Introduction to the basic movements of Tibetan dance

1, "fruit harmony" (circle song and dance) dance history

"Fruit Harmony It is commonly seen in the agricultural areas of the village, the open field and the wheat field. During festive seasons, people sing from day to night and dance from late at night to dawn. The rise of "fruit harmony" is related to the development of agriculture in Tibet, and it is directly related to the labor form of singing and harmony between men and women in separate shifts in the autumn harvest and the labor rhythm of "playing Aga" in building houses. Dance movements are mostly 2/4 rhythm changes, heavy beat to start, knees to feet straight to the ground, the section of the ground for the section, the footwork is solid and stable, labor breath is very strong, men and women in the dance also alternate with each other to form a competitive dance scene, long to express the warmth of the group's enthusiasm is the basic features of its style.

2, heap harmonic (town tap dance) dance history

"heap harmonic" (town tap dance), refers to the rural song and dance from Lhazi to Tingri around the middle of the 17th century, the fifth da x in its provisions of the "Xuedong Festival", the latter is the first time that the "Xuedong Festival". "on, after Tibet jongba Tibetan opera troupe in the performance of Tibetan opera, interspersed with performances of the six-stringed zither accompaniment, step for the festival, heavy feet on the rhythmic acoustic changes, joyful and enthusiastic "heap" area folk dance, after the artist and dance family processing standardization, urbanization of the Tibetan tap dance. Lhasa, Rikaze is the most prevalent.

3, "fruit table" - pot Zhuang dance dance history

"fruit Zhuo In ancient times, the potshuang more than applied to the altar rituals, religious colors are very strong, jumping more formal, dignified look, "more hanging head, bent sleeves, hands and dance.

4. The dance history of Qiangm

To talk about the origin of the Tibetan Buddhist temple dance Qiangm, it is necessary to trace back to the rise of Tibetan Buddhism in Tibet. In the 7th century AD, the Tibetan Buddhist monastic dance "Qiangm" was practiced in Tibet. In the 7th century A.D., the Indian monk Lianhuasheng came to Tibet to propagate Buddhism, which was popular in India at that time. However, the original polytheistic worship of Benjaminism was y rooted in the hearts of the people of Tibet, who rejected and refused to accept foreign religions. In order to promote Buddhism in Tibet, the Indian monk Lianhua Sheng took the Indian Buddhism and Tibetan primitive Benzo religion combined with each other, not only retained the Buddhist teachings, the only supreme god Rudra's reverence, but also will be stupid in a variety of gods and god as the protector of the Tibetan people in the primitive worship of the gods of the mentality, to the Tibetan region in the Tang Dynasty was born in the Tibetan Buddhism.

Characteristics and Style of Tibetan Dance

The Tibetans are a people who can sing and dance well, and live in the Roof of the World, the Tibetan Plateau. The Tibetans have a long history, as early as the beginning of the 7th century, Songtsen Gampo as the representative of the slave-owning class united the Tibetan plateau, the establishment of the Tubo dynasty, and the Central Plains to establish a close relationship. The Tibetans are mainly engaged in animal husbandry and agriculture, and have a long cultural tradition. The Tibetan language belongs to the Tibetan branch of the Tibetan-Burmese language family of the Khan-Tibetan language family, and there is a native script, Tibetan, which has a long history and is rich in history, literature, Tibetan medicine and other writings. Especially their folk dance has distinctive national characteristics and style. Qinghai Tibetan folk dance has a long history, many kinds of dances, rich in content, and all kinds of dances have different contents and forms, characteristics and styles. It not only enables people to express their emotions in the joy of singing and dancing, but also communicates with the gods and seeks their blessings through it. Tibetan folk dance is y rooted in the fertile soil of people's life, therefore, as long as this nation still retains the space for folk activities suitable for the survival of folk dance, then the folk dance will be passed on and revitalized.

(I) Classification and Characteristics of Tibetan Folk Dance

There are many kinds of Tibetan folk dance in Qinghai. Divided from the form of song and dance, basically can be divided into "folk song and dance" and "religious dance" two categories. Can also be subdivided into "harmonic", "Zhuo" "hot bar" and "Qiangm" and other categories. Where the song and dance-based collective self-entertainment circle dance, generally known as "harmony"; and in the circle song and dance, with a strong performance of the collective dance, is generally known as "Zhuo". In addition, in the performative "Zhuo", you can often see a variety of "drums" as a dance tool for the dance.

"Harmony" is the familiar Tibetan dance "string". This folk recreational dance, the most charming and elegant dance, but also the Batang region's "string". Therefore, nowadays, when people mention "Strings", the place name "Batang" is added. The dance of the Batang String Dance is mellow, wild and smooth. Under the clear and melodious sound of the zither, which is not very loud, the dance team gathers and disperses, follows the leader in a circle, like a swimming dragon swinging its tail, and then rotates in a circle with its sleeves raised, just like a white lotus blossoming at the beginning of the dance. In addition, by dragging step, shaking sleeve, point step turn and simulation of peacock and other gestures of movement interspersed, combination, so that the whole dance vocabulary rich, elegant posture.

"Zhuo" is generally referred to by the Tibetans as a "performing circle song and dance". And many of these "Zhuo", there are different "drum dance" performance. Since ancient times, the Tibetans believe that "drums" can bring good luck and joy, and are indispensable instruments for seeking the blessings of the gods, and in some rituals and festive dances, it is necessary to perform the drum dance. Both "Reba Zhuo" and "Reba" belong to the performing folk dances of "Zhuo". Except for the Tibetans, it is difficult for many people to distinguish the relationship between the two.

"Reba" refers to the past vagabond artists selling their art to make a living, performed by the miscellaneous arts song and dance programs. The word "Reba" means "wandering artist", and it is also the name given to the form of performance. In the past, some of the dance masters who had difficulty in life often formed a performance team based on their own family, or freely combined, with an old artist as the foreman, and traveled to various places for performances. Since they have to make a living and perform with the nature of selling their skills, each artist has a high level of performance and expertise through continuous performances. It contains "folk songs and dances", "bell drum dance" and a certain plot "miscellaneous performance" three parts of the dance is also spread in the vast Tibetan area of Qinghai.

"Qiangm" is the Tibetan monastery dance, every major religious holidays, Lama Temple will be held "jumping" activities. In the suona, python, trombone, drums and cymbals, performers wearing masks, holding weapons or weapons, dressed as the gods lined up around the field for a week, the opening ceremony. Then perform the "Fierce God Dance", "Skeleton Dance", "Cow God Dance", "Deer God Dance", "Joyful God Dance" and "Protector God Dance", etc., each dance has a certain religious content.

Qinghai Tibetan dance as a stage performance of folk art, has a shocking artistic charm and tenacious vitality. In the vast Tibetan area of Qinghai, people can not help but feel excited whenever they hear their familiar music or dance sound, some areas of the dance to the beauty of the big movement, some areas are to the beauty of the implicit dance. Tibetan folk dance has its aesthetic characteristics, such as in the performance process that is like an eagle spreading its wings, more like the flight of the bird of God dance makes people relaxed and happy; that loose hips, bowed waist, curved back and other common basic movements, as well as in the culmination of the high call "oh ah -" (good ah), and then hold each other's waists, jumping together! The dance of "Riding Order All Models", in which the two feet are exchanged and the low leg is kicked out quickly, is used to express the joyful mood and good wishes. It has formed the style characteristics of Tibetan folk dance and the dance form of plateau agriculture and animal husbandry culture, which integrates agriculture, animal husbandry and religion into one. It is closely related to the labor life in the plateau living environment, pious religious psychology, religious rituals and customs. From the point of view of dance, the gestures of Tibetan dance can be summarized into seven variations, namely, "pull", "leisurely, flinging, winding, pushing, rising and raising". "Trembling, 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, thus constituting the aesthetic concept that distinguishes it from other fraternal dances. It has the beauty of the coordination of all parts of the body formed by the labor life, with artistic creation. For example, the waist of the pot Zhuang dancers is in rhythm with the regular undulation and trembling, and the combination of knee relaxation and waist and hip movements forms a unique rhythm, giving people a sense of tranquility and harmony. However, due to the geographical and climatic differences, language differences, dress differences and religious influences, unique aesthetic interests have been formed. The dances of the Tibetan people include many ethnic folk dances that have been widely circulated among the people; the karl songs and dances that are exclusively for the enjoyment of the upper class; the qiangmu dances that are specially designed for religious ceremonies; and the Tibetan opera dances of many schools and disciplines. These dances have different forms and methods of expression, but the basic body rhyme, movement, posture and skills of dance are very similar, the basic structure of the music and rhythmic style is relatively similar; in addition to the width of the dress, fat, skinny and color differences, the style is basically the same; in addition, they are based on the circle dance is also very similar to the jumping method. Therefore, similar or similar body rhyme is the formation of Tibetan dance aesthetic characteristics of the "root", is relatively stable aesthetic feeling of **** the same reflection.

(2) The performance style of Tibetan folk dance

The Tibetan dance emphasizes the cooperation and unity of the feet, knees, waist, chest, hands, shoulders, head and eyes. Such as the "Reba Dance", Chamdo "Guo Zhuo", Tingri "A Harmony", Gombo "arrow dance" and other dances, the male Dancers of the upper body action is very elaborate, regardless of whether holding props, its "upper body action like a lion" majestic, very rich in highlanders pugilistic and strong temperament, giving a person to overcome all the difficult and dangerous environment of the faith, while the upper body action of the women's dance is subtle and elegant, giving a person a healthy and beautiful 'feeling. At the same time, "fruit Zhuo", "fruit harmony" and many other dances in the male and female dancers in the chest or upper body movements slightly forward, this is not the performance of the back of the dance, in addition to this phenomenon and clothing fat, decorations and so on, from the perspective of choreography analysis, slightly forward

In addition, the use of breath is also a major feature of Tibetan dance, but also a very important part of the Tibetan folk dance rhythm and style, inner beauty and the fusion of the beauty of the dance, are harmonized through the unique breathing method, and ultimately achieve the sublimation of art. Tibetan folk dance expresses the feelings of exuberance, subtlety, passion, composure, and the rhythm of the bright, slow, are through the use of breath with knee flexion and extension and footwork, and through the whole body, constituting the flow and continuity of the dance modeling.

Tibetan Buddhism in the ritual, wearing a variety of gods and goddesses masks, absorbing a large number of Tibetan folk dance elements and choreographed programmatic dance, the religion itself and the Tibetan people used to exorcise the ghosts and seek the gods, to create a blessing for the next life, to promote the Buddha's providence, to explain the relationship between cause and effect and performance of the sutra stories and other religious dances. This ritual dance was later adopted by various sects of Tibetan Buddhism and called Qiangm. The dances in the Qiangm include the large-scale "witch dances" of the folkloric "bird-crowned, tiger-banded, drum-beating" style. Most of the dances are made up of a mixture of "animal-like dances" and "magic weapon dances". Performance, no singing, the atmosphere is solemn, solemn, has a great deterrent effect, Qinghai region is also known as "jump owe". Whenever Shakyamuni's birthday, the Tibetan New Year and the important religious festivals of Tibetan Buddhism, major Tibetan Buddhist monasteries in Qinghai, such as the Thar Temple, Lungwu Temple, etc., will be held in a grand "Qiangm" activities.

With the suona, trumpet, horn, drums and cymbals played loud and solemn music. As the "Qiangm" performance of the young and old lamas, wearing a variety of gods, animal masks, holding magic weapons or weapons, according to the order of the gods. In the shocking ritual music accompaniment, these "bird crown tiger belt" of the gods while accepting the believers of the ambush kowtow, while lined up around the temple performance site, raising hands, feet rotating forward, as the whole "Qiangm" activities as a prelude. This is followed by a group of dances with thematic religious contents, such as the "Dance of the God of Law", "Dance of the Fierce God", "Dance of the Vajra God", which highlight the supreme power of the gods, and the "Dance of the Pixie", which expresses the playfulness and frolicking of the pixies in the hell. The "Skeleton Dance", which shows the little spirits in hell playing with each other, the "Deer Dance", which brings good fortune to the earth, and the "Karma Dance", which performs the Buddhist scriptures such as "giving up one's body to feed a tiger" and "karma". The dance of the deer god, which brings good fortune to the world, and the dance of the Buddhist scriptures such as "giving up one's life to feed a tiger" and "karma" are all fascinating to watch. Among these dances, the "Skeleton Dance" and the "Deer God Dance" are the most lively and cute, with the strongest dance character, and are also the most popular among the audience. Although these two dances are also religious dances, there is no sense of solemnity and eeriness under the yoke of religion. In order to liven up the atmosphere, in the middle of the continuous program, the monks would perform and compete in wrestling and jousting, etc. to entertain the people.

There are many people think that the current Tibetan folk dance is too conservative, no breakthroughs in the old model, many have been improved with the so-called "modern consciousness" of the national folk dance works we really do not see the novelty, there are only some forms, expression of innovation, away from the modern aesthetic requirements. Therefore, if we want to make a breakthrough in the original dance, we have to strengthen its sense of the times and keep its fresh vigor. Then we can imagine if we over-emphasize the "original ecology" will not be too conservative, but hinder its development? And there is a part of the people will say: but you can say "ghee fragrance" it is not "original"? Yes, we now say "original" is not the most primitive things to the stage above, the folk of the original dance, has been constantly enriched and development, there is a lot of digging, and the fundamental purpose of our development is to promote the national culture.

In short, Tibetan traditional folk dance is the cultural crystallization of the wisdom of Tibetan working people. Thus, the traditional Tibetan folk dance is like a little-known holy and elegant snow lotus flower deep in the snowy mountains. Folk dance is characterized by exuberance, enthusiasm, roughness and robustness, and its content is extremely rich. Therefore, we should continue to inherit and innovate the traditional Tibetan folk dance, so that it can be carried forward.