知识点（二）藏族舞蹈的风格特点

1.藏族舞蹈的风格特点

藏族民间舞蹈形式是农牧文化与宗教文化的融合，其风格特点体现在舞蹈形象的刻画与伴唱曲调的旋律和歌词上；又因农区、牧区、半农半牧区而增添了不同的色彩。例如“孔雀吃水”这一形式，在半农半牧地区的表演，牧区色彩较重；在农区的表演，农耕生活的气息更浓。在歌颂孔雀的舞蹈中常有模仿鹰的动作，这是因为在藏民族心目中，鹰也是神鸟，两者在宗教文化基点上融入舞蹈，体现了藏族虔诚的宗教心理，形成了融合农、牧、宗教三者为一体的藏族民间舞蹈的风格特点。

藏族民间舞蹈中，松胯、弓腰、曲背等是常见的基本形象，它和高原地区繁重的劳动生活，虔诚的宗教心理、宗教礼仪及习俗有密切关系，他们跳舞时，这些动作会自然地体现在舞蹈中，使动态形象带有明显的宗教心理因素。然而，这些动作主要来自劳动者为减轻体力负担的自我协调，从舞蹈角度来看，具有另外的一种劳动形成的身体各部分协调的美。如中甸锅庄舞者腰部多合着节奏，规律地起伏，给人安详和谐的美感；膝部的松弛和腰、胯动作的结合，形成了特有的动律。随着宗教意识逐渐淡薄，人的精神面貌在改变，但这种舞蹈的动律、风格已成为民族的审美特征保存下来。“一边顺”是可以用来高度概括藏族舞的另一个主要特点，主要是指舞蹈者以腰部为主要发力点，手和脚在一侧同出，给观赏者一种“顺边儿”的视觉感受。这种舞蹈动作不仅姿态优美且感染力强，因而成为了高原舞蹈独特的姿态。

2.藏族舞蹈的动律特点

藏族民间舞之所以能独立存在，并且源远流长，其原因是以它蒂特的动律：“屈伸”、“颤”、“拧跟”、“拧胯”、“晃身”等动律构成藏族舞蹈的核心，是各类舞蹈动作的基础，也是有别于其它民族舞蹈的独特风格的关键所在。因此，把握了藏族舞蹈的核心动律，也就把握了藏族人民在精神气质、审美心理、审美情趣等方面上的特点。

藏族舞蹈的体态特征是：背部向上延伸至头顶，下颚微含，双臂自然下垂，胯部上提，不要塌腰。

下面就让我们一起来学习一下藏族舞蹈的主要动律：

“屈伸”的动律要求是：重拍向上，膝部连绵不断，双腿放松，自然直立。保持自如悠然的状态。

“颤”动律的要求是：双膝连续的上下颤动，膝部松弛而富有弹性。它是藏族舞蹈中最具特色的动律特征，无论是跳谐还是卓，都离不开颤动律。

“拧跟、拧胯”动律要求是：胯部带动，拧跟的同时双膝下蹲。上身保持自然随动。

今天的动律你学会了吗？希望同学们在课后能够反复练习。

Knowledge Point 2    The style Characteristics of Tibetan Dance

1.The style characteristics of Tibetan dance      The form of Tibetan folk dance is a fusion of agricultural and pastoral culture and religious culture. Its style characteristics are reflected in the portrayal of dance images and the melody and lyrics of the accompanying singing tunes. It also adds different colors due to agricultural areas, pastoral areas and semi-agricultural and semi-pastoral areas. For instance, the form of "The Dance of Peacocks Drinking Water" is performed in semi-agricultural and semi-pastoral areas, with a stronger pastoral flavor. The performance in the agricultural area has a stronger atmosphere of farming life. In the dances praising peacocks, there are often imitations of eagle movements. This is because in the minds of the Tibetan people, the eagle is also a divine bird. The integration of the two into the dance based on religious culture reflects the devout religious psychology of the Tibetan people and forms the style characteristics of Tibetan folk dances that integrate agriculture, animal husbandry and religion.      In Tibetan folk dances, common basic images such as slackening the hips, hunching the waist and bending the back are closely related to the heavy labor life, devout religious psychology, religious rituals and customs in the plateau area. When they dance, these movements are naturally reflected in the dance, making the dynamic images carry obvious religious psychological factors. However, these movements mainly come from the self-coordination of the workers to reduce the physical burden. From the perspective of dance, they possess another kind of beauty of the coordination of various parts of the body formed by labor. For instance, the waists of the dancers in Zhongdian Guozhuang often rise and fall in accordance with the rhythm, giving people a sense of serene and harmonious beauty. The combination of the relaxation of the knees and the movements of the waist and hips forms a unique rhythm of movement.

     As religious consciousness gradually weakens, people's mental outlook is changing, but the rhythm and style of this dance have been preserved as the aesthetic features of the nation. "Same - side movement" can be used to highly summarize another major characteristic of Tibetan dance. It mainly means that dancers take the waist as the main power - generating point, and their hands and feet move on the same side, giving the audience a visual sense of "same - side coordination".This kind of dance movement is not only graceful in posture but also highly infectious, thus becoming a unique posture of plateau dance.

2.The dynamic rhythm characteristics of Tibetan dance

     The reason why Tibetan folk dance can exist independently and has a long history is that its unique movement rhythms: "bending and stretching", "trembling", "twisting the heel", "twisting the hip", "swaying the body" and other movement rhythms form the core of Tibetan dance, which is the foundation of various dance movements and also the key to the unique style that distinguishes it from other ethnic dances. Therefore, grasping the core rhythm of Tibetan dance means grasping the characteristics of the Tibetan people in terms of spiritual temperament, aesthetic psychology, aesthetic taste, etc.      The physical characteristics of Tibetan dance are as follows: the back extends upwards to the top of the head, the lower jaw is slightly lowered, the arms hang naturally, the hips are lifted upwards, and the waist should not sag.      Now let's learn together the main rhythms of Tibetan dance:      The dynamic rhythm requirements for "flexion and extension" are: heavy beats upward, continuous knees, relaxed legs, and a natural upright position. Maintain a state of ease and composure.      The requirements of the "tremor" rhythm are: continuous up and down tremors of both knees, with the knees relaxed and elastic. It is the most distinctive dynamic rhythm feature in Tibetan dance. Whether it is the harmonic dance or the zhuo dance, the tremor rhythm is indispensable.      The movement rhythm requirements for "twisting the heel and the hip" are: the hips drive, and while twisting the heel, squat down with both knees. Keep the upper body moving naturally.      Have you learned today's dynamic law? It is hoped that students can practice repeatedly after class.