① Basic pace ② Hand posture ③ Foot position
Basic pace-black pace
(1) Flat step
② Shuffle.
(3) Three steps and one massage
④ Two-step kicking
⑤ Alone
⑥ Step by step
All landowners strode.
Tibetan folk dance
The sound of knocking at the door
1. Natural state
"Natural position" refers to the posture of people standing naturally in life, which is equivalent to the position between "positive position" and "small figure eight position". The toes are not close together, and the two toes are not far apart.
Help the hips
Fingers closed naturally, palms on both sides of waist and buttocks, elbows parallel to body. This is a special posture of akimbo in Tibetan dance.
shake
"Natural posture", the knees are loose, the ground bends and stretches, and it is downward. It is the basic rhythm of Tibetan tap dance.
retreat
Tap dancing. Stand in the "natural position" and relax naturally. Take the right foot as an example. The forefoot of the right foot moves backward, the left foot moves forward slightly, and the right foot moves forward again, with the center of gravity still on the left foot. All three steps should be audible, and the first two steps are slightly lighter than the last step. "Back" and "step" are separated by one foot.
Requirements and exercises of basic movements
1, Qi Mei shook hands with him.
Specifications and essentials: hands droop, wrist and elbow bend when moving, wrist drives, hands shake alternately on the chest. Draw a circle clockwise with your right hand and counterclockwise with your left hand. This action can be divided into big, medium and small. Smaller than abdomen and chest; The height of sway is higher than that of Qi Mei; Larger than the front top.
Step 2 shake the lid
Specification and essentials: shake with one hand, bend your wrist with the other hand, and wipe with your palm, so that the upper arc flows from side to side through the upper arc. One-handed skin flap is also common in the waist and front of abdomen.
Step 3 row your hips forward
Specifications and essentials: hang your hands, and draw circles from the inside out to the front of your hips. Draw a circle on the plane with your right hand clockwise and your left hand counterclockwise. Hip forward rowers shake hands with Qi Mei regularly.
Step 4 wave back and forth
Specification and essentials: Hands hanging to the side, swinging back and forth for 45 degrees, wrist active.
5. wave your hand horizontally
Specifications and essentials: two hands hang down beside you, mostly swinging sideways with one hand, with the wrist actively driving the forearm and the big arm accompanying.
6. Plane wave
Specification and essentials: Hands hanging to the side, one hand up to the side, driven by the wrist, accompanied by the arm, swinging from outside to inside on the chest horizontal plane.
Lower limb movements in Tibetan dance
Kicking class
(A), trembling rhythm training
Requirements and exercises of basic movements:
1, broken step
Specification and essentials: Step with both feet alternately, knees shaking, and step with equal rhythm.
Can enter, can retreat and can turn.
Action phrase: 2/4 medium speed
Preparation: body in one direction, basic posture, hands hanging to the side.
[1]-8: (From the right) Keep the basic posture and "step by step" step by step.
[2]-8: (From the right) Keep the basic posture and retreat step by step.
[3]-4: (Starting from the right) Stand still and turn left, facing seven directions. Wipe your hands from the outside to the inside.
5-8: (Starting from the right) Take a step in the same place and turn left, facing five directions. Hands spread out from the inside out.
[4]-8: Repeat [3]-8. Turn your body in three directions.
shake
Norms and essentials: weak beat knees sink, action legs clap the ground again, straighten knees.
Hold the leg) and lift the other leg at the same time. When moving, step on the ground and lift the other leg synchronously, and keep the upper body stable and relaxed when shaking.
Action phrase: 2/4 medium speed
Preparation: body in one direction, basic posture, hands hanging to the side.
[1]-6: The right foot "vibrates" (lift the left foot), and at the same time, turn the left waist, "shear wave".
7-8: Body-to-body, in-situ left and right "broken step" two steps. Outside the shear wave.
[2]-8: Do the reverse action of [1]-8.
[3]-4: Do [ 1]-8。
5-8: Do [2]-8.
[4]-8: Repeat [3]-8.
Step 3 tremble (step up is also called "gundam")
Specification and essentials: tap your knees to sink, lift your forefoot at the same time, tap your knee again to drive, exert force on your ankle, and the soles of your feet land quickly and tremble at the same time. You can do it with two feet or one foot.
Action phrase: 2/4 medium speed
Preparation: body in one direction, basic posture, hands hanging to the side.
[1]-8: Keep the basic posture and "lift your feet and tremble" four times.
[2]-2: Keep the basic posture and "shake" the right foot once.
3-4: Do 1-2 reverse action.
5-8: Repeat 1-4.
[3]-2: In situ, the right foot and left foot are "lifted and shaken" once each.
3-8: Repeat 1-2.
[4]-8: "Step-up shaking" alternates left and right eight times.
Step 4 Breathe
Specification and essentials: when the action leg sucks the leg, the support leg rubs and shakes the knee once, and then stops twice. Pay attention to keep the upper body stable and relaxed.
Action phrase: 2/4 medium speed
Preparation: body in one direction, basic posture, hands hanging to the side.
[1]-2: Left "sucking step" (sucking left foot) and right "swinging back and forth".
3-4: Do 1-2 reverse action.
5-8: Repeat 1-4.
[2]-8: Repeat [1]-8 Step back and wave your hands left and right.
Step 5 step back
Standard essentials: the action leg retreats half a step, the sole of the foot touches the ground, and at the same time, the support leg is slightly off the ground, and the support leg is stepped on the ground with a big clap, and then the action leg trembles. When moving, it has the characteristics of retreating and separating, and slipping after stepping on the ground.
Action phrase: 2/4 medium speed
Preparation: body in one direction, basic posture, hands hanging to the side.
[1]-8: Back to the right four times and wave back and forth four times.
[2]-8: Repeat [1]-8 and turn left at the same time (directions 7, 5, 3, 1).
Basic action intensive training
1, jitter combination
Music 2/4 medium board
Preparation: body in one direction, basic posture, hands hanging to the side.
[1]-4: Keep your posture and swing your hands up to the "diagonally upper position".
5-8: Keep your hand position, bend forward 90 degrees, and hook your feet to salute.
[2]-4: Close your right foot in the forward posture, and tremble in the basic posture (hands hanging to the side).
5-8: Keep your posture and "stamp your feet" four times from the right.
[3]-3: Keep the posture, and "quiver" on the right side (the right foot steps on the ground and trembles the knee, and the left foot is raised), and "cross the hand" inside.
-4: "Pinch your feet" in the original position and "wave your hands horizontally" on the outside.
5-8: Do the reverse action of 1-4.
[4]-8: Keep posture and "crush" forward (from right).
[5]-8: Repeat [3]-8.
[6]-8: Hold the posture and (from right) "crush" and retreat. Bend your elbows over your shoulders, then throw them forward with your hands hanging at your sides.
[7]-8: Hold the posture, "crush" (from right), and turn left in four directions (two beats transfer).
Hands 1-2: "wipe" hands in front of the body, 3-4: "spread" hands outside, 5-8: repeat the action of 1-4.
[8]-2: (Starting from the right) "Step horizontally to the left" and "spread out" both sides of your hands.
3-4: Step on your right foot twice, and spread your hands inside and out.
5-8: Do the reverse action of 1-4.
Training tips:
1, stress that the racket is down, relaxed, free and flexible when shaking the knee.
2. The combination rhythm is accurate and the movements are coordinated and coherent.
Introduction to Tibetan Dance History
1 and the dance history of "National Association" (circle dance)
"Fruit Harmony" is a kind of self-entertainment circle song and dance that spreads in rural areas of Tibet. It turns around hand in hand, sings in groups, and sings and dances one after another. Common in rural areas, such as village heads, open spaces and threshing floors. On holidays, people sing from day to night and jump from late at night to dawn. The rise of "fruit harmony" is related to the agricultural development in Tibet, directly related to the labor form of men and women singing in different classes on the threshing floor in autumn harvest and the labor rhythm of "playing aga" in building houses The dance moves change with 2/4 rhythm, starting from the remake, landing straight from the knee to the sole of the foot, stopping for the festival, with solid and steady footwork and strong working atmosphere. Men and women alternate with each other in the dance, forming a dance competition scene, which is its basic style characteristics.
2. Dance history of Huan (town tap dance)
"Duihua" refers to the country songs and dances from Rush to Dingri. /kloc-In the mid-7th century, on the "Snowdon Festival" stipulated by the fifth star X, the Tibetan Opera Troupe of Houzang Qiongba interspersed with the performance of the lyre, and sang songs for the festival, emphasizing the change of rhythm and voice on the feet, and "piled up" lively and enthusiastic folk dances. Lhasa and Shigatse are the most popular.
3. "Fruit Table"-Dance History of Pot Dance
"Guo Zhuo"-Guo Zhuang dance, which was related to Tibetan slave society and swearing activities in the early days, gradually evolved into a circle of singing and dancing. In ancient times, Guo Zhuang was often used in altar etiquette, with a strong religious color. He was more cautious when jumping, and his expression was dignified. "Hang your head, lean on your sleeves and dance silently."
4. Dance history of "Qiang Mu"
To say that the origin of Tibetan Buddhist temple dance "Qiang Mu" must be traced back to the rise of Tibetan Buddhism in Tibet. In the 7th century, an Indian monk, Lotus Peanut, came to Tibet to publicize Buddhism prevailing in India at that time. However, Bonism, the primitive polytheism worship in Tibet, is deeply rooted in people's hearts and takes an exclusive and exclusive attitude towards foreign religions. In order to promote Buddhism in Tibet, Lotus Peanut, an Indian monk, adopted the method of combining Indian Buddhism with primitive Bonism in Tibet, which not only retained Buddhist teachings and reverence for the only supreme god Tathagata, but also accepted all kinds of gods in stupid religion as protectors, conforming to the Tibetan psychology of worshipping primitive polytheism, which led to the birth of Tibetan Buddhism in the Tang Dynasty.
Characteristics and styles of Tibetan dance
Tibetans are a nation that can sing and dance well. They are bold by nature and live on the Qinghai-Tibet Plateau, the roof of the world. Tibetans have a long history. As early as the beginning of the 7th century, the slave-owning class, represented by Songzan Gambo, unified the Qinghai-Tibet Plateau, established the Tubo Dynasty, and established close relations with the Central Plains. Tibetans are mainly engaged in animal husbandry and agriculture and have a long cultural tradition. Tibetan language belongs to the Tibetan branch of the Tibeto-Burman language family, with a long history and rich works in history, literature and Tibetan medicine. Their folk dances, in particular, have distinctive national characteristics and styles. Tibetan dances in Qinghai have a long history, various types and rich contents, and all kinds of dances have different contents and forms, characteristics and styles. It can not only make people express their feelings in the joy of singing and dancing, but also communicate with the gods through it and seek their protection. Tibetan folk dance is deeply rooted in the fertile soil of people's lives. Therefore, as long as this nation still retains the space of folk activities suitable for the survival of folk dance, folk dance will be spread and revived.
(A) the classification and characteristics of Tibetan folk dance
There are many kinds of Tibetan folk dances in Qinghai. From the form of song and dance, it can be basically divided into two categories: "folk song and dance" and "religious dance". It can also be subdivided into "harmony", "Excellence", "Reba" and "strong wood". All the collective self-entertainment circle dances with song and dance as the mainstay are generally called "harmony"; In circle dance, the group dance with strong performance is generally called "Zhuo". In addition, in Zhuo's performances, you can often see dances with various drums as dance equipment.
Harmony is a famous Tibetan dance of Heizai. This kind of folk self-entertainment dance is the most charming and chic, and it is also the "black boy" in Batang area. Therefore, whenever people mention "Heizai" now, they will add the place name "Batang". The dance of black boy in Batang is round, unrestrained and smooth. Under the sound of the piano, which is not loud, but clear and indirect, the dance team gathered and dispersed, and then followed the lead dance around, like Youlong wagging his tail and spinning his sleeves, like a blooming white lotus. In addition, the whole dance is rich in vocabulary and natural and unrestrained by dragging, shaking sleeves, turning around step by step and imitating peacock posture.
Zhuo is generally called "performing circle dance" by Tibetans. And many of them have different "inspirational" performances. Since ancient times, Tibetans have believed that "drums" can bring good luck and joy to people, and are an indispensable tool for seeking the blessing of the gods. In some festivals and festivals, drums and dance performances are performed. Rebazhuo and Rebazhuo belong to folk dances performed by Zhuo. Except for Tibetans, it is difficult for many people to tell the relationship between them.
Reba refers to an acrobatic song and dance program performed by vagrants in the past. The word "Reba" means "wandering artist" and is also the title of its performance form. In the past, some master dancers who had difficulties in life often took their families as the mainstay or formed a performance team freely, with an old artist as the foreman and touring all over the country. Because they want to make a living by it, the performance has the nature of busking, so after continuous performance, every artist has a higher performance level and expertise. Among them, there are three parts: folk songs and dances, bells and drums, and zaqu performances with certain plots. Their dances are also spread in the vast Tibetan areas of Qinghai.
Qiang Mu is a kind of dance in Tibetan temples. Every major religious festival, the Lama Temple will hold a "jumping god" activity. In the sound of suona, python, trombone and cymbals, performers wear masks, hold musical instruments or weapons, dress up as gods, and March around the field to kick off. Then, they successively performed "the dance of evil gods", "the dance of skeletons", "the dance of cattle gods", "the dance of deer gods", "the dance of rejoicing gods" and "the dance of protecting the dharma gods", and each dance had a certain religious content.
Qinghai Tibetan dance, as a folk art of stage performance, has shocking artistic charm and tenacious vitality. In the vast Tibetan areas of Qinghai, whenever people hear familiar music or dance steps, they can't help but get excited. In some areas, big movements are the beauty of dance, while in other areas, subtle dances are beautiful. Tibetan folk dance has its common aesthetic characteristics. For example, during the performance, it is like an eagle spreading its wings, more like a flying bird, which makes people feel relaxed and happy. Common basic movements, such as hip loosening, waist bending and back bending, shout "Oh, yeah" at the climax, and then support each other, dance together, exchange feet and kick out quickly with low legs in the "riding order" dance to express cheerful mood and good wishes. It has formed the style and characteristics of Tibetan folk dance and the dance form of plateau agriculture, animal husbandry and religion. It is closely related to the working life, religious psychology, religious etiquette and customs in the plateau living environment. From the perspective of dance, Tibetan dance gestures can be summarized as seven changes: "pull", "leisurely, swinging, winding, pushing, rising and raising". "Swing, smooth, left and winding" is the common feature of different Tibetan dances, or the five elements of Tibetan dances, which constitutes an aesthetic concept different from other fraternal national dances. It has the harmonious beauty of all parts of the body formed by working life and has artistic creation. For example, the dancer's waist in "Guo Zhuang" has a more rhythmic sense, regularly fluctuates and vibrates, and the combination of knee relaxation and waist-hip movement forms a unique dynamic rhythm, giving people a peaceful and harmonious aesthetic feeling. However, due to geographical and climatic differences, language differences, clothing differences and religious influences, people have formed a unique aesthetic taste. Tibetan dances include many popular folk dances. There are Carl's songs and dances for the upper class to enjoy; There are also Qiang dances specially used for religious ceremonies, and Tibetan opera dances of many sects. Although the forms and techniques of these dances are different, their basic body rhyme, movements, postures and techniques are similar, and their basic musical structure and rhythm style are also similar. In terms of clothing, except for the differences in width, fat, thin and color, the styles are basically the same; In addition, their dance style, which is mainly circle dance, is also very similar. Therefore, similar or similar body rhyme is the "root" of the aesthetic characteristics of Tibetan dance, and it is a common reflection of relatively stable aesthetic feelings.
(B) Tibetan folk dance performance style
Tibetan dance emphasizes the coordinated use of feet, knees, waist, chest, hands, shoulders, head and eyes. For example, in Reba Dance, Changdu Guozhuo Dance, Dingri Xiejia Dance and Kampot Arrow Dance, male dancers pay great attention to their upper body movements. Whether holding props or not, their upper body movements are magnificent and powerful, full of plateau temperament, giving people the belief of overcoming all difficult and sinister environments, while the upper body movements of female dancers are subtle and elegant. At the same time, in many dances, such as "Guo Zhuo" and "Guo Xie", the chest or upper body of male and female dancers are slightly forward, which is not a dance of showing things on the back. This phenomenon is not only related to the hypertrophy of clothes and decorations, but also closely related to the size, strength and contrast of movements from the perspective of dance.
In addition, the use of breath is also a major feature of Tibetan dance and a very important link. The integration of rhythm and charm, inner beauty and dance beauty of Tibetan folk dance, through the coordination of unique breathing methods, finally achieves the sublimation of art. Tibetan folk dance expresses its unrestrained, implicit, warm and calm feelings and bright and slow rhythm through breath, knee flexion and extension, footwork and the use of the whole body, which constitutes the flow and continuation of dance modeling.
In the sacrificial ceremony, Tibetan Buddhism used masks of various gods and absorbed a lot of Tibetan folk dance elements, which became a religious dance used by religion itself and Tibetan people to exorcise ghosts and seek gods, benefit the afterlife, preach the fate of Buddhism, explain causality and perform Buddhist stories. This sacrificial dance was later adopted by various sects of Tibetan Buddhism and called "Qiang Mu". Qiang Mu's dance has a large-scale "witch dance" of folk "bird's crown and tiger drum". Dance is mostly a mixture of "animal-like dance" and "instrumental dance" during the performance. There is no singing, and the atmosphere is solemn and solemn, which has a great deterrent effect. Qinghai area is also called "Tiaoqian". Every time Sakyamuni's birthday, Tibetan New Year and important religious festivals of Tibetan Buddhism, major Tibetan Buddhist temples in Qinghai, such as Ta 'er Temple and Rongwo Temple, will hold grand "Qiang Mu" activities.
Solemn music played with suona, French horn, French horn, drums and cymbals. The lamas who perform "Qiang Mu" are old and young, wearing masks of various beasts and holding utensils or weapons, and appear in the order of God. Accompanied by the shocking sacrificial music, these "rockhopper and tiger bird" gods, while bowing down by believers, lined up around the performance venue of the temple. hands in the air, raising his feet, swung forward as a prelude to the whole "Qiangmu" activity. Secondly, there are groups of divine dances with special religious contents, such as "Dharma Dance", "Fierce Dance" and "King Kong Dance", which highlight the supreme power of the gods, "Skeleton Dance" which shows the mutual frolicking of the spirits of hell, and brings auspicious "Deer Dance" to the world, and performs dance fragments of Buddhist stories such as "Giving my life to feed the tiger" and "Karma" in Buddhist scriptures. Among the numerous animal dances, "Skeleton Dance" and "Deer God Dance" are the most lively and lovely, with the most sense of dance and the most loved by the audience. Although these two kinds of dances are also religious dances, they do not feel solemn and gloomy under the shackles of religion. In order to enliven the atmosphere, performances and competitions, such as wrestling and wrestling by monks, are sometimes inserted between successive programs to entertain the people.
Many people think that the current Tibetan folk dance is too old-fashioned and has not broken through the old model. We really don't see anything new in many improved folk dance works with so-called "modern consciousness", and some are only innovations in form and expression, which are divorced from modern aesthetic requirements. Therefore, in order to make a breakthrough in the original dance, we must strengthen its sense of the times and maintain its fresh vitality. Then we can imagine that if we overemphasize the "original ecology", will it be too conservative and hinder its development? And some people will say: but can you say that "Butter Fragrance" is not "original ecology"? Yes, the "original ecology" we are talking about now is not putting the most primitive things on the stage. Folk original ecological dance has been continuously enriched and developed, which has great excavatability. The fundamental purpose of our development is to carry forward national culture.
In a word, Tibetan traditional folk dance is the cultural crystallization of the wisdom of Tibetan working people. Therefore, Tibetan traditional folk dance is like a little-known holy and elegant saussurea involucrata in the depths of the snow-capped mountains. Folk dance is bold and enthusiastic, rough and unrestrained, and its content is extremely rich. Therefore, we should continue to inherit and innovate the traditional Tibetan folk dance and carry it forward.