This basic introduction to folk dance is specially compiled for everyone. I hope it will be helpful to everyone!
Basic introduction
Ethnic folk dance is a multi-layered concept and scalable interface, which can accommodate various levels of processing. Folk dance is the symbol of a nation and the soul of a country and even a nation. It requires a high degree of re-creation by artists, starting from the folk and finally returning to the folk. The benefits of practicing folk dance are as follows: 1. It is highly interesting 2. It cultivates the dancer's temperament 3. It makes people feel happy 4. It is good for the body and mind
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Category
Folk dance is created collectively by the working people in the long-term historical process, and is formed through continuous accumulation and development. A dance form widely spread among the masses. Folk dance has the closest connection with people's lives. It directly reflects labor
Folk dance
moves people's lives and struggles and expresses their thoughts, feelings, ideals and wishes. . Due to the differences in the living and working styles, historical and cultural mentality, customs and habits of the people of various ethnic groups and regions, as well as the natural environment, different national styles and regional characteristics have been formed. Every country and every nation in the world has its own folk dance with different styles and characteristics. Folk dance in European ballet is generally called representative dance or character dance. It is professionally processed to make it harmonious and unified with the style of ballet.
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Artistic characteristics
Singing and dancing, free and lively. A very important feature of Chinese folk dance is the close combination of dancing and singing. This form of singing and dancing is free, lively and lively. It can express more content of life than pure dance. It is also easy to understand, so it is very popular among the Chinese people. Skillful use of props and combination of skills. Many Chinese folk dances skillfully use props, such as fans, handkerchiefs, long silks, tambourines, single drums, flower sticks, lanterns, flower umbrellas, etc., which greatly enhances the art of dance
Folk dance
The artistic expression ability makes the dance movements richer, more beautiful and more colorful.
The plot is vivid and the images are clear. Chinese folk dances place great emphasis on content, and most of them are based on certain stories and legends. Therefore, the characters have distinctive images and outstanding personalities. Although some dances only express a certain emotion, they often appear as part of a complete storyline. For example, Guangdong's "Ying Ge" tells the story of Liang Shanbo's heroes attacking Daming Palace; Fujian's "Dagu Parasol" legend tells the story of Zheng Chenggong's military training to resist foreign invaders.
To entertain oneself and others, the purpose is unified. Many Chinese folk dances are often a combination of self-entertainment and performance. For dancers, some dance activities are for self-entertainment and at the same time for performing for the audience. Therefore, dancers pay great attention to the improvement of their dance skills, so Chinese folk dance has developed to a high degree.
Improvise wherever the mood takes you. Although folk dances in various regions of China have certain formats and norms, they also have a tradition of improvisation, especially among some folk dancers. In their most emotional moments, dances with unique brilliance often appear.
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Development
In the early 1950s, with the strong promotion and careful implementation of the government, a large-scale work of "rescuing heritage" was carried out . Reflected in the field of dance, on the one hand, it is the effective investigation, collection and arrangement of various ethnic dances scattered among the people, and through processing and re-creation, its essence is displayed on the stage; on the other hand, it is the inheritance and development of opera dance, Turn it into an independent dance art.
Ethnic dance
Dances that are naturally inherited from various ethnic groups - especially those with strong technical skills. In the process of inheritance, their basic styles are often reflected in some representative dances. As for the artists, most of them are farmers and can be called folk dancers, but their status has been low for a long time, and they even live a life of starvation and displacement. Therefore, "rescuing heritage" is also a rescue of folk artists with superb skills. They themselves and their art have received unprecedented respect - they have entered the hall of elegance for the first time.
This work is not a temporary expedient, but a basic policy that has been implemented for a long time. It can also be said to be the continuation and development of the "Yan'an New Yangko Movement". The new generation of dancers consciously follow the guiding ideology of "The Speech", go deep into life, learn from the masses, and seriously study, collect, and organize those folk dances that may seem "rough" but are "the most vivid". "Get rid of the dross" - eliminate the unhealthy ingredients left over from feudal society, and "get the essence" - select the aesthetic qualities of the people for refining, processing and re-creation.
In the more than ten years since the founding of the People's Republic of China, under the guidance of the policies of "letting a hundred flowers bloom" and "introducing the new" advocated by Mao Zedong, a number of ethnic and regional cultures with strong national and regional characteristics have emerged, full of the flavor of the times. An excellent dance that reflects the spiritual outlook of the people. They are not only loved by the masses, but also attract the attention of the world dance world in international cultural exchanges. As mentioned before, Dai Ailian's "Lotus Dance" and "Flying Sky"; Jia Zuoguang's "Ordos Dance"... are all masterpieces of this period that led the times, and there are many more works like this. For example: "Red Silk Dance" (group dance) was first performed in 1949. Choreographer and director: Jin Ming (1927——), etc., arranger: Cheng Yun, premiere performer: Zheng Jianji, Wang Yabin, Liu Hairu of Changchun Art Troupe. A group of young men and women held high "torches" and danced cheerful yangko.
Folk dance
The "torches" turned into long red silk - like fire dragons flying, vigorous and vigorous. The dancing postures and the changing "fire dragon" complement each other and are full of youthful vitality. The dance is based on folk yangko and the traditional skill of "Baizhang Sail", and chooses the meaningful form of "burning torch" to express the democratic aspirations of the people for liberation. In 1950, the dance was performed in Beijing for the first time and caused a sensation in the capital. The following year, he was selected to participate in the xx "World Youth Festival" and won the gold medal. For half a century, it has been performed all over China and all over the world. People unanimously say that it is: "the symbol of China's fire."
Other Han dances, such as "Flower Dance", "Harvest Song", etc., are all masterpieces. "Flower Dance" (group dance), premiered in 1956, choreographed and directed by Zhang Yi (1934-), an unknown composer; premiered by: Dalian Song and Dance Troupe, led by Zhang Yi. "Huagu" is popular in Shandong Province. For many years, it has been a form of entertainment for poor farmers who wander around and beg. There are drum spikes more than half a meter long attached to the drum sticks, and the dancers alternately hit the drum with the tops of the drum sticks and drum spikes to form a unique technique. Zhang Yi endows "Flower Drum Dance" with an optimistic spirit of the times and lengthens the drum spikes to highlight its technical skills. In the exciting and changeable rhythm, the toned rhythm of the human body is intertwined with the rich lines of the colorful drum spikes, forming a unique dance charm. This dance won the gold medal at the 1957 World Youth Festival.
In this strong contemporary trend
Ethnic dance
, the flowers of ethnic minority dances are blooming everywhere. "Peacock Dance" (women's group dance) is another masterpiece of Jin Ming, which was first performed in 1956. Composer: Luo Zhongrong; Premiere performer: Central Song and Dance Ensemble, led by Zi Huajun and Cui Meishan. On a high hill, a "peacock" with its tail spread, fluttering its beautiful wings, rushed down the mountain. Pairs of "wings" turned into "peacock girls", dancing to the beat of elephant drums and gongs. The beautiful melody surrounds the "King of Birds" and dances - drinking, taking pictures, bathing, flying... The peacock is the ancient totem worship of the Dai people who live in the southwest border - a relic of religious art, and has always been regarded as auspicious and happy. symbol.
The traditional "peacock dance" spread among the people is only performed by men. The dancers carry heavy props symbolizing wings, which limits the freedom and stretch of the body. The choreographer broke through the tradition and tried to use women to show the beauty of the peacock. He also made innovations in the costumes-removing the heavy props and replacing them with long skirts covered with peacock feathers... This dance was first performed in 1956. It appeared in the National Dance Festival and was favored by the audience for its novelty and grace. The following year, it won the gold medal at the "World Youth Festival".
There are indeed many stage masterpieces created based on the collection and arrangement of traditional folk dances. In order to exchange experiences and promote creation, the government regularly organizes literary and artistic performances. People of all ethnic groups who have suffered so much are proud to be able to perform their own dances on the stage.
Due to historical reasons, in some areas or ethnic groups, the dance that is naturally transmitted in life is on the verge of extinction. Facing the new era, they are also eager to express their voices through dance and establish the image of their nation. They even asked professional dancers: "Design a dance for us!" "Happy Wordy" and "Grass Dance" came into being in response to such a "call".
The above-mentioned ethnic dances represent a large number of "emotional dances" during this period - short
Folk dances
are concise, without complicated plots, and Comparison and xing techniques describe things to express emotions. Whether it is processed and created on the basis of traditional folk dance, or carefully designed by professional dancers, it all highlights the national style - striving to reflect the aesthetic characteristics of different nations.
The richness of life has created a diversity of dance themes, genres, styles and styles. During this period, dance vocabulary was refined from life - works that do not emphasize specific styles and reflect life more directly Quite a few. For example, among the military-themed dance works, the duet "Hard Times" left a particularly deep impression on people. This work was first performed in 1961. Choreographers and directors: Zhou Xing (1934-1988), Peng Erli (1936-); composers Yan Ke and Zhou Fang. Premiere performers: Guangzhou Military Region Warrior Song and Dance Troupe, Zhu Guolin and Liao Junxiang. The choreographer got inspiration from the sculpture of the same name, or in other words, the dance is a "dynamic" presentation of this sculpture: the old soldiers and young soldiers on the Long March, faced with the enemy's pursuit and interception, trudging through hunger and cold. The young soldier almost fainted, and the old soldier played the bamboo flute. The passionate and beautiful music aroused the soldiers' yearning for the future. They encouraged and supported each other and moved forward unyieldingly towards the set goal. "Hard Times" presents the romantic feelings in battle with its unique creativity, condensed structure, touching details and distinctive dance images. It focuses not on explaining events, but on expressing the sublimation of characters' emotions.
The classical dance "Spring River with Flowers and Moonlight Night" that extracts vocabulary from opera is quite representative. The female solo dance "Moonlight Night on Spring River" premiered in 1959. Choreographer and director: Li Chenglian (1932-1993); premiered by: Beijing Dance School, Chen Ailian. The dance uses the ancient song of the same name as the dance music, and draws on the artistic conception of the poem of the same name by the Tang Dynasty poet Zhang Ruoxu: "The river and the sky are of one color without dust, and there is a lone moon in the bright sky...", and appropriately draws on some routines and graceful figures in opera and dance. , with graceful and graceful dance postures and delicate and implicit emotions, expresses the girl's longing for happiness under the moonlit night.
The above-mentioned are all representative dances from the 1950s to the mid-1960s, which have withstood long-term social selection and have been passed down to this day. The choreographers and premiere performers of these works are the best among the first generation of dancers in New China. While they receive rigorous professional training, they pay special attention to learning from life and the masses, and consciously pursue - —The blend of artistic personality, national style and the spirit of the times.
After the 10 years of catastrophe caused by the "Cultural Revolution" (1966-1976), the devastated dance art has recovered and entered a new era in the process of China's reform and opening up. In this historic social change, people's ways of thinking, values
National Dance
concepts, psychological states, and aesthetic consciousness have all undergone obvious changes.
Reflected in the trend of literary and artistic thought, it is more concentrated in the reflection on traditional culture and traditional concepts, and the discussion of their value evaluation in the process of China's modernization. The public debates between different viewpoints in various fields reflect the unprecedented vitality of intellectuals' thoughts and the further promotion of the policy of "letting a hundred flowers bloom and a hundred schools of thought contend" under Deng Xiaoping's call of "seeking truth from facts and emancipating the mind." This progress is profound and comprehensive, and has also had an important role and influence on dance creation in the new era.
The dance before "*" has basically formed a relatively stable overall pattern - a mark of the times. Due to the ideological concepts at the time, the creator seemed to be afraid that his works would be too "far" from the prototype of life or the original form of folk dance. He was generally cautious about the selection of themes, genres and the processing of dance movements and tended to converge. sex. Therefore, while creating brilliance, there is also a certain tendency of sameness and patterning.
After the revival of literature and art, the majority of dancers are eager to try. Although there are various differences in values ??and aesthetic consciousness, they all reflect a strong sense of innovation - a desire to use the techniques used in the past. And break through the inherent patterns - even "successful experiences". In the review and reflection, after experiencing confusion, exploration and even the pain of pregnancy, a number of innovative and eye-catching works have emerged.
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Representative figures
Dance choreographers who grew up in the 1950s have achieved great success again, including Huang Shaoshu (female, 1938——), Fang Jin "Streams, Rivers, Seas", a collaboration between husband and wife Ji (1931——), was even more groundbreaking. This women's group dance was first performed in 1986, composed by Jiao Shuang, and premiered by Zhang Xiaoqing and Li Yinyin from the Dance Department of the Chinese People's Liberation Army Art Academy. A group of girls in long aqua dresses and transparent gauze, like drops of crystal clear "water drops", move continuously with fine and smooth dance steps. Their dance postures turn into waves in the river, with small waves rising and falling continuously. The girl waved her skirt and gauze and jumped with great leaps, vividly showing the endless flow of the mighty river rolling forward... The dance created a spectacular scene of mountain streams and small streams gathering into rivers and flowing into the sea, revealing the eternal inseparability of mankind. Changing rules.
Dances like this that embody a strong sense of life are also produced by the new generation of choreographers. For example: "Pentium" (men's group dance), premiered in 1986, choreographer: Ma Yue (Hui nationality, 1945-) composers: Ji Cheng, Xiao Ou, etc., premiered by: Dance Department of the Central University for Nationalities, led by Jiang Tiehong. The dance uses the lead dancer and the group dancers to complement each other, showing the majestic momentum of one horse leading the way and thousands of horses galloping. Among them, the "man's" "trust of the horse" and the "horse's" "galloping" complement each other, bursting out infinite vitality... This dance is an important breakthrough in Mongolian dance creation. It is not satisfied with the display of national style in a general sense, but reveals the Mongolian nation's perception of life by embodying the "soul" fight of the horse that is inseparable from the Mongolian nation.
"Yellow River Cantata" is an immortal work by the great patriotic composer Xian Xinghai. This work and the "Yellow River Piano Concerto" of the same name created based on it have both been recognized as "the most important work of the 20th century". Chinese Music Classics". The choreographer chose classic music to create the dance, which is a very challenging new attempt. Su Shijin (19——) and Yuchi Jianming (1935——) created the men's group dance "Soul of the Yellow River" in 1980 (premiered by the Frontline Song and Dance Ensemble of the Political Department of the Nanjing Military Region), which took the lead in attacking this goal. Their successful practice has played an important role in dance creation. The exploration of themes and expression techniques are of pioneering significance.
"Yellow Earth Yellow" (group dance), which premiered in 1990, has a soul-stirring power. Choreographer and Director: Zhang Jigang (19——); Composer: Wang Zhenning; Premiere Performer: Yu Xiaoxue of Beijing Dance Academy. A group of naked men carrying drums on their backs and a group of women wearing slanted placket and narrow-legged trousers remind people of the folks who have guarded this piece of yellow land for generations - they seem to have just emerged from the "trouble"
Folk dance
Get up in the trash.
But when the men and women take turns dancing, beating the drums loudly, stomping their feet and legs, almost stepping out of the pit... you will feel that they have made great strides into modern society. . In a form that is as earthy as possible, he expresses his long-standing feelings in a very "modern" way. The love for the yellow land beneath our feet, the longing for the world outside the mountains, and the hope for the future... all burst out through the endless and repeated beating of the drum. The extraordinary range of movements and intensity and the repetition of the same movement are rare in previous dances. The drummer who entered the "crazy" state shook the earth...
Although there are obvious differences in style among the above-mentioned works, they all choose magnificent group dances to express a strong sense of life. This seems to be a call of the times, and the following two solo dances "The Spirit of the Bird" and "The Last Spring" also belong to the elucidation of the same theme.
During this period, the exploration of Chinese classical dance also made great progress. For example: "Jinshan War Drum" (female three-person dance), first performed in 1980, choreographed and directed by Pang Zhiyang (1931-), Men Wenyuan (1934-), etc., composer: Tian Dezhong, premiered by: Shenyang Military Region Political Department Advancement Song and Dance Troupe, Wang Xia, Liu Qian, Wang Yan. The work is based on the deeds of Liang Hongyu, a heroine from the Southern Song Dynasty in China more than 900 years ago. At the critical moment when she was outnumbered, Liang Hongyu personally beat the drum to help out. After being hit by an arrow, she endured the pain with fearless spirit and persisted in fighting until the final victory. The dance uses flexible and smooth stage scheduling, exquisite and superb skills, and concise and touching plots to vividly show the scene of Liang Hongyu leading the female soldiers to help in the battle. It gives full play to the virtual expression techniques of Chinese opera but does not stick to the formula of opera. Although there are only three people on the stage, they look like thousands of troops. Liang Hongyu, wearing a bright red long cloak, moves like the wind and stands like a pine tree. His heroic spirit left a deep impression on the audience.
"Wedding Farewell" (pas de deux) premiered in 1984. Choreographers: Chen Zemei (194——), Qiu Youren (194——); composers: Zhang Xiaofeng, Zhu Xiaogu, premiere performer: Beijing Dance Academy: Shen Peiyi, Li Hengda. It is based on the poem of the same name by Du Fu, a poet from the Tang Dynasty. It also expresses the theme of loyalty to the country, but it has a different sentiment of lingering sadness. In the bridal chamber lit by red candles, the newlywed wife was shyly and anxiously waiting for her husband's return, looking forward to a beautiful life after marriage. But the ruthless reality is that her husband is about to go off to war. As the saying goes, "Don't be in a hurry when you get married. It's heartbreaking to sacrifice your life for the country...". The crow of cocks and horns interrupted the affectionate pas de deux - the moment of separation and death finally arrived. Finally, the wife resolutely handed the long knife to her husband and sent him off to fight. The dance uses the unique charm of Chinese classical dance - especially the skill of water sleeves, and depicts the characters better with refined techniques.
The selection of recent works seems to require more careful consideration, but we have reason to believe that dance in the new era has experienced comprehensive development after experiencing recovery. Not only has the base of works increased significantly, but they have become more diverse in terms of themes, genres, styles, styles, choreography techniques, etc. Through the strong subjective consciousness, it overflows with the mood and atmosphere of the open era.