Mongolian Dance
The "Taiping Drum" is made of donkey skin with a copper ring and is round or oval in shape. The drum skin is painted with mountains, water, flowers or people, and decorated with It is made of pompoms and flower spikes, and a small iron ring is tied to the small circle on the handle. The Duoyu Harvest Festival is performed by women in two forms: group dance and solo dance. When dancing, the left hand holds the drum handle horizontally, and the right hand holds a tasseled wooden stick, beating and dancing at the same time. The names of the actions include "worshiping drums", "running horses", "pulling saws", "throwing the fence", "playing cotton", "rolling the Lantern Festival", "catching birds", visiting the door, "rolling the show ball", etc. As the name suggests, , this variety of drumming movements is closely related to the daily life of working people. The body movements are generally exaggerated, and the basic dance postures are mostly open and powerful with the waist as the axis. It is flexible and includes jumping, turning and other skills. Some skilled people can dance four or five drums at the same time, circling and circling on different parts of the body, with acrobatic colors.
"Lamp dance, cup dance." The "bowl dance" is a solo dance performed by women during festivals and banquets, gatherings of relatives and friends, and is mainly spread in the Ordos grassland. Its formation is closely related to the "Dou La" drama in the Yuan Dynasty. "Old News of the Past Dynasties" notes: "Yuan Dynasty" There is the play of reverse playing, which is also called singing. The pipa, huqin and zither are all played by one person and danced with an Ou lantern." This shows that it has a long history. In this regard, Lu Ciyun of the Qing Dynasty once said in his work "Man Ting Fang" Description: "The dancers are dancing in a solemn manner, with two urns on the top and a lamp burning on the top. The sound of Tingzhu is heard in the mouth, and the beating is audible. The whirling wind is rolling snow and shaking crimson flowers, so it is shocking. "Sorrowful, extremely beautiful, artistic and sincere, four people are overwhelmed with emotion." Its gentle and graceful skills can be seen. This dance is limited by the location (yurt) and props (lamp bowl), so it basically involves kneeling, sitting, and standing in place. It mainly relies on the movements of the hands, wrists, arms, and shoulders, as well as the forward and backward bends with the waist as the axis. Those with excellent skills can also hold a lighted lamp in each hand and run quickly while making a shooting star. At this time, the flames are swaying, the dance is light and smooth, and it is full of unique charm.
"Daligan Bayar" is a folk sacrifice in the Ordos grassland that has been passed down since ancient times to "bring good luck and bring good fortune". The ceremony is usually held during good harvests or war triumphs to express gratitude and pray for happiness and peace. After the sacrifice, all participants begin to sing and dance happily on the grassland. The main movements include swinging their arms and beating drums, and kneeling and squatting. Saying hello, twisting one's body and stamping one's feet, walking sideways, etc. have a strong local flavor and sincerely express the joyful emotions and heroic spirit of the nomadic Mongolian people.
"Chama. " (commonly known as "divine dancing" or "fighting ghosts") is the product of religious and cultural exchanges between Mongolia and Tibet. It was introduced along with the Garu Sect (Yellow Sect) Lamaism in the second half of the 16th century and has a history of 400 years. And in the long term In the process of evolution and development, it has formed its own style. It is a kind of mask dance with the content of reciting religious scriptures and stories. It has many characters and different shapes, which are divided into "big chama" (main gods) and "little chama". "Ma" (generally refers to birds, beasts and attendants). There are four performance forms: hall dance, Mikuo Buddha dance, temple dance, and large-scale dance. Solo dance, double dance, multi-person dance, and large group dance are all available. Improvisational performances can be interspersed. The performance is stylized and standardized. The use of dance vocabulary is generally divided according to the personality of the characters performed. Generally, the movements of "Big Chama" are firm and solemn, while the movements of "Little Chama" are clever and changeable. Agile. The two complement each other during the performance, and each has its own characteristics. For example, the dance of Quejile (King of Hell) is vigorous and sculptural in its movements; the dance of Deer God is vigorous and powerful, with strong technical skills. It has the nature of a competition; the movements of the Kumai (skeleton) dance are flexible and free, sometimes running and jumping with the sound of drums, sometimes pretending to be majestic and playful, with the ups and downs of the body, the raising of the head, and the circling of the hands. The "Chama" dance is very popular in Inner Mongolia. It is performed in most temples during religious festivals and has a wide influence on Mongolian dance creation and performance. It plays a certain role in teaching.
Among the traditional Mongolian folk dances, "Andai Dance" is loved by people of all ethnic groups for its strong national style and healthy and active world skills.
Legend has it that a long time ago, a father and a daughter lived together in the Horqin Grassland. The girl suddenly contracted a strange disease. She was in a trance and behaved abnormally. After several treatments, there was no improvement. The old father had no choice but to take his daughter in an oxcart and go to another country to seek medical treatment. During the trip, the axle of the car broke, and the daughter's condition worsened and she was dying. The old father was so anxious that he ran around the car and sang instead of crying. The singing attracted the people nearby, who all burst into tears when they saw this. They all followed the old father behind him, throwing their arms and stamping their feet, and walked around in mourning. Unexpectedly, the girl quietly got off the bullock cart and followed the crowd to dance vigorously. By the time they discovered her, she was sweating profusely from dancing and was recovering from her illness. The news spread like wildfire. From then on, people imitated this singing and dancing method to treat young women with similar diseases and named them "Andai". It was also used in mass gatherings such as praying for rain, offering sacrifices to Aobao, and the Naadam Conference, and was widely spread. It gradually developed into a collective dance that freely expresses thoughts, feelings, and life.
According to custom, in the early Andai dance performance venues, a broken wheel or wooden pole (meaning to suppress evil spirits and avoid evil) was erected in the middle. Participants formed a circle and held a silk scarf or pulled it up in their right hand. The hem of the Mongolian robe is used to sing and dance with the lead singer (lead dancer). The tunes are melodious and graceful, with mellow charm and good at expressing emotions. The lyrics are rich in content, lively and improvisational. The main dance moves include: stepping on the spot and swinging the silk or moving slightly to the side: leaning forward to shake the silk, standing up and then moving forward with "small kicks": running in a circle while shaking the silk; continuous "sucking leg jumps" Step forward and throw the silk to both sides with force.
The "Chopstick Dance" is popular in the Etuoke Banner of the Yikezhao League and the Wushenzhao Banner. It is performed by a single man on many occasions of festive banquets. The dancer holds a chopstick with one hand or both hands, and quickly shakes her shoulders as her legs flex and stretch and her body sways left and right. Use the chopsticks to tap your hands, shoulders, waist, legs and other parts with your arms loosely and smoothly, and then move in a circle or advance and retreat in a straight line. The dancing postures are free and easy, and the chopsticks are dexterous and changeable. At the climax, they dance and shout to add to the fun.
"Yukhur" is popular in the Buryat Mongolian areas of Hulunbuir League and is performed in the form of group dances during traditional festivals or festive occasions. During the dance, men and women hold hands and form a horizontal row or circle, singing and dancing. The main movements include: "wiping the floor and shuffling", "stomping", "running and jumping", etc. The movements of the body are naturally in harmony, sometimes swaying from side to side, sometimes leaning forward and backward. And gradually reached the climax with the singing and the cry of "Yuhul". The dance is hearty and smooth, with the characteristics of freedom and stretching. Among the Mongolian dances, there are also dances that express horse racing, archery, wrestling and other ethnic customs, which are also unique.