目录

  • 国家级非物质文化遗产
    • ● 项目 1:花朝戏
      • ● 项目 2:灯彩(忠信花灯)
  • 广东省非物质文化遗产
    • ● 项目 3:童谣(客家童谣)
    • ● 项目 4:客家山歌(河源客家山歌)
    • ● 项目 5:迴龙李埔马灯舞
    • ● 项目 6:龙舞(凳板龙)
    • ● 项目 7:釆茶戏(和平采茶戏)
    • ● 项目 8:采茶戏(连平采茶戏)
    • ● 项目 9:木偶戏(紫金提线木偶戏)
    • ● 项目 10:木偶戏(龙川手擎木偶戏)
    • ● 项目 11:龙川杂技
    • ● 项目 12:猫头狮(龙川猫头狮)
    • ● 项目 13:猫头狮
    • ● 项目 14:竹纸制作技艺(阳明纸制作技艺)
    • ● 项目 15:铸铁技艺(紫金铁锅制作技艺)
    • ● 项目 16:酱料制作技艺(椒酱制作技艺)
    • ● 项目 17:蒲米制作技艺
    • ● 新建课程目录
    • ● 项目 18:客家菜烹饪技艺
    • ● 项目 19:绿茶制作技艺(康禾贡茶制作技艺)
    • ● 项目 20:酿造酒传统酿造技艺(客家黄酒传统酿造技艺)
    • ● 项目 21:墩头蓝纺织技艺
    • ● 项目 22:酿造酒传统酿造技艺(客家糯米酒传统酿造技艺)
    • ● 项目 23:连平客家娘酒酿制技艺
    • ● 项目 24:作鱼梁习俗
    • ● 项目 25:汶水塘捕鱼节
    • ● 项目 26:畲族蓝大将军出巡节
    • ● 项目 27:上莞镇新轮村追龙
    • ● 项目 28:席床生日节
    • ● 项目 29:忠信吊灯习俗
  • 核心词汇中英对照
    • ● 核心词汇中英对照表
项目 11:龙川杂技

类别:传统体育

出处:http://www.gdsqyg.com/agdfyzg/mingluinfo?mlproid=2023062151369239

简介:龙川杂技起源于龙川民间的杂耍艺术,后逐渐发展成为集舞、摩技、蹬、攀于一体的大型杂技艺术。龙川杂技的历史悠久、民间群众基础深厚,20 世纪 30 年代张镇江编撰的《雷乡野乘》中已有记载龙川民间杂耍。龙川杂技表演形式多样,具有内容丰富、造型优美、刚柔相济、险中求稳、平中求奇特点。龙川杂技在表演中大量使用生活道具如桌、椅、碗、缸、盘和绳、帽等,强调险中求稳、动中有静,传承了多种传统表演形式。有《叼花》《足蹬椅子顶》《叠桌》《软功滚碟》《对口咬花》《魔术》《顶碗》《耍石担》《走钢丝》《口技》《足蹬》《椅子顶》《秋千飞人》《双杠竿》《跳板》《空中飞人》《双蹬技》等影响力较大的节目。龙川杂技保留了民间的杂耍技巧和民间杂技队伍,历经整合与交融,成为龙川乡村民间文化的典型代表。龙川杂技相关社团组织传承与延续了民间杂技艺术的精髓,丰富了人们的文化生活,对于民间文化传承发挥着重要的作用。但也不可否认,随着社会经济发展和城镇化水平的不断提高,人们对杂耍的兴趣日渐淡薄,杂技表演中一些技术也逐渐失传,部分杂技节目面临失传的困境,亟需加大保护力度。

英译:Longchuan acrobatics originated from folk variety arts in Longchuan and gradually evolvedinto a large-scale acrobatic art integrating dance, balancing, climbing, and other skills. Longchuanacrobatics has a long history and a deep foundation among the local populace. As early as the1930s, Zhang Zhenjiang compiled "Unofficial History of Leixiang," which recorded Longchuan'sfolk variety performances. The forms of Longchuan acrobatics are diverse, characterized by rich content, graceful forms, a balance of strength and flexibility, seeking stability amidst danger, and seeking uniquenessamidst commonality. Longchuan acrobatics extensively uses everyday props such as tables, chairs, bowls, jars, plates, ropes, and hats in its performances. It emphasizes stability in periloussituations and motion within stillness, inheriting multiple traditional performance styles. Notableperformances include "Diāo Huā" (picking flowers), "Zú dēng yǐzi dǐng" (balancing chairs withfeet), "Dié zhuō" (stacking tables), "Ruǎn gōng gǔn dié" (rolling plates with soft skills), "Duì kǒuyǎo huā" (biting flowers with mouths), "Móshù" (magic), "Dǐng wǎn" (balancing bowls), "Shuǎshí dān" (playing with stone poles), "Zǒu gāngsī" (walking on tightropes), "Kǒu jì" (vocal skills), "Zú dēng" (foot balancing), "Yǐzi dǐng" (chair balancing), "Qiūqiān fēirén" (flying on a swing), "Shuāng gāng gān" (double bar), "Tiào bǎn" (springboard), "Kōngzhōng fēirén" (aerialist), and"Shuāng dēng jì" (double pedal technique). Longchuan acrobatics preserves the folk acrobatic skills and teams, blending and integratingthem into typical representations of rural folk culture in Longchuan. Associations andorganizations related to Longchuan acrobatics inherit and continue the essence of folk acrobaticarts, enriching people's cultural lives and playing an important role in the inheritance of folkculture. However, it is undeniable that with the continuous development of social economy and14urbanization, public interest in acrobatics has waned, leading to the gradual loss of some acrobatictechniques and the endangered status of certain acrobatic performances. Therefore, urgent effortsare needed to enhance protection and conservation measures for Longchuan acrobatics.