Dance is mainly based on lower limb movements, and its power characteristics can be divided into two kinds: one is to thigh drive calf, calf lifted higher, both eyes looking ahead, dance just in the soft; the second is to send crotch amplitude is more prominent than the first kind of dance, dance up to the hips with the waist, before and after the flashing, soft in the just or just in the just see the just. In the string dance, you must master the basic elements of "rubbing step" and "jumping step", the weak is "rubbing" step is small, the landing is light, the strong is "jumping The weak "rub" step is small and light, while the strong "jump" step is big and heavy, and the dance steps are big, small, light and heavy with the change of music rhythm and change. Batang strings generally in the horse race and "Gudo Festival" on the appearance of its lyrics divided into songs of praise, sad songs, love songs and fixed lyrics. During the performance, men and women either gather in a circle and dance, or stand in a row and dance happily relative to each other. Generally, the head of the row is the person who manipulates "Baiwang", under whose leadership, the crowd raises its sleeves and dances, sometimes gathering, sometimes dispersing, and sometimes like a long dragon swinging its tail, dancing around and around, and you sing and I harmonize, so as to express the inner feelings. In the Huqin issued a burst of "vibrato" under the guidance of the dance, the dance also produced a corresponding "vibrato", this "vibrato" of the physical characteristics of the simulation of the peacock posture is mainly. The dance is rounded and smooth, beautiful and lyrical.
4, Reba Tibetan bell drum dance
"Reba", some people call "Kang play", circulating in eastern Tibet, Chamdo, Gongbu area and Sichuan, Yunnan Tibetan area, is a door. Fusion of bell drum dance, folk song and dance and miscellaneous music three main parts of the integrated performing arts. The "Reba Zhuo" is the backbone of the "Reba" - the bell drum dance. Its performance style is rough and unrestrained, through a variety of skills to express emotions, is the Tibetan folk dance "Zhuo" category has a unique style of a drum dance. Bell drum dance performance, the beginning of the first to say praise auspicious, show off the skills of the "card harmony", and then by the men in charge of brass bells, support the tambourine, point and click, dancing, walking around the circle. Dance to the emotional warmth when you can pull the field for skill performance. Performance, the first female performers collectively perform "top drum rotation", "twisting the waist to hit the point" and "wrapped around the head to hit the drum" and other drum skills, after the end of the female dispersed to stand aside, the male performers on the stage, in the drums Accompanied by drums, the male performers come on stage, shaking their shoulders and starting the "Fa'er", and each performs the "one-legged straddle turn", "lying body bungee jump", "lying body flat turn Each performs different skillful movements such as "one-legged straddle turn", "lying body bounce", "lying body flat turn", "rabbit jump" and "kicking leg and neck straddle", etc. In addition, they also perform "hair rolling". In addition, they also perform such gadgets as "rolling hair", "swinging back" and "shaking toes". Tibetan dance as a treasure of the motherland, every dance worker, in the actual education and teaching, learning and performance process should continue to publicize China's Tibetan dance, and at the same time to continue to inject fresh blood into the Tibetan dance, to better promote the development of Tibetan folk dance, and constantly expand its influence.