Artistic characteristics of folk dance

Artistic characteristics of folk dance

The artistic features of folk dance are rich and colorful, which should at least be regional, closed, national, national, folk, mass, group, amateur, playful, self-entertaining, catharsis, ritual, performance, divinity, humanity, simplicity, repetition, participation, square, earthiness, life, imitation and reality.

Northeast yangge

Let's talk about the northeast yangko first. When it comes to northeast yangko, we must start with stilts in southern Liaoning. The stilts in southern Liaoning have unique style and dynamic characteristics, which artistically reflect the character of the northeast people and the aesthetic habits of the countryside. These characteristics are formed by the northeast people in their long-term life. The vast northeast plain is flat, with distinct cold and hot. Most of the Han people living here are laborers engaged in reclamation, mining and hauling, forming a tough, frank and stubborn character, and at the same time forming an aesthetic habit that the people in Northeast China like rich colors and rough lines. Over time, a set of dance movements and body characteristics that conform to the nature of the northeast ethnic group have emerged. Northeast Yangko, which was bred and developed from stilts in southern Liaoning, always keeps its posture forward, and kicks and lifts powerfully when it comes out; When it is taken back, it falls fast and steadily, which is a smooth combination of regular knee setbacks and dance somersaults, forming a unique posture dynamic law of Northeast Yangko, which is called "Golden Root". This kind of "vigor" is also consistent with the strong and unyielding character of the Northeast people, which embodies the unique life customs and personality temperament of the rural people in the Northeast Plain. From the above analysis, we can see that it is the dynamic law of this posture that fully shows the open-minded and cheerful character of the people in Northeast China and forms the artistic appeal of the violent atmosphere of Northeast Yangko.

Tibetan dance

Talk about Tibetan dance again. Among the four well-known folk dances in Tibet-Duixian, Pot Sticker, Pot Zhuang and Heizi, no matter which one, its posture features are sitting on the hip, bending over and bending back. Obviously, for Tibetan dance, it is not only its existing natural environment that plays a decisive role, but the personality characteristics of the Tibetan people. In order to explore the more essential reasons for the formation of Tibetan dance posture characteristics, it is necessary to pursue Tibetan history, social system and religion more deeply. Historically, Tibetans are nomadic and agricultural people living on the alpine grassland on the roof of the world, with strong physique and indomitable national character. Although the natural environment of the Qinghai-Tibet Plateau has brought many difficulties to the survival and reproduction of the local people, the Tibetan people who have lived here for generations have created a unique and long-standing national culture and artistic tradition with their diligence and wisdom. In this special cultural and artistic tradition, religion constitutes a thread that runs through national life. Devout religious belief and emotional psychology, coupled with daily heavy physical labor and living habits, have formed the hunched posture in Tibetan daily life, which is further reflected in the dance, resulting in the basic posture characteristics of sitting on the hips and hunching over, and developed into a dynamic rhythm style system.

The analysis of the folk dances of the above two nationalities shows that the human body art culture, which originated from different religious beliefs and cultural traditions, is the recognition of the spiritual goals and values of this nation, and after this recognition, this spirit is emphasized and strengthened by the dance, so this nation is United and powerful under the cohesion of this power. Therefore, the folk dance culture based on a nation's profound culture is bound to be recognized and loved by the people of this nation. As a product of spirit, he not only has strong national cohesion, but also closely connects the national hearts in group dance, overcomes all difficulties and obstacles and struggles for survival.

It can be seen that folk dance is not an accidental phenomenon, it is the product of the development of human culture, and it is a dance form with the purpose of self-entertainment and integration with its growing environment. Folk dance has its own development law, evolution track and performance system, which is independent of individual will. It has its own position and function in society. It is an important part of the cultural property owned by the people and should be respected and protected so that it can evolve along its own development law more healthily.

Tibetan folk dance has a long history, with a long history, many varieties and rich colors. Tibetans are also a nation that can sing and dance well. Tibetan folk dance not only embodies the vitality and fighting spirit of the Tibetan people, but also has a strong fitness function.

Tibetan folk dance has a long history. During the reign of King Dele Xiaole, the first generation leader of the Tubo Dynasty, "Lu" (static song) and "table" (dynamic dance) had developed in the 1 century BC. There is also a saying that "song and dance prevailed during the reign of King Dele Xiaole". In the 7th century A.D., King Songzan Gambo of Tibet formulated the "Ten Good Laws" in order to consolidate the royal power and stabilize the society. According to the Chronicle of the King of Tibet, when this code was published, all Tibet was in jubilation. Or they decorate rhinoceros or liger, or hold fireflies to inspire people to perform music and dance in various postures. During the Tubo period, Tibetan folk dances, animal dances, legal encouragement and religious witchcraft dances flourished.

In Tibet, the forms and movements of folk dances vary from region to region. Many of their dance activities have strong fitness functions, such as "fruit harmony" (circle singing and dancing) in rural areas, which is full of enthusiasm and joy; There are festive steps, changes in rhythm and ideas under the feet, and warm and cheerful "harmony" (tap dancing); There is a kind of "fruit table" (pot dance) in rural pastoral areas, which not only shows dance but also emphasizes emotional expression. These songs and dances are vivid, healthy and noble, integrating entertainment and sports. It integrates sports, entertainment and art, and it is also a kind of sports, entertainment and art activity. Tibetan folk dance is not only varied and skilled, but also combined with Tibetan national art, integrating sports, music and dance, showing superb technical level, which is both entertaining and fitness. In addition, some dances imitating animal movements are popular in Tibetan temples and folk, such as eagle dance, lion dance, yak dance, deer dance and monkey dance. It is very similar to Wuqinxi in the Han area. These dances have the functions of "promoting depression", "dredging joints" and strengthening the body. Dance is not a single sport, it is always accompanied by music, and it is a comprehensive activity in which sports and music are integrated and music is mixed. Modern medical research has proved that cheerful and relaxed music can make people refreshed, energetic, blood circulation and meridians unobstructed. Therefore, often dancing Tibetan dance can not only enrich cultural life and promote health, but also enjoy it, keep it and cure it. Tibetan folk dance is another form of aerobic dance movement. Especially in plateau environment, it is helpful to adjust mood, relax body and mind, lower blood pressure mentally or restore blood pressure of cardiovascular system psychosomatic diseases, such as hypertension and coronary heart disease. Through the aerobic exercise therapy of Tibetan dance, the arteries can be softened and dilated, and the blood flow is smooth. If you often dance Tibetan dance in the right place, you can make the blood vessels in a beneficial state of softening and expanding, thus effectively preventing arteriosclerosis. Because when dancing Tibetan folk dances, dancers are required to hold out their chests and suck their stomachs, and the movements of head, muscles, back, waist, buttocks and ankles are coordinated. Through the joint movement of all parts of their bodies, their movements are both rigid and flexible, persistent and solid, thus achieving the unity of beauty. Folk dance can develop physique, especially coordination and sensitivity, and promote the development of bones, internal organs and nervous system. Folk dance can be said to be an active way of rest. People who have been engaged in mental work for a long time can dance folk dances in their spare time or rest time to shift the "focus of excitement" in their brains, which is not only an aesthetic enjoyment, but also can adjust their physiological and psychological functions. Through sweet music and elegant dance, it not only cultivates the imagination, expressiveness, appeal and attraction of athletes themselves, but also makes people feel refreshed and full of strength, which is more suitable for young people's youthful personality characteristics. In a word, the outstanding entertainment and fitness of Tibetan folk dance can make the national fitness activities be carried out in a form that Tibetan people like, so as to achieve the purpose of physical and mental pleasure and physical fitness.

Other classifications

Korean folk dance

In the ancient art history of China, Japan and South Korea, North Korea has always been ahead in music and dance, while China and Japan are good at poetry and painting respectively. Therefore, North Korea's folk dances are colorful and distinctive, which fully shows the implicit, restrained, tenacious and resolute character of the Korean nation. There are two representative folk dances: folk dance and impromptu dance. The former is a form of singing and dancing, and the dance movements are divided into holding hands and not holding hands, while the performance content is the difference between men praying and wishing and women settling their grievances. The latter is a free improvisation dance when dancers are in high spirits. Improvisation, imitation of nature, dynamic and static combination and vivid charm are the four basic characteristics of Korean folk dance.

North Korea's hat dance, also known as farm music dance, often appears in the performances of four-piece games.

Among the specific dance programs, the most typical ones are crane dance, fan dance, monk dance, resentment dance, hat dance and Taiping dance. These representative dances and dancers have been properly protected and developed healthily because the Korean government referred to the "intangible" cultural wealth-"national treasure on earth" system founded by Japan in 1950 and subsequently promoted by the United Nations.

Arab folk dance

Because people in the Arab region generally believe in Islam, folk dances here have not been paid enough attention. One reason is that most women in this area live in seclusion and can't dance in public. However, as the most instinctive expression of human beings, Arabs, especially Arab women, have never lost their dancing nature. Good women often dance behind closed doors at home to please themselves or their families. Women from poor families don't have to care about these rules and regulations. They can dance as much as they want, and enjoy the excitement of "being alive" while maintaining their survival and supporting their families.

From about17th century, folk dances in the Arab region were gradually absorbed by folk dramas, and women's humble position in them also entered the drama, which led to the continuation of the tradition of women disguised as men. Until the 20th century, women in Christian and Jewish regions appeared one after another.

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