Tibetan rural children how to han learn to dance and sing?

Introduction of the basic knowledge of folk dance Folk dance refers to the dance forms that are produced and circulated in folklore, subject to folk culture, improvised but relatively stable in style, and with self-entertainment as the main function. Folk dance of different regions, countries and nationalities, due to the living environment, customs, lifestyle, national character, cultural traditions, religious beliefs and other factors, as well as by the performer's age and gender and other physiological conditions, there is a very obvious difference in the performance skills and styles. Why don't you take a look at the basic knowledge of folk dance? Brief introduction folk dance (folk dance) in China's folk dance has a long history and is very rich, generally can be divided into Han folk dance and minority folk dance two categories. The Dictionary defines folk dance in this way: "a traditional dance form that is widely circulated among the people and has distinctive national style and local characteristics." Modern researchers of folk dance summarize the concept of folk dance as follows: "In the process of the development of the material and spiritual civilization of an ethnic group or a region, the dance forms created by the working masses collectively and handed down among the masses are still in circulation, and they have distinctive regional and ethnic characteristics, and they express the cultural background of a certain historical period under the economic conditions. It has distinctive regional and national characteristics, expresses the cultural background of a certain historical period under economic conditions, and injects new ingredients with the development of social life." Today in folklore, people dance folk dances not for the purpose of showing others, but for the people themselves. This is the basic attribute of folk dance and the basic purpose of realizing self-entertainment. People are using folk dance to achieve the enrichment of their lives and their desire for life, and its place and role in people's lives is obvious. Therefore folk dance can always maintain its unique sense of national life and continue to spread in modern times. Language is the symbol of the formation of a nation, and therefore, it can also express the spirit and characteristics of a nation most fully. Folk dance, as a special language form of art, centrally embodies the aesthetics and will of the nation, and has a powerful cohesive force of national unity. Artistic features The artistic features of folk dance are rich and colorful, and should at least have the following characteristics: locality, closeness, ethnicity, nationality, folklore, mass, group, amateurism, game, self-indulgence, catharsis, ritual, performance, entertainment of God, entertainment of humanity, simplicity, repetition, participation, square, earth, life, imitation, realism, purpose, practicality, festivity, totem, witchcraft, acrobatics, and so on. Witchcraft, acrobatics, athletics, therapeutic, song and dance, drama, props, diversity, comprehensiveness, improvisation, freedom, sociality, cohesion **** 42 kinds. Northeast rice-planting song First talk about Northeast rice-planting song. Northeast rice-planting song must start from Liaonan stilts. Liaonan stilts have a unique style and rhythmic characteristics, artistically reflecting the character of the people of the Northeast and the aesthetic habits of the countryside, and these characteristics are formed by the people of the Northeast in the long term life. The vast plains of Northeast China are characterized by flat terrain and distinct heat and cold. The Han Chinese people living here are mostly laborers engaged in land reclamation, mining and portering, forming a tough, frank and stubborn character, and at the same time forming the aesthetic habits of the Northeastern people who like rich colors and rough lines. Over time, a whole set of dance movements and physical characteristics have been produced in line with the nature of the Northeastern people. The Northeast Yangge, which was bred and developed from Liaonan stilts, always maintains the characteristic of leaning forward in its posture, and when it kicks out, it kicks and lifts up powerfully; when it retracts, it lands fast and solidly, and it is the combination of the regular staccato of the knee and the sharpness of the dance when it is turned over, which has formed the special physical rhythm of the Northeast Yangge, which is known as "Burgundy Strength". This kind of "Burgundy strength" also coincides with the strong and unyielding character of the people in Northeast China, reflecting the unique living customs and character temperament of the rural people in the Northeast Plain. From the above analysis, it can be seen that it is this kind of body movement that fully expresses the openness and cheerfulness of the northeastern people and their love of lively character, which forms the artistic infectious force of the fiery atmosphere of the northeastern rice-planting songs. Tibetan Dance Let's talk about Tibetan dance. In the four kinds of Tibetan folk dances we are familiar with - heap harmony, fruit harmony, pot Zhuang, string - no matter which dance, its physical characteristics are characterized by sitting on the hips, bowing the waist and curving the back. Obviously, what is decisive for Tibetan dance is not only the natural environment that exists now, but also the character traits of the Tibetan people. To explore the more essential reasons for the formation of the physical characteristics of Tibetan dance, it is necessary to go deeper into the history of the Tibetan people and their social system and religion. Historically, the Tibetans were a nomadic and agricultural people on the high mountains and grasslands of the roof of the world, with a strong physique and a resilient national character. Although the natural environment of the Tibetan Plateau has brought many difficulties to the survival and reproduction of the local people, the Tibetan people, who have lived here for generations, have created a unique and long-lasting national culture and art tradition with their hard work and wisdom. In this special cultural and artistic tradition, religion constitutes a vein that runs through the life of the nation. Pious religious beliefs and emotional psychology, coupled with daily heavy physical labor and living habits, formed the Tibetan daily life in the stooped back life posture, reflected in the dance further caused by the Tibetan dance to sit on the hips, bowed back, curved back of the basic physical characteristics, and developed into a whole set of rhythmic style system. The analysis of the above two ethnic folk dances, from different religious beliefs, cultural traditions derived from the human ti art culture, is the recognition of the spiritual goals and values of the nation, and after this recognition, the dance to emphasize and strengthen this spirit. And so that nation is united and strong under the cohesion of this force. Therefore, the folk dance culture built on the deep cultural foundation of a nation is inevitably recognized and loved by the people of that nation. As a product of the spirit, it possesses a strong national cohesion, and in the group's joint song and dance, it ties the hearts of the nation together, overcomes all difficulties and obstacles, and struggles for survival. It can be seen that folk dance is not an accidental phenomenon, it is a product of human cultural development, is aimed at self-indulgence and the growth of the environment and its integration of the dance form. Folk dance has its own law of development, evolutionary trajectory and performance system, which is not subject to individual will. It has its own status and role in the society, and it is an important part of the cultural property owned by the people, which should be respected and protected, so that it can evolve more healthily along its own development law. The folk dance of Tibet has a long history and a long lineage, with many varieties and rich colors. The Tibetans are a people who can sing and dance well. Tibetan folk dance not only embodies the vitality and spirit of the Tibetan people, but also has a strong fitness effect. Tibetan folk dance has a long history, in the 1st century BC, the first generation of the Tubo dynasty leader Dele Xiaolei king period, "Lu" (static song) and "table" (dynamic dance) has been developed. There is a saying that "During the time of King Dele Xiaole, songs and dances were prevalent". In the 7th century A.D., Songtsen Gampo, the king of Tibet, formulated the "Ten Good Laws" in order to consolidate the power of the king and stabilize the society. According to 〈Tibet king system record〉 description: at the time of the announcement of this code, the whole of Tibet, "or decorated rhinoceros or lion and tiger, or the fireflies inspired by the people, in a variety of postures to offer music and dance ......". Tubo period of Tibetan soil wind dance, anthropomorphic animal dance, law inspired dance and religious witch dance and so on has been very prosperous. In Tibet, the folk dance forms and physical movements vary from region to region. In many of their dance activities, there is a very strong fitness effect, there is a foot for the festival, even arm treading song, enthusiastic and joyful rural "fruit harmony" (circle song and dance); there is a step for the festival, the heavy foot rhythmic point of change, enthusiastic and joyful "pile of harmony" (tap dance); there is both the show dance and the dance of the animal, the animal dance and the religious witch dance, etc. have been very prosperous. ); there are both the exhibition of dance and emotional performance, bold and unrestrained rural pastoral "fruit table" (potshuang dance) and so on. These songs and dances integrate entertainment and sports, lively, healthy and noble. It combines sports, entertainment and art into one, and is also a kind of sports and entertainment and art activity. Tibetan folk dance not only has many patterns and high skills, but also combines with Tibetan folk art, combining sports, music and dance into one, showing a high level of skill, which is not only entertainment, but also strengthens the body. In addition, in Tibet's temples and folk, also popular some imitation animal action dance, such as eagle dance, lion dance, yak dance, deer dance, monkey dance, etc., very similar to some of the five birds of the Han region, these dances have "declared Yu", "through the joints," the role of strengthening the body. These dances have the function of "promoting and guiding Yu", "facilitating the joints" and "strengthening the body". Dancing is not a single movement, it is always accompanied by music, is the movement rubbed in the music, music with the movement of a comprehensive activity. Modern medical research has proved that cheerful and relaxing music can make one's spirit uplifted, energetic, blood circulation, meridians and channels unimpeded. Therefore, often jumping Tibetan dance, not only can enrich the cultural life, promote physical health, but also can enjoy in it, nourish in it, medical in it. Tibetan folk dance and is a form of aerobic dance exercise, especially in the plateau environment, on the cardiovascular system of cardiovascular diseases, such as hypertension, coronary heart disease and so on help to adjust the mood, so that the mind and body to get relaxation, from the spirit of the pressure or make the blood pressure to get back to the good effect. Through the Tibetan dance this kind of aerobic fitness exercise therapy, can make the artery soft expansion, the blood flow is smooth, if often in the suitable place jumps the Tibetan dance, can make the blood vessel is in the beneficial soft expansion state, in order to stop the arteriosclerosis effectively. Because when dancing Tibetan folk dance, the dancers are required to hold out their chests, suck in their bellies, and harmonize the movements of their heads, strengths, backs, waists, hips, and ankles, and through the joint movement of all parts of the body, make the movements quite and not stiff, soft and unremitting, and solid and not loose, so as to achieve a beautiful unity. Folk dance can develop physical quality, especially coordination, sensitivity, and can promote the development of bones and flesh, internal organs and the nervous system, and folk dance can be said to be one of the positive ways of rest. People engaged in mental labor for a long time, after study and work or rest time to jump folk dance, transfer the brain in the "excitement of the stove" is a kind of beautiful enjoyment, but also can make the physiological and psychological functions to be regulated. Through the pleasant music and elegant dance, it not only cultivates the imagination, expressive power, infectious power and attraction of the athletes themselves, but also makes people's spirits uplifted and feel full of strength, which is more suitable for young people's energetic character traits. In a word, the outstanding entertainment and fitness of Tibetan folk dance can make the national fitness activities in the form that the Tibetan people like to see and enjoy, so as to achieve the purpose of physical and mental happiness and physical fitness. Other Classifications Korean Dance In the ancient art history of China, Japan and North Korea, North Korea has always taken the lead in music and dance, while China and Japan are known for their poetry and painting respectively. Therefore, the folk dances of Joseon can be said to be both colorful and distinctive, fully expressing the subtle and reserved character of the Joseon nation, which is tough and resolute. The representative folk dances are the ballad dance and the improvisation dance: the former is a form of singing and dancing, and the dance movements are divided into hand-holding and hand-less, while the contents of the performance are the difference between men's praying and wishing and women's relieving their grudges; and the latter is the dance that is improvised by the dancers when their moods are high and they are at liberty to improvise. The four basic features of the Korean folk dance are improvisation, the natural method, the combination of movement and static, and the vividness of the rhythm. The Joseon Hat Dance, also known as the Nongrak Dance, is often seen in the performance of the Four Things Game. Among the specific dance programs, the most typical dances are the Crane Dance, Fan Dance, Monk Dance, Grievance Dance, Hat Dance, and Taepyeong Dance. These representative dances and dancers are well protected and healthy by the Korean government under the "intangible cultural assets" system of "human national treasures" created by Japan in 1950 and subsequently promoted by the United Nations. The system of "intangible cultural assets" and "human national treasures" created by Japan in 1950 and subsequently promoted by the United Nations has led to proper protection and healthy development. Arabian Dance The folk dances of the Arabian region have not been given enough attention due to the general Islam practiced by the people of the region. One of the reasons for this is that most of the women in this region live in seclusion and cannot dance in front of large crowds. However, as the most instinctive expression of human beings, the dancing nature of the Arabs, especially Arab women, has never died out, and the women of good families often danced in their homes behind closed doors to pleasure themselves or their families. Women from poor families do not have to take into account these rules and regulations, but can go to dance to their heart's content, in order to maintain survival and support their families at the same time, but also to enjoy the "living" of the pain and pleasure. From about the 17th century onwards, Arabian folk dances were gradually absorbed into folk theater, and the inferior status of women in them also entered into the theater, which resulted in the continuation of the tradition of men dressed as women until the 20th century, when women from Christian and Jewish areas appeared on the stage in droves to make a change. Learning and performing skills Chinese folk dance from the folk, has a broad mass base, self-entertainment, spontaneity, by the feelings and sent. The unique regional and national characteristics of the dance gives other kinds of dance is difficult to reach the charm, the charm of folk dance so that many people like, and this love is not subject to age limitations. Dance of the "beautiful" beauty, is the first feature of folk dance, folk dance music or jumping, cheerful, or gentle, lingering or high, warm, and most of the people are familiar with the repertoire, folk dance movements easy to learn and master. It can be said that: "folk dance music pleasant heart, dance to entertain the body"! Through continuous practice, accumulation, in a gradual manner to achieve the level of dance and expression continue to improve, to achieve their own beauty! From embarrassment to beauty, to the beauty of freedom, the beauty of the generous, so that we become temperament, educated people, so that life becomes beautiful, so that we all become beautiful and fragrant! Learning to dance performance 1.Learning to dance (imitation): 1.1 Learning to dance is both the middle rule to follow the imitation object (teaching dancers) to learn by heart, to be meticulously and carefully learn, including movement, rhythm, body direction, facing, point of view ..... Do not miss the details. This stage of learning dance movements require the more like (teaching dancers) the better. The object of imitation is clear and enlarged in the eyes of the learner dancers.1.2 When the learner dancers gradually master the dance movements and body rhythms, they begin to feel the beauty of the dance, and at the same time the object of imitation (the dancer who teaches the dance) begins to fade away, so that they figure out for themselves how to do the movements in a way that can be better expressed, appropriately incorporate their own styles, and do their best to make their own movements reach the perfection (in their own opinion). That is to say: the same dance, different people can jump out of different styles. 2. practice: 2.1 perseverance, usually in the possible conditions to adhere to the dance practice, do not have to focus on activities only when the practice, at home, on business trips can be practiced, the conditions can be practiced in front of the mirror, in order to find out which movements are not right, not allowed to correct in a timely manner to avoid unknowingly forming habits change up difficult. Regular practice can maintain a better shape and physical strength, to maintain the body should be the coordination required by the dance (because the dance requires the body to move harmoniously and gracefully in the music), to improve cultural literacy. 2.2 usually listen to melodious music, familiar with the rhythm of the music, the dance is very beneficial. It also plays the role of cultivating sentiment and purifying the mind. Ancient Greeks said: "music is the soul of the gymnastics" is indeed so. 3. performance: 3.1 with "heart" to perform, performance performance should be wholeheartedly into the mood of the music, must be full of emotion. Do not be hard, dogmatic action, dry for the performance of the performance, then there is no expressive, infectious, tasteless as plain water. At the same time, we should also pay attention to moderation, too much will make people feel exaggerated, pinch, posture. In short, from the heart of the emotional catharsis, integration. 3.2 Confidence believe that they are at this moment (on stage) the most beautiful, confidence comes from the usual efforts and full preparation. Have certainty, have the strength in order to have the root of the heart, otherwise it is not confident, the performance is prone to timid, Vino, vague emotions, movements. 3.3 more performances, field experience, feeling, heart experience, summarize is very necessary. Because other people's feeling and experience may not be suitable for everyone, we must "realize" ourselves in order to improve. General Knowledge of Dance Watching folk dance, we seldom hear anyone complaining that "I can't understand", and seldom see anyone pursuing the question of "what exactly are they doing? The reason is actually very simple - folk dance reflects people's daily contact with the more simple, with great common and *** with the state of life and thoughts and feelings, and the basic function and vitality of folk dance lies precisely in this simple and *** sex, or else, it will not be able to play its cohesion of the whole community's social role. This function remains the same even if it develops from self-entertainment to the entertainment of gods and people. Because the original folk dances, from choreography, to dancing, to watching, are the things of our ancestors - the peasants themselves; no matter whether they are lyrical, or narrative, they are the life itself of our forefathers - the peasants themselves, so naturally they should and must be able to be understood at a glance, at a glance, and at a glance, and at a glance. Naturally, it should and must be easy to understand at a glance, and of course, the question of "understanding" or "not understanding" will not arise at all. Suggestions for Dance Viewing The general principle of appreciating dance should be "take what you need". Therefore, what kind of need you have, you should go to see what national weddings and funerals and different regions of the local customs, if you want to pro-burning folk dance of the thousands of forms and the depth of folk culture, if you want to capture the thousands of people linked to the community consciousness and day and night with the same dance of all the people of the same heart, if you want to experience the unity of the celestial and the spirit of the thing I am in the same * * * * * * * * * * * * * * * * * * * * * * *, please go to see! If you want to experience the unity of heaven and mankind and the spirit of **** integration, please go to see the "original" folk dance, go to dance the "original" folk dance!