Folk Cultural Characteristics of Northeast Yangko

Folk Cultural Characteristics of Northeast Yangko

This song and dance activity in the Northeast Yangko combines with the enthusiastic style of the Northeast people, forming a unique Yangko style, and gradually forming Yangko music, with tunes played by gongs, drums, cymbals and suona. Next, I will bring you the folk cultural characteristics of Northeast Yangko. I hope you like it!

First, the historical origin of Northeast Yangko

In the 28th year of Kangxi (1689), Vencent Yang visited the folk customs in Ningguta area outside Shanhaiguan and compiled the poem Ningguta, which highlighted the existence and singing scene of Manchu yangko outside Shanhaiguan. His poem: "In the middle of the night, the village girl continued to write, the noisy community sang yangko, the Han family had few costumes and few boundaries, and several groups of children surrounded him."

"Song of Shangyuan" said: "On the night of Shangyuan, the busybodies played yangko, and the yangko players took the boys to play three or four women, joined the army for three or four times, each holding two logs, and suddenly struck the opposite dance, while the one who played the umbrella lamp and sold the plaster led the way, accompanied by gongs and drums, until the end of the dance."

Vencent Yang also said in Liu Shiliu: "When there is a big banquet in Manchuria, men and women in the host family will dance alternately, one sleeve on the forehead and one sleeve on the back, hovering and swinging, saying that one person sings in the' mangshi' and everyone is' empty', which means empty."

Second, the cultural background of Northeast Yangko

(A) Northeast Yangko folk customs

Yangko in Northeast China is now a necessary folk entertainment on holidays. Every year around the fifteenth day of the first month, it is the time for the Northeast Yangko to show its talents. As far as its dance is concerned, the focus is on the word "twist", so it is commonly known as "yangko".

Yangko, regardless of gender, age, dressed in costumes, waved colorful fans, and dozens or hundreds of people danced in the streets and fields with the accompaniment of gongs and drums. During the performance, musicians often improvise, which makes the changes of music colorful. There are many superhuman stunts in the way of playing, and some suona artists can play five suona by themselves, which makes the atmosphere of the venue extremely warm. "

(2) The embodiment of Shaman culture in Northeast Yangko.

1. See the cultural characteristics of Manchu Yangko from the typical figures of early Yangko.

The typical figure is "Kritu", also known as "foreign monk". He has a dark face, pigtails on his head, a fur coat, hair facing outwards, trousers, a string of bells hanging sideways and a whip in his hand. In this way, various sounds are thrown to help command the formation change. From its role function, makeup, props and other aspects, this is a very typical shaman cultural relic. The black face is the same as the positive black face of shaman sacrifice, and men dress up as women. The concept of tying a bun on their heads is the same as shaman's braid. Its anti-wearing fur outward and shaman god hat, god clothes, god skirt belt decoration imply the same concept of condor. String bells and whips are both shaman sacrificial jumping instruments.

To sum up, this role is the carrier of Shaman culture such as Manchu in the north and a "living fossil" for studying Manchu Yangko.

2. We can see the cultural traditions of Manchu and other nationalities from the Yangko "Walking on the Field" (Walking on the Flower Field).

The Manchu yangko has a large number of people, consisting of 300 people, which is the cultural history of Manchu military organizations. On this basis, the yangko team evolved dozens of formations in Manchu yangko with various military formations, such as Liuhe Array, Bagua Array, Cross Array, Gourd Array, Snake Skin Array, Octagonal Array, Panchang Array and Cross Array, which are Manchu yangko.

Third, the style characteristics of Northeast Yangko

The performance and waist twisting characteristics of Northeast Yangko can be summarized as follows: charming, funny, wave, good and handsome. The theme style of Northeast Yangko is "wave stability, wave for the people, beauty and goodness", which is mainly manifested in the characteristics of women and men.

(A) the characteristics of female style

1. Dynamic extraction of "root element" (basic dynamic law and basic pace)

The level and variability of action training with "root element" as the core, exploring various possible extension angles to enrich the training combination, trying to broaden the dance of action, emphasizing and paying attention to the process display of action, giving hints, paying attention to the "line" between "points" and strengthening the "rhyme" in place.

2. Pay attention to the hints of psychological symptoms and emphasize "emotion-driven"

Now the Northeast Yangko is based on the local Yangko and the stilt Yangko. At present, the Northeast Yangko in the classroom is done on foot, which is embodied in the dance steps of "good energy", "twisting" to drive the upper limbs to move with the center, "flowers" to affect the wrists, and "feet are urgent, slow and steady, and slowly move to the center".

3. Based on the "root element", explore and innovate, and expand the performance flow space of folk dance.

For example, in the training of towel flower, in order to strengthen and contrast the fiery artistic temperament of Northeast Yangko, the content of towel flower skill training is strengthened under the premise of "unchanged basic dynamics and mentality", thus expanding the use range of this prop and expanding the means of expressing feelings with things. Expressiveness is enhanced.

(B) the characteristics of male style

With "twist", "stability" and "wave" as the main body, it emphasizes the masculine personality of teasing interest and being free and easy.

1, dynamic embodiment

(1) Dance yangko. "Twist" means "twist the waist", that is, "twist the eyes" on the waist.

(2) Torsional stability. It refers to the "stability" in the flow, that is, the action in the flow is suddenly static, not absolutely static, but should be the continuation of this action and the beginning of the next action.

(3) stable wave. Refers to a kind of "wave" realm achieved by the high integration of physical dynamics and emotions, which means wild and uninhibited.

2. Modality embodiment

Teasing refers to the dynamic emotional part, but it must be perfectly integrated with action. Teasing can convey feelings, express thoughts, and form one's own "don't" taste, as well as the meaning of "ugly", which is the unique taste of Northeast people.

3. Free and unrestrained male character

Mainly refers to some atmospheric, exaggerated and stubborn dynamics in Northeast Yangko. Such as: the swing step, sudden progress, adagio of Chaoyang step, and the dynamic change of dance posture with it. Only by accurately grasping this point can we show the elegance of the great men of Kanto without regrets.

(C) the harmonious combination of "shape" and "spirit" in Northeast Yangko

Shen, a famous Peking Opera educator, has an incisive summary of this. He said, "open three, strong six, heart eight, hidden ten." When form, function and meaning are integrated, it enters a deeper artistic realm, that is, "invisibility", which is the real "unity of form and spirit" and "no trace can be found" This is the real purpose of dance training and artistic expression.

Northeast Yangko is a cultural and artistic form. Theoretically analyzing the cultural connotation of the Northeast Yangko in the historical and social background can not only make the Northeast Yangko have a certain universal theoretical explanation, but also make the cultural style and the cultural connotation contained in the folk customs of the Northeast Yangko be passed down and promote the promotion and development of national culture.

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