Generally speaking, it refers to the form of dance which is produced and spread among the people, restricted by folk culture, improvised performance but relatively stable in style, and with self-entertainment as its main function. Folk dances of different regions, countries and nationalities have obvious differences in performance skills and styles due to the factors such as living environment, customs, lifestyle, national character, cultural tradition, religious beliefs, as well as the physical conditions such as age and gender of performers. Folk dance is characterized by simplicity, variety, rich content and vivid image. It has always been an indispensable source of material for classical dance, court dance and professional dance creation in various countries.
Folk dance has a long history and is very rich in China. It can be divided into Han folk dance and minority folk dance.
Cihai defines folk dance as "a traditional dance form with distinct national style and local characteristics, which is widely spread among the people." Modern folk dance researchers synthesize the origin, development and characteristics of folk dance and generalize the concept of folk dance as follows: "In the course of the development of material and spiritual civilization of a nation or region, it is created collectively by the working people and inherited by the masses, and it is still spreading among the masses. It has distinct regional and National characteristics, and it not only reflects a certain history." The cultural background under the economic conditions of the period injects new elements with the development of social life. Nowadays, the purpose of folk dancing is not to show others, but to dance for the people themselves. This is not only the basic attribute of folk dance, but also the basic purpose of self-entertainment. People use folk dance to enrich their lives and desire for life. Its position and role in people's life is obvious. Therefore, folk dance can always maintain its unique national consciousness of life, and continue to spread in modern times.
Language is the symbol of the formation of a nation. Therefore, it can also fully express the spirit and characteristics of a nation. As a special language form of art, folk dance embodies the national aesthetics and will, and has a strong cohesion of national unity.
The artistic characteristics of folk dance are rich and varied, and at least it should have the following characteristics: regionality, closeness, ethnicity, nationality, folklore, popularity, group, amateur, playfulness, self-entertainment, catharsis, rituality, performance, entertainment of divinity, entertainment of humanity, simplicity, repeatability, participation, plaza, earthiness, life, imitation, realism, purpose and reality. There are 42 kinds of characters: usability, seasonality, totem, witchcraft, acrobatics, competitiveness, therapeutic, singing and dancing, drama, props, diversity, comprehensiveness, improvisation, freedom, sociality and cohesion.
First, talk about the Northeast Yangge. To say the Northeast Yangko must start with stilts in southern Liaoning Province. Southern Liaoning stilts have unique style and rhythm characteristics, which artistically reflect the character of the Northeast people and the aesthetic habits of the countryside, and these characteristics are formed in the long life of the Northeast people. The vast Northeast Plain has a flat terrain with distinct winters and summers. Most of the Han people living here are labourers engaged in reclamation, mining and transportation, forming a tough, frank and stubborn character, and forming the aesthetic habits of the Northeast people who like rich colors and rough lines. Over time, a whole set of dancing movements and postures which conform to the nature of the Northeast ethnic groups emerged. The Northeast Yangko, bred from stilts in southern Liaoning Province, has always maintained the characteristics of forward leaning in posture, kicking and lifting forcefully when it comes out of the foot, and landing quickly and firmly when it comes back. It is a combination of regular knee setbacks and the crispness of dancing turnover that forms the special postural rhythm of the Northeast Yangko, which is called "Gen Jin". This kind of "Gengjin" coincides with the strong and unyielding character of the Northeast people at the same time, reflecting the unique living customs and personality of the rural people in the Northeast Plain. From the above analysis, we can see that it is this body rhythm that fully expresses the open-minded and cheerful personality of the Northeast people, and forms the artistic appeal of the fiery atmosphere of the Northeast Yangko.
Talk about Tibetan dance again. Among the four kinds of Tibetan folk dances we are familiar with - heap harmony, fruit harmony, Guozhuang, string - no matter which dance, its body features are characterized by sitting on the hip, bowing and bending back. Obviously, for Tibetan dance, the decisive role is not only its present natural environment, but also the Tibetan people's personality characteristics. In order to explore the more essential reasons for the formation of Tibetan dance posture characteristics, we need to further explore Tibetan history, social system and religion. Historically, Tibetans are nomadic and farming people living on the high mountains and grasslands of the roof of the world. They have a strong physique and perseverance of national character. Although the natural environment of the Qinghai-Tibet 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 long national culture and artistic tradition with their diligence and wisdom. In this special cultural and artistic tradition, religion constitutes a thread of national life throughout. Religious beliefs and emotional psychology, together with heavy daily physical work and living habits, have formed the life style of bending over and bowing back in Tibetan daily life, which is reflected in the dance and further results in the basic body characteristics of sitting, bowing and bending back in Tibetan dance, and has developed into a whole set of rhythmic style system.
The analysis of the above two folk dances shows that the body art culture derived from different religious beliefs and cultural traditions is the recognition of the national spiritual goals and values. After this recognition, dance is used to emphasize and strengthen this spirit. So the nation is united and strong under the cohesion of this force. Therefore, the folk dance culture based on the profound culture of a nation is bound to be recognized and loved by the people of the nation. As a product of spirit, he not only has strong national cohesion, but also connects the National Heart tightly, overcomes all difficulties and obstacles, and strives for survival in the dance and singing in groups.
Thus, folk dance is not an accidental phenomenon, it is the product of the development of human culture, is a form of dance aimed at self-entertainment and integration with its growing environment. Folk dance has its own law of development, and its evolution track and performance system are not based on individual will. It has its own status and role in society. It is an important part of the cultural property owned by the people. It should be respected and protected so that it can evolve healthily along its own law of development.
Tibetan folk dance has a long history, a long history, a wide range of varieties, rich and colorful. Tibetans are also good at singing and dancing. Tibetan folk dance not only embodies the vigorous vitality and the spirit of struggle of the Tibetan people, but also has a strong fitness function.
Tibetan folk dance has a long history. In the 1st century B.C., the first generation of leader of the Tubo Dynasty, King Del Xiaole, developed "Lu" (static song) and "Table" (dynamic dance). And there is the phrase "Song and dance prevailed in the period of King Del Schiller". In the 7th century, in order to consolidate the monarchy and stabilize the society, King Songzan Ganbu of Tibet formulated the Ten Good Laws. According to the description of "Tibetan King Tongji": when this code was promulgated, Tibet was jubilant, "or decorated with rhinos or lions and tigers, or with fluorescent inspirers, offering music and dancing in various postures...". During the Tubo period, Tibetan folk dance, animal-like dance, law-inspired dance and religious witchcraft dance had flourished.
In Tibet, the forms and movements of folk dances vary from region to region. In many of their dancing activities, they have a strong fitness role, such as foot for the festival, arm-to-arm singing, enthusiastic rural "fruit harmony" (circle singing and dancing); step for the rhythm of the foot, change of ideas, enthusiastic and cheerful "stack harmony" (tap dance); both show dance posture and heavy emotional performance, bold and unrestrained rural pastoral area "fruit table" (pot village dance) and so on. These songs and dances are lively, healthy and noble, integrating recreation and sports. It integrates sports, entertainment and art, and is also a kind of sports entertainment and art activity. Tibetan folk dance not only has many styles and high skills, but also combines with Tibetan art, rubbing sports, music and dance as a whole, showing a high level of skills, both entertainment and physical fitness. In addition, in Tibetan temples and folk, there are also popular dances imitating animal movements, such as hawk dance, lion dance, yak dance, deer dance, monkey dance, etc., which are similar to the Wuqin opera in the Han nationality area. These dances have the functions of "promoting depression", "promoting joints" and strengthening the body. Dancing is not a single sport. It is always accompanied by music. It is a comprehensive activity of sports kneading in music and music matching. Modern medical research has proved that happy and relaxed music can stimulate people's spirits, energetic, blood circulation, smooth channels and collaterals. Therefore, dancing Tibetan dance regularly can not only enrich cultural life and promote physical health, but also enjoy it, keep it in it, and medicine in it. Tibetan folk dance is also a form of aerobic dance. Especially in the plateau environment, it can help to adjust the mood, relax the mind and body, reduce the blood pressure or restore the blood pressure for the cardiovascular system psychosomatic diseases, such as hypertension and coronary heart disease. Tibetan dance, an aerobic exercise therapy, can make the arteries soft and dilate, and blood flow smoothly. If Tibetan dance is often performed in suitable places, it can make the blood vessels in a beneficial state of soft dilation, so as to effectively prevent arteriosclerosis. Because when dancing Tibetan folk dance, the dancer is required to hold his chest straight and suck his belly, and coordinate the movements of head, strength, back, waist, hip and ankle. Through the joint movements of various parts of the body, the movements are stiff, soft and unremitting, solid and not loose, so as to achieve the unity of beauty. Folk dance can develop physical fitness, especially coordination and sensitivity. It can promote the development of bones, flesh, internal organs and nervous system. Folk dance can also be said to be a positive way of rest. People who have been engaged in mental work for a long time dance folk dances during their spare time of study and work, and transfer the "exciting focus" in their brain is not only a kind of aesthetic enjoyment, but also can regulate their physiological and psychological functions. Through pleasant music and elegant dancing, not only trains the athletes'imagination, expressiveness, appeal and attraction, but also makes people feel energetic and energetic, which is more suitable for young people's vigorous personality characteristics. In a word, the prominent entertainment and fitness of Tibetan folk dance can make the national fitness activities carried out in the form that Tibetan people like, so as to achieve the goal of physical and mental pleasure and physical fitness.
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