The Origin, Inheritance and Existing Forms of Dai peacock dance

The Origin, Inheritance and Existing Forms of Dai peacock dance

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abstract:

Dai dance has experienced the development and evolution from life to art in different periods. This paper attempts to sort out the development of peacock dance and Dai peacock dance in different periods, analyze their contemporary forms of existence, deepen the knowledge and understanding of Dai folk dance culture, so as to enhance cultural self-confidence and self-improvement, and achieve the purpose of protecting, inheriting and popularizing folk dance.

Key words:

Dai peacock dance; Development and change; Contemporary forms of existence;

First, the origin analysis of Dai peacock dance.

(A) Dai ancestors and the origin of peacocks

Dai is a nation with a long history and profound cultural heritage. It lives in Xishuangbanna Dai Autonomous Prefecture and Dehong Autonomous Prefecture in China, and is located near 30 degrees north latitude. It is a golden zone that breeds life, culture and mysterious natural scenery, and is at the same latitude as the four ancient civilizations and many sources of life in the world. Before the Neolithic Age, the Dai people thrived in Jiu Nan River, salween River and Mengmao River (located in Ruili, Yunnan). In 850 BC, the Dai people established Daguang Kingdom, also known as Ailao Kingdom. In Historical Records, Biography of Dawan and Biography of Hanshu Zhang Qian, the ancestors of the Dai people were called "Dian Yue", and they were called "Shan" 1 in the History of the Later Han Dynasty and Di Benji, because Dian Yue was the same as Yue people.

There are various records about peacocks in many ancient books, and many Han bronzes unearthed in Dianchi area of Yunnan Province are carved with peacocks, which shows that ancient Dai ancestors loved peacocks very much, from costumes to farm tools and daily necessities. In Dai mythology, peacock is also a symbol of happiness: according to legend, Ying Ba, the god of creation, released the peacock to help Balawu build Meng (now Jinghong area in Yunnan) and let it fly far away to look for millet, and people began to cultivate with undigested millet as seeds; According to the Buddhist story "Peacock King", the peacock is a divine bird and a sacred bird. It spells for the well water and river water it has drunk. After drinking "peacock water" or taking a bath, people can cure diseases and prolong life without disease. It is said that in a complete Buddhist temple built locally, there are a pair of divine birds around the Buddha statue, namely "Jin (female)" and "Jin Nala (male)", and peacock feathers will also be placed on the altar in the Buddhist temple. It can be seen that the Dai people's worship of peacocks is precisely because of this, which nourishes the soil of this dance.

(2) The origin of Dai peacock dance.

In the minds of the Dai people, peacocks have always been regarded as "god birds", which symbolize beauty, kindness, intelligence, auspiciousness and fear of violence. Dai people rely on the indelible peacocks. Through historical records and myths and legends, we can see that "peacock" is closely related to the life, culture and beliefs of the Dai people.

In the ancient Dai totem myth, there is a peacock with a peacock head and a bird body. Therefore, Dai ancestors agreed that peacocks were closely related to ancient Dai tribes. "peacock dance" has never stopped developing with the footsteps of the Dai people, and its influence on the Dai people is far-reaching. There are many beautiful legends about peacock dance among the people. One saying is that a long time ago, the Buddha showed his talents and everyone came to congratulate him. A pair of animals with a face and a bird's foot also came to congratulate him. They danced an elegant dance and everyone jumped up. This dance is the peacock dance that people dance today; Another way of saying it is: the leader of the Dai nationality is called Masu, who leads the people to find a happy story.

Most Dai areas belong to subtropical hot and humid climate, with suitable temperature and rich natural resources. Xishuangbanna, the most representative area, has dense forests and lush plants, which have bred rare animals such as peacocks and elephants. Peacocks are active in the jungle Therefore, from primitive times, it is very possible for human beings to observe and imitate the shape, movements and living habits of peacocks through hunting.

According to historical records, as early as 7,000 years ago, farming civilization appeared in Yunnan, which became the earliest birthplace of rice in China. During the Yao and Shun period, there was a legend of "plowing birds", and people tamed elephants to help them plow the fields. This shows that the connection between human beings and animals is inseparable and very long.

With the passage of time, human civilization has been continuously established, people no longer rely solely on labor to survive, and the increasingly developed economic and technological level has guaranteed people's material life, so people began to pursue spiritual and cultural satisfaction. Peacock attracts people with its unique charm and elegant form, so more and more people begin to imitate peacock dancing. At the same time, there are many legends about peacock dance, which originated from nature and life, absorbed the spirit of all things, and deeply felt the industrious, brave, gentle and kind national character of the Dai people.

Second, the inheritance of Dai peacock dance

(A) Early traditional folk peacock dance

Peacock dance is called "Luo Jiayong", "Fan Luoyong" or "Garonan" in Dai language, which means peacock jumping. It symbolizes the traditional virtues such as auspiciousness, justice and kindness, and is the expression of the Dai people's pursuit of auspiciousness, happiness and a better life.

Peacock dance, as the most widely distributed folk dance in Yunnan, is the most representative of Dai dance, the most popular and familiar with Dai people, and the most iconic traditional folk dance with the greatest development and influence. The earliest peacock dance was performed by the Dai people. Wearing masks and peacock-like costumes, performers proudly stand on peacock-shaped shelves as decorations. Their action features mainly focus on imitating the basic morphology and facial expressions of peacocks, and imitating peacocks' movements such as dancing, walking, drinking water and spreading their wings through gestures, eyes and steps. Most of the dance content is narrative, accompanied by other animal performers. Peacock dance has strict procedures and requirements, fixed steps and routines, so that every movement is accompanied by a fixed drum language.

Most Dai people live in the southern border of Yunnan. Due to inconvenient transportation and national spiritual belief, their national culture and folk culture have been completely protected and have a unique style. Judging from the performance form and dance category, peacock dance belongs to the folk performance dance in the square, and it is a prop dance sacrificed in the square during the early major festivals and "pendulum" (Buddhist ceremony will practice merits). Peacock dance, with its wide popularity and communication, is a symbolic cultural and artistic symbol of the Dai people.

(B) From Folk to Stage-peacock dance for Two

Since 1950s, Dai folk dance artists have been trying to reform the traditional folk peacock dance, the most famous of which is The Peacock King Mammoth. His performance of peacock dance is famous for its unique style, smart eyes, vigorous and free movements and vivid image, and is praised as "the embodiment of peacock" by the people of Myanmar. 1956, Mao Xiang arranged, processed and created peacock dance for Two on the basis of traditional folk peacock dance. 1957, the World Youth Student Festival and the performance of Bai Wenfen's peacock dance for Two won the silver prize, which made Dai peacock dance go from folk to stage.

Mao Xiang's peacock dance duo takes the life habits of peacocks as the theme, which mainly shows the sweet love of a pair of peacocks. The male peacock looks for a mate in the forest, plays with the female peacock in the forest, drinks water by the spring and chases the flying scene. Action performance is more in line with the theme, making it a complete and fluctuating performance.

The dynamic law of "peacock dance double" is mainly based on the traditional walking, and the basic dynamic law of keeping up and down when walking has internal dynamic law; Dance creates one-legged squat, oblique wing spread and some aerial dances, which strengthens and highlights the broken shoulder shaking technique in the original Dai peacock dance to show the peacock's happy drinking state; He still retains the traditional movements of Dai peacock dance in arrangement, but makes the dance style of Dai more attractive dynamically. Mao Xiang was the first to refine peacock dance, who entertained himself, into a stage art imagination. He enhanced the appreciation and artistry of peacock dance, removed the heavy shelves and masks of folk peacock dance, liberated the limbs and head of the actor, fully displayed the actor's agile expression, and created a pair of vivid and vivid images of peacock dance. Therefore, peacock dance for Two can be regarded as a "primary transformation" of peacock dance, and Mao Xiang played a pioneering role in peacock dance's later creation.

(3) The gender transformation of peacock dance performers-peacock dance and Golden Peacock.

Traditional peacock dance mostly dances solo by men, while peacock dance in Jinming and Golden Peacock in Dao Meilan have changed greatly in gender. Traditional peacock dance changed from male performance to female performance for the first time, which is a historic step in the development of "peacock dance".

Peacock dance, a female group dance composed by Jin Ming, won the gold medal in the World Youth and Student Dance Competition in 1957. Peacock dance duo, for example, represented the highest level of Dai peacock dance in the 1950s. Structurally, the whole dance begins with pride like proud as a peacock, including peacock absorbing water, peacock bathing, peacock flying and ending with peacock climbing branches.

In the action processing, it draws lessons from the aesthetic characteristics of stretching and lengthening in ballet. At the same time, in order to reflect the national characteristics of the Dai people, the basic elements of the up-and-down rhythm driven by breathing in the traditional Dai dance are highlighted, and the style of peacock dance is maintained as much as possible. In order to make "Peacock" look lifelike from the external form, and at the same time fully show the graceful posture of the dancers, Jin Ming changed peacock dance's costume from trousers to a big skirt decorated with blue feathers, and the performance style changed fundamentally.

The dance "Golden Peacock" choreographed and directed by Dao Meilan and Liu Jinwu won the second prize in the first national dance competition 1980. The beauty of "Peacock" blooms in suffering, shaping a new peacock image with wings spread and flying. Starting from the performance of peacock's habits, the dance has arranged three links: awakening, frolicking and flying. In the movement arrangement, the traditional rotation technique of burying one's head under one's arm is changed to look up at the blue sky, hold one's head high and hold one's chest high, and rotate quickly with the right hand pulling the skirt, which fully shows the peacock's free flight in the blue sky and symbolizes the golden peacock spreading its wings and flying again.

In creation, Dao Meilan inherited the artistic concept of Mao Xiang, absorbed the essence of the dance vocabulary of Brothers Lian while inheriting the traditional peacock dance style, and further broke through the dance works into a performance and artistic female solo performance; Since Dao Meilan, the performance form of woman peacock dance has become the main performance form of Dai peacock dance.

(D) A brand-new art form-sparrow spirit

When peacock dance is mentioned now, the first thing that comes to mind must be the vivid image of a white peacock standing on the stage; The dance "The Sparrow's Soul" is a classic play written and performed by Yang li Ping. Dance 1986 won the first prize of the second national dance competition. The Spirit of Marquee captures the typical peacock's life habits of absorbing water, combing feathers and flying, and extracts the most peacock dance-style posture and three graceful body movements in Dai peacock dance.

Although Yang li Ping's The Sparrow's Spirit is also a description of the Dai people's "peacock dance", it has made a new breakthrough in creative ideas and techniques. She is not limited to the traditional peacock dance programs (the traditional peacock dance is based on imitating the peacock's life habits such as walking, opening the screen and playing in the water), while The Spirit of the Sparrow emphasizes one word: "spirit" and focuses on expressing the beauty of agility.

She boldly borrowed the creative elements of modern dance, started with the basic image of "peacock head", expressed the agility and dexterity of peacock through rhythmic and layered rhythm, prayed for God in form, appeared with peacock mouth posture and complacent tail image, and created a new dance vocabulary. On this basis, constantly strengthen and reproduce the classic image of peacock. After repeated rendering, it deepened the peacock's agile posture and added the charm of peacock's beauty. At the same time, it also profoundly embodies the agile and beautiful image of peacock in the eyes of the audience, which will linger for a long time. In the dynamic dance, Yang li Ping made bold changes. peacock dance completely liberated the dancer's upper limbs without any props, and imitated the peacock's wings with the upper body's arms and head and neck movements, which reflected the unique rhythm of birds and made the peacock more agile on the stage. The spirit of the sparrow focuses on the spiritual level, and the bold innovation of action makes people deeply understand and understand people's worship of peacocks. The Spirit of Marquee once again makes the external form of Dai dance more expressive and textured on the stage, which is of epoch-making significance.

It can be seen that Dai dance artists have made outstanding contributions to the inheritance, development and innovation of Dai traditional folk dance after experiencing the evolution from traditional folk self-entertainment dance, ritual dance to stage performance dance, conforming to the aesthetic needs of the audience in various historical stages, and pushing the dance career to a higher level, which indicates that peacock dance is developing towards a broader direction of mass entertainment.

Third, the contemporary form of peacock dance.

(1) peacock dance of the Dai nationality.

Self-entertainment dance, as one of the earliest dance art forms, originated from people's life and work to meet the needs of spiritual life. Peacock dance is widely spread and developed among Dai people. With the different learning and aesthetic values of different ethnic groups, dance forms are gradually diversified, among which Ruili City and peacock dance in Gengma County are the most colorful.

In today's Dai areas, people often gather together in folk festivals such as the Songkran Festival, the Closing Festival and the Opening Festival, beating gongs and drums and dancing the beautiful "peacock dance". Song and dance present a festive atmosphere of harvest and a beautiful scene of national unity.

Nowadays, in many places in Dai areas, there are folk artists who specialize in dancing peacock dance for a living. Most artists mainly imitate peacock's demeanor and movements, such as peacock spreading its wings, taking a bath, shaking its feathers, exploring sensitively and walking safely. Peacock dance has strengthened the cohesion among the Dai ethnic groups and become the deepest cornerstone of Dai culture. However, due to the differences in personal artistic experience, artistic aesthetics and inheritance path, each artist who is good at peacock dance presents a variety of artistic styles and distinctive artistic personality.

With China's increasing emphasis on traditional culture, the party and the state pay more and more attention to the inheritance and protection of intangible cultural heritage, which promotes the development of peacock dance in Dai dance in different forms, effectively inherits China's national folk dance culture, and strengthens the understanding of the inheritance of national folk dance culture ideologically. The author believes that more literary and art workers should be encouraged to "go deep into the people and take root in the people" to learn, understand and study the most original and traditional minority cultures; Give full play to their professional skills, carry out in-depth excavation, exploration and research on minority dances, music and costumes, and constantly think about how to develop minority dances and music on the basis of preserving traditions, so that more people can be familiar with and understand China's unique minority culture and carry forward excellent traditional culture more widely.

(B) Dai peacock dance classroom teaching

As one of the models of national dance, the unique artistic value and aesthetic value of Dai peacock dance has attracted many scholars and experts to study, organize, innovate and arrange it into a systematic folk dance teaching material, which has been used as a teaching material by art colleges and secondary specialized schools and applied to folk dance classes.

Compared with the folk dance form of self-entertainment, peacock dance, a Dai nationality, was incorporated into the teaching material to further realize its value. The materials used in the teaching materials are all extracted from traditional folk dances by experts, and the most typical and aesthetic dance elements are arranged and innovated reasonably, which not only retains its dance style and folk culture connotation, but also gives full play to the artistic value of dance and enables folk dances to be passed down.

At present, many colleges and universities invite many national and provincial inheritors to enter the campus to exchange dance art with teachers and students, and teach traditional and original folk culture to teachers and students. Through communication and study, teachers and students return to their roots and feel the most traditional folk art style. At present, most students master Dai peacock dance systematically and normatively in the form of learning folk dance textbooks. Although they have completed the training content required by the textbook, their mastery of the traditional folk dance style is far from enough. Folk dance teachers should ask students to actively consult relevant ethnic materials after class, and go into the folk in different ways, go deep into the folk and learn from the folk, so as to deeply feel the Dai folk dance culture and accurately grasp its folk dance style. Students are also encouraged to turn their own gains and feelings into written materials, which can record this precious experience more deeply.

Four. conclusion

Today, with the rapid development of economy and culture, the development of dance art has gradually matured, and people's aesthetic needs are becoming more and more diversified. Different dances convey different artistic values and inner feelings to people, so the art of dance has been constantly developing and innovating. In this process, it is inevitable to ignore the value of dance itself and cater to the aesthetic needs of the public. Commercial dance is inevitable, and its existence value is for profit. In addition, there are many dances that imitate international dances in form, on the one hand, as innovative development, on the other hand, to cater to the current public aesthetics. As a dancer who inherits and develops, we should not only grasp the artistic value of dance itself, but also avoid assimilation.

This paper combs the development of Dai peacock dance, and looks at the artistic value of Dai peacock dance from the historical roots. With the help of books, periodicals, internet and other consulting methods, based on a certain field investigation and writing. Dai dance is an important part of traditional folk culture in China. Through the study of the development of peacock dance, on the one hand, it is helpful for Dai peacock dance to grasp the teaching style of Dai folk dance, on the other hand, it can lead to thinking about Dai peacock dance's creative concept and inheritance and protection; We should fully understand the cultural communication value of Dai peacock dance, promote the further exploration of the cultural connotation and symbolic significance behind each action, and feel the artistic charm of Dai traditional culture; Let more people gradually favor and deeply understand peacock dance, and then love and study peacock dance, and fully appreciate and feel the charm of Dai peacock dance.

refer to

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[2] peacock dance edited by Ruili Cultural Center [M]. mangshi Dehong Ethnic Publishing House, 20 18.

[3] Xu Mei. Aesthetic Exploration of Yunnan Minority Folk Dance [J]. Journal of Beijing Dance Academy.2018, (05).

[4] Li Xiaoyan Ceng Jinhua's artistic inheritance of stage life-academic thinking on Yunnan Dai stage dance [J]. Popular literature and art, 20 15, (05): 165- 166.

[5] Yang Zhen on the development history of Dai peacock dance [J]. Popular literature and art, 20 12, (20)-: 106+ 186.

[6] Inheritance and development trend of Shi Yuzu's folk dance culture [j]. journal of yunnan arts institute, 2005, (02):64-69.

[7] Liao Dakun's View on the Development of Dai Dance from Mammoth, Rotten and peacock dance [J]. National Art Research 19 89, (05)-54-56+ 19.

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