Dazzling and flourishing Tibetan dances have their own unique personality and inherent aesthetic requirements, but they all contain the essential elements and action rules of * * *. This action element and law constitute the aesthetic concept of the whole Tibetan dance. "Trembling, opening, sliding, left and Rao" are the same characteristics of various Tibetan dances, or the five elements of Tibetan dances, which constitute an aesthetic concept different from other fraternal national dances. The composition of these five elements is closely related to the historical conditions, social system, customs and beliefs, geographical environment, production methods and cultural traditions of the Tibetan people, and is an aesthetic standard that has been condensed among the people for a long time. The dynamic laws of dance also include the most basic laws of identity: three steps and one change, stepping back first, rolling back, and four steps turning. On the basis of this * * * same law, various changes are produced, and with the differences in gestures, waist rhythm and music, different dance styles are formed. The steps of Tibetan dance are very rich, which can be summarized as twelve basic steps such as "rubbing, dragging, stepping, tripping, pointing, tucking, kicking, kicking, sucking, jumping and twisting" from the foot movements. The gestures of Tibetan dance can be summarized as seven changes: pulling, leisurely, swinging, winding, pushing, rising and rising. The skills in Tibetan dance mainly include: grinding, planing, kicking, fruit harmony, cross-legged, jumping, grinding, squatting, kneeling, tucking, twisting, stepping and turning, inching and turning, flat turning, small jumping, dead jumping and lying down.
1, the basic characteristics of posture
The basic characteristics of Tibetan dance posture are sitting on the hip, relaxing the upper body and leaning forward. Because Tibetans live in plateau, grassland and other areas with relatively high altitude, the air pressure is relatively low. If they hold out their chests when climbing mountains and diving, their breathing will not be smooth. So according to the natural environment, their posture needs to be relaxed. It mainly comes from the self-coordination of workers in order to reduce their physical burden, but from the perspective of dance, it has another aesthetic feeling.
2. Basic characteristics of dynamic method
Regular knee vibration and flexion and extension are the basic characteristics of Tibetan dance rhythm. Because the Tibetan people live on the extremely cold Qinghai-Tibet Plateau, the heavy and wide boots made of outdoor grazing and sheepskin increase the negative weight of the human waist, and at the same time hinder the dexterous movements below the calf, but liberate the hip and knee joints, thus resulting in the movement law of "bending first and then moving" in Tibetan folk dance. Tibetan dance is active in the lower body and passive in the upper body, forming the characteristics of bottom-up and bending first, thus giving people an elegant and calm feeling.
Second, the basic classification and inheritance of Tibetan folk dance
1, the collective song and dance "He".
It can be divided into four categories: over-thanking, over-outstanding, right-thanking and thanking. Today, when building houses and paving floors in rural areas of Tibet, one of the forms of "fruit thanks", "Da 'aga", can still be seen. "Playing Aga" was recorded as early as the Tang Dynasty and originated from ancient labor songs. Later, simple upper limb movements, in-situ rotation and formation changes were added, which became a labor song and dance form in which men and women sang and danced alternately. Guo Zhuo is popular in a wide area, with different appellations in different regions. The Sakya area is called Suo, the announced area is Bo or, and the pastoral area in northern Tibet is called Zhuo or Guo Zhuang. "Guo Zhuo" is a round self-entertainment song and dance that ancient people danced around bonfires or pots and pans. "Dui Harmony" first spread in the Yarlung Zangbo River basin, and the circle dance from the majestic west of Shigatse to the whole territory of Ali gradually became popular in Lhasa. This is the earliest dance accompanied by a lyre. "Dui Harmony" gradually evolved into tap dance, accompanied by a small band and characterized by stepping. However, the traditional "ring-to-ring" is different from other forms of circle dance, which holds hands in front of or behind men and women's bodies. Harmony, also known as Black Boy, is named after the male dancer who leads the dance and is accompanied by the stringed instrument erhu or oxleg piano. Tibetan is called "Ye" or "Kangxie", which is popular in Changdu, Xizang Autonomous Region, Gansu and Qinghai, especially Heizai in Batang, Sichuan. Black boys in different Tibetan areas have the same shape and slow and smooth movements. Yi, a Tibetan folk dance in Yushu, Qinghai, is a folk group dance with strong self-entertainment. In addition to organizing performances at festivals such as the Jockey Club, young men and women usually dance "Yi" around a bonfire or sitting in the moonlight after work or at night. The lyrics of Yi are mostly traditional lyrics that have been followed for a long time in history and are not changed at will. Its lyrics are mostly in one or two paragraphs, mainly praising the landscape of hometown, praising the working life and wishing people luck and happiness.
2. Perform the circle dance "Zhuo".
It has two representative dances, Zhuo Xie and Rebazhuo. Zhuo focuses on performing various circles to "inspire". In the whole dance process, it is characterized by not jumping when singing and not singing when jumping, and technical performance occupies a major position in the dance. "Zhuohe" originated from ancient sacrifices. The continuation of sacrificial activities for thousands of years has made a variety of "encouragements" passed down from generation to generation. Songs will be interspersed in the performance and sung by all the dancers. Reba is a trinity performance form including "folk song and dance", "bell and drum" and "zaqu performance", which has certain plots. Popular in Changdu, Ministry of Industry, Xizang Autonomous Region, and Tibetan areas in Yunnan and Sichuan, it is an acrobatic song and dance program based on vagrants. Zhuo, a Tibetan folk dance in Yushu, Qinghai, is a kind of folk dance with strong performance. The form of circle dance is opposite, and the rhythm is slow first and then fast. Zhuo's lyrics are deep and soothing, solemn and full, with steady and powerful rhythm and slow movements, such as stretching out his arms and undulating his legs and feet, which should be carried out slowly and quietly, but very powerful, so Zhuo's dance is extremely vigorous and unrestrained.
3. Sacrifice to folk dances.
Tibetan sacrificial folk dances are also worth mentioning. In order to conform to the characteristics of Tibetan polytheism, people hold various sacrificial activities of different sizes, and their sacrificial ceremonies and a large number of Tibetan dances are widely spread in Tibet, Inner Mongolia, Gansu, Qinghai, Sichuan and other provinces. For example, the Dragon Drum Dance in Huangnan, Qinghai is called "Lashize" in Tibetan and "Divine Drum Dance" in Tibetans. It originated from the ritual activities of entertaining the gods and seeking abundant food. In the long-term historical evolution, it has gradually evolved into a mass entertainment activity, from the initial single drumming action to a group dance with various dance segments, and spread on both sides of the Longwu River in Tongren County, Huangnan Tibetan Autonomous Prefecture, Qinghai Province, and some Tibetan towns and villages in Xunhua County adjacent to the county. Every June, the gods are sacrificed in the Divine Jump to bless the villagers' longevity. The young man holds a single-sided drum and dances while playing it under the guidance of the mage. It is represented by images such as invitation, worship, farewell, demon, imitation eagle and steed.