Tibetan dance basic movement points

The charm of folk dance makes a lot of people like, and this love is not limited by age, especially the Tibetan dance, the following compilation of some of the basic points of Tibetan dance movements, welcome to read!

Basic Tibetan dance movement points Part 1

I. Upper limb part of the action to explain:

1. Qi Mei shaking hands

hands down, action, bent wrists, elbow bending, driven by the wrist, the two hands on the chest alternately shaking. The right hand is rowing circles clockwise, the left hand is rowing circles counterclockwise. This action is divided into large, medium and small. Smaller than the front of the abdomen and chest; the height of the middle shake in the eyebrow; greater than the front above.

2. Shake the cover hand

One hand shake, the other hand bent arm wrist, palm wipe, through the upper arc from the side and inside, forming the flow of the upper arc. One-handed shanggai is also commonly seen around the waist and in front of the abdomen.

3. Hip paddle

Hands down, left and right hands successively in front of the hip from the inside out to the side of the circle. Right hand clockwise, left hand counterclockwise in the plane of the circle. Hip front rowing hand and Qi Mei waving hand is a regular connection.

4. Back and forth hand swing

Both hands hang down by the side, swing forward and backward at 45°, with the wrists active.

5. Horizontal swing

Both hands hanging down by the side, mostly one-handed horizontal swing, the wrist active drive the small arm, the big arm followed.

6. Plane swing

Both hands hanging down by the side, one hand up to the side, from outside to inside in the chest level swing, wrist drive, arm follow.

Second, the lower limbs part of the action to explain:

1. broken pedal

Both feet full foot alternately stepping, double knee trembling, stepping foot rhythm is equal. You can move in, out and turn your body.

2. Trembling Step

Weak beat and knee sinking, action leg heavy beat on the ground and straighten the knee trembling (change support leg), at the same time lifting the other leg. When the action, step on the ground and lift the other leg synchronized, trembling to keep the upper body stable, loose.

3. Lift and tread on the ground (Lift and tread is also known as "Gang Ta")

Weak beat both knees down, at the same time lifting the forefoot, heavy beat the knee drive, ankle force, the palm of the foot quickly hit the ground, and at the same time, trembling knee. It can be done with both feet or with one foot.

4. Suction trembling step

Action leg suction leg, support leg rub tiptoe trembling knee once, and then drop foot "broken step" twice. Pay attention to keep the upper body stable and loose.

5. Retreat step

Action leg back half a step, the foot on the ground, at the same time the support leg slightly off the ground, da pat support leg on the ground, and then action leg on the ground trembling knee. When the action, it has the characteristics of retreating trembling and separating trembling, and sliding smoothly after stepping on the ground.

Basic Tibetan dance movement points Part 2

1 fruit harmony Tibetan circle dance

"fruit", in Tibetan, the table circle, "harmonic" in Tibetan, the table song and dance, the two together into one, it means circle song and dance. "Fruit harmony", spread in the vast rural areas of Tibet, common in the village, square, wheat field and open ground, the participants are less than a dozen people, more than hundreds of people, is the most extensive Tibetan masses like a kind of self-indulgent song and dance. The traditional Tibetan festival "Wang Guo Festival", in which "Wang" means "field" or "field" in Tibetan, and "Guo" means "fruit". "Fruit" means "parade" or "circle", and together they mean "parade in the field". In addition to the folk rituals held during the day, the main event of the festival is the gathering of farmers to perform the Gohono. The Gohon movement is derived from agricultural labor movements, but its artistry is much higher than that of agricultural labor movements. The structure of the dance and the complete form of expression is as follows: performers in a circle, including men, women, half of the circle, the forefront of the queue for men and women, respectively, Harmony Ben. Song and dance performance, the order of male singing a male and female **** dance → female singing a male and female **** dance (called "harmonization of a"), performers sing and dance, and from left to right along the circle of clockwise marching. The marching performance is divided into slow and fast, the first slow dance (called "Jue Harmony"), the slow performance ends with a crowd of dancers shouting in unison (e.g., "Hugh Hugh Hugh") or saying a few fast words, followed by a fast performance (called "Harmony Hugh"). After that, there will be a fast performance (called "Harmonizing Hugh"), and then after the fast performance, the dancers will shout out in unison, and the dance will end in a staccato rhythm. The entire dance performance is rarely used to play a musical instrument.

2 Dui Huan Tibetan tap dance

"Dui Huan" in the "heap" of the Tibetan language refers to "on" or "high ground". "highland" meaning, "harmonic" means "song and dance", therefore, the Tibetan dance "heap harmonic" refers to the Therefore, the Tibetan dance "Heap Harmony" generally refers to the rural circle dance in the upper reaches of the Yarlung Zangbo River in Tingri, Ngari, Lhatse, and Sakya counties, as well as in the area known as "Heap" in Ali. After Tibet was formally incorporated into the motherland, the Zha Nian, a musical instrument used as an accompaniment to folk dances, appeared in the "heap" area. The "Zha Nian" was gradually absorbed by the local people as the accompanying instrument of the "Fruit Harmony", which transformed the movement of the "Fruit Harmony" to tap, and three purely musical parts, namely, the prelude, interlude and coda, appeared in the songs and dances. In the song and dance, there were three purely musical parts: the intro, the interlude and the outro, which also constituted the prototype of tap dance. In the middle of the seventeenth century, this kind of dance flowed into Lhasa, and its basic rule of change was "three steps and one change", and at the same time, the feet stepped out of a variety of rhythmic sound, and then with the accompaniment of the orchestra made up of Yangqin, Jinghu, flute, six-stringed and other stringed instruments, the structure of the "heap of harmonic" dance music gradually became complete. The structure of the "Heap Harmony" dance music is gradually becoming complete, and the whole system mainly consists of "Descending Harmony" (slow song) → "Harmony Individual" (head of the song) → "Jue Harmony" (fast song and dance) → "Harmony Hue" (fast song and dance) → "Harmony Hue" (fast song and dance). Harmonization is composed of four parts: "Harmonization" (slow song), "Harmonization" (song head), "Harmonization" (fast song and dance), and "Harmonization" (end). The heap of harmonic circulation area is relatively wide, the popular region of the heap of harmonic characteristics are also different. On the whole, there is a pile of harmony in Tingri, Lhazi pile of harmony and Lhasa pile of harmony in three folk pile of harmony song and dance music. Lhazi heap harmony, also known as the "north school heap harmony", mainly in Lhazi, Angren, Dingjie, Saga and other counties popular. Its music is beautiful and rhythmic, with a seven-tone scale as the main tone. Accompanied by a handful or more "Zainian", playing skills are higher, more flowers. There are two kinds of Lazhidu Harmony according to different musical structures: the first one is composed of two parts, namely, "Descending Harmony" (a slow song) and "Jue Harmony" (a fast song); the second one is composed of only "Jue Harmony", and the second one is composed of only "Jue Harmony", and the second one is composed of only "Jue Harmony". The second type has only "juehuan". The basic tune structure of Lhazduhun consists of four to five parts in the introduction ("Guojue"), the slow movement, the fast movement, the interlude ("Baljue") or the coda ("Huujue"). Lazhi Dui Harmony emphasizes song and dance, and the dance is unrestrained and enthusiastic. Tingri heap harmony, also known as "celluloid harmony" or "south school heap harmony", mainly popular in Tingri, Jilong, Nyalamu and Saga and other counties. Tingri pile harmonic has very strong plateau characteristics, its music performance for the ancient rough, stretching bold. The scale is mainly in pentatonic mode, and there is also a six-tone scale. Usually with a "Zainian" accompaniment, accompaniment type is relatively simple, mostly for a beat a sound. There are three types of Tingri Dui Harmony: the first consists of "Descending Harmony" and "Jue Harmony"; the second consists of only "Jue Harmony"; and the third consists of "Descending Harmony" and "Jue Harmony". The first consists of "descending harmony" and "juehong"; the second consists of only "juehong"; and the third consists of "descending harmony" and "juehong", with no instrumental accompaniment on the loose plate. The songs of the first two structures are widely popular. In addition, Tingri Dui Harmony pays more attention to the collective singing style, and sings in a real voice, with a heavier guttural tone and less decoration. Lhasa heap harmonization is the most typical heap harmonization of a city heap harmonization, mainly circulated in Lhasa, Jiangzi and Rikaze and other cities. In addition to the "Zanian", the accompanying instruments of Lhasa Dui Huan also include Jinghu, flute, yangqin, stringed bells, and Teqin, etc. When Lhasa Dui Huan singers sing, they have a strong throaty voice with less ornamentation. Lhasa heap harmony singers sing the widest range of up to twelve degrees. When singing, the singer usually sings solo, and need to alternate between true and false voices. Lhasa heap harmonious dance movement light and dexterous, dance steady and small amplitude, mainly focusing on the foot tap action of the rhythm of change and skill.

3 strings Tibetan string dance

"strings", the Tibetan language for "harmonic", the Tibetan hinterland known as "Kang Harmonized". ". Batang, Chamdo area called "leaf", because of its dance accompanied by playing instruments for the horn instrument "Baiwang" and named. String Dance is mainly based on lower limb movements, and its power characteristics can be divided into two kinds: one is to thigh drive calf, calf lifted higher, both eyes looking ahead, dance just in the soft; the second is to send crotch amplitude is more prominent than the first kind of dance, dance up to the hips with the waist, before and after the flashing, soft in the just or just in the just see the just. In the string dance, you must master the basic elements of "rubbing step" and "jumping step", the weak is "rubbing" step is small, the landing is light, the strong is "jumping The weak "rub" step is small and light, while the strong "jump" step is big and heavy, and the dance steps are big, small, light and heavy with the change of music rhythm and change. Batang strings generally in the horse race and "Gudo Festival" on the appearance of its lyrics divided into songs of praise, sad songs, love songs and fixed lyrics. During the performance, men and women either gather in a circle and dance, or each stand in a row and dance happily relative to each other. Generally, the head of the row is the person who manipulates "Baiwang", under whose leadership, the crowd raises its sleeves and dances, sometimes gathering, sometimes dispersing, and sometimes like a long dragon swinging its tail, dancing around, singing and singing with me, so as to express their inner feelings. In the Huqin issued a burst of "vibrato" under the guidance of the dance, the dance also produced a corresponding "vibrato", this "vibrato" of the physical characteristics of the simulation of the peacock posture is mainly. The dance is rounded and smooth, beautiful and lyrical.

4 Reba Tibetan bell drum dance

"Reba", some people call "Kang play", circulating in eastern Tibet, Chamdo, Gongbu area and Sichuan, Yunnan Tibetan area, is a blend of the bell drum dance, folk song and dance, and the Tibetan community. There are bell drum dance, folk song and dance and miscellaneous music three main parts of the integrated performing arts. The "Reba Zhuo" is the bell drum dance, the backbone of the "Reba". Its performance style rough and unrestrained, through a variety of skills to express emotions, is the Tibetan folk dance "Zhuo" category has a unique style of a drum. Bell drum dance performance, the beginning of the first to say praise auspicious, show off the skills of the "card harmony", and then by the men in charge of brass bells, support the tambourine, point and click, dancing, walking around the circle. Dance to the emotional warmth when you can pull the field for skill performance. When performing, the first female performers collectively perform "top drum rotation", "twisting the waist to hit the point" and "wrapping the head to hit the drum" and other drum skills, after the end of the female dispersed and stood aside, the male performers on the stage in the drums Accompanied by drums, the male performers come on stage, shaking their shoulders and starting the "Fa'er", and each performs the "one-legged straddle turn", "lying body bungee jump", "lying body flat turn Each performs different skillful movements such as "one-legged straddle turn", "lying body bounce", "lying body flat turn", "rabbit jump" and "kicking leg and neck straddle", etc. In addition, they also perform "hair rolling". In addition, they also perform such gadgets as "rolling hair", "swinging back" and "shaking toes". Tibetan dance as a treasure of the motherland, every dance worker, in the actual education and teaching, learning and performance process should continue to publicize China's Tibetan dance, and at the same time to continue to inject fresh blood into the Tibetan dance, to better promote the development of Tibetan folk dance, and constantly expand its influence.