What are the colorful ethnic folk songs and dances?

Hunan folk dance, a long history, a long history, is the people of all ethnic groups in Hunan **** with the crystallization of creation. According to statistics, Hunan region has nearly 400 dance species, thousands of dance programs, a variety of samples, colorful.

Not only does it truly reflect the reality of people's lives and express their strong desire and pursuit of life, but it also achieves the perfect unity of content and form through the simple and ancient artistic means.

Productive labor is the most basic practical activity for people to transform nature. In Hunan folk dance, there are a lot of programs that directly reflect people's labor life from the words to the movements, such as the performance of labor life in the ground flower drums and lanterns, such as "picking tea in December", "picking tea lamps", "playing the spring" and so on.

"Catching up the bullock and carrying the rake, putting the hoe on the basket, every year there is an April 8, cutting the wheat and planting cotton," reflecting the busy scene of farmers working in the agricultural season of "April 8".

Popular in Zhijiang, Youxian and other places of the "three dozen three", is to labor and labor objects for the main performance of the tandem program, it is to labor as the language of dance, to labor tools as performance props, through the action of knocking the woodchipper, the stretcher, the performance of the farmers on the mountain to cut woodcutting labor life.

The Tujia's "Pendulum Dance" and the Yao's "Long Encouragement Dance" show the production process of agricultural labor by directly refining the dance movements from the labor production of chopping fire burnt, planting buds, transplanting rice seedlings, clearing the land, planting trees, felling trees, and constructing houses.

Others, such as the Spring Cow Dance, depicts the happy mood of people who get a good harvest because of their hard work in farming through the movements of people and cows plowing in the fields.

Love is an ancient and eternal theme. In ancient times, the marriage of men and women was bound by "the order of parents and the words of matchmakers", and young people longed for the autonomy of marriage and the happy life of free love.

Therefore, the love life as the theme, pouring out and expressing the love of young men and women in Hunan ethnic folk dance also occupies a large proportion of the program, such as "October Wanglang", "picking vegetables", "send purse", "look at the dry sister" and so on.

People use the form of "common ballads and slang songs" to express their desire for marriage autonomy by using the local dialect and the simple, natural and witty folk vocabulary:

In the first month of the year, they go to make love with their sister, and the groom plays the golden hairpin on the sister's door.

Sister said money is like dirt, but Lang said love is worth a thousand pieces of gold.

March is the month when you look for your husband, but you can't find him, so you'll have to look for the peach blossoms in your garden.

These are the most important things that you can do to make your life easier.

These lyrics are concise and easy to understand, with deep and sincere feelings; these vows of fidelity, life and death, and ****, do not hide the true feelings between men and women, and boldly reveal the feelings of adoration and joy in an allegorical way.

The "Marriage Dance" is a kind of dance popularized in Chenzhou, Hunan Province, which is a folk song and dance connected by 13 different storylines and 13 different dance sequences. It expresses the sadness of women before and after they get married, and is distinctly anti-feudal in nature.

Whenever a girl gets married a day or two before the wedding, in-laws and relatives gather together to sing the "Song of Marriage" and dance the "Dance of Marriage". Songs and dances are reflecting women's labor life, accusing the persecution of feudalism, complaining of women's suffering and the misery of child brides, crying marriage, complaining about the mother, scolding the matchmaker, its words and tone, grief and pain, hatred and resentment intertwined with crying, singing with singing, singing in the crying, with a low, slow dance, sad sadness, broken people's liver and intestines.

The Huxiang region, which is influenced by the Chu culture, although people pay more attention to the secular life and emphasize on the world, the spirit of pursuing ideals is not inferior to that of other regions and nationalities.

Cheering for the birth of a new life, praying for a soul to enter heaven, and blessing a couple's marriage, Hunan folk dance art, with its unique national style, expresses people's spirit of pursuing ideals and eternity in the best possible way.

Yandi Shennong, the legendary ancient emperor Shennong, is following Nuwa for the world **** Lord. At the west of Yiling County, Hunan Province, there is a Yandi Mausoleum, where people hold a grand Yandi Ancestor Ceremony in October every year, in which people sing and dance to express their reverence for their ancestors.

During the song and dance, people struggle to control the rhythm of the many dancers by beating the drum, whose sticks are no more than 30 centimeters long and about 1 centimeter in diameter, and whose surfaces are striped with a variety of colors.

Obviously, this drumstick is not a simple tool for beating, but a symbol of fertility, with the strange effect of creating life, reflecting the traditional concept of praying for fertility in the temple, which is therefore loved by the people.

The Maugus Dance in western Hunan province. Most of the dancers' bodies are exposed, and their upper bodies and legs are painted with totems of various colors. When dancing, people form two circles, with men in the outer circle and women in the inner circle, and the number of men and women corresponds to each other. It expresses the desire of the masses for the continuation of life *** with the ideals and aspirations.　

In Hunan folk dance, the props, costumes and stage sets used, are all fierce beasts, especially the shape of the leopard as a decoration, and people in their daily lives as a good-luck charm.

The leopard is worshiped as a god of protection in Hunan folklore, and has the function of warding off evil spirits, driving away disasters, and blessing peace. All these fully reflect the connotation of Hunan's ancient "leopard culture".

Death is the end of human life. According to the general traditional concept, that is the soul to another world. In order for the soul to rest in peace in the new world, the living people will have to hold a grand funeral, which is a set of strict procedural process.

In which the invocation of the soul, weeping and funeral dancing gradually evolved into a variety of artistic forms, making the funeral also an expression of beauty. This funerary custom of worshipping the dead with songs and dances expresses people's aesthetic understanding of death and their transcendental aesthetic attitude.

The funeral dance of the Hunan Tujia, the pioneer dance of the Miao, and the flower dance and flower dance of the Han are all dances dedicated to the dead. Although these funeral dances have different forms and styles, they all have the function of strong emotional catharsis and sensory pleasure, with strong romanticism. At the same time, it also embodies a noble spirit of tragedy, revealing the contradiction between life and death, i.e., the limited life of human beings and the infinite universe of space and time.

Mourning dance is the burst of this contradiction and the spirit of tragedy, in the vociferous call to the departed soul, full of infinite desire for life, dancers viewers are in this frenzy of song and dance to express the struggle against fate, to obtain the balance and pleasure after the catharsis. It is this agitation of life, the conflict of emotions that creates a shocking, tragic, funeral song and dance with high aesthetic value.

Hunan folk dance is the most typical, it has a childish and simple art charm. Hunan has deep roots and heritage of farming culture, which has developed the aesthetic characteristics of Hunan folk dance.

For example, the dance of stepping on tile mud reflects the process of making tile mud in various regions of Hunan, and has a strong sense of "stepping on tile mud" as a form of labor life, grasping the texture characteristics of the mud as slippery, slippery, stained, and even, thus forming the dynamics and rhythms of the dance's supporting, pulling, tugging, and pushing, and integrating the shouting, screaming, laughing, and making fun of the life of the stepping on the mud into one, which makes the dance a perfect combination of the dance, and the dance's aesthetic characteristics of childishness and simplicity. The dance is a combination of shouting, screaming, laughing and joking during the process of stepping on the mud, which makes the dance roll up a wave of life fervor.

Here, "stepping on tile mud" is not simply showing the labor process, but through the childish and simple movements and plots, it greatly satisfies the people's demand for aesthetic dance, which is a kind of enjoyment of beauty.

Hunan Nuo opera is an ancient and rare species, known as the drama of the "living fossil", it is to drive away the ghosts and epidemics, respect for the gods and ancestors, praying for a good year and entertaining the gods for the purpose of religious theater performing arts.

Nuo opera initially originated in primitive society of totem worship, about the Zhou Dynasty, this ancient ritual ceremonies with a unique artistic style jumped on the art world. To the Han Dynasty, Nuo dance has become a standing folk ritual, exorcise the scene is very grand. Tang Kaiyuan years appeared in their own music, Song, Yuan gradually evolved into Nuo opera.

The repertoire of Nuo opera can be divided into two categories: one is a dance-based small programs, mainly used to drive away ghosts and pray for a good year. This kind of repertoire plot simple, dance movements simple, strong, vivid, with a fixed body program, brake end of a solemn sculpture-style modeling.

The lyrics have a strong local flavor, the end of the sentence has a superposition of rhymes, back to the loop sentence, the audience and the actors with different tones to call and respond to the same performance with the same music, the atmosphere is warm, all in one.

The other type of Nuo opera is the play, there is a certain storyline, most of them transplanted by the later processing and become. Accompanied by percussion such as gongs and drums, without the sound of silk and bamboo.

Nuo opera masks, can be described as distinctive style, all carved from mahogany and willow wood, coated with colored glaze, similar to the temple in the carving of God's face. Performances, actors will be the masks of the meaning of the rope tied to the head, with the help of some bold exaggeration and rough, repeated programmed actions to show people's psychological activities, vent some kind of mysterious emotions.