知识点（一）藏族舞蹈的分类与表现形式

1.藏族舞蹈的分类

藏族的舞蹈种类繁多，内容丰富，各类舞蹈分别有着不同的形式、跳法和功能。它既能使人们在尽情歌舞的欢乐中抒发情感，又能通过它与神灵沟通而得到佑护。

藏族舞蹈，从总体上可划分为民间自娱性舞蹈和宗教舞蹈两大类。民间自娱性舞蹈又可分为“谐”和“卓”。凡以歌舞为主的集体自娱性圆圈舞蹈，一般被泛称为“谐”；而在圆圈歌舞中，具有较强表演性的集体舞，则被人们一般泛称为“卓”。此外，在具有表演性的“卓”中，经常可以看到以各种“鼓”作为道具进行的舞蹈。这两大类舞蹈都有各自丰富的文化内涵、和独具特色的舞蹈风格及形式。

《羌姆》，则属于宗教舞蹈类别中最为重要的寺院祭祀性舞蹈。寺院舞蹈《羌姆》的产生和流传，与藏传佛教的发生、发展密不可分。同时，由于藏传佛教中不同派别的存在，使被人们俗称为“跳神”舞蹈的《羌姆》，在舞蹈形式、道具使用以及表演者的装束等许多方面，具有不同的特点与差异。

2.藏族民间歌舞的表现形式

下面我就为大家介绍几种教学中比较常见的并且流传比较广泛的民间歌舞形式：

果谐：意为圆圈歌舞，流行在藏族广大的农村地区。群众们拉手成圆，分班唱和，载歌载舞。是农民群众喜爱的一种自娱性的古老的民间歌舞。

堆谐：“堆”是高地的意思，指雅鲁藏布江流域由日喀则以西至阿里的整个地区。“谐”为歌舞的意思。“堆谐”即堆地区人民所跳的一种舞蹈。以六弦琴为伴奏乐器，表演时演员边唱边跳，内容丰富多彩，艺术风格独特。

弦子：流行于康、卫藏地区，是藏族人民生活中不可缺少的一种自娱性歌舞。在节庆、集会时人们欢聚一堂，围成圆圈，领舞者边歌边舞，拉着弦子，余者随之，时而聚拢、时而散开，双手甩动长袖，动作优美。

囊玛：主要流行在拉萨、日喀则地区，因在布达拉宫的囊玛岗演出而得名。是一种以歌唱为主，歌舞结合的表演形式，以其历史悠久，发展成熟，被称为藏族的古典音乐。

卓谐：西藏的山南地区流行着一种身挎扁圆形腰鼓，双手持马蹄形鼓棰边敲击边作舞的男子鼓舞《卓谐》，是人们极其喜爱、历史悠久的一种民间鼓舞。据说，这种“大鼓舞”产生于 8世纪左右，由藏戏创始人，唐东杰布所创作。

热巴卓和热巴：都属于“卓”中的表演性民间舞蹈。除藏族之外，不少人难以分辨二者间的相互关系。《热巴》是指过去流浪艺人卖艺为生，所表演的杂艺歌舞节目。其中包含“民间歌舞”、“铃鼓舞”和有一定情节的“杂曲表演”三部分。流传在昌都、工部地区以及云南、四川省的藏区。而《热巴卓》则是以表演“铃鼓舞”和各种高难技巧的舞蹈。

Knowledge Point 1 Classification and Expression Forms of Tibetan Dance

1.The classification of Tibetan dance       The Tibetan ethnic group has a wide variety of dances with rich contents. Each type of dance has different forms, dancing methods and functions. It not only enables people to express their emotions in the joy of singing and dancing to their heart's content, but also allows them to communicate with the deities through it and receive protection.      Tibetan dances can be generally classified into two major categories: folk self-entertainment dances and religious dances. Folk self-entertainment dances can be further classified into "Xie" and "Zhuo". Collective self-entertainment circle dances mainly consisting of singing and dancing are generally referred to as "Xie". In the circle dance and song, the group dance with strong performative nature is generally referred to as "Zhuo" by people. In addition, in the performative "Zhuo", one can often see dances performed with various "drums" as props. Both of these two major types of dances have their own rich cultural connotations, as well as unique dance styles and forms.      "Qiangmu" belongs to the most important temple sacrificial dance within the category of religious dances. The emergence and spread of the temple dance "Qiangmu" are inseparably linked to the occurrence and development of Tibetan Buddhism. Meanwhile, due to the existence of different sects in Tibetan Buddhism, "Qiangmu", commonly known as the "god - dancing" dance by people, exhibits various characteristics and differences in many aspects, such as dance forms, the use of props, and the costumes of performers.

2.The forms of expression of Tibetan folk songs and dances

     Now I will introduce to you several common and widely spread folk song and dance forms in teaching:      

     Guo Xie: It means circle dance and song, and is popular in the vast rural areas of the Tibetan people. The masses held hands in a circle, divided into classes to sing in response, and danced and sang. In the Tibetan areas of northern Tibet, southern Qinghai and western Sichuan, it is also called "Bo" and "Guozhuo". Sing more about themes such as labor and production, love and marriage, religious sacrifices, and scenic spots. Guoxie in the Yarlung Zangbo River Basin of Tibet is more famous and representative in the Shannan area. Its musical structure is mostly two-part. Generally, the singing organizer takes the lead in Shouting the "song head" that is in harmony with the marching rhythm. Then, everyone dances and sings the song, with the first part being a slow tempo and the second part being a fast tempo. Between the two parts, there is often a number of transitional phrases added. It is an ancient folk song and dance for self-entertainment that is loved by farmers.    

     Dui Xie: "Dui" means highland, referring to the entire area of the Yarlung Zangbo River Basin from Xigaze west to Ngari. "Xie" means singing and dancing. "Duixie" is a kind of dance performed by the people in the Dui area. Accompanied by a six-stringed lute, the performance features actors singing and dancing at the same time. The content is rich and diverse, and the artistic style is unique. In 2008, "Duixie" submitted by Lazi County, Tibet Autonomous Region, was approved by The State Council to be included in the second batch of the National Intangible Cultural Heritage List.    

    Xianzi: Popular in the Kham and U-Tibet regions, it is an indispensable self-entertaining dance and song in the lives of the Tibetan people. During festivals and gatherings, people gather together in a circle. The lead dancer sings and dances, pulling the string, and the rest follow, sometimes gathering and sometimes scattering, swinging their long sleeves with both hands, their movements graceful. In 2006, the Xianzi Dance was approved by The State Council to be included in the first batch of the National Intangible Cultural Heritage List.      

    Nangma: It is mainly popular in Lhasa and Xigaze areas. It is named after its performance on the Nangma Hill of the Potala Palace. It is a performance form mainly featuring singing and combining singing and dancing. With its long history and mature development, it is known as the classical music of the Tibetan ethnic group.    

    Zhuoxie: In the Shonan region of Tibet, a kind of male drum with a flat round waist drum on the body and a horseshoe-shaped drum in both hands 棰 strike and dance, Zhuoxie is a folk drum that people love very much and has a long history. It is said that this kind of "Great Drum Dance" originated around the 8th century and was created by Tang Dongjiebu, the founder of Tibetan Opera.    

   Reba Zhuo and Reba: Both belong to the performative folk dances within "Zhuo". Apart from the Tibetans, many people have difficulty distinguishing the interrelationship between the two. "Reba" refers to the various art and song and dance performances performed by vagrant artists in the past to make a living by performing. It consists of three parts: "Folk songs and dances", "Bell Drum Dance" and "miscellaneous music performances" with certain plots. It is spread in the areas of Chamdo and the Ministry of Works, as well as in the Tibetan areas of Yunnan and Sichuan provinces. "Reba Zhuo", on the other hand, is a dance performance featuring "bell drum dance" and various difficult techniques.