Traditional Culture Encyclopedia - Traditional virtues - The main dance of Bulang dance
The main dance of Bulang dance
The Bulang people are very particular about making big drums. The drum body is hollowed out with a whole section of trees, and the section of trees used should be intact, and the drum surface should be covered with cowhide with one male and one female hair all black. When covering the drum surface, you should put grain, tea and broken silver in the drum as the "heart" and "soul" of the drum. After the drum production is completed, a grand ceremony will be held for seven days and seven nights before it can be transported to the Buddhist temple for storage.
Ke Guang-including bee barrel inspiration, elephant foot drum dance and towel dance. When dancing, the dancers line up in a single line, and two young men lead the dance with a towel in each hand, followed by the bee drum team, two (or four, not limited to eight) elephant feet drums and Junrong, and then the dancers, with more or less people. The dance team jumped along all the roads in the stockade. When jumping into a wide and flat field, it jumps into a circle, two elephant-foot drums fight in the middle of the circle, and then dance along the road after the fight. Repeat this action until you have traveled all over the village. "Re-collapse" is a tune of Bulang folk songs, and the popular "short encouragement" and "long encouragement" of Bulang people are accompanied by this tune. Men, women and children gather on the flat ground in the middle of the stockade or ring the elephant foot drums and cymbals in the courtyard of the Buddhist temple. Dancers will automatically form a circle, and male dancers will dance counterclockwise with the drums, cymbals and cymbals in the inner circle (encouraging the hitters in the middle of the circle). Short drums have slow rhythm and gentle movements, which are suitable for men, women and children. The long drum dance is vigorous in rhythm and brisk in action, and is generally danced by young men and women.
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