知识点（一）藏族舞蹈历史简介

1.藏族文化简介

藏族：是中国56个民族之一，是青藏高原的原住民，也是中国及南亚最古老的民族之一。在中国境内主要分布在西藏自治区、青海省和四川省西部，云南迪庆、甘肃甘南等地区。藏族历史悠久，其丰富的人文宝藏和历时两千年的宗教文化，不但造就了藏族的历史、文化、信仰和习俗，同时也造就了整个藏民族。藏族有自己的语言和文字，普遍信仰藏传佛教。公元七世纪佛教从天竺传入吐蕃，已有1400多年的历史。藏族人民创造了灿烂的民族文化，在文学、音乐、舞蹈、绘画、雕塑、建筑艺术等方面，留下了极为丰富的文化遗产。

1949年，中华人民共和国成立。中央人民政府根据西藏的历史和现实情况，决定采取和平解放的方针。1965年9月，正式成立了西藏自治区。此外，西南、西北藏族聚居区也相继成立了自治州、自治县和自治乡。 

2. 藏族舞蹈的发展历史

藏族舞蹈历史悠久，在公元前1世纪，“噜”（静态的歌）和“卓”（动态的舞）已发展起来。公元7世纪，藏王松赞干布为了巩固王权、安定社会，制定“十善法”。据《西藏王统计》描述：在公布这部法典之际，全藏举世欢腾，“或饰犀牛或狮虎，或执鼓舞人，以各种姿态献乐舞。叶蕃时期藏族的十风舞、拟兽舞、鼓舞和宗教性的巫舞等已十分兴旺。

清代刊印的《卫藏图说》和《皇清职贡图》载“杂谷本唐时吐蕃部落，男女相悦携手歌舞”， “妇女十多人，头戴白布围帽，身穿五色彩衣，手牵着手，腾足于空”。这种舞蹈就是藏舞“卓”和“伊”的原形。

在西藏，各地区的舞蹈形态和形体动作不尽相同。在他们开展的很多舞蹈活动中，都有极强 的健身作用，有顿足为节，连臂踏歌，热烈欢腾的农村“果谐”（圆圈歌舞）；有踏步为节、重脚下节奏变化，热情欢快的“堆谐”（俗称踢踏舞）；有既展舞姿又重情绪表现，豪迈奔放的农村牧区“果卓”（锅庄舞）等等。这些歌舞融文娱于体育为一体，不仅花样多、技巧高、而且又与藏民族艺术相结合，既能娱乐又能强身健体。此外，在西藏的寺庙和民间，还流行着一些模仿动物动作的舞蹈，如：鹰舞、狮舞、鹿舞、猴舞等。

为符合藏族“多神崇拜”的信仰特点，人们在祭祀礼仪中，创编了使用各种神祇面具，并含有大量藏族土风舞成分的程式舞蹈。这种祭祀舞蹈被后来盛行的藏传佛教黄教教派所采用，称其为《羌姆》，流行于西藏、内蒙、甘肃、青海、四川等信仰黄教的地区。《羌姆》舞蹈多由《拟兽舞》、《法器舞》混杂而成。在表演时，很少歌唱，气氛庄严、肃穆。 

 除了以上介绍的舞蹈，历史悠久的“藏戏”中的舞蹈也值得一提。西藏藏戏历史悠久，其起源可追溯到8世纪赤松德赞时期，在桑寺落成典礼上，艺人们将藏族民间舞与佛经故事结合成为一种哑剧式的跳神仪式。过去藏戏在广场演出，伴奏只用鼓与镲，以人声为演员帮腔。中华人民共和国成立以来，藏戏被搬上舞台，并对唱腔、乐队等进行了改革，丰富了藏戏音乐的表现力。藏戏曲调高亢，舞蹈性强，节日剧目《朗萨姑娘》、《顿月顿珠》、《苏吉**》、《卓瓦桑姆》等，深受民众喜爱。在拉萨唐代所建大昭寺大经堂的“寺庙落成庆典图”壁画上，就绘有一位头戴白色面具、手持法器的戏人，正在边作舞边全神贯注地逗引着两头由人披兽皮装扮的“牦牛”，一旁还有击鼓作乐的伴奏者，其神态个个栩栩如生。这幅“寺庙落成庆典图”上的“戏兽舞”形象，不但说明早在千余年前的西藏已有“戏兽”表演，而且经历各个时期延续至今的“白面藏戏”和它的唯一传统剧目《西容仲孜》（藏语意为：西容县斗牦牛）在唐代已是十分成熟的节目。在白面藏戏的基础上发展起来的“蓝面藏戏”，不但内容丰富、题材广泛，而且继承和保留了在古格王朝时已有的《布马》等民间舞蹈形式。使民间的广场舞蹈进入了程式化的藏族戏剧，同时还引用了藏民喜爱的民间音乐，使藏戏流传于藏族民间长盛不衰。

1.Introduction to Tibetan Culture

     Tibetans: One of the 56 ethnic groups in China, they are the indigenous people of the Qinghai - Tibet Plateau and among the oldest ethnic groups in China and South Asia.In China, they are mainly distributed across the Tibet Autonomous Region, Qinghai Province, western Sichuan Province, as well as Diqing in Yunnan and Gannan in Gansu.The Tibetans boast a long - standing history. Their abundant cultural treasures and religious heritage, which has endured for two millennia, have not only shaped the Tibetans' history, culture, beliefs, and customs but also defined the entire Tibetan ethnicity. The Tibetans have their distinct language and written script, and Tibetan Buddhism is their prevalent faith. Buddhism was introduced to Tubo from India in the 7th century AD, with over 1,400 years of history since then.The Tibetan people have fostered a splendid ethnic culture, leaving behind an incredibly rich cultural legacy in aspects such as literature, music, dance, painting, sculpture, and architectural art.

In 1949, the People's Republic of China was founded. Considering the historical and contemporary circumstances of Tibet, the Central People's Government resolved to adopt a policy of peaceful liberation. In September 1965, the Tibet Autonomous Region was officially established. Additionally, autonomous prefectures, autonomous counties, and autonomous townships were successively set up in Tibetan - populated areas in the southwest and northwest of China.

2.The development history of Tibetan dance

       Tibetan dance has a long history. As early as the 1st century BC, "Lu" (static songs) and "Zhuo" (dynamic dances) had developed. In the 7th century AD, Songtsen Gampo, the king of Tibet, formulated the "Ten Good Laws" in order to consolidate the royal power and stabilize the society. According to the "Statistics of the King of Tibet", when this code was promulgated, the whole of Tibet and the world were in jubilation. "Some dressed up as rhinos, some as lions and tigers, and some holding drum dance, they performed music and dance in various postures."

     During the Yebo period, the Ten-Wind Dance, the animal-like dance, the drum Dance and the religious witch dance of the Tibetan people were already very prosperous.The "Wei Zang Tu Shuo" and "Huang Qing Zhi Gong Tu" published in the Qing Dynasty record that "In the Tang Dynasty, in the Tubo tribe, men and women were singing and dancing hand in hand", and "There were more than ten women, wearing white cloth hats and five-colored clothes, holding hands and stretching their feet in the air". This kind of dance is the prototype of the Tibetan dances "Zhuo" and "Yi".

     In Tibet, the dance forms and body movements vary from region to region. Among the many dance activities they carry out, there is a very strong fitness effect. There is the rural "Guoxie" (circle dance and song), which features foot tapping as a joint, arm tapping and singing, and is full of enthusiasm and joy. There is the "Dui xie" (commonly known as tap dance), which features steps as rhythms and emphasizes the changes in the rhythm of the feet, and is passionate and cheerful. There are rural and pastoral "Guozhuo" (Guozhuang Dance), which not only showcases dance moves but also emphasizes emotional expression, and is bold and unrestrained. These songs and dances integrate culture, entertainment and sports. They are not only diverse in variety and high in skills, but also combined with Tibetan ethnic art. They can both entertain and strengthen the body. In addition, in the temples and among the common people in Tibet, there are also some dances that imitate the movements of animals, such as the eagle dance, the lion dance, the deer dance, the monkey dance, etc.

     To conform to the belief characteristics of the Tibetan people's "polytheism", in sacrificial rituals, people have created a routine dance that uses masks of various deities and contains a large number of elements of Tibetan folk dance. This sacrificial dance was adopted by the later popular Yellow Sect of Tibetan Buddhism and was called "Qiangmu", which was popular in regions such as Tibet, Inner Mongolia, Gansu, Qinghai and Sichuan where the Yellow Sect was believed. The "Jamm" dance is often a mixture of the "Animal-like Dance" and the "Ritual Instrument Dance". During the performance, there is seldom singing and the atmosphere is solemn and dignified.In addition to the dances introduced above, the dances in the time-honored "Tibetan Opera" are also worth mentioning. Tibetan Opera has a long history. Its origin can be traced back to the period of Trisong Desan in the 8th century. At the completion ceremony of Sang Monastery, the artists combined Tibetan folk dance with Buddhist stories to form a pantomime dance ritual. In the past, Tibetan operas were performed in the square, with only drums and cymbals as accompaniment and human voices as the accompaniment for the actors.

      Since the founding of the People's Republic of China, Tibetan Opera has been brought onto the stage, and reforms have been carried out on singing styles, bands, etc., enriching the expressiveness of Tibetan Opera music. Tibetan opera has a high-pitched tune and strong dance-like nature. Festival plays such as "Langsa Girl", "Dunyue Dunzhu", "Suji Nima", and "Zhuowasam" are deeply loved by the people.On the mural of the "Temple Completion Celebration" in the Great Sutra Hall of the Jokhang Temple built in the Tang Dynasty in Lhasa, there is a performer wearing a white mask and holding a ritual implements, who is dancing and intently teasing two "yaks" dressed in animal skins.There are also accompanists playing drums nearby, and their expressions are all vivid and lifelike. The image of the "Beast Playing Dance" on this "Temple Completion celebration Picture" not only indicates that the "beast playing" performance had already existed in Tibet over a thousand years ago, but also that the "white-faced Tibetan Opera" and its only traditional play, "Xirong Zhongzi" (Tibetan for "fighting yak in Xirong County"), which has been passed down through various periods, were already very mature programs in the Tang Dynasty. The "Blue-faced Tibetan Opera", which developed on the basis of the white-faced Tibetan Opera, not only has rich content and a wide range of themes, but also inherits and retains the folk dance forms such as "Bulma" that already existed in the Guge Dynasty. It enabled the folk square dance to enter the stylized Tibetan drama, and at the same time incorporated the folk music loved by the Tibetans, making Tibetan opera popular among the Tibetan people for a long time.