Characteristics of Tibetan dance costumes

Characteristics of Tibetan dance costumes

National dance, also known as folk dance, generally refers to a dance form that is produced and spread among the people, restricted by folk culture, improvised but relatively stable in style, with self-entertainment as its main function. The following are the characteristics of Tibetan dance costumes I have compiled. Welcome to share.

Characteristics of Tibetan dance costumes

The earliest Tibetan dance was primitive, mainly reflecting labor and religion. With the development of dance art, music is added to dance, and makeup, decoration, costumes and props are used to enhance the expressive force of dance. Clothing plays the role of decoration and contrast in dance performance, which can enhance the appeal of dance. We can see the development of dance art and costumes from rock paintings, murals, thangka, painted pottery and Chinese painting.

As early as the eighth century AD, Master Lotus Peanut initiated the "Dance of Divine Dance" in Sanye Temple, and with the development of the "Dance of Divine Dance", it gradually formed a unique Tibetan dance costume art. With the development of the times, dance costumes are mainly designed for dance performances. Therefore, the style, color and decoration of clothing are determined by the content of the dance itself.

The theme, background and nationality of dance performance should be expressed in different degrees with the help of costumes. Therefore, the initiative of dance costume design is restricted by the dance subject, and the designer of dance costume needs to cooperate closely with the director before design. It is necessary to understand the director's intention and the theme and content reflected by the dance, so that clothing and dance can be harmonious, and only harmony can produce perfect artistic and visual effects.

Tibet, known as the sea of songs and dances, not only has different dance forms in different regions, cities and counties, but also has great differences in costumes. Some dances are passionate, fierce and rough, such as men's dances in Kangba and northern Tibet. Some dances are lyrical, gentle, quiet, cheerful and lively, like Tibetan string dances. On the other hand, Feng Yiting deliberately uses different colors to design clothes that express the content of Tibetan dance. Different colors give people different feelings. For example, red gives us warmth and passion, which reminds people of sunshine and fire.

On the stage, red is the most prominent. It is very bright, beautiful and dazzling, so it is often used to show some passionate dances. For example, the reba dance in Qamdo, Tibet, has a unique charm, which can be seen not only in the form of dance, but also in the cheerful drums. Most Tibetan dance costumes in Feng Yiting are red or decorated with red, which can achieve better visual and performance effects, adjust the brightness and purity of red, and produce more different colors of red, such as pink, giving people a feeling of beauty, purity and shyness.

Soft and quiet dances are usually pink. For example, in the dance of Mother River in the large-scale musical dance "Mount Everest", the designer used wider pink as the decorative edge, which not only has Tibetan characteristics but also shows the feminine side of Tibetan women. In addition, typical warm colors like orange, vermilion and orange give people a feeling of excitement, liveliness and beauty. Yellow is the brightest and most vivid of the seven colors, and is often used for solo and lead dance.

In addition, Feng Yiting pays great attention to the coordination of brightness and low-purity tones, such as black, blue and brown, when making Tibetan stage costumes. Can be compared with other colors, can play a role in setting off, especially when decorating. This dark color can make the decorative pattern more prominent, increase the brightness and lightness of the whole clothing, and make the color more rich, bright and cheerful. Achromatic gold and silver are gorgeous colors, which are also essential in dance costumes. They can play the role of decoration and embellishment, especially under the illumination of stage lights, and can give full play to their unique brightness and gorgeous feeling.

In modeling design, Feng Yiting's design view is that dance costumes are not influenced by popular factors, but mainly by dance content, that is to say, designers will adopt the original representative national life costumes of which region and which nation are represented by dance content, and make modeling changes and color changes on this basis. Of course, if all the fashion elements can be integrated, Feng Yiting will never be stingy.

In the choice of fabrics, dance costumes do not need to consider the impact of climate change. The choice of materials should be coordinated with the completion of dance movements, mainly paying attention to the weight, elasticity and lightness of materials, and trying to reflect the aesthetic feeling of dancers performing on the stage with fabrics. Dance costumes give the audience beautiful visual enjoyment through their own modeling and color fabrics, add more charm to the dance, set off the atmosphere of the stage, and make the dance better express the theme of the dance.

Action Characteristics of Tibetan Folk Dance in China

1 Guo Xie Tibetan Circle Dance

"Guo" means circle in Tibetan, and "He" means song and dance in Tibetan. When they are combined, they mean a round song and dance. "Fruit harmony" is popular in the vast rural areas of Tibet. Common in village heads, squares, threshing floors and open spaces. The number of participants ranged from a dozen to hundreds. It is a kind of self-entertainment song and dance that most Tibetans like. In the traditional Tibetan festival "Guowang Festival", the word "Wang" means "field" or "field" and "fruit" means "parade" or "circle". Together, they mean "cruising field". In this festival, in addition to holding folk ceremonies during the day, the most important thing is that farmers get together to perform fruit harmony. Fruit harmonic action originates from agricultural labor action, but its artistry is much higher than agricultural labor action. Its dance structure and complete expression form are as follows: When performing, the performers form a circle, with male and female half circles, and the front of the queue is male and female harmony respectively. When singing and dancing, the order is that men sing a man and a woman dance → women sing a man and a woman dance (called "harmony"), and the performers dance while singing and walk clockwise from left to right. Step performances are divided into adagio and allegro. When playing, you should dance the adagio first (called "feeling harmony"). After the adagio performance, the dancers shouted in unison (such as "Hugh") or said a few words about Allegro, followed by the Allegro performance (called "Harmony Hugh"). After the Allegro performance, the dancers shouted in unison and the dance festival ended. The whole dance performance seldom uses musical instruments.

2 pairs of Huan Tibetan tap dancing

In Tibetan, "heap harmony" means "Shang" or "plateau", and "harmony" means "singing and dancing". Therefore, the Tibetan dance "Dui Harmony" refers to the rural circle dances in the upper reaches of the Yarlung Zangbo River, such as Dingri, Angren, Lasi, Sakya and Ali. After Tibet was formally incorporated into the territory of the motherland, Zhanian, an accompaniment instrument for folk dance, appeared in Dui area, and was gradually absorbed by the local people as an accompaniment instrument for "thanking", which changed the action of "thanking" into kicking, and three pure and musical parts appeared in song and dance music, which also constituted the embryonic form of tap dance. /kloc-In the middle of the 7th century, this kind of dance flowed into Lhasa, and its basic change law was "three steps and one change". At the same time, all kinds of rhythmic sounds were stepped under the feet, accompanied by bands composed of dulcimer, Jinghu, flute, Liu Xian and other stringed instruments. The structural form of Duihuan dance music is gradually complete, and its whole system is mainly composed of "falling harmony" (slow song) → "harmony" (song head). The circulation area of reactor harmonics is relatively wide, and the harmonic characteristics of reactors in popular areas are also different. Generally speaking, there are three kinds of folk songs and dances at present: Dingri Duharmonic, Lasi Duharmonic and Lhasa Duharmonic. Lasidui Harmony, also known as "Northern Dui Harmony", is mainly popular in Lasidui, Angren, Ding Jie, Sakya and other counties. Its music has beautiful tunes and strong sense of rhythm, and its scale is dominated by seven tones. Accompanied by one or more "iron rollers", the playing skills are higher and more expensive. According to the different musical structure, Raz has two kinds of harmony: the first one consists of "falling harmony" (Adagio) and "feeling harmony" (Allegro); Second, there is only a sense of harmony. The basic melody structure of Lashi Duihua is composed of four to five parts: prelude ("excessive verse"), adagio, allegro, interlude ("eight verses") or epilogue ("excessive verse"). Lazidui is full of harmony, singing and dancing, and dancing is unrestrained and enthusiastic. Dingri Dui Harmony, also known as "Luo Harmony" or "South Dui Harmony", is mainly popular in Dingri, Geelong, Nyalam, Saga and other counties. Heliostat harmony has very strong plateau characteristics, and its music is simple and rough, stretching and bold. The scale is dominated by five tones, with six tones at the same time. Usually accompanied by a "mourning", the accompaniment sound type is relatively simple, mostly for one beat. Harmonics in heliostat reactor can be divided into three types: the first one is composed of "harmonic reduction" and "harmonic perception"; The second one is only "perceived harmony", and the third one is composed of "reduced harmony" and "perceived harmony", and its scattered board part is not accompanied by musical instruments. Among them, the songs of the first two structures are very popular. In addition, the harmony of the fixed day pays more attention to the collectivity in the way of singing, and more real voices are used in singing, with heavier throat and less decoration. The reactor harmonics in Lhasa are the most typical urban reactor harmonics, which are mainly distributed in Lhasa, Gyangze and Shigatse. In addition to "Zhanian", Lhasa's accompaniment instruments include Jinghu, flute, dulcimer, string bell and special piano. The singing range in Lhasa can be as wide as 12 degrees. When singing, the singer usually sings solo, and the true and false voices need to alternate. Lhasa's harmony dance is light and dexterous, with steady steps, mainly focusing on the rhythm transformation and skills of kicking.

3 black Tibetan string dance

"Black boy" is called "harmony" in Tibetan, and the heart of Tibet is called "Kang Harmony". Batang and Changdu are called "Ye", and they are named after their accompaniment instruments "Baiwang". String dance is dominated by lower limb movements, and its dynamic characteristics can be divided into two types: first, the thigh drives the calf, the calf is raised, the eyes look straight ahead, and the dance steps are firm and soft; Second, the hip delivery range is more prominent than the first one. When dancing, the hips are brought to the waist, flashing back and forth, with rigidity in softness or rigidity in rigidity. When dancing string dance, we must master the two basic elements of "rubbing step" and "jumping step". If it is weak, the "step" is small and the landing is light. If you are strong, you will have a big jump and a heavy landing. The size, weight and weight of dance steps all change with the change of music rhythm. Black boy in Batang usually appears at Jockey Club and Gu Duo Music Festival, and his lyrics are divided into ode, elegy, love song and fixed lyrics. During the performance, men and women either get together to dance or stand in a row and dance opposite each other. Generally speaking, the leader is White King. Under his leadership, the crowd danced, sometimes gathered, sometimes dispersed, and sometimes danced around like a long team. After you sang, I appeared and expressed my inner interest. Under the guidance of the "vibrato" issued by Hu Qin, dancing also produces a kind of "vibrato", and the physical feature of this "vibrato" is mainly to simulate the posture of a peacock. Its dance is round and smooth, beautiful and lyrical.

The bells and drums of the Tibetan people in Reba.

Reba, called Kangxi by some people, spread in Qamdo, Ministry of Industry and Tibetan areas in Sichuan and Yunnan in eastern Tibet. It is a comprehensive performing art, which has three main parts: bells and drums, folk songs and dances and zaju. "Rebazhuo" is the backbone of "Reba"-the bell drum. Its performance style is rough and bold, expressing emotions through various techniques, which is an inspiration with a unique style in the Tibetan folk dance Zhuo. When ringing bells to encourage performances, one should first say "cards and harmony" to praise auspiciousness and show off skills, and then the man will hold a bronze bell, support the tambourine, kick, dance and walk in circles. When you jump into a warm mood, you can open the venue to perform skills. In the performance, first, the actresses collectively performed drum skills such as "top drum rotation", "twisting waist and tying points" and "beating drums around the head". After the performance, the women dispersed and stood aside, and the men came on stage, shaking their shoulders and performing "Fart" accompanied by drums, and each performed "one-legged cross-turn", "lying flat and turning", "rabbit jump" and "rabbit jump". Besides, we also perform such gadgets as "curling hair", "swinging back" and "shaking toes". Tibetan dance is a treasure of the motherland. Every dancer should constantly publicize the Tibetan dance in China in the process of actual education, teaching, learning and performance, and at the same time inject fresh blood into the Tibetan dance, so as to better promote the development of Tibetan folk dance and expand its influence.

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