1. Han nationality
Since ancient times, various folk dances of the Han nationality have been performed on New Year's Day, ancestor worship, temple fairs and welcoming ceremonies. In the struggle for energy, performers came up with new tricks to win praise. It is in the refining of this skill that the Han folk dance develops continuously.
(1) Anhui Flower Drum Lantern. The "drum" part of the Flower Drum Lantern is the most distinctive performance part. It is divided into upper drum, middle drum and field drum. Drum playing is a skill performance in which orchids put on various postures on the shoulders or waist of drum stands. The middle drum is a double martial art of performing orchids on the waist, legs and hands of the drum stand. Drumming in the venue is a solo performance technique, such as "Swallow's three strokes", "Climbing the city upside down", "Grabbing all over the ground" and "bunny hop". Artists have developed their own characteristics and expertise while demonstrating their skills. They are often filled with extraordinary talents and abilities in unpredictable turning points and rare skills. For example, Shi of Huaiyuan (stage name "Stone Monkey", stage name "Xiaoshuizi" of Hongyun) and Wu of Fengtai (stage name "Peeing Monkey") can be seen from their stage names that their skills are exquisite and vigorous.
(2) Shandong millet yangko. Drum yangko has been divided into literary field and martial field since ancient times, and martial field is the part where "drum", "stick" and "umbrella" show their talents. Dancers stride low when running, take root, kick their feet, raise dust, and be solid and powerful; When you jump, you emphasize pulling and jumping, just like "pulling onions in the dry land". If you can't master the props skills and all kinds of squatting, kicking, jumping and turning skills, then the style of drum yangko is stable, chic, simple and strong. Huimin and Shanghe, the birthplace of drum yangko, are both close to Cangxian, the hometown of martial arts in Hebei, and Wuqiao, the hometown of acrobatics. The influence of martial arts and acrobatics greatly enriched the performance of drums and yangko.
(3) Han folk dances include Ansai waist drum, Ying Ge in Guangdong, ancient paintings in Hunan, stilts in southern Liaoning, and Yangko in Northeast China. They are all highly skilled dances.
2. Tibetans
Reba, a Tibetan dance, is a superb dance, which is performed by hereditary vagrants in the folk. Among them, the bell drum dance is the main performance part. Male artists hold yak tails and bells, while female artists hold single tambourine in their right hand and long drumsticks in their left. At the beginning, men and women performed together, with men ringing bells and women spinning drums. When the atmosphere is warm, there will be a small performance. First, many actresses collectively performed drum skills, including "top drum rotation", "wrapping the head and drumming" and "twisting the waist and acupoints". After the drum performance, the drum team dispersed and stood aside, and the actors took the stage. Accompanied by drums, they answered one by one, shaking their shoulders and performing.
Different technical movements include "one leg turn", "lying flat turn", "lying down jump", "kicking the leg across the neck" and "rabbit jump". In addition, some gadgets will be performed, such as "curling hair" and "swinging back". There are many sets of drums, and each set of drums has a different set of technical movements. The actors danced to the drums, pranced and danced, and finally took a quick step back. Another example is "Zhuo" in Tibetan folk dance, which is also a kind of dance that expresses emotions by performing skills. It jumps rough and unrestrained, magnificent.
3. Mongolians
Taiping drum dance, bowl dance and chopsticks dance in Mongolian dance are all superb dances. Taiping drum dance is mostly performed by women at the harvest festival, which is divided into two forms: group dance and solo dance. When dancing, they hold the drum handle horizontally in their left hand and the stick with spikes in their right hand, knocking and jumping at the same time. Body movements are generally exaggerated, and the basic dance movements are prone, inclined and sideways with the waist as the axis. The dance steps are bold, powerful, elastic and mixed with jumping skills. A skilled person can dance with four or five drums at the same time and hover around different parts of the body, which is competitive. Bowl dance, also known as "drinking cups". It used to be performed by male artists. After the 1920s, bowl dancing was mainly performed by women. Smooth, gentle and dignified movements. At the climax, they often do tricks such as "bending over" and "twisting the waist". Those skilled people even dance with lights on their heads. Chopsticks dance is performed by men alone in more occasions than festivals and banquets. Dancers hold chopsticks in one or both hands. With the flexibility of her legs, her body swings from side to side, her shoulders shake quickly and break, her arms are loose and smooth, and she hits her hands, waist and legs with chopsticks. Dancers sometimes turn around and hit the ground, sometimes squat and kick their feet, from slow to fast, and finally end up in the climax of the fast performance.
4. Uighurs
Board dance is a high-tech and difficult dance in Uygur dance. Board dance is a common name for performing prop dance "top bowl and small dish dance", which is usually performed by women alone. During the performance, the dancers danced to the music with a small dish in one hand and chopsticks in the other. With a bowl of water on his head. In addition, the spinning skills in Maixilaifu folk dance in Xinjiang's multi-wave area are a must. Allegro has developed from double rotation to competitive rotation. For a time, all kinds of kneeling rotation, idling rotation, vertical rotation with legs closed and lying flat rotation appeared one after another, which made people dazzled and amazed.
5. Koreans
Elephant hat dance and long drum dance are both distinctive and superb dances in Korean dance. Dancers wear special helmets with long tassels that can be wound around them. When dancing, they swing their heads to make long tassels spin and fly on their heads and sides. The higher the skill, the longer the tassel on the head. Dancers beat drums in their hands and jump forward in a "magpie step", such as firing guns into the air and charging forward, and the long tassels on their heads keep spinning. Long drum dance was mostly performed by women, and later men also performed. The performer is wearing a cane and a drum, and the right hand beats the drum surface of the high note with the bamboo keys, and the palm of the left hand beats the drum surface of the low note. Drums with high and low timbres are in harmony with all kinds of drums. The performance comes to a climax, usually a gradual continuous rotation. People with good skills can turn it over dozens of times.
To sum up, China folk dance not only has its own skills, but also is rich in "resources". Our skill "resources" can be roughly divided into two categories: one is all kinds of unarmed action skills in the original ecological folk dance, and the other is all kinds of props dance skills in the original ecological folk dance. This can be seen from the above description and analysis of the unique technical dances of the five ethnic groups of Han, Tibetan, Mongolian, Uygur and Korean.
Second, the relationship between China folk dance skills and China classical dance skills.
As we all know, the skills of China's classical dance were developed on the basis of drawing lessons from some skills of China's traditional opera, martial arts and ballet. Many technical dances in Chinese folk dance are also developed by absorbing nutrition from martial arts, traditional Chinese opera and acrobatics. In particular, there are many unarmed skills in the folk dance of the Han nationality, such as flying feet, jumping, rotating, sweeping, saving tigers, overlapping shoulders, praising and so on. Are possessed by classical dance and folk dance. Thus, the technical skills of China classical dance and China folk dance are the same, but they are of the same origin. Why are people always used to calling these techniques classical dance techniques? I think there may be preconceived reasons. The discipline construction of China Classical Dance Department was earlier than that of China Folk Dance Department, and it also successfully established its own technical training system. However, the folk dance department in China has not perfected its own technical training system, and basically relies on the basic training materials of classical dance. So these techniques naturally wrote down the surname of classical dance. In fact, it is difficult to define the attribution of these skills. Let's just say it's all our national skills. If you have to define it, it depends on its purpose. The word "early" should not belong to anyone who uses it, but to anyone who uses "good". The so-called "good" means that the application of skills conforms to the aesthetic style of dance, the dance content expressed in dance works and the needs of shaping characters. Third, the positioning of Chinese folk dance skills
Gorky once said: "If an artist does not master the skills, even the richest feelings will be paralyzed." His words just show the importance of the application of skills to artistic creation. Technology exists for art, but art without technology cannot exist. Skills also play an important role in Chinese folk dance. In a sense, the skills in Chinese folk dance are not only a form of artistic expression, but also an important means to embody the style of folk dance. How can China folk dance, a dance performance art with strong style, not need superb and wonderful skills?
In the first National Lotus Cup Dance Competition, Top Bowl Dance, which was directed by the famous national dancer Hailiqi Mustiqi, won the gold medal in the national dance group dance. The key to the drama's great success lies in its clever use of the top bowl technique in Uygur folk dance. During the performance, the actresses calmly and smoothly moved their steps and changed their formations in beautiful and cheerful music, like the sweet spring flowing in Tianshan Mountain and the flowers floating in the wind on the grassland. Its superb and wonderful top bowl skills and fresh and unique artistic style conquered all the judges and audiences present at once.
Last June, I was lucky enough to watch the large-scale music and dance "Everest" from Tibet. Now I still feel excited and excited when I recall Reba's encouragement. The whole music and dance reached a climax with the encouragement of female hot bar and male braid. The hot drum skills of actresses have reached perfection. Whether doing top drum rotation, swinging drum rotation or turning over, it is so fast, neat, clean and beautiful, which attracted a burst of admiration and warm applause from the audience present. Actors' braids inspire them to dance with more momentum and a wild beauty. Their braids and drums play freely, the rhythm changes from slow to fast, and the atmosphere is extremely warm. It is the superb inspiring skills and the strong artistic appeal produced by the rich snow scene style that make us ecstatic and excited.
The above two dances are both good works that conform to the positioning of folk dance skills. They all show their unique artistic style and cultural connotation through the rational use of prop dance skills.
Fourth, the development trend of Chinese folk dance skills 1. Stylized skills.
China's classical dance skills pursue the ultimate display of ability and quality, while China's folk dance skills pursue the perfect embodiment of aesthetic style. The techniques in classical dance can be independent of each other, while the technical techniques in folk dance are closely combined with the dance style, which is difficult to separate. In other words, the skills of folk dance are not pure skills, but stylized skills. The development trend of Chinese folk dance skills should be the strengthening and development of stylized skills. Style skills include not only all kinds of props dance skills in folk dances, but also the unique skills of rotation, jumping and turning over in folk dances of all ethnic groups. Ming Wenjun, an associate professor in the Department of Folk Dance in China, once put forward the teaching idea of developing the use of props to the limit to form folk dance skills in the article Thinking of Xiamen Class Graduating Class. Practice has proved that this teaching idea is scientific and feasible. Our folk dance has many unique forms of prop dance, which can be explored, studied and developed. For example, handkerchiefs, fans, drums, umbrellas and sticks of the Han nationality; Tibetan Reba Drum, Braided Drum and Back Drum; Mongolian chopsticks and bowls; Korean drums, elephant hats and so on. There are also various spins in folk dance, which is also a highly stylized skill. For example, all kinds of kneeling turn, shako turn, empty turn and flat turn in Uygur dance emphasize fast, changeable and suddenly static, just like an eagle flying in the wind. The rotation in Korean folk dance emphasizes stability and elegance, just like a leisurely crane.
2. Emotional skills
The skills in folk dance are closely combined with venting life feelings and setting off the atmosphere at the scene, which is the materialization of the inner passion of folk dancers. If there is no emotional input, no matter how exquisite the skill form is, it will become pale and disgraceful in folk dance.
I have seen some folk dance dramas on TV videos, but now I can't remember their names. But what I remember is that they are all very skilled. During the performance, the rotating body is 3600, and the static state is 1800. But these techniques have been divorced from the dancer's emotions.
And dance style, so there is no artistic appeal at all, but it makes people feel inexplicable. In this respect, I appreciate the three-man dance "Boy, Sage, Horse Cherry Blossom" created by Yunnan Song and Dance Troupe. Its warm, funny and unpretentious style is memorable. The drama also arranged some skills, such as kicking the purple and gold crown backwards, flipping it slightly and scratching the face, but these skills were properly completed in the natural expression of the actors' emotions and the superposition of dance emotions. This emotional technique greatly enriches the artistic expression of dancers and enhances the artistic appeal of dance.
3. Artistic skills
With the development of the times and the transformation of folk dance from square to theater, the role of folk dance skills is not limited to venting emotions and rendering atmosphere, but will gradually develop in the artistic direction of shaping dance images, expressing characters' psychology and creating stage artistic conception.
Some people say that the folk dance performed by Yang li Ping has no skills at all, so why can it be widely loved by the public and praised by experts? In fact, after careful analysis, the application of Yang li Ping's unique action vocabulary is the highest embodiment of the artistic skills of national dance. The dance modeling and dynamics in The Spirit of the Marquee are different from those of the original Dai peacock dance in the square. Through the exaggeration and deformation of art, the peacock's noble and transcendental spirituality has been further sublimated, creating an artistic wonderland that seems to be true but not true. As Professor Yu Ping commented: "The extraordinary feature of sparrow spirit lies in its' skill' becoming' shape', and it is not burdened by' skill' and' shape'. When you appreciate Yang li Ping's The Sparrow Spirit, you can't find any traces of skills at all, because "Yang li Ping is creating the light of life with the life consciousness of seeking the Tao through skills". Among the dancing peacocks, Yang li Ping devoted all his life consciousness, life consciousness, life interest and keen thinking on life, which made this dance monologue full of quiet life harmony and firm life confidence. "So, I think the highest level of application of folk dance skills is to make it artistic, so that the whole process of skills is completely hidden in the reason and rhythm of dance performance, rather than deliberately doing it.
Since the establishment of 1987, China Folk Dance Department has been trying to establish and improve its own technical skills training system, and has made some progress and achievements. Professor Pan Zhitao put forward some basic skills of folk dance, such as "stepping off" and "kicking", which are technical skills in themselves, and guided the development of folk dance skills teaching materials. Associate Professor Ming Wenjun started with the analysis of the unique prop dance skills and aesthetic style of folk dance, and then put forward the teaching idea that folk dance skills should be inherited and innovated on the basis of highlighting the style attributes of folk dance. The so-called "inheritance" is to scientifically and deeply excavate and sort out the unarmed movement skills and props skills in the original ecological folk dance and apply them to teaching. The so-called "innovation" means that under the premise of conforming to the aesthetic style of folk dance, we boldly learn from other kinds of dances and skill forms in other art categories and improve the "jade" of Chinese folk dance with "stones from other mountains". He carried out this teaching idea in the teaching experiment and teaching and research work of Xiamen class and achieved success. The successful experience of Xiamen class in folk dance skills class plays an important guiding role in sorting out and completing the teaching outline of folk dance skills in China.