What does traditional dance mean?

Six traditional dances in Korea include shamanism, Buddhist and Confucian rituals, court entertainment, country or folk dances and masquerade balls. The unique movements of Korean dance are: walking on tiptoe and turning on tiptoe; Gently lift after squatting; Shake slightly upward from the hips; Shoulder tremor; Clean movements, good at improvisation. The most distinctive movement of Korean dance is that one part of the body is suspended, one foot of the body is balanced, the other empty leg is straight, and the shoulders tremble up and down. This shows a strong sense of ecstasy. All kinds of dances fully show the sense of selflessness, including shamanism and farmers' folk dances, as well as the extremely grand and limited court dance "Trembling Shoulder".

Like other Asian dances, Korean dances are different from western dances. Western dance shows the dancer's personality, sexual characteristics and body. Korean dancers are impersonal and restrained. Western dancers like to make the audience pay attention to themselves and unify their feelings and dynamics with the harmony of light and sound, while Korean dancers are not interested in the external performance of physical stunts, but only like to express highly abstract joy. Korean dancers' bodies are hidden in long-sleeved and wide silk clothes, becoming the image of some kind of flowers or birds living in a pure and abstract world, reflecting the influence of surrounding culture for thousands of years.

As far as its origin is concerned, dance is sacred, magical and ceremonial. There are three ritual forms in Korea, namely shamanism, Buddhism and Confucianism, among which shamanism is the most developed and permeates all other ritual forms. In Confucianism, dance is the least and ceremony is everything. At Sungkyunkwan University, students hold activities twice a year to commemorate Confucius and several other scholars from China and South Korea. One is the birthday of Confucius on September 2nd of the lunar calendar, and the other is on March 20th of 2 1 year of the lunar calendar. Eight of them stood in a row and bowed rhythmically to the left, right and middle. In the first part of the activity, they held a flute in one hand and Long Touzhang in the other. In the second part of the activity, they beat the wooden shield with mallets. Jadeite chimes and bronze bells in rows are part of ancient accompaniment instruments, and respectful and slow bows, poetry-chanting ceremonies and ceremonies to pay homage to "sacred wine" are accompanied by these instruments. No one will rashly walk in the middle aisle, which is empty to meet the gods.

On the first Sunday of May, he attended a grand ceremony in the ancestral temple (the royal ancestral temple) to commemorate the 20 kings and queens of the Korean dynasty, and performed songs and dances designated by the Korean government as the first batch of national intangible cultural property. The court dignitaries presided over religious ceremonies in front of 20 separate shrines, and the scene was spectacular. The special music created by Sejong used ancient musical instruments such as jade chimes and chimes with the same shape but different thicknesses. The sound quality of this kind of music is rounder and louder than that of Confucian rites and music. Dancing is more exquisite. Every eight students stand in a row, wearing purple-lined dahongpao and courtier hats. In addition to repeatedly bowing to God, the West and the East, one leg is bent and the other leg is off the ground three times. In 1 1 14, it was introduced to Korea from China in the Song Dynasty. After watching this slow-motion performance, people can't help but respect the gods of their ancestors.

Korean court dance has ancient roots. Four hundred years before the court ballet appeared in Italy during the Western Renaissance, and in the middle of the Koryo era (1 1 century), the court actresses created exquisite and poetic scenes. This kind of court dance takes poetry as a prelude and sequel, with symbolic props, gorgeous costumes and special music. For example, there are 32 girls dancing in the boat, 6 people rowing and 2 children sitting on the boat. After anchoring, the boat turned around and four dancers pulled the rope. As many as 200 actors were grouped in a highly stylized style to participate in his spectacular royal entertainment in the spring. Some dances can be traced back to the reign of Kang Wang in Silla Kingdom (876-86), such as Churong Dance or Donghai Dragon Dance, which shows the cultural exchange activities between China and Tang Dynasty in music and dance.

The court of the Tang Dynasty cherished Korean art very much. There are three kinds of Koguryo dances in the classical reserved programs, two of which are famous for being praised by poets. Li Bai once wrote (in a poem entitled "Koguryo"): the golden flower folds the hood, and the white horse returns late. Wide-sleeved dance, like a bird from the East China Sea. When this dance was performed in China, the songs of Li Bai's poems echoed in the air with the dance.

Korean artists are far more than passive Chinese and Korean people, or cultural communicators who spread Japanese art to Japan. They have created many excellent music and many existing dance forms in both countries. Japan has benefited a lot from Korea in art. As early as AD 285, Korean artists introduced music, which was the first among Japanese pop music. In 548 AD, more musicians were sent to Japan. During the Baekje Kingdom, China's pantomime of masked comedy was introduced to Japan in 6 12 A.D. by the Korean Wei Mozhi who came back from the court of the Tang Dynasty. This kind of drama, called "Ji Le", is very popular in Nara court and lasts for a long time.

Chu Rong Dance, Donghai Dragon Dance, is an indecent classical dance in Korea. This kind of dance was originally a solo dance, and later it became a duet, and it became a four-person dance in the early Korean era. This kind of dance was performed in the court before the New Year, with the aim of driving away all evil. The actors performed a single continuous action. Everyone wears a brown mask and blue, white, red, black and yellow clothes, representing five directions, namely four basic points (north, south, east and west) and the center. Then everyone dances in pairs with the person standing in the middle, and everyone spins together. Music is the song of shamanism. Masks may be related to Tibet, and the practice of using white long sleeves may come from China.

The name of Korean court dance shows the image of flowers and birds: beauty picks peony, phoenix, nightingale and crane dance. Today, sword dance is a weapon dance performed only by women. This kind of dance does not show off fencing, but only performs funny fencing movements. These elegant images, like throwing the ball, reflect a complex and meticulous interest, which also contains quiet humor. In the ball throwing dance, two teams of women compete to throw wooden balls into the goal hole decorated with flowers. Whoever throws it will get a peony flower. If you can't get in, a "daubing girl" draws a black line on a face. Throwing, rewards and punishments are all expressed through smooth and rhythmic movements. Before the start of the whole activity, you can see the guidance of holding flags, and these people sang the opening and closing songs.

The classical "nightingale dance" needs the most skilled skills, because it is performed at the slowest speed in the smallest space. People are mainly interested in waving long sleeves continuously and forcefully like a rainbow ribbon.

Sejong, a great king of the Korean dynasty who ascended the throne in 14 18, likes literature, astronomy and beautiful art as well as music and dance. He divided music and dance into three parts and changed the costumes of court musicians and dancers. His grandson Chengzong ordered someone to write a comprehensive book on Korean music and dance, Style of Music Learning, which described the dance movements, costumes, props, procedures and musical instruments still used in the reproduction of these ancient works of art. ..

Korea is lucky to have these treasures handed down from ancient times, and artists from the National Conservatory of Music can show them again. Early records show that the aristocratic court youth "Hualang" (Silla's youth elite organization) appeared earlier than the court female dancers. At one time, members of young men's organizations danced only for the king and his ministers, while female dancers danced only for the queen and her court.

In the court dance "Crane Dance", two lotus flower buds are displayed at the back of the stage, and two dancers dress up as two big cranes. As the dance unfolded, two big cranes pecked the flower buds of the lotus with their long beaks, and then the petals unfolded, and children dance actors appeared. Similar dances have the same children coming out of the lotus and two big cranes as the protagonists of the birds. Peony flowers and lotus flowers are of course symbols from Buddhism.

Performers of court dance programs trained and performed in the National Conservatory of Music, dressed in gorgeous costumes, wearing small golden crowns and glittering pendants, showed elegant dances. The neckline is very high, the wide skirt is tied on the flat chest, and the hand is hidden in the long sleeve and dragged on the ground like a rainbow ribbon. South Korea's light dancing shoes, stockings on the legs, toes upturned, rarely show the date, only when the skirt occasionally swings away from barefoot. This is an impersonal light-colored image, more like a flower than a person. The technique is so skillful, the posture is so symmetrical, the dance is so peaceful and elegant, always vibrating rhythmically from the chest to the shoulders, and the arms are stretched. All this is to imitate birds spreading their wings and flying effortlessly, which is an art that hides art.