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Movement characteristics of Tibetan folk dance

Movement characteristics of Tibetan folk dance

Chinese folk dance has a long history. Let me introduce the movement characteristics of Tibetan folk dance to you. I hope it will be helpful to everyone!

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 "Dui Xie" generally refers to the rural circle dance in the areas called "Dui" in the upper reaches of the Yarlung Zangbo River in Tingri, Angren, Lazi, Sakya County 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, which also formed the prototype of tap dance. In the mid-17th century, this dance was introduced to Lhasa. Its basic change pattern is "three steps and one change". At the same time, various rhythmic sounds are produced under the feet, and it is accompanied by a variety of string instruments such as dulcimer, jinghu, flute, and six-stringed instruments. With the accompaniment of a band composed of "Duixue" dance music, the structural form of "Duixue" dance music has gradually become more complete. Its entire system mainly consists of "lower harmony" (slow song) → "harmony" (song head) → "juexie" (fast song and dance) → " "Xie Xiu" (End) consists of four parts, and its performance form also transitions from self-entertainment to performance. Duixue spreads over a wide area, and the characteristics of Duixue in popular areas are also different. Generally speaking, there are currently three types of folk duixue song and dance music: Dingri Duixue, Lazi Duixue and Lhasa Duixue. Lazi Duixie, also known as "Northern Duixue", is mainly popular in Lazi, Angren, Dingjie, Sakya and other counties. Its music has beautiful tunes and a strong sense of rhythm, and its musical scales are mainly seven-note. The accompaniment uses one or more "Zha Nian" instruments, with high performance skills and many fill-ins.

There is only "awareness of harmony". The basic tune structure of Lazidui Harmony includes four to five parts in the prelude ("Guo Jie"), Adagio, Allegro, interlude ("Bal Jie") or ending ("Sleep"). Lazidui is full of singing and dancing, and the dance is unrestrained and passionate. Dingri Duixie, also known as "Luoxie" or "Southern style Duixie", is mainly popular in Dingri, Jilong, Nyalam and Saga counties. Dingri Duixue has very strong plateau characteristics, and its music is simple, rough, stretchy and unrestrained. The scale is mainly pentatonic, but also has hexatonic scales. Usually a "Zha Nian" accompaniment is used, and the accompaniment pattern is relatively simple, mostly one beat and one note. Dingri Duixie can be divided into three types: the first type is composed of "reducing harmony" and "awakening harmony"; the second type is only "awakening harmony"; the third type is composed of "reducing harmony" and "awakening harmony" "Composed, and its loose part has no instrumental accompaniment. Among them, songs with the first two structures are widely popular.

In addition, Dingri Duixue pays more attention to collective singing methods. It mostly uses real voice when singing, with heavier guttural sounds and less decoration. Lhasa Duixe is the most typical urban Duixe among Duixe, which is mainly spread in Lhasa, Gyantse, Shigatse and other cities. In addition to "Zha Nian", the accompaniment instruments of Lhasa Duixue also include jinghu, horizontal flute, dulcimer, string bells, special qin, etc. The widest vocal range of Lhasa Duixue singers can reach 12 degrees when singing. When singing, the singer usually sings solo, and needs to alternate between true and false voices. The movements of Lhasa Duihui dance are light and dexterous, and the dance steps are steady and small in amplitude. It mainly focuses on the rhythm changes and skills of the tapping movements under the feet.

 3 Xianzi Tibetan string dance

"Xianzi" is "Xie" in Tibetan, and the area in the heart of Tibet is called "Kangxie". The area around Batang and Qamdo is called "Ye", named after its dance accompaniment with the ox-horn harp "Baiwang". Xianzi dance mainly focuses on lower limb movements, and its dynamic characteristics can be divided into two types: first, the thigh drives the calf, and the calf is lifted higher, with both eyes looking straight ahead, and the dance steps are firm but soft; second, the hip movement is wider than the first This kind of dance is prominent. When dancing, it brings the waist with the hips and flashes back and forth. There is firmness in the softness or hardness in the firmness. When dancing Xianzi dance, you must master the basic elements of "rubbing steps" and "jumping steps". If you are weak, the "rubbing" step will be small and the landing will be light. If it is strong, the "jumping" step will be large and the landing will be heavy. The dance steps will be large, small and light. , weight changes with the change of music rhythm. Batang Xianzi usually appears at horse racing meetings and "Guduo Festival", and its lyrics are divided into carols, elegy, love songs and fixed lyrics. During the performance, men and women may gather and dance in a circle, or they may stand in a row and dance opposite each other. Generally, the leader of the queue is the person who performs "Bai Wang". Under his leadership, the crowd raises their sleeves and dances. Sometimes they gather around, sometimes they disperse, and sometimes they dance around like a long dragon waving its tail. You sing and I sing, so as to express their inner interest. Under the guidance of bursts of "tremolo" emitted by the Huqin, the dancing also produces a "trembling technique". The physical characteristics of this "trembling technique" are mainly to imitate the posture and movement of a peacock. Its dance is mellow and smooth, graceful and lyrical.

4 The Bell Drum Dance of Reba Tibetans

"Reba", some people call it "Kang Opera", is popular in Qamdo and Gongbu areas in eastern Tibet and Tibetan areas in Sichuan and Yunnan. It is a comprehensive performing art that integrates the three main parts of drumming, folk songs and dances and miscellaneous songs. "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. ;