Tibetan Dance
Tibetan folk dances are mostly in the form of songs and dances. Since people wear long-sleeved "Chuba" (Tibetan robes) in daily life, the dance adds a "smooth edge" beauty; and the pious religious psychology adds many religious colors to the dance. In addition to the aforementioned temple dance "Qiang Mu", typical dances include: "Xie", "Guori Xie", "Zhuo" and "Reba", etc.
"Xie" (meaning song and dance): also called "Ye", commonly known as "Xianzi", "Batang Xianzi" from Ganzi, Sichuan is the most typical, and it is a dance form in agricultural areas. During the performance, a person who plays the "Biban" (Tibetan two-stringed harp) led the dance. The participants sang and danced to the sound of the harp, with melodious tunes and graceful dance postures, giving full play to their "long-sleeved dance skills". The dance posture is similar to the image of several Han women dancing with their long sleeves fluttering in the ceremonial guard of the Dunhuang Mogao Grottoes mural "Zhang Yichao's Patrol", which shows the long history of Sino-Tibetan cultural exchanges.
"Guo Ri Xie" (meaning "circle singing and dancing"): spread in Shigatse, Shannan and other places in Tibet. Participants formed a large circle and moved in a clockwise direction as the lead dancer sang and danced. (This is consistent with Tibetan Buddhism's emphasis on "right rotation") Each song has a certain dancing method and is divided into two parts: slow music and fast music. When the song is slow, sing loudly and walk slowly, raising the hand on the same side and waving to move forward; when it turns fast, the emotion is passionate, and the wave-like "one side" characteristic becomes more prominent.
"Zhuo" (meaning "dance"): commonly known as "Guozhuang", it is a form of song and dance spread in pastoral and semi-agricultural and semi-pastoral areas. The dance names, tunes and movement styles vary from region to region. Most of the lyrics in "Guozhuang" in Zhongdian, Yunnan, sing about temples and lamas, such as "Shan Qimu": "Put three layers of mattresses on the big bed of gold, and invite a big lama to sit on it." Reflecting people's Respect for the Lama. In the performance called "Peacock Draft", although the lyrics praise peacocks, the dance is in the form of an eagle. This is because the locals regard eagles and peacocks as sacred birds, so the men's dancing postures often imitate the images of eagles. The performers reflect their religious psychology through dance.
The "Zhuo" from Shigatse often uses some dance postures derived from labor in performances, which are majestic and skillful. For example, "Tashi Lhunpo": its lyrics praise Tashi Lhunpo Temple. Although it is also a reflection of people's religious psychology, the dance is full of optimism about life. During the adagio, there is a pounding posture in the dance; during the allegro, the men's movements are the difficult "lying and leaping" technique.
"Reba": The word "Reba" means "wandering artist" and is also what people call their performance form. In the past, some dance masters who had difficulties in life often formed a performance troupe based on their own family or freely combined, with an old artist as the foreman, and traveled to various places to perform. Since they have to make a living from this, their performances are of a busking nature, so through continuous performances, each artist has a high level of performance and expertise