Singing and dancing in labor
The Tibetans always sing while working, and even dance movements to match. Singing makes the labor rhythmic, the movement easy to stretch, and reduce fatigue, so that the work is not too monotonous. Those fields on both sides of the river, very much like the natural stage of farmers, they sing in groups to send fertilizer, singing arable land, singing hoeing, harvesting, playing the field. And long years living in the alpine grassland shepherds, grazing with pastoral songs, shearing with shearing songs, pack salt with pack salt songs, lambing and child rearing, tethering cattle and sheep, all have their unique songs.
Singing
Tibetan language called "sub-ga", meaning "song of the fight". This form of entertainment in Tibet is very common in urban and rural areas, men and women, young and old without exception are happy to participate in; whether in labor, rest or assembly, at any time and anywhere can be warmly sung. When walking, the first and the second set of pairs; when celebrating festivals, this village and that village pairs, men and women pairs. In the past, Tibet's postal service was very undeveloped, and few Tibetans were able to write love letters; love songs were an important way for them to fall in love, and many young men and women were able to form families through love songs.
Wine songs
Drinking should be accompanied by wine songs. On weekdays, there are often one or two women in the host's home, one pouring wine and the other singing a drinking song. After the drinking song, the guests still do not drink, or not according to Tibetan rules, first drink three mouths, and then dry a cup, will be considered unreasonable.
There is a Shannan drinking song that talks about the rules of drinking: don't rush the wine to drink fast, drinking is not the same as drinking with a donkey; the wine song can't be rushed to sing fast, singing is not the same as the competition archery; the dance should not be rushed to dance fast, dancing is not the same as the blacksmith's iron.
Circle Dance
Circle Dance revolves around a bonfire, and the Tibetan historical material "Ladakh King's Lineage" records that as early as around the 3rd century A.D. during the period of Dexiao Le, songs and dances were prevalent all over Tibet. From further back in time, the Tibetans had the custom of singing and dancing around the bonfire. These songs and dances have accompanied this ethnic group through countless centuries, and have been passed down and developed until today. The Tibetan circle dance is generally known as "Harmony", and the circle dance of the farmers in the Yarlung Zangbo River basin is called "Fruit Harmony"; the circle dance in the Kham area and the northern part of Tibet is called "Fruit Chao", also known as "Pot Zhuang". The circle dance in Kham and northern Tibet is called "Guo Chao", also known as "Pot Zhuang", and the dance is majestic and bold; the circle dance in Linzhi area is called "Bo", and "Bo" is a variant of "Harmony". The circle dance in the area of Linzhi is called "Bo", and "Bo" is a variation of "harmony". The circle dance in the area of Houzhi is called "Heap Harmony", which was later spread to Lhasa and became the "Tap Dance" with strong performances. Circle dance into the gods and celebrations, become a kind of large ritual song and dance, for the "harmonic drink". In those winter days of agricultural leisure, the night of returning from labor, the beautiful and quiet village, farmers sing "Come on! Come on! Let's dance the Fruit Harmony!" While singing "Come on! Come on! Come on!", the farmers gather in the wheat field, courtyard, or forest clearing, light a bonfire, and dance the peasant circle dance that is as simple as the land. Especially in the Tibetan New Year and Wangguo Festival, "fruit harmony" dance is simply day and night. Dancing without instrumental accompaniment, the dancers from time to time issued a "qu qu qu qu" or "Huu Huu Huu" sound, or whistling, or together with the counting of the fast board, in order to coordinate the dance, unified rhythm.
Strings and pots
Compared with the farmers' "fruit harmony," the Chamdo pots, popular among the Khams in eastern Tibet, are more dashing in their dances, and their momentum is even more elevated, showing the swarthy beauty of the Kham males. And to Batang string as the representative of the Tibetan East "Kang Harmony", is more beautiful and lyrical, fully demonstrated Kham women's beautiful physique and charming singing voice.
Changdu potlatch is usually divided into "Qu Chao" (temple potlatch), "Zhong Chao" (pastoral potlatch), "Dynasty" (agricultural potlatch) 3 kinds. "Qu Chao" is generally in the temple religious festival time jump, welcome KangZhou big living Buddha also jump. This is a solemn, solemn, full of religious flavor of the dance, is men and women to pray for the happiness of the next life and the dance dedicated to God and Buddha. During the Qianlong period of the Qing Dynasty, this dance was introduced into Beijing, the capital at that time, and became an integral part of the music and dance of the imperial court and temples. The potshang of the agricultural and pastoral areas is more enthusiastic and unrestrained, full of pride. North Tibet grassland every new year festival, marriage celebration, especially the annual grassland horse racing event, the herdsmen have to light up the bonfire, night and day to jump pastoral pot Zhuang. Compared with the agricultural area of the pot, "Zhong Chao" tune is more deep, more rugged dance, men's movements, fierce and unrestrained, powerful, tilted over, dazzling; while the women's movements are small and subtle, and sometimes the waist gently swing with the melody of the song, to achieve the realm of the gods.
Harmony
"Harmony" is a popular song and dance in Lhasa. Heap Harmony means the upper part of the song and dance, its hometown is the ancient north and south of the two "Naidui" Wanhu jurisdiction. According to the Tibet musician Mr. BianDuo's research, "heap harmonious" is from the self-indulgent folk circle dance "fruit harmonious" evolved. It and "fruit harmony" is not exactly the same is "heap harmony" with six-stringed zither accompaniment, and with the nature of the performance. "Pile Harmony" has beautiful tunes, melodious, fast and slow tempo changes greatly, each tune is equipped with fixed lyrics. To Mount Everest near Tingri as the center of the southern "heap harmony", more rugged and simple; to Lhazi as the representative of the northern "heap harmony", has a passionate and fluent characteristics. Some outstanding folk artists in Lhasa have recreated the original "heap harmonies" from the far west of Tibet, re-creating the lyrics and composing the music to make it more beautiful, more euphonious, more delicate, and with a more urban flavor. For example, living in the first half of the last century, the blind artist Ajue Langjie, composed such as "heavy pile of Ningjiu", "A feel", "Ajiu Solang Dobujie", "A Ling Sai" and so on the popular songs. He was a master of folk art who lived in the same era as, and was fully comparable to, Blind Bing.
Harmonizing Chin
"Harmonizing Chin", meaning a big song, is a solemn song and dance, as well as an ode to a large group song and dance. "Harmony Chin" can only be performed in the solemn ceremony, once a year or several years of religious festivals often also have to dance "Harmony Chin". The songs and dances are large, usually 16 men and 16 women, some more. Their costumes have strict rules, men wearing satin robes, wearing a round yellow velvet hat; women wearing colorful satin Tibetan robes, wearing bow-shaped or triangular headdress. In the past, dancing "Harmonious Chin" is a kind of "errand", the children and grandchildren of one generation after another. Now the old folk artists as a coach, dancers from the local boys and girls in the selection. The performance program is to sing first and then dance, the song is slow, rising and falling, when the voice is low and thick, when the voice is high and far away, the words of the song are stretched out for a long time, and after singing a section of the song, they start to dance. The dance steps are sometimes forward, sometimes backward, sometimes to the left, sometimes to the right, and the feet make different rhythmic sounds. There are "Harmonizing Chins" all over Tibet, and although the performance forms are similar, the lyrics are completely different. Monastery belongs to the people performance of the "harmonization of the Chin", most of the songs praise the splendor of the temple; nobility belongs to the people performance of the "harmonization of the Chin", most of the song belongs to the family's achievements.