Pot dance is enriched and perfected with the development of Tibetan production and life. In primitive religious beliefs, Guo Zhuang and Tang Huo are places where gods gather, and where the fate of individuals and families is maintained. Dancing around the bonfire is a traditional form of primitive clan dancing around the bonfire. People can convey their prayers and wishes to the gods through dance, and at the same time they can be encouraged and protected by the gods. The real spread of Guozhuang Dance in Tibetan areas benefited from the development of Tibetan Buddhism. The establishment and existence of Tibetan Buddhist temples and the resulting temple culture provide a platform for the display of ceramic dance and give it a new living space.
By the Ming and Qing Dynasties, the art of dance had developed greatly, and various folk dances such as Zhuo Dance (also known as Pot Dance), Pot Harmony and Dui Harmony were still circulating among the masses. China people's records of Zhuo Dance are mostly found in historical books, local chronicles and travel notes in the Qing Dynasty or later. Li Xinheng's Notes on Jinchuan in the Qing Dynasty also recorded that Tibetans "like to dance in the pot village" and "men and women are in groups, singing arm in arm". It was at this time that the word "pot dance" appeared.
Pot dance can be divided into "cauldron dance" of large-scale religious sacrificial activities, "Chinese pot dance" of traditional folk festivals and "small pot dance" of gathering friends and relatives, with different scales and functions. Pot dance in agricultural areas is popular in Changdu, eastern Tibet, and pot dance in pastoral areas (that is, herdsman dance) is popular in Dangxiong, Heihe and Suoxian. Changdu is located at the junction of Sichuan, Tibet and Yunnan provinces in the east of Xizang Autonomous Region. This is the center of Kangba culture and the birthplace of the famous "Pot Dance". According to the lyrics and folklore of the pottery dance in Changdu County, it existed as early as the Tubo period.
The leg movements that the Pottery Dance mainly relies on are mainly reflected in stepping, dodging, rubbing, striding, stepping and ending. These movements all need the relaxation and vibration of the knee, and its basic feature is the regular vibration and flexion and extension of the knee, which can be divided into gentle and intense. However, the movements of the upper body are less, and they all follow the movements of the legs to wave their sleeves. Leg movements are usually powerful and flexible. The reason why this happens is inseparable from the living environment of Tibetans. We know that most Tibetans live on the Qinghai-Tibet Plateau, where the climate is harsh and cold. Therefore, they need to wear thick Tibetan robes, which is not conducive to their good performance of their body movements. In the cold environment, people will unconsciously form the habit of heating their feet to keep warm. It is precisely because of this that Tibetans move their legs more in dance.
As a kind of folk dance, Guozhuang dance is self-entertaining, which comes from the daily production and life of Tibetans and expresses people's praise and desire for a better life. Formally, it is also closely related to the lives of Tibetan compatriots. With the widespread introduction of ceramic dance into people's lives and the continuous spread of Tibetan culture, more and more people have learned about the rich national culture, and the intangible culture of ethnic minorities has gradually attracted people's attention and entered the art stage.
Every night, music plays in Xinning Square in Xining, and people take off in circles with cheerful dance steps. Although the night is slightly cold, people's beautiful yearning for life has spread. ...