Xinjiang Uyghur Dance

Xinjiang Uyghur Dance

Xinjiang Uyghur Dance is one of the national dances, and I would like to introduce the basics of Xinjiang Uyghur Dance to you!

First, the basic posture

Angst, head high, standing waist, erect but not stiff.

This is not only able to show women's graceful body lines. It is more common for men and women to perform in pairs, with the women dancing beautifully and stretching, and the men dancing vigorously.

Second, the eyes and basic hand position

The Xinjiang dance hand type has several kinds: curved palm shape, around the wrist hand, around the wrist hand, around the cavity hand and so on. The training of the eyes and hand position combinations we have previously introduced to you, please directly reply to the "eyes" in the background of the Dance Half the Sky to get the relevant content (not in this article message Oh).

Three basic steps

Basic steps: side point step, back side point step, front point step, step, step half squat, squat back side point step.

Fourth, the rotation of Xinjiang dance

The rotation emphasizes the "first movement at first rest", both start to be fast and strong, and stop to be Ma Ju Ran, a steady difference between the rotation of other hair dance.

Fifth, Xinjiang dance pad step

The calf is flexible and light, in the flow of the knee up, the knees are always close together, the wrist of the two legs uninterruptedly to the inside of the roll, the other calf buckle the palm of the foot to support the ground one step after another to move the body movement.

Note: no matter what you do, remember to keep the upper body waist, straight, head for the posture, hand to move lateral flow of motion.

Six, Xinjiang dance trembling step

Xinjiang dance trembling step is very characteristic of the knee regular continuous trembling, that is, one step, two trembling a small big, trembling when powerful, raised eyebrows, moving eyes, moving shoulders, moving neck.

When you are practicing, you can lift your chin a little bit to the direction you are looking at, maybe you can solve this problem.

Personally, I think, if you want to learn Uyghur dance is more important is its rhythm, to grasp the rhythm of the rhythm of the rhythm of the rhythm of the rhythm, when to fast and when to slow can not be ambiguous, coupled with the Uyghur dance posture and demeanor of the grasp, basically, the shape.

Because sometimes you feel that a person is not really good at dancing, but it is very attractive, it is very Uyghur dance feeling, is because she captured a lot of details on the demeanor.

As long as you do this, you won't feel overwhelmed by any dance you learn.

History:

The Uyghur people, known as Huihe, Huifeng, and Dawuer in ancient times, practiced an agrarian economy earlier. The Uyghur people used to practice shamanism, Manichaeism, Buddhism, and other religions. The economic and cultural life and religious beliefs of Uyghurs in different development periods are expressed in their dances. According to "Wei Shu - Gao Che biography" records: "The joint gathering of sacrifices to heaven, the crowd to tens of thousands of ...... traveling around the song tiki tiki." Reflects the dance activities of its ancestors in the desert north nomadic period of the grand shaman rituals to heaven. Hui migratory period of folk and court music and dance activities as well as the influence of Buddhism on the song and dance, in the Tang and Song dynasty since the history of the book have been recorded.

Since ancient times, the Xinjiang region is a major transportation route between China and the West, and is also the place where the music and dance of the ancient Western region flourished. Central Plains culture and Indian, Iranian culture, mainly on the development of Xinjiang culture has played an important role, and Western music and dance on the Central Plains and other areas of music and dance, but also has far-reaching impact. Han and Tang famous ü-Tepan music, Shule music, Guzi music, Gaochang music, Yizhou music, etc. are from Xinjiang territory. To this day, the above mentioned regions still maintain their music and dance customs and pass on their own distinctive dance forms. Most of these dances are combined with Xinjiang's famous classical music suite, the mukham, and many small-scale performances are held in the "Meshilaifu", which is an entertainment event for the masses. The performance of the mukham and the activities of the maishilaipu are both traditional customs in Xinjiang. The mukham standardizes folk music and promotes the development of folk dances, while the maishilaipu provides people with opportunities to learn the customs and rituals of their own ethnic group and region, as well as to learn folk dances and make improvisations. Nowadays, Uyghur dances have gained the form of performance on the basis of the original Uyghur dances, which can be divided into 3 categories: self-entertainment dances, customary dances and performance dances. Self-indulgent dances and customary dances also have performance and religious elements. The main forms of folk dances that have been passed down in Xinjiang are: Sainam, Dolan Dance, Sama Dance, Shadiyana, Nazir Kum, Plate Dance, Hand Drum Dance, and other performative dances.

Style Characteristics:

Due to the differences in the natural environment and economic development of the northern and southern regions of Xinjiang, various Uyghur dances have **** the same style and different regional characteristics. The main feature of the Uyghur dance is that the movements of the body parts are matched with the eyes to convey emotions.

There are movements from the head, shoulders, waist, arms and toes. Holding the head high, lifting the chest and straightening the waist are the basic features of the body posture. Through the combination of movement, static and the contrast of big and small movements as well as the embellishment of decorative movements such as moving the neck and turning the wrists, a passionate, bold, steady and delicate style flavor is formed. It is also characterized by: ① the continuous trembling of the knee or the trembling of the moment before the change of action, making the action soft and natural articulation. ②Rotation is fast, colorful and abrupt. Various dance forms of rotation, are distinctive, usually in the climax of the dance for competitive rotation. ③ The music accompaniment is mostly syncopated and rhythmic, and the weak beat is often given a strong artistic treatment to highlight the charm of the dance and national colors.

Uyghur dance is characterized by a very close combination with folk music.

In the dance, there are movements from the head, shoulders, waist, arms, elbows, knees and feet, and the eyes are more representative of the spirit. Also add a series of small decorations such as "moving the neck", "flicking fingers", "flipping wrists", and so on, more formed the characteristics of the Uyghur dance. Uyghur dance can be roughly divided into self-entertainment dance, ritual dance and performance dance.

"Sai Naim" is a kind of self-indulgent dance, no matter what the occasion, as long as it is a happy day, men, women and children come to dance, free to enter the field, improvisation, but also can communicate with people outside the field, and invite the onlookers to enter the field to dance together, so that people feel friendly, the atmosphere is harmonious. People in the music and drums, accompanied by the sound of singing dance, until the fun.

There is also a very distinctive dance, the Dolan Dance. The Dolan Dance comes from the Dolan region of the Tarim Basin (northwest China). The Dolan dance has a very structured dance form. It starts with a pair dance. How many pairs is not limited, the middle is not allowed to leave the stage, straight jump to the beginning of the competition, the competition is rotating, with the continuous change of the music, the competition is gradually reduced, until there is only one person left, this time to the climax of the dance, in the applause of the crowd in the end. From the beginning to the end of the dance, it is performed to the musical accompaniment of "Dolan Mukam", which is warm and cheerful. It is a very popular dance among the Uyghur people.

Uyghur folk songs and dances:

Uyghur dances can be divided into three categories: self-indulgent dances, customary dances, and performance dances. Self-entertainment and customary dances also have performance and religious elements. The main forms of folk dances now circulating in Xinjiang are: Sai Naim, Dolan Dance, Sama Dance, Shadiyana, Nazir Kum, Plate Dance, Hand Drum Dance, and other performative dances.

Sai Naim

Self-indulgent dance. Widely spread throughout Xinjiang, the rhythm to, beat-based, individual areas (such as Hami) have beat. Sai Naim was originally a kind of ancient Xinjiang folk tune, with smooth rhythm and beautiful melody, suitable for dancing, and later combined with the rhythmic tune Sailakai to form a two-part dance form from slow to fast, which was included in the Uygur classical suite Twelve Mukhams. From the record of "Qin Ding Huangyi Xiqi Tu Zhi - Volume 40" about the Hui music, it can be seen that Sai Naim was once a performance item in the Hui music of the Qing court. The performance of Sai Naim is relatively free and can be performed both indoors and outdoors. Before the start of the performance, the crowd sits in a circle, and the band and accompanying singers gather in one place. After the music starts, the dancers enter the stage, and they can dance alone, in pairs, or with three to five people. The dancers improvise from slow to fast with the sound of the piano and drums, or invite the audience to dance with them. When the dance reaches its climax, the audience claps and cheers with the rhythm. The accompanying instruments of Sai Naim are plucked, Rewafu, Dutail, Shatal, and tambourine, etc. The speed of the dance is controlled by tambourine. The tambourine is used to control the speed of the dance. The regional characteristics of Sai Naim are: ① South of Xinjiang, represented by Kashgar region, the style is bright, lively, affectionate and beautiful. ② Northern Xinjiang, represented by the Ili region, the style is dashing, bold and light. ③Eastern border, represented by Hami area, the style is smooth, peaceful, funny and optimistic. It is customary to crown the name of the region before the name of Sainam, such as: Kuqa Sainam, Hotan Sainam, Yili Sainam and so on.

Dolan Dance

Ceremonial dance. Based on two-person dance, with competitive group dance. Circulating in Xinjiang Mageti, Bachu, Shache, Awati and other counties. "Dolan" is the self-proclaimed name of ancient Uyghur people living in individual areas of the Tarim Basin. Dolan dance is an important part of their traditional customary activities. Dolang Dance is danced every time they get together on weddings and joyous days. Dolan Dance has a complete set of performance program. The dancers must dance the whole dance from the beginning to the end and are not allowed to quit in the middle of the dance, and the audience is not allowed to leave the dance floor casually. The musical accompaniment during the performance is performed in the order of the Dorang Mukam. There is no dance in the part where the prelude song is sung at the beginning, and the dances in the other parts are: Chiktimai (beat), Sainaim (beat), Sainaikais (beat), and Sailema (beat). The performance program of the Dorang Dance: regardless of gender, young and old, they sit in a circle, and after the sound of the drums, they invite their opponents to dance in pairs, and their dance steps are steady and bold. The dance moves steadily and boldly. The rhythm of the music changes from slow to fast. Dance by the pair of dance to the collective circle dance, and from the circle dance developed into a two-player competitive rotating performance, the action of the courageous, athletic. Accompanied by musical instruments such as Kanon, Dorange Wafu, Aijiek, tambourine.

Shadiyana

is a festival or a grand gathering in the square performances of the mass of the collective dance form, popular in all of Xinjiang, prevalent in the southern border. Shadiyana was originally the name of the music, Uygur language meaning "joyful", in the past was used in the royal court nobles of the patrol, welcome ceremonies such as music and dance, after the development of the expression of joyful emotions of the dance, more in the assembly before the beginning of the show, or in the performance of the other folk dances after the show, such as jumping Sama Dance, generally to the end of the Shadiyana. There is no limit to the number of people who can dance the Shadiyana, and there is no fixed formation for the performance. The movements are not forced to be consistent, and the steps are mainly small jumping steps, and the hand movements are simple. The tempo is beat for beat. Accompaniment can be strings or wind music, several different diameters of the tambourine or drum at the same time warmly played. Xinjiang around the form and style of Xia Di Ya Na varies, the north of the lively, south of the dance is gorgeous, Makgaiti County, the ancient simplicity.

Nazir Kum

Performing men's dance. Dance mainly in pairs, with competitive. Circulated in Xinjiang Turpan, Shanshan, Torkun and other areas, is a wedding, celebration or Meshrefu, the most exciting program, there are many semi-professional Nazir Kum artists. The performance of Nazir Qom is carried out to the accompaniment of "Turpan Mukam", and at the beginning, it is just a general dance with the music and the accompanying singing, and it is only when the music is transferred to the special tune of Nazir Qom and the lyrics of "Ai, Ai, Nazir Qom" are sung that it enters into the performance of Nazir Qom. The performance is divided into two parts: ① the dance, the rhythm for the beat, footwork to squat, jumping step mainly, dancers with witty, humorous movements to simulate a variety of labor or a variety of characters, such as sole shoes, crippled walk, etc.; ② athletics, the rhythm for the beat, accompanied only by drums. Skillful movements include jumping squat, jumping turn, moving shoulder turn, etc. Dancers overwhelm each other with difficult movements and dedicate their performances to the rhythmic shouts of the audience. Accompanied by musical instruments: Aijiek, plucked, Rewafu, tambourine, suona, iron drums and so on.

Plate Dance

Performance props dance. Popular in Xinjiang Kuche, Kashgar, Ili, Urumqi, Makgaiti and other places. Accompanied by stringed music, the rhythm is beat, and there are special tunes. According to legend, the plate dance originated from the folk of Kuche in Xinjiang, and then spread all over the world, and gradually developed into a stage program, performed by a woman alone. When performing the dance, the dancers hold a plate in each hand, holding bamboo chopsticks in their fingers, and music, dancing while playing, and topping their heads with a bowl of water to increase the difficulty. The Plate Dance of Makgaiti County is performed by a male entertainer who holds a long wooden spoon in his mouth and strikes the bowl with the dance. Plate dance steps and dance, more from the Sainam.

Hand drum dance

Performance dance. Is the 1940s the rise of the dance form, began to circulate in the north and south of the border around the folk, and then developed into a stage program. It is performed by a woman accompanied by a hand drum. The dance is characterized by agile movements, changing rhythms, and the use of difficult spinning and waist techniques.

Other performative dances

Dances with props include the Stone Dance, the Sabaye (Iron Ring) Dance, and the Lamp Dance. Simulated dances include the Goat Dance, Tiger Dance, Camel Dance, and so on. These dance forms are also mostly performed in Maishilaipu.

After the founding of the People's Republic of China, dance workers compiled "Uyghur Dance Basic Training Textbook" on the basis of various Uyghur folk dances, and created many excellent dance programs. For example, the hand-drum dance "Picking Grapes", the song and dance "Kashgar Sainam", the large-scale dances "Dolan Maxilaifu", "Lak" and "Inspirational Dance", and "Female Workers of Tianshan Mountain", etc., have been well received both at home and abroad. At the same time emerged a number of well-known dancers and choreographers at home and abroad.

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