What folk dances are there?

Folk dance is a dance form created, accumulated and developed by working people in the long historical process and widely circulated among the masses. Folk dance is closely related to people's life, which directly reflects Lao folk dance.

Touching people's lives and struggles and expressing their thoughts, feelings, ideals and wishes. Due to the differences in people's way of life and work, historical and cultural mentality, customs and habits, and natural environment, different national styles and regional characteristics have been formed. Every country and nation in the world has its own folk dance with different styles and characteristics. The folk dance in European ballet is generally called representative dance or figure dance, which has been professionally treated to make it harmonious and unified with the style of ballet.

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Singing and dancing, free and lively. One of the main characteristics of Chinese folk dance is the close combination of dance and singing. This kind of song and dance form is free, vivid and lively, and it is easier to express more life content than simple dance, and it is easy to understand, so it is deeply loved by the broad masses of the people in our country. Clever use of props and combination of skills. Many folk dances in China skillfully use props, such as fans, handkerchiefs, long silks, tambourines, single drums, Hua Gun, lanterns and umbrellas. , greatly enhanced the artistry of folk dance.

The artistic expression ability makes the dance movements richer, more beautiful and more colorful. The plot is vivid and vivid. China's folk dances are very content-oriented, and most of them are based on certain stories and legends. Therefore, the characters are distinct and prominent. Although some dances only express certain emotions, they often appear as fragments of a complete story. For example, the "Ying Ge" in Guangdong is a story about the hero of Liangshanpo attacking Daming Mansion. The legend of Fujian drum umbrella shows Zheng Chenggong's resistance to foreign troops. Self-entertainment and unity of purpose. Many folk dances in China are often the unity of self-entertainment and performance. Some dance activities, for dancers, are for self-entertainment and performance for the audience, so dancers attach great importance to the improvement of their dance skills, so the folk dance in China has been developed to a higher degree. When you are in love, improvise. Although folk dances in various regions of China have certain formats and norms, they also have the tradition of improvisation, especially among some folk dancers. At their most emotional moment, it is often the time when unique brilliance can appear in the dance.

Edit the development of this folk dance.

In the early 1950s, under the vigorous advocacy and earnest implementation of the government, a large-scale "rescue of heritage" was carried out. Reflected in the field of dance, on the one hand, it is an effective investigation, collection and arrangement of folk dances of various ethnic groups, and it is displayed on the stage with its essence through processing-re-creation; On the other hand, it is the inheritance and development of China traditional opera and dance, making it an independent dance art. folk dance

Dances handed down naturally by various ethnic groups, especially those with strong skills, are often reflected in the basic styles of some representative artists. Most of them are farmers, which can be called folk dancers, but their status has been low for a long time, and they even live a life of starvation and displacement. Therefore, "saving the heritage" is also to save folk artists with superb skills. They and their art have gained unprecedented respect-they entered the elegant hall for the first time. This work is not a temporary expedient measure, but a long-term basic policy, which can also be said to be the continuation and development of the "Yan 'an New Yangko Movement". The new generation of dancers consciously follow the guiding ideology of speech, go deep into life, learn from the masses, carefully study, collect and sort out those seemingly "rough" but "most vivid" folk dances, and select the most popular aesthetic features for refining and processing in the spirit of "removing dross"-removing unhealthy components left over from feudal society and "taking the essence". In the more than ten years since the founding of New China, under the guidance of the policy of "letting a hundred flowers blossom" and "bringing forth the old and bringing forth the new" advocated by Mao Zedong, a number of outstanding dances with strong ethnic and regional characteristics, full of the flavor of the times and reflecting the people's spiritual outlook have emerged. They are not only loved by the masses, but also attracted the attention of the world dance community in international cultural exchanges. As mentioned above, Dai's Lotus Dance and Flying; Jia Zuoguang's Dance of Erdos ... and so on. They are all masterpieces that lead the times in this period, and there are many other similar works. For example, "Red Silk Dance (Group Dance)" premiered on 1949, directed by Jin Ming (1927-), arranged by Cheng Yun, and premiered by Zheng Jianji, Wang Yabin and Liu Hairu of Changchun Cultural and Art Troupe. A group of young men and women, holding high "torches", are dancing cheerful yangko and folk dance.

The "torch" has become a long red silk-like flying dragon, and its vigorous dancing and changing "dragon" complement each other and are full of youthful vitality. This dance is based on the folk yangko and the traditional skill "Baizhangfan", and chooses the meaningful form of "burning torch" to express the people's heartfelt desire for liberation. 1950, the dance was first performed in Beijing, causing a sensation in the capital. The following year, he was selected to participate in the Third World Youth Festival and won the gold medal. For half a century, it has been performed all over China and all over the world, and people invariably say that it is "the symbol of China fire". Other dances of the Han nationality, such as flower inspiration and harvest songs, are excellent works. "Flower Dance" (group dance), premiered at 1956, directed by Zhang Yi (1934-), with interesting composition; The first performance: Dalian Song and Dance Troupe, led by Zhang Yi. Huagu is popular in Shandong Province. For many years, this has been a form of street performance for poor farmers. A drum nail more than half a meter long is tied to the drum stick, and the dancers beat the drum alternately with the top of the drum stick and the drum nail to form a unique skill. Zhang Yi endowed "Flower Drum Dance" with optimistic spirit of the times, and lengthened the drum nails to highlight its artistry. In the changeable rhythm of passion, the rhythm of bodybuilding is intertwined with the rich lines of colorful drums and spikes, which constitutes the unique charm of dance. This dance won the gold medal of "World Youth Day" from 65438 to 0957. In this strong trend of the times, the flowers of minority dances are colorful and open everywhere. Peacock dance (Women's Group Dance) is another masterpiece of Jin Ming, which premiered on 1956, composed by Luo Zhongrong, and premiered by Zi Huajun and Cui Meishan of the Central Song and Dance Troupe. On the high mountain, a peacock flapped its beautiful wings and rushed down the mountain. Pairs of "wings" became "Peacock Girls", dancing around the "Bird King" with the sound of gongs and drums and beautiful melody-drinking water, taking photos, taking a bath and flying ... Peacock is an ancient Dai people living in the southwest border. The traditional folk "peacock dance" is only performed by men, and the dancers are burdened with heavy props symbolizing wings, which limits the freedom and stretching of the body. The choreographer broke through the tradition-tried to show the beauty of peacock with women, and made innovations in clothing-removed heavy props and replaced them with long skirts with peacock feathers ... This dance first appeared in the national dance show in 1956, and was favored by the audience for its novelty and beauty. The following year, it won the gold medal of "World Youth Day". There are indeed many stage masterpieces created on the basis of collecting and sorting out traditional folk dances. In order to exchange experience and prosper creation, the government regularly holds cultural performances. People of all ethnic groups who have suffered a lot are proud to be able to perform their own dances on the stage. Due to historical reasons, in some areas or ethnic groups, this kind of dance that is naturally circulated in life is on the verge of despair. Facing the new era, they are also eager to express their feelings through dancing and establish their national image. They even asked professional dancers, "Design a dance for us!" It is in this "call" that "happy wordiness" and "grass dance" came into being. The above-mentioned national dances represent the largest number of "emotional dances" in this period-short national dances.

Refined, without complicated plot, lyrical with contrast and excitement. Whether it is processed and created on the basis of traditional folk dances or carefully designed by professional dancers, it highlights the national style-striving to reflect the aesthetic characteristics of different nationalities. The richness of life has created the diversity of dance themes, genres, styles and styles. During this period, many works extracted dance vocabulary from life-not emphasizing specific style, but reflecting life more directly. For example, in the dance works with military themes, the duet "Hard Years" left a particularly deep impression on people. This work was first performed on 196 1, directed by Zhou Xing (1934- 1988) and Peng Erli (1936-). Composer and premiere: Guangzhou Military Region Warrior Song and Dance Troupe, Zhu and Liao. The choreographer gets inspiration from the sculpture of the same name, or dance is a "dynamic" presentation of this famous sculpture: veterans and small soldiers on the Long March, facing the enemy's encirclement and interception, trudged in hunger and cold. The little soldiers almost fainted, the old soldiers played bamboo flutes, and the passionate and beautiful music aroused the soldiers' yearning for the future. They encourage each other, help each other and make unremitting progress towards the established goals. "Hard Years" presents romantic feelings in battle with its unique creativity, concise structure, touching details and vivid dance image. Its focus is not to explain events, but to express the sublimation of characters' feelings. The classical dance "Moonlit Night on a Spring River", which extracts words from China traditional operas, is quite representative. Women's solo "Moonlit Night on the Spring River" 1959 premiered, directed by Li Chenglian (1932-1993); First performer: Chen of Beijing Dance School. This dance uses the ancient songs of the same name as the dance music, and with the help of the poem of the same name by the famous poet Zhang in the Tang Dynasty: "There is no dust in the sky on the river, and there is a lonely moon wheel in the sky ...", and draws lessons from some programs and graceful figures in China traditional opera and dance, showing the girl's yearning for happiness under the moonlight night with graceful dancing and subtle charm. All the above dance sequences are representatives of the mid-1950s and 1960s, and they have survived long-term social choices and have been passed down to this day. The directors and main actors of these works are the best dancers of the first generation in New China. While receiving strict professional training, they pay special attention to learning from life and the masses, and consciously pursue the blending of artistic personality with national style and spirit of the times. After 10 year's "Cultural Revolution" (1966- 1976), the battered dance art was revived in the process of reform and opening up in China, and entered a new era. In this historic social change, people's way of thinking and values have changed accordingly.

The concept, psychological state and aesthetic consciousness have all changed obviously. Reflected in the ideological trend of literature and art, it is mainly reflected in the reflection on traditional culture and traditional concepts, and its value evaluation in the process of China's modernization. The open debate on different viewpoints in various fields reflects the unprecedented activity of intellectuals' thoughts, and further promotes the policy of "letting a hundred flowers blossom and a hundred schools of thought contend" under the call of Deng Xiaoping's "seeking truth from facts and emancipating the mind". This progress is profound and comprehensive, and it also has an important role and influence on dance creation in the new period. Dance before the "Cultural Revolution" has basically formed a relatively stable overall pattern-the imprint of the times. Because of the concept at that time, the creators seemed to be afraid of their own works, too far away from the prototype of life or the original form of folk dance, and generally cautious about the choice of theme genre and the handling of dance movements, and tended to converge. Therefore, while creating brilliance, there is also a tendency to be similar and modeled. After the Renaissance, many dancers were eager to try. Although there are various differences in values and aesthetic consciousness, they all show a strong sense of innovation-they are eager to break through the usual methods and inherent models in the past, even if they are "successful experiences." In the process of review and reflection, after experiencing the pain of confusion, exploration and even brewing, a number of innovative and remarkable works have emerged one after another.

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Dance choreographers who grew up in 1950s made great achievements again, among which Streams, Rivers and Seas by Huang Shaoshu (female, 1938-) and Fang Jinji (193 1-) was even more groundbreaking. This women's group dance premiered on 1986, composed by Jiao Shuang, and premiered by the Dance Department of China People's Liberation Army Art College and Li. A group of girls dressed in water-colored long skirts and sheer gauze, like glittering and translucent water drops, keep moving with slender and smooth steps, and their dance turns into waves on the river, and the fine waves keep fluctuating. The girl danced with skirts and tulle, striding forward, vividly showing the endless mighty rivers rolling forward ... Dance created a spectacular scene of mountains and rivers converging into rivers and flowing into the sea, revealing the eternal law of human beings. Dances that show a strong sense of life like this are also excellent works of directors of the new generation. Such as: Pentium (Men's Team Dance), premiered at 1986, directed by Ma Yue (Hui, 1945——), composed by Ji Cheng, Xiao Ou, etc. Jiang Tiehong, Dance Department of Minzu University of China, premiered. The dance is set off by leading dance and group dance, showing the majestic momentum of ranking first in Ma Benteng. Among them, the galloping of "man" and "horse" reflects each other and produces endless vitality ... This kind of dance is an important breakthrough in Mongolian dance creation. It is not satisfied with the display of national style in the general sense, but reveals the Mongolian people's perception of life by embodying the "soul" struggle that horses can't live without for a moment. Singing the Yellow River is the immortal work of the great patriotic composer Xi Xinghai. This work and the Yellow River Piano Concerto adapted from it are both recognized as "China Music Classics of the 20th Century". It is a challenging new attempt for the choreographer to choose classical music for choreography. Su (19——) and Wei Chijianming (1935 ——) created the men's group dance "Soul of the Yellow River" (premiered by the Song and Dance Troupe of the Political Department of Nanjing Military Region) in 1980. Their successful practice is of pioneering significance to the exploration of dance creation themes and expression techniques. The first performance of 1990, Huangtuhuang (group dance), has a touching and shocking power. Director: Zhang Jigang (19 ——); Composer: Wang Zhenning; First performance: Led by Yu Xiaoxue of Beijing Dance Academy. A group of naked men and a group of aunts wearing diagonal long-breasted cloth racks and narrow-legged pants remind people of the old villagers who have guarded this yellow land for generations-they seem to have just changed from Tuk Guo Dance.

Get up from the garbage. But when that man and his aunts took turns dancing, drumming their drums with their backs to the sky, stamping their feet and kicking their legs, and almost stepping out of the pit ... you will feel that they have entered the modern society. In the form of "dirt", I can't be "dirt" anymore. I am "modern" to vent my long-accumulated feelings. The love for the yellow land under your feet, the yearning for the world beyond the mountains, and the hope for the future ... are all produced in endless repeated drumming. The extraordinary amplitude and intensity of movements and the repetition of the same movements are rare in previous dances. The drummer who entered the "crazy" state shocked the earth. Although the styles of the above works are obviously different, they all choose the majestic group dance to express a strong sense of life. This seems to be the call of the times, and the next two solo dances, Spirit of the Sparrow and Can Chun, also belong to the same theme. During this period, the exploration of China classical dance has also made great progress. For example, The Battle Drum of Jinshan, which premiered at 1980, was directed by Pang Zhiyang (1931-) and Wen Yuan Men (1934), composed by Tian Dezhong and premiered by shenyang military area command Political Department. The works are based on the deeds of Liang Hongyu, a famous heroine in the Southern Song Dynasty more than 900 years ago. In the crisis of being outnumbered, Liang Hongyu personally beat the drums to help out. After being shot by an arrow, he persisted in fighting to the final victory with fearless spirit. With flexible and smooth stage scheduling, superb skills and simple and touching plots, the dance vividly shows the scene of Liang Hongyu leading female soldiers to help out in the battle. It gives full play to the virtual expression of China traditional operas, but it is not limited to traditional operas. Although there are only three people on the stage, it looks like a tribe. Liang Hongyu wearing a red cloak left a deep impression on the audience. The New Wedding (Dancing for Couples) premiered on 1984, directed by Chen Zemei (194-) and Qiu Youren (194-); Composer: Zhang Xiaofeng and Zhu Xiaogu premiere: Beijing Dance Academy: Shen Peiyi and Li Hengda. It is based on the poem of the same name by Du Fu, a famous poet in China in the Tang Dynasty, and also shows the theme of loyalty to the monarch and serving the country, but it has a sentimental mood. In the bridal chamber, the newly-married wife is shyly and anxiously waiting for her husband's return, looking forward to a better life after marriage. However, the cruel reality is that her husband is about to go to war. As the saying goes, "Don't worry about getting married, die for your country ...". The cock crow and horn interrupted the affectionate duet-the time has finally come when you are going. Finally, the wife resolutely handed the long knife to her husband and generously sent him to war. With the unique charm of China classical dance, especially the skill of sleeves, the dance portrays the characters exquisitely. The choice of recent works seems to be considered more, but we have reason to affirm that dance in the new period has achieved all-round development after recovery. Not only has the base of the works greatly increased, but it is also more diversified in subject matter, genre, style, style and choreography. Through a strong subjective consciousness, it exudes the artistic conception and breath of the open era.