Movement Characteristics of Tibetan Folk Dance
Chinese ethnic folk dance has a long history, here I come to introduce you to the movement characteristics of Tibetan folk dance, I hope it will help you!
1 Fruit Harmony Tibetan circle dance
"Fruit", in the Tibetan language table circle, "harmonization" in the Tibetan language is the table song and dance, the two together as one, it is said that Circle song and dance. "Fruit Harmony", circulating in the vast rural areas of Tibet, is commonly seen in village heads, squares, wheat fields and open spaces, with as few as a dozen or more participants, and as many as several hundred, 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 Dui Huan Tibetan tap dance
"Dui Huan" in the "heap" of the Tibetan language refers to "on" or "high ground". "highland" meaning, "harmonic" means "song and dance", therefore, the Tibetan dance "heap harmonic" 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 hand or more "Zainian", playing skills are higher, plus more flowers.
Lazhi heap harmony according to the different musical structures can be divided into two kinds: the first by the "descending harmony" (slow song) and "Jue Harmony" (fast song) two parts of the combination of components; the second kind of only "Jue Harmony". The second type has only "Jue Harmony". The basic tune structure of Lhazi Dui Harmony consists of four to five parts in the introductory ("Guo Jue"), slow, fast, interlude ("Bal Jue") or coda ("Huu Jue"). 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 heap harmony has a very strong 'plateau characteristics, its music performance for the simple and rugged, stretching bold. Scale to five-tone modulation-based, while both 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 Harmony" and "Jue Harmony"; the second consists of only "Jue Harmony", and the third consists of "Descending Harmony" and "Jue Harmony". The third type is composed of "descending harmony" and "juehong", and its loose plate part has no instrumental accompaniment. 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 "harmonic", the Tibetan hinterland known as "Kang Harmonized". 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, we 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" step is big, the landing is light. 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 each 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, singing and singing with me, so as to express their 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 blend of the bell drum dance, folk song and dance, and the Tibetan community. There are bell drum dance, folk song and dance and miscellaneous music three main parts of the integrated performing arts. The "Reba Zhuo" is the bell drum dance, the backbone of the "Reba". 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 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.
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