英语藏族民间舞蹈论文
藏族是一个能歌善舞的民族。藏族舞蹈由于历史条件、地域环境、生产生活方式、宗教习俗等因素，形成了不同的`舞蹈形式和独有的舞蹈魅力。以下是英语藏族民间舞蹈论文，欢迎阅读。
One, the introduction
Dance is a special cultural phenomenon, a combination of culture, which effectively reflects the typical state and style of national culture. Folk dance is the most powerful "image language" expressing the national thought and emotion. It is the mother of all dances, and its dance art comes from the national culture.
Tibetans live in Tibet, qinghai, gansu, sichuan, yunnan and other provinces. Due to the vast territory, Tibetan dances in the form and variety of folk presentation. Tibetan people have a passion for singing and dancing, when labor, men and women, old and young, in the broad grassland or home theater, song, dance, dance, to express their love of work, life and nature. Dance has become an indispensable art form of Tibetan people's spiritual and cultural life, where there are Tibetan masses and where there are Tibetan dance art. Mysterious, holy people, Tibetan, Buddha religion consciousness, make the Tibetan dance with dignified, religious consciousness and rich cultural connotation, and graceful dance and dance style form of unique personality.
The basic characteristics of Tibetan dance
The characteristics of Tibetan dance are closely related to the historical conditions, social systems, customs and beliefs, geographical environment, production methods and cultural traditions of the Tibetan people.
(I) the physical characteristics of Tibetan dance
Tibetan dance is unique in the form of a common feature, the center of the center, before the body to send or 90 degrees of forward. , the morphological characteristics of the Tibetan women of forward, chest, arm, slack hip, in sports are used to will flow and changes of body movement and body movement, the formation of natural swing dance characteristic. The Tibetan male is characterized by the external development of the lower part of the knee, the posture of the lower limb, and the movement of the upper extremity movements.
In Tibetan dance, the female dancer's upper body movements are reserved and elegant, giving people a healthy and graceful feeling. Women "have a soft body posture", "a light body like a body without meat, a soft dance like a waist without bones, from the back to the like without the arm, from the front look like a belly belly." The male dancer's body movements is very exquisite, armed with props or not, the "upper body movements like lion", thousandrous hooves across 6 strong man's temperament, extremely rich plateau to overcome all the dangerous environment. Regarding the form beauty of Tibetan, Tibetan ancient books have the physical requirements for dancers: "the upper body ACTS like a lion, and the waist moves to be enchanting. Limb joints are dexterous and tendons are loose. Be soft and be arrogant. Act like a flowing water, and the knees will quiver. The foot of the foot should be flexible, the general demand is heroic."
The dynamic law of Tibetan dance
The three main characteristics of Tibetan dance are soft (pliable). The movement of head, shoulder, arm and waist is reflected in body movement. The dancers express their thoughts and feelings with the rhythm of their body, which embodies the beauty of the charm. The second is qu. It is flexible and flexible, with different speed, intensity and amplitude. Lower limbs of bend and stretch is the key to grasp the rhythm, on the basis of the feet on the floor, as the body of the slack and pendulum, rely on the power of the knee and wrist, with the rhythm of the music of ups and downs, crotch then swinging gently. The use of rhythm is mainly reflected in the movement of lower extremity "qu" and "stretch". The third is the tremor. In physical training, the emphasis is on the continuous or small, quick, elastic vibration of the knee. In Tibetan dance, there is no internal "shiver", there is no way to find the flavor of it.
Soft, bending and trembling is the inner charm of Tibetan dance, forming the movement rules of Tibetan folk dance "unyielding and unyielding. Body movement and rhythm is also very important at the same time, the remake is footsteps lightly lift, rather than force downward stomp, at the same time in the filed with the swing of the body's natural, knees slightly vibrate. The dancer needs to smell the flow in the body, the movement of the body and the breath in the rhythm.
(3) basic movements and skills of Tibetan dance
The pace of Tibetan dance is very rich, from the foot movements can be summarized into "rub", "drag", "step", "antecedents" and "point", "yi", "kick" and "plane", "play", "suck", "cross", "twisted" and other 12 kinds of basic steps. The gestures of Tibetan dance can be summarized as "pull", "yo", "swing", "go", "push", "rise" and "Yang". Tibetan dance emphasizes the coordination of feet, knees, waist, chest, hands, shoulders, head and eyes, and the essence and rules constitute the charm of the whole Tibetan dance.
Introduces the characteristics of the Tibetan dance movements, it is necessary to briefly list the Tibetan dance skills in:, plane legs turn, kick turn, fruit and harmonic turn, cross legs turn, jump across turn turn turn, turn to grinding, squatting, kneeling, yi, positive &negative, twisting the waist and reversing, twist the body step point of cross turn, turn, turn, turn, turn, small steps stepped, dead man stepped, lay great stepped, flat spin tiger jumped and cross legs, legs jumped, cover the legs, liao legs jump, ceng step cross legs jump jumped, rabbits, cats, etc. These action techniques are used in the dance to show the spirit and character of Tibetan people.
Tibetan dance, besides the main characteristic of the total of a common on the motion law is the most basic of "three steps", "retreat before step", "whilst travelling", "four step rotary" common rule. On the basis of this common law, different changes are produced, combined with the operation of the gesture, the rhythm of the waist and the difference of music, which constitute different dance styles.
Iii. Classification and style characteristics of Tibetan dance
National dance has a long history and passed down from generation to generation. The feeling is sincere and rich, the style is varied. Tibetan dance is a folk dance with national characteristics. It is a common basic image, such as loose crotch, bow waist, curved back and so on. It has a heavy working life in the plateau region.
The influence of religious psychology, religious etiquette and customs. When they dance, these movements will naturally be reflected in the dance, making their image with obvious special cultural psychological factors.
(I) classification of Tibetan dances
Although Tibetan dance is in various shapes and varieties, it still can be attributed to the four series and categories, namely, folk, religious, drama and court. The folk dances include fruit harmonic, heap harmonic, fruity, harmonic, etc. Religious dance is divided into qiang mu, home dance, gonggar inspiration, etc. The opera dance was performed by rahm, gesar and helong zhongzi, etc. The palace dance has a cloud dance (gael) and so on. In the multivarietal dance, even in the same folk dance form, there are different dance and performance procedures in different places, presenting the multi-style characteristics of the same form of dance.
(2) to look at the performance style from the common types of dances
The performance styles of Tibetan dance are varied and varied, with singing and dancing, dancing, singing, dancing, singing and dancing.
"Zhuo zhuo" also called the "pot zhuang dance" to focus on emotional expression and graceful dance. The dancer moves in front of the body, turn the hip, the squat and turn to wait for the main, the waist to the rhythm, the regular undulations, the beauty of peace and harmony.
"Heap harmonic" commonly known as tap dance, simple and easy, have the step for the festival, the rhythm of the rhythm change under foot, to kick, kick, step, walk, swing, jump, smart and nimble, exquisite and exquisite.
"Harmonic" is the string dance, the hands shake the long sleeve, the movement is graceful, smooth, the slow stretch stretches, the stretch extends continuously.
"Fruit harmonic" refers to the circle dance, have stamped for the day, even the arm extension, bold and unrestrained, free and easy body has a v, at the foot of a flexible, action in front of a hand, hip, squat down and turned, lively and warm.
"Harmonic" men and women together dance, dancers with premiere shaking from the "vibrato" bursts, dancing on the issue of thick corresponding "chatter", how to simulate a peacock posture movement for its physical characteristics. The dance posture is round, stretch, the melody is easy and fluent, it takes "drag step", "point step to turn", "sway sleeve", "forklift" display action, long sleeve flies very characteristic.
"Zhuo" is bold and bold, with the characteristics of "song without dance, dance without song", technical performance takes the main position of dance, step, jump, flip, shake, soft, steady and powerful.
"Hot bar" is a characteristic "bell inspire", with a skillful and skillful skill, with witty and humorous performance to win. Heishui "dance has been bold and unrestrained, hypertrophy of the pants men are like eagles, coarse legs strong powerful, dance more simulation beast form of action, especially an eagle, eagle wings like eagles jump, eagle hovering, etc. The graceful opening, heavy posture and emotional expression of women are the physical manifestation of the fierce temperament of Tibetan people in dance.
There are also some dances performed at the sacrificial ceremony, full of mystery and piety, which reflect the inviolability of god. With the gradual thinning of religious consciousness, the human spirit is changing, but the movement and style of this dance have become the national aesthetic characteristics.
Tibetan dance style is characterized by its characteristics, which is the beauty of Tibetan dance form, which is the form and individuation of spirit and emotion reflected in dance. It is because Tibetan dance art has special dance style that makes it more brilliant.
The typical dance posture of Tibetan dance
The Tibetan people live in the qinghai-tibet plateau known as the "roof of the world", where the Himalayas and the world's highest peak mount Everest. Due to the difference of altitude and natural environment, a river valley area suitable for farming is formed, and a grassy area suitable for grazing is formed. The Tibetan dance form is the integration of the culture of agriculture and animal husbandry and the religious culture, which makes the Tibetan dance.
(1) "shun bian mei" of Tibetan dance
"Shun" refers to the movement of a particular movement and posture in the dance process. It is a life of oxygen by the high mountains, plus the rugged mountain road, walking on the plateau for labor or weight, when the body centre of gravity is tilted to one side, the center will be tilted, the side of the hand also is with to YiShun edge. This posture is the least dangerous as it travels, and it is the most energy, so as the basic daily life in gait, and gradually sublimated into "YiShun edge" dance of beauty, manifests the plateau national aesthetic psychology, form a unique dance posture. The dancer takes the waist as the initiative, the body and the arms to the same side of the big swing, gives the feeling of the wave undulating.
(2) "peacock eating water" in Tibetan dance
Tibetan dance dance features are reflected in the depiction of dance images. For example, the form of "peacock eating water", while praising the peacock, is a gesture of the eagle. The peacock is a symbol of auspiciousness. It is a popular flying bird that flies in the air like an eagle, and the local people regard the peacock and the eagle as the bird of the bird, so the peacock is the peacock in the dance of the eagle. Dancers perform a peacock, holding the robe horizontally on both sides of the flexor, exchange, lift one leg, forward, after a slow rotation, the dance image of nature is very beautiful and serene, full of hope, like the eagle wings, fly like birds. The two are integrated into the dance on the basis of religious culture, which embodies the unique style of dancing and the profound religious psychology.
5. Costume factors of Tibetan dance
Clothing is a part of national culture, both the crystallization of material civilization and the meaning of spiritual civilization. Tibetan people from generation to generation in the qinghai-tibet plateau and the routes of nomadic and animal husbandry and agriculture, thus has formed a typical in the dress of the snowy plateau unique local style characteristic. The dress is decorated with the effect of the dance performance, and can enhance the dance's appeal.
(I) basic characteristics of Tibetan clothing
The most basic characteristics of Tibetan clothing are fat waists, long sleeves, broad-skirts, long boots, braiding, ornaments, and heavy colors. Bulky garment sleeve is capacious, the arms are retractable, it is cold and warm and convenient to live, the day temperature rise can be able to take off an arm, when hot days can expose the arms of double sleeves rolled in the waist. Over time, this kind of costume formed the Tibetan dance style. For example of qinghai region dance dance, such as zhuo, such as harmonic man more typical action is: by the movement of the big arm drives the natural movement of the shoulder and back arms waving a wide long sleeve as far as possible, and the range of motion is greater than the upper arm. Dance art workers combine the costumes more closely with the dance movements and exaggerate them to make their sleeves longer than the human body. For example, the Tibetan dance works "plateaus", the white long sleeves flying in the air, the beauty of nature accompanied by the graceful dance of the sleeveless sleeves, like the white clouds dancing in the blue sky.
(ii) artistic features of Tibetan clothing
The artistic features of Tibetan clothing are multi-faceted. The most prominent features are in colors, patterns and other aspects. The different colors of clothing bring people different feelings. For example, the dance costumes of kangba and Tibetan north are mostly colorful, and the dance is in proportion to the dress, showing the dance style of enthusiastic, bold, strong and rugged. And in the female string dance, the dress is warm color, give a person a kind of beautiful, pure and shy feeling, foil the dance beautiful, quiet. Like the dance of mother river in the big dance, the designer USES the wider pink as the decoration side, which has both Tibetan ethnic characteristics and the feminine side of Tibetan women.
Vi. Appreciation of classical Tibetan dance works
In the appreciation of Chinese folk dance works, there are many excellent works, which still serve as an important part of our teaching, and more deeply feel the charm of Tibetan dance.
(1) dance of "hot ba on the grassland"
Won the sixth world youth festival of students of peace and friendship dance games bronze medal works the heat of the plains, is the Tibetan people's love and be familiar with the traditional folk "hot," as the prototype, after finishing processing and create. In the form of novel freedom and variety. The greatest feature of the works is the integration of song and dance, while people appreciate the intense encouragement of "hot ba" and enhance their understanding of the dance content through the lyrics.
In the main dance performance, first, the male actor takes the bronze bell as the prop, jumps the bell to inspire, USES a lot of "body bounces", "feet jump", "turn to kneel down the waist" and other skills; Then, the actress struck up the hot bass drum, making a variety of drumming movements, making the dance a lively atmosphere; In the end, a group of Tibetan women, with the slow and slow singing, began to dance with a graceful and graceful "string dance" with a large range of "string dance". Performance in handheld items show excellent dancers dance skills, through the dance movements convey the content of the lyrics, sing Tibetan people a new life, new China performance holiday hot and artists and people of all nationalities in the lively scene of jubilation.
(2) the female solo dance "mother"
Opened in Beijing in 1993's "mother" dance works, with pine waist hip of Tibetan dance peculiar posture characteristic as the foundation, use significantly lower body, forward 90 - degree posture, create a wearing coarse Tibetan robe, hunch over shrink back, old lady image quivering. Although the years had left her in the old mark, she was dancing with infinite love and vitality, sometimes as strong as the Himalayas, and sometimes as tolerant as nammu lake.
The first part of the dance takes the core attitude and shows the mother's old age. Yet every old mother, in her children's heart, is always young. In the second dance segment, the graceful and flowing string, the quiver of the knee, and the flexion of the knee, depict the young mother who is dancing, and express the joy and beauty of the young life. The third dance was still back in her old mother's heavy body and staggering pace, and the mother sat in the dim light of the light, her arms dangling.
The work shows thousands of simple and kindhearted mothers, giving the audience a better understanding of the Tibetan people. The works are full of deep feelings for the Tibetan people and are deeply familiar and loved by the audience.
Seven, review
The industrious, courageous, intelligent and unadorned Tibetan people thrived in this fertile land, creating a splendid folk art civilization. Tibetan dance is a microcosm of Tibetan national life. It is the cultural accumulation of Tibet's nearly 5,000 years of historical process and embodies the wisdom of Tibetan people. Tibetan dance is the life and sentiment of human beings on the roof of the world, and it has a variety of different styles and styles, which is a splendid treasure of Chinese culture. With the development of The Times, Tibetan dance will shine with a more brilliant and dazzling light.
So let us share the root of national culture, carry forward the national culture, develop national culture, and let our local culture go to the world in the course of teaching the education teaching.
References:
[1] jia anlin. Appreciation of Chinese folk dance works [M]. Shanghai music press, 2006.
[2] pan zhitao. Chinese folk dance textbook and teaching method [M]. Shanghai music press, 2007.
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