Dunhuang dance is differentiated from Dunhuang studies. When it comes to Dunhuang dance, we have to introduce Dunhuang studies first. Dunhuang studies, the exact name of which is Dunhuang Turpan studies, is a new international discipline, and its research content involves many disciplines such as history, geography, nationality, literature, folklore, archaeology, language and religion. Dunhuang dance is a very important subject in Dunhuang studies. Dunhuang dance is a brand-new dance created by contemporary dance artists on the basis of many complex murals in Dunhuang, through the study of ancient Dunhuang dance posture and the inspiration and inspiration of Dunhuang music and dance murals. It combines the dance cultures of all ethnic groups at home and abroad, forming a set of dance art system with unique performance style. Through the continuous exploration of the older generation of artists and the development of contemporary dance artists, Dunhuang dance has become a major branch of China classical dance. From the creation to the generation of representative works, and then to the discipline construction of teaching theory, Dunhuang dance has been endowed with a complete dance cultural language system.
From 65438 to 0979, Gansu Song and Dance Troupe created a large-scale dance drama Rain on the Silk Road by excavating the world-famous murals of Dunhuang Mogao Grottoes with the story on the Silk Road as the background. But as far as dance art is concerned, Storm on Silk Road is a watershed of China classical dance, which initiated a peak of dance art creation in 1980s. It not only successfully revived the dance image in Dunhuang murals, but also made greater achievements: on the basis of inheriting the traditional Chinese classical dance, it created a new dance-Dunhuang Dance, in which the dance styles of "Pipa Dance" and "Rebound Pipa Geisha Happy" became Dunhuang Dance.
The appearance of the dance drama Rain on the Silk Road not only caused a great sensation in the dance circle in China, but also created a world record for the national dance drama in China. Since then, there has been a continuous wave of "revival of ancient music and dance" in China, and a large number of "antique music and dance" have appeared, such as: imitation of Tang music and dance, chime music and dance, Xixia ancient style, Jiuge, Chang 'an music and dance, Han style, Tongque Ji and so on. Dancers devote themselves to the creation with great enthusiasm, so that the ancient civilization of China can be inherited and developed in the form of dance.
As a brand-new dance style, Dunhuang dance was born in 1979 large-scale national dance drama Rain on Silk Road, which made the dance in Dunhuang murals vividly presented to the audience and attracted worldwide attention. Through the explanation and guidance in teaching, the author makes more teenagers understand, like and love Dunhuang dance, and lets everyone experience Dunhuang dance culture from different angles and explore this artistic treasure house of human civilization.
The Clever Integration of "Qu" and "Yuan" in Dunhuang Dance
First of all, Dunhuang Dance inherited the music and dance of the Tang Dynasty, and integrated the dance characteristics of various ethnic groups in the western regions and tribes in Turpan, Gansu and Xinjiang, forming an artistic feature of seeking harmony in music. First of all, the art of circle is a very prominent artistic feature in classical dance, and Dunhuang dance combines the application of curve dance. The aesthetic standard of Dunhuang dance is "three bends", that is, the head, shoulders, chest, crotch, knees and ankles twist in different directions. These three bends are obviously different from the three bends in Dai dance. The creators of Dunhuang dance combine the leisurely and gentle feeling of curve with circle, which is more aesthetic. Hand posture, foot posture, neck posture and waist posture keep an "S" shape. "Qu" and "circle" are combined into a circle and then divided into curves to form an "S" curve full of changing beauty.
Through the analysis of Dunhuang frescoes, we can see that the dance dynamics are basically "S" type, and we can't judge and analyze China's unique dance culture through foreign dances. Some people think that the "three bends" mainly come from India, because Buddhism and Buddhist art both come from India, so the three bends in murals inevitably extend the "three bends" in Indian culture. In fact, since Buddhism was introduced into China, it has always been based on China, which mainly reflected the dance style of the Tang Dynasty in the Sui and Tang Dynasties.
Image and Form in Dunhuang Dance
"Three bends" are the external morphological characteristics of dancers, and "images" in Dunhuang dance are the essence of Dunhuang dance. It is not difficult to draw a conclusion that the choreographer created body language different from other dances through Dunhuang murals with a long history. Through the "image" to condense and sublimate the emotional expression of the characters, every gesture, costume, props and scenery in the dance inherits the charm and Buddhist culture of the Tang Dynasty, which is the contemporary expression of the elegant temperament of the Tang Dynasty. Dunhuang dance is not a simple description of ancient dance scenes, nor a simple simulation, but an understanding of the essence of life.
The stage of Dunhuang Dance consists of two parts. Through the combination of real scene and virtual scene, the whole dance and audience have a kind of * * * sound. "Reality" means that life is hidden in the dance, so that the audience can get the information expressed by the dancers from the senses. "Virtual" means that the audience can spontaneously associate with each other through scenes and dancers' dances. Reality and emptiness, emptiness and reality are the sublimation of dance, so that the audience can not only enjoy the senses, but also get spiritual sublimation. For example, after the elegant accompaniment music of "Dancing with Clothes and Feathers" is played on the Silk Road, you are greeted by a stage scene full of sunshine and white clouds. The dancers are round, wearing red skirts, shaking their crowns, hanging tassels, sticking golden flowers and wearing long gauze, just like fairies descending from the earth, dancing lightly and dancing lightly. It is light, slender, gorgeous, graceful in dance steps, graceful in movements, magnificent in stage, and ethereal as a fairy, which makes people seem to have entered the palace of the Tang Dynasty-Tiangong Qionglou Palace, and saw the wonderful performances of Tang Dynasty lyrics and songs.
Dunhuang dance inheritance
Dunhuang dance is not a simple dance form, it is more of a cultural heritage, which contains strong regional characteristics and preserves the life fragments and historical and cultural characteristics of a historical period. As a traditional Chinese dance, Dunhuang dance has experienced thousands of vicissitudes, and now it has become an important bridge for cultural exchanges between Chinese and Western ethnic dances. It combines the dance characteristics of Uygur "snapping fingers and moving eyes", Russian "twisting hips and swinging arms", Indian "bare chest and bare arms" and more distant ancient Greek music and dance styles. The regionality of Dunhuang dance can be clearly reflected not only in body language, costumes and other appearances, but also in tunes and musical connotations.
With the progress of history, the development of Dunhuang dance is more inclined to the characteristics of integration. At the same time, it completely retains the distinctive and rich national style, and the theme of Tang music and dance meets with various music and dance languages of other dynasties, enriching the dance language and increasing the artistic appeal. Dunhuang dance has formed a unique dance posture, that is, the dancer's body shape, hand shape, foot position and so on. And give full play to the artist's creativity. Dancers skillfully integrate the "S" shape into various technical movements such as jumping, turning, turning, rolling and spinning, and use various footwork such as walking, running, pedaling, kicking and stepping, forming a Dunhuang dance style language with strong national customs.
The representative work of Dunhuang Dance, Rain on Silk Road, is based on national music. Through the processing and refining of ancient folk songs such as House of Flying Daggers and Three Stories of Yangguan, it creates famous songs with strong national and regional characteristics. The seemingly different ancient sounds of Han nationality are perfectly integrated with the tones of Central Asian music, which makes the artistic expression of music sublimate qualitatively. Dunhuang dance music reflects an era and a special culture, which endows the whole dance with strong vitality.
With the rise and development of Dunhuang dance, the cultivation of reserve talents has also attracted people's attention. It can be said that the extremely popular performance of Dunhuang dance on the stage is also inseparable from the perfection and perfection of Dunhuang dance education and training system. At present, Dunhuang dance is divided into two tributaries, one is the performance team of the troupe, and the other is the academic team of teaching and research. Most of them take Dunhuang dance as an opportunity to cultivate talents of Dunhuang dance, but the real development direction of Dunhuang dance should be more systematic. Ms. Gao, the founder of Dunhuang dance teaching system, experienced and analyzed the law of Dunhuang dance from dynamic to static through 30 years' on-the-spot investigation from the music and dance murals in the Northern Liang Dynasty, the Northern Wei Dynasty, the Sui and Tang Dynasties and the Song and Yuan Dynasties, from the flying sky, the joyful geisha, the transformed dancing bodhisattva and the secular dance music combining dynamic and static, and explored the unique style and artistic charm of Dunhuang dance.