Most Mongolian dances are majestic, powerful, simple and unrestrained; there are also beautiful lyrical dances such as "Cup and Bowl Dance". The Tibetan "Guozhuang" dance is light and free. The Miao people's "Lusheng Dance" is elegant and dignified. "Axi Dances on the Moon" of the Yi ethnic group has a unique rhythm and is passionate and unrestrained. Uyghur's "Sainaim" is clever and passionate. The "Pole Dance" of the Zhuang ethnic group has a strong, crisp and high-pitched rhythm. The "Peacock Dance" of the Dai people is fast, light and delicate in movement.
…my country’s ethnic minorities have always been famous for their ability to sing and dance, and their dance art occupies a very important position in the history of dance in our country.
Brothers National Dance Black Bear Fighting Dance
The most representative dance of the Oroqen people. The dancers half-squat with their legs, stamp their feet on the ground, and twist their shoulders back and forth to simulate black bear fighting and praise the brave and competitive national character of the Oroqen people.
There is no limit to the number of participants. Three people form a group, standing in the shape of "pin". Two of them stand face to face, with their upper bodies slightly tilted forward, glaring at each other; their knees are slightly bent forward, and their hands are placed on the ground. On his knees, his feet were jumping non-stop, while his shoulders were twisting from side to side according to the rhythm, his head was swinging from side to side, and his mouth was shouting "Hamo, Hamo" (a bear's call) in a thick voice one after another. The two are inseparable, and both want to overwhelm the other to win. The third person from the side also joined in with the same action, squatting and jumping between the two to show his persuasion, until one party gave up and the other declared victory.
The dance fully demonstrates the tenacious fighting spirit of hunters to win when hunting wild animals; at the same time, it praises the bear's infinite strength and extraordinary bravery. "Black Bear Fighting Dance" is danced in some areas with the guttural sound of "hum, hum, hum". The mood is very high and the movements are brave and powerful.
Brothers National Dance Cup and Bowl Dance
One of the Mongolian folk dance forms. It is a female solo dance performed during festivals and family reunions. Later it was formed into a group dance and moved to the stage. It won a gold medal at the 8th World Youth Friendship Festival.
The dance is characterized by elegance and gracefulness, and is accompanied by playing and singing on the pipa, huqin and zither. Due to the restrictions of the yurt site and the lamp bowl in hand, the dancers basically dance in place by kneeling, sitting, standing and other movements. Dancers mainly rely on their hands, wrists, arms, and shoulders to play, pick, pull, and rub, as well as bend forward and backward with the waist as the axis. Those with superb skills can put a stack of bowls on their heads, hold a prop or a burning lamp in each hand, and run quickly while circling like a shooting star. At this time, the flames of the lamps are swaying and the dance is light and graceful. The instrumental music is graceful and smooth, full of unique artistic charm, bringing great joy to the audience.
Brothers National Dance Guozhuang
One of the Tibetan folk dance forms. "Guozhuang" is the homophony of "Guozhuo" in Tibetan, which means circle singing and dancing. Popular in Tibetan areas of Tibet, Sichuan, Yunnan and Qinghai.
"Guozhuang" is divided into two types: Guozhuang in agricultural areas and Guozhuang in pastoral areas. Guozhuang in agricultural areas is popular in the Qamdo area of ??eastern Tibet, and Guozhuang (herders dance) in pastoral areas is popular in the vast pastoral areas such as Damxung, Heihe and Suo County.
The structure of Guozhuang in rural areas is divided into two sections, from slow singing and dancing to allegro singing and dancing, and the speeds are divided into slow, medium and fast. At the beginning, men and women held hands and formed a circle. They took turns singing and tapping their feet. After singing, they shouted "dumb" in unison. Suddenly the dance speeded up, jumping faster and faster, and ended in a warm Allegro. The movements in "Guozhuang" can be roughly divided into two categories. One type has a slow rhythm, with stretched and graceful dance postures; the other type has a rapid rhythm, with passionate and unrestrained dance postures. Most of the movements simulate animal forms, such as "tiger descending the mountain", "eagle circling", "peacock spreading its tail", and "wild beasts playing", focusing on the emotional changes and expressions of postures. This is the embodiment of the Tibetan people's heroic temperament in dance.
The levels and performance forms of Guozhuang in pastoral areas are roughly the same as Guozhuang in agricultural areas, but the movements are very different. They usually jump with hands waving in front of the chest, step forward and then turn left and right, and move smoothly (same side) The dance of brothers and sisters is a major feature of Guozhuang in pastoral areas.
Brothers National Dance Lusheng Dance
It is also called "Stepping on the Lusheng", and in Miao language it is called "Jiugui". It is a traditional folk dance that is mainly characterized by the flexible movement of the lower limbs (including hips, knees, and ankles) while a man plays the "lusheng". It is spread in the Miao ethnic areas of Guizhou, Yunnan, Guangxi and Hunan. According to the content and nature of its activities, it can generally be divided into five types: self-entertainment, customary, performance, sacrificial and ceremonial.
Self-entertainment Lusheng dance is the most popular. Dancers are not restricted by age, gender and number of people. There are two common types: one is for men to play small Lusheng, and for women to hold flower handkerchiefs. A group of dancers playing the big Lusheng were surrounded by women and girls in a circle. They stepped on rhythmic music and gently swayed their bodies to dance in a circle. The other type is led by one or more pairs of Lusheng players, and everyone follows behind and dances in a circle, with their movements changing according to the music played by the lead dancer. The characteristics of the dance include "stepping" and "jumping". "Stepping" is characterized by slight flexion and extension of the knees and moving forward according to the rhythm, which looks dignified and elegant. "Jumping" is characterized by the trembling of the lower limbs, raising the feet and kicking after the beating feet land, and then the natural swing of the upper body, which looks soft and unrestrained.
Performative Lusheng dance is usually performed in a competitive group competition. It is won by playing more wind music, long dance time, harmonious and graceful sound, rich movements and footwork. In individual competitions, victory may be based on the changing rhythm and rapidity of the movements, or the ability to complete difficult movements. The performative Lusheng dance is very rich in content, and some show off difficult skills to win the admiration of the audience. Such as "rolling mountain bead", "earthworm rolling sand", "monkey climbing tree", "rolling dragon", etc. Some imitate the habits and expressions of animals to express the humor of life and give people joy. Such as "cow fighting", "half chicken", etc.
Brothers National Dance Senem
One of the Uyghur folk songs and dances. It mainly originates from the oases in southern Xinjiang where ethnic groups live together, engage in agricultural production, and have developed culture. It is also the name of ancient Uyghur dance music.
"Sainaim" is a collective song and dance often performed on festivals or after labor. The form is free and lively, and there is no fixed formula. Dancers can improvise and just follow the rhythm of the chapter music. They can also dance solo, duet, or in a group of three or five people. The rhythm usually gradually turns from medium to fast. When the song and dance reaches its climax, everyone often shouts "Kay--that!" (meaning "Come on") with enthusiastic and high-pitched voices. At this time, the voices and drums are extremely jubilant, and the atmosphere is Reaching the climax, all the dancers were extremely excited and excited.
This dance is lyrical, graceful and graceful, and its movements are characterized by the clever use of the head, shoulders, hands, wrists, waist and calves. For example, the joints include moving the neck and shaking the head; the wrists include wrapping, turning, and rubbing the wrists; the waist includes the chest, waist, side waist, and back waist; the lower legs have richer movements, such as biting, kicking, stamping, rolling, and turning. Most of the dance postures are extracted from life, such as hat-holding posture, sleeve-holding posture, skirt-pulling posture, breast-stroking posture, etc. When the performance reaches a climax, the dancer squats and kneels with one leg, high-fives and shrugs with his hands in front of his abdomen, then opens his hands downwards, raises his right hand above his head and wraps it around his wrist, puts his left fingers on his knees, and gently moves his neck. There are high-fives, The shrugging of shoulders, the wrapping of wrists, and the final movement of the neck play a role in highlighting the main theme and effectively express the dancer's happy and optimistic mood.
This dance has different local styles: Southern Xinjiang is bright and lively, graceful and affectionate, with light steps and rich changes in wrist and dance postures; Northern Xinjiang’s movements are bold and bold, neat and brisk; Eastern Xinjiang’s movements are dignified and steady, single-step More. The music of this dance has beautiful, soulful tunes and distinct rhythms. The tambourine among the accompaniment instruments is loud and smooth, which can enhance the atmosphere and inspire people.
Brothers National Dance Carrying Pole Dance
Also known as "Dalulie", "Gulang", and "Dalang" (all are Zhuang transliterations), it is one of the Zhuang folk dance forms. one. Popular in mountain villages in Wenwen Mashan, Du'an and other counties.
The dancers are in groups of at least four, and can be as many as ten or eight, gathered around a long bench or a wooden trough for pounding rice. Each person holds a pole and knocks on each other, or on the bench, or Knocking on the wooden trough produces a variety of harmonious sounds. The rhythm changes endlessly, the rhythm is strong and powerful, the sound is clear and high-pitched, and the momentum is extraordinary. Every festival, the banging of poles can be heard on the grain drying fields and in the streets and alleys. Especially at night, there are lights everywhere and the whole village is boiling. The tapping of poles is accompanied by the light and sweet accompaniment of bamboo tubes and the laughter of people. , shouts, merged into a wave of joy, the scene shook the valley and stirred people's hearts.
The dance movements mostly express the labor process and joyful emotions such as sowing, transplanting rice, harvesting pests, threshing, and pounding rice. They sing and dance at the same time, with only the beating of bamboo tubes as accompaniment. The form is like the pestle dance of the Gaoshan tribe.
"Pole Dance" does not have any more changes in dance postures or formations. It only uses the unique rhythm of pole beating, up, down, left and right interweaving different styles and strong sound effects, which won the audience's attention. warm applause.