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abstract:
Taking Hebei "Hydrangea Dragon Lantern" as the research object, from the perspective of "intangible cultural heritage", starting from the dance style, sports routines and cultural implications of Dragon Lantern Dance, and combining with the essence of contemporary dance creation, this paper puts forward its own understanding and views on the application of traditional dragon lantern cultural elements in modern dance creation.
Key words:
Hydrangea dragon lantern; Dance modeling; Exercise routine; Contemporary dance creation;
Introduction:
The hydrangea dragon lantern in Rongguanying Village, Qingyuan District, Baoding City, Hebei Province is a branch of the traditional "dragon dance" in China, which originated in the Wanli period of the Ming Dynasty. Its characteristic is that the dragon body is composed of twelve sections in the shape of hydrangea, which is in sharp contrast with dragon dances in other areas, and constitutes the only hydrangea dragon lantern in Qingyuan, China. In June 2009, Qingyuan Hydrangea Dragon Lantern was approved by Hebei Provincial Government as a "provincial intangible cultural heritage protection project". Hydrangea Dragon Lantern has a rich cultural background and occupies an important position on the stage of dragon dance in China with its unique shape. Since the founding of People's Republic of China (PRC), Hydrangea Dragon Lantern has toured all parts of the motherland, participated in many large-scale cultural activities all over the country, and discussed with dragon dance groups all over the country, absorbing the essence of different kinds of art and developing continuously.
First, the style characteristics of hydrangea dragon lantern
Hydrangea dragon lantern is a performing art with "dragon" as the main body. Dragon is a totem god worshipped by the Chinese nation in ancient times. Legend has it that the dragon ran in the dark and chaotic ball for many centuries before it opened the world and had light. Although the image of the dragon is not real, its image is closely related to real life. Dong Yu, a painter in the Song Dynasty, thought that dragons were "horns like deer, heads like cattle, eyes like shrimp, mouths like donkeys, bellies like snakes, scales like fish, feet like phoenix, beards like people and ears like elephants". Therefore, the style and characteristics of hydrangea dragon lanterns are firstly reflected in the structural modeling of dragons, secondly in the movement route in the dance process, and the inner meaning under the dance.
Hydrangea dragon lantern is composed of dragon head, dragon body and dragon tail. Generally speaking, two dragons of different colors perform around a colored bead, the male dragon is red and the female dragon is green. Later, in order to cater to people's preferences, the female dragon was changed to yellow. The dragon body of each dragon is composed of 1 1, plus the dragon tail *** 12, representing twelve months of a year. If it is a leap year, add 1 dragon body and * * 13 to the performance. Each section of the dragon body represents a solar term, and the two dragons have 24 sections, representing 24 solar terms in a year. In addition, veteran Rong mentioned that the composition of the dragon has certain internal relations with the "Zodiac" and "Twelve Hours".
The main practice routines of hydrangea dragon lanterns are formation walking and word posing. Rong described the changing process of formation in "Dragon Lantern Movement Routine": the commonly used routes are "big dragon rolling, small dragon rolling, big hot wheels and small hot wheels". Among them, the big rolling dragon and the small rolling dragon, as well as the big hot wheels and the small hot wheels, are basically the same except for the range of motion and the size of the scene.
According to ancient myths and legends, the dance route of hydrangea dragon lantern has been endowed with certain cultural meanings, and then it has been inherited and developed. Ancestors dance dragons to pray that dragons can eliminate disasters and evil spirits for people, eliminate disasters and reduce happiness, bring abundant crops and prolong life. This traditional cultural core changes with the continuous development of society in today's era.
According to records, dragon lantern activities are always closely related to myths and legends. Hydrangea Dragon Lantern has 12 knots, plus dragon tail *** 14 knots, making a total of 28 knots. Legend has it that dragons can establish the position of celestial bodies and manage the movement of the sun, moon and stars in the universe. At the same time, the dragon controls 28 divisions of the universe, that is, 28 nights hold the sun, one night represents a day, and each night is made up of countless stars. Twenty-eight lodgings gather in four directions, with seven lodgings on each side, also known as seven lodgings, which is what we now call "Zhou", namely Muyao, Jinyao, Tuyao, Riyao, Yueyao, Huoyao and Shuiyao. Therefore, the structure of hydrangea dragon lantern does not come out of thin air, but represents the periodic law of 28 stars and the development of the universe. It can be seen that the hydrangea dragon lantern is not dancing at will, but conforms to the law of natural development, bearing the ancient memory of Chinese civilization and carrying forward the faint ancient style.
Second, the application of hydrangea dragon lantern in contemporary dance creation.
(A) the inheritance and reference of traditional dance.
The creation of new dance is not fabricated out of thin air, but absorbed from the shoulders of former people and blended into new fruits. The hydrangea dragon lantern bears thousands of years of cultural history, and behind it is the labor and wisdom of countless people. When we create new dance works, we must grab enough nutrients from ancient memories. The dance modeling of hydrangea dragon lantern is a combination of martial arts, traditional Chinese opera, acrobatics and other arts, which has the characteristics of strength, clear rhythm and surging momentum. Therefore, in the process of creation, the selection and refinement of dance movements should take into account the original dance style of hydrangea dragon lantern, and combine the dance characteristics of their own creation to selectively inherit it. In the process of inheritance, we should grasp the representative movements of dragon lanterns.
In the dance modeling of dragon lanterns, most of the modeling actions come from the "pearl bearer". Therefore, the dance movements of "pearl pickers" need special attention, but this is by no means relying solely on the dance movements of pearl pickers, ignoring the movements of the dragon head, dragon body and dragon tail. Furthermore, among the actions we can use, the actions of the pearl bearer occupy the majority, and basically every action has elements that can be excavated, while the dance actions of the dragon bearer and the dragon tail bearer are more dependent on their movement rhythm and overall picture modeling. Therefore, we can inherit the dance style of hydrangea dragon lantern from two aspects.
From the aspect of inheriting the movements of pearl pickers, the dance movements of pearl pickers are mostly to attract two dragons to compete for the treasures in their hands, so their movements have a certain teasing meaning. The form and texture of movements tend to "knock" and "impact" mentioned in Laban's "force effect". When the choreographer refines and selects the movements of the pearl bearer, he should focus on shaping the positive images of the characters, that is to say, the movements of the pearl bearer have a certain emotional tendency and are not suitable for shaping some depressed and colorful dance images. Of course, this does not mean that the movements of the pearl bearer can never create a heavy image, but in comparison, the movements of the pearl bearer are more convenient and more suitable for creating more active and lively characters.
It is more diverse to refine the actions of actors holding "dragons". In different types of dance works, the actors who hold the "dragon" pay different attention to the refinement of movements. In the creation of group dance works, the modeling pictures and action routes created by actors are the main body of the choreographer's inheritance. The route formed in the hydrangea dragon lantern performance plays an important role in enriching the composition picture of group dance. For example, "Dragon Horse Offering a Picture", a dance picture composed of four pictures in different directions, is a dance composition technique worth learning by directors. For a single actor's dance movements, compared with Princess Pearl, it seems monotonous. Therefore, in the process of group dance creation, more attention is paid to the inheritance and development of the dance style and action route of hydrangea dragon lantern.
In the creation of "single, double and triple" dance, it is difficult for the director to inherit the action of the actor holding "dragon". The main reason is that the hydrangea dragon lantern itself is a simulated dance with prominent props, lacking prominent dance movements, and more is to show the props in their hands and the dance pictures presented. But it is by no means that the action of an actor holding a "dragon" cannot be the director's material. Although most of the actions of the "dragon" holders are controlling props, there are still some details worthy of the directors' attention in the process of manipulating props. For example, in the process of dancing, the actors rely on tiny wrist changes to change the trajectory of the dragon body, and rely on the change of pace to show the "twists and turns" of the dragon without making the whole team too abrupt. These subtle places deserve the directors' attention. If these details are properly used in the creation of "single, double and three" dances, they can also play a magical role.
(2) Innovation and creation of traditional dance.
As the product of thousands of years of civilization in China, Hydrangea Dragon Lantern has a profound cultural background. However, with the rapid development of the times, there is a huge gap between the artistic conception of some contents of Dragon Lantern and the times. Therefore, the hydrangea dragon lantern is not only the relationship between reference and inheritance, but also involves the issue of innovation and creation. Whether it is action route, dance modeling or even cultural connotation, it can be given new meaning in the new era. The key lies in how to create a dance form that conforms to the aesthetic psychology of modern people without losing its original characteristics. For the innovation of dragon lantern movement route, we must first establish the direction. As far as dance creation is concerned, no matter the theme, genre, content and form, it ultimately serves the theme of dance. Therefore, after defining the theme of dance, we can begin to reform and create the significance of sports line.
With the sudden emergence of the modernist army and the diversified development of global art, the techniques of artistic creation have long been different from some traditional techniques. In the creation of modern dance, the choreographer can entertain himself according to his own preferences, and he can also integrate some elements of performance art into dance creation like postmodernists. What's more, he even created some meaningless works in pure form, and put forward a brand-new sound to the meaning behind the action: the action itself is meaningful. No matter what purpose or effect these contents have, we can't deny the value of their existence, because existence is reasonable. Therefore, the task of giving hydrangea dragon lantern a brand-new movement route can be seen from the viewpoints of expressionism and formalism.
For expressionists, they pay more attention to the expression of personal style and ideas, rather than blindly pursuing people and things in life like members in the banner of model theory. This is of great help to us in transforming the route of the dragon lantern. From this point of view, we can get rid of the original operating law of the dragon lantern and the concept of yin and yang and five elements, and give the director his own understanding and feelings. In other words, we don't have to deliberately shape some kind of inner meaning, but we put our inner thoughts into practice with the changes of the choreographer's thoughts and ideas and the action route. However, it needs to be clear that although the meaning of the sports route can change with the director's intention in the creative process, the scope of change cannot exceed the scope that the original cultural connotation can carry. For example, the hydrangea dragon lantern is originally an expression of worship and belief in gods. In the process of creative creation, the director must not change it into blasphemy, which conflicts with the original intention and will cause many people's resistance.
Formalism can also bring different inspirations to directors. "What you see is what you get", under the control of this concept, the movement route of hydrangea dragon lantern has changed. Theoretically speaking, such a creative technique with no intrinsic meaning can be integrated with the movement route of the dragon lantern. When directors are trapped in the laws of Heaven or Taoist Eight Diagrams, the formalistic creative mode is undoubtedly a powerful weapon to break through the cage. They can completely abandon the original rules and create a new reference for their own expression.
As far as the meaning of hydrangea dragon lantern is concerned, in the process of dance creation, it can be a myth of the original cultural connotation, an alternative interpretation of traditional culture by the director, and a "void" of cultural connotation can be created by overthrowing the original internal meaning. This "empty" state is a special "signified" relative to the original cultural connotation. In a word, giving the dragon lantern movement route a brand-new reference requires a reasonable choice according to different creative techniques and different creative purposes, and there is no fixed model to copy.
Third, the conclusion
The creation of contemporary dance art should not only put the cultural elements of the present era in a reasonable position, but also consider the legacy left by our ancestors. Only by properly combining the ancient with the modern, the traditional with the avant-garde, can our works be called "classics" and handed down from generation to generation. Therefore, whether it is the renovation or inheritance of Qingyuan hydrangea dragon lantern, we should create modern dance works from the aesthetic point of view of contemporary people, instead of copying the original inheritance intact, which can be called real creation.
refer to
[1] Zheng Jie. On choreography [J]. Dance, 20 17, (6):62-64.
[2] Liu Jianzhu. Silent Speech-Interpretation of Dance Body Language [M]. Beijing: Ethnic Publishing House, 200 1.
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