It is the nature of the Tibetan people to be good at singing and dancing. She has turned the snow-covered holy land "the roof of the world" into a universally recognized "ocean of singing and dancing". What are the Tibetan folk dances? Let’s find out together. What are the Tibetan folk dances 1
1. Guozhuang dance (i.e. circle dance) is a group dance. A few to hundreds of people form a circle, stamp their feet as a knot, and dance with their arms. Singing and dancing at the same time, the rhythm moves with the song, which is comfortable, melodious, beautiful and spectacular. Guozhuang Dance has a history of more than a thousand years.
2. Xianzi dance, led by Xianzi and Huqin accompaniment, and everyone started singing and dancing.
3. Tap dance, called "Duixie" in Tibetan, is a classical court dance that originated in the 17th century. It was later spread to the people and continuously improved and perfected. It uses stepping as a rhythm and pay attention to the rhythm changes under your feet. It can be divided into two types: "falling harmony" with a slower rhythm and "jue harmony" with a faster rhythm.
4. Reba dance. Reba is the name given to folk artists. It integrates speaking, singing and dancing, accompanied by gold bells and silver drums, and is also called "bell drum dance".
5. There are also Tibetan court songs and dances, the Great Drum Dance of Hou Zang and the Waist Drum Dance of Front Tibet.
What are the characteristics of Tibetan dance costumes?
The earliest Tibetan dances were very primitive and mainly reflected labor and religion. With the development of dance art, music was added to the dances and makeup and decoration were used. , costumes and props to enhance the expressiveness of dance. Clothing plays the role of decoration and foil for dance performance, and can enhance the appeal of dance. We can see dance art from rock paintings, murals, thangkas, painted pottery, traditional Chinese paintings and other materials. and the development of clothing.
As early as the eighth century AD, Master Padmasambhava initiated the "Shendance Dance" activity at Samye Monastery. With the development of "Shendance Dance", a unique Tibetan dance costume art gradually formed. With the development of the times, dance costumes are mainly designed for dance and serve dance performances. Therefore, the style, color, and decoration of clothing are all determined by the content of the dance itself.
The themes, backgrounds, nationalities, etc. of dance expressions must be expressed with the help of clothing to varying degrees. Therefore, the initiative of dance costume design is constrained by the dance subject. Dance costume designers are responsible for the design of dance costumes. It requires close cooperation with the director beforehand. It is necessary to understand the choreographer's intention and the subject and content reflected in the dance, so that the costumes and dance are in harmony. Only coordination can produce perfect artistic and visual effects.
Tibet, known as a sea of ??singing and dancing, not only has different dance forms in different regions, cities and counties, but also has great differences in costumes. Some dances are passionate, bold, strong, and rough, like men's dances in Kham and northern Tibet. Some dances are lyrical, soft, calm, cheerful and lively, like Tibetan Xianzi dance. Fengyiting deliberately uses different colors to design clothes that express the content of Tibetan dances. Different colors give people different feelings. For example, red makes us feel warm and passionate, and reminds people of sunshine and fire.
On the stage, red is the most prominent, appearing very bright, beautiful, and dazzling. Therefore, red is often used to express some passionate dances. For example, the uniquely infectious Reba dance in Qamdo, Tibet, can be seen and felt not only in the form of the dance but also in the cheerful drumbeats. The passion and unrestrainedness of this dance can be seen and felt. Most of the Tibetan dance costumes in Fengyiting are made of red or decorated with red, which will achieve better visual and performance effects. The brightness and purity of red can also be adjusted to produce more reds of different color levels, such as pink. , giving people a sense of beauty, purity and shyness.
Dances that express softness and tranquility generally use pink. For example, in the large-scale music and dance "Qomolangma" that expresses the dance of the Mother River, the designer uses wider pink as the decorative edge, which not only has Tibetan characteristics but also expresses the soft side of Tibetan women. In addition, typical warm colors such as orange, vermilion, and orange give people a sense of excitement, liveliness, and gorgeousness. Yellow is the brightest and most vivid color among the seven colors, and is often used in solo and lead dances.
In addition, when Fengyiting makes Tibetan stage costumes, in addition to color, it also pays attention to the coordination of brightness and lower purity tones, such as black, blue, brown, etc., which can be coordinated with other The use of color contrast can play a role as a foil, especially when decorating. This dark color can make the decorative patterns stand out, increase the brightness and brightness of the entire outfit, and make the colors more intense, bright and cheerful. Gold and silver among achromatic colors are gorgeous colors and are also indispensable in dance costumes. They can play a role in decoration and embellishment, especially under the illumination of stage lights, they can bring out their unique brightness and gorgeousness. feel.
In terms of styling design, Fengyiting’s design point of view is that dance costumes are not affected by popular factors, but are mainly affected by the dance content. In other words, which region and ethnic group the dance content is to express, the designer Just use the original representative ethnic costumes of which region, and make changes in shape and color on this basis. Of course, if you can incorporate all the fashionable elements, Fengyiting will never be stingy.
In the selection of fabrics, dance costumes do not need to consider the influence of climate. The selection of materials must match the completion of dance movements. The main focus is on the weight, elasticity and lightness of the materials. Fabrics must be used to Try to reflect the beauty of the dancers' performance on stage. Dance costumes, through their own shapes, color fabrics, and dance performance, give the audience a beautiful visual enjoyment, add more charm to the dance, set off the atmosphere of the stage, and enable the dance to better express the theme of the dance. What are the Tibetan folk dances 2
1. Guoxie Tibetan circle dance
"Guo" means circle in Tibetan, and "Xie" means song and dance in Tibetan. The two combined into one represent a circle of singing and dancing. "Fruit Harmony" is popular in the vast rural areas of Tibet. It is often seen in villages, squares, wheat fields and open fields. The number of participants ranges from a dozen to hundreds of people. It is the most popular form of nature among the Tibetan people. Entertainment singing and dancing. In the traditional Tibetan festival "Wangguo Festival", "wang" means "field" or "field" in Tibetan, and "guo" means "parade" or "circle". The two together mean "parade in the fields". In this festival, in addition to the folk ceremonies held during the day, the most important thing is that farmers gather together to perform fruit comedy. Fruity movements originate from agricultural labor movements, but their artistry is much higher than agricultural labor movements. The dance structure and complete form of expression are roughly as follows: During the performance, the performers form a circle, with men and women each in a half circle, and the male and female comic versions are at the front of the queue. During the song and dance performance, the sequence is as follows: men sing a male-female sexual dance → women sing a male-female sexual dance (called "Xiege"). The performers dance while singing and move clockwise in a circle from left to right. The step performance is divided into Adagio and Allegro. During the performance, the Adagio is danced first (called "Jue Xie"). After the Adagio performance, all the dancers shout in unison (such as "Hai Xiu Xiu Xiu") or say a few paragraphs. Allegro words are followed by an Allegro performance (called "Xie Xiu"). After the Allegro performance, all the dancers shout in unison, and the dance section ends. There are very few instruments used throughout the dance performance.
2. Duixie Tibetan tap dance
The "Dui" in "Duixie" means "up" or "highland" in Tibetan, and "Xie" means "singing and dancing" Therefore, the Tibetan dance "Duixie" generally refers to the rural circle dance in the areas called "Duixi" in the upper reaches of the Yarlung Zangbo River in Tingri, Angren, Lazi, Sakya counties and Ngari. After Tibet was officially incorporated into the territory of the motherland, the "Zha Nian", an accompaniment instrument for folk dances, appeared in the "Dui" area. The "Zha Nian" was gradually absorbed by the local people as the accompaniment instrument of "Guo Xie", making "Guo Xie" "The movements changed to tap, and three pure musical parts, the prelude, the interlude and the ending, also appeared in the song and dance music, which also formed the prototype of tap dance.
"Reba Zhuo" is the backbone of "Reba" - bell drumming. Its performance style is rough and unrestrained, and it expresses emotions through various technical performances. It is an inspiration with a unique style in the "Zhuo" category of Tibetan folk dance. During the bell-drum performance, the first thing to do is to praise auspiciousness and show off one's skills. Then the man holds the copper bell, supports the tambourine, beats it, dances and walks around in a circle. Jump to when the mood is high and you can open up the scene to perform tricks. During the performance, the female performers performed drum skills such as "drum spinning", "twisting the waist and dotting" and "drumming with their heads wrapped around their heads" as a group. After the performance, the women dispersed and stood aside, and the male actors came on the stage and shook their shoulders to the accompaniment of the drums. Playing "Fa'er", each performs different skill movements such as "single-leg spinning", "lying body bounce", "lying body horizontal spin", "bunny hop" and "kicking across the neck". In addition, they also performed small tricks such as "hair rolling", "back rolling" and "toe shaking". Tibetan dance is a treasure of the motherland. Every dance worker should constantly promote China’s Tibetan dance in the actual education, teaching, learning and performance processes. At the same time, they should constantly inject fresh blood into Tibetan dance to better promote Tibetan dance. The development of Tibetan folk dance continues to expand its influence.