论文部分内容阅读
从1949年艺术教育登上讲台时,我国的少数民族舞蹈也随之走向繁荣。长期以来高原民族舞蹈一直是舞蹈研究者们热衷的重点。其中对于“一顺边”这一动律的成因探究,也已有不少的文献中集中的讨论了这一文化特点的底蕴,但大多是以各个民族舞蹈为独立的题材来研究,而并未以“高原民族”论文为一个整体的单立课程来探究舞蹈动律的成因。本文试图经过文献调查和实践参与舞蹈总结,针对现今我国西部高原地区独有的地理环境、风俗人情及历史信仰来整体性的进行分析,对于“一顺边”这一高原民族的独有的动律,它产生于民族基层部落的生活与环境,符合民族地区的历史发展条件。从藏、羌、彝、苗、傣多个民族中总结出“一顺边”动律成因的主要条件。高原民族的舞蹈文化底蕴,是需要舞蹈工作者们共同去认识和保护的,而“一顺边”更是具有高原特色的舞姿动律,因此是需要传承和升华的。
When art education boarded the podium in 1949, the ethnic minority dance in our country also went prosperous. For a long time, plateau folk dances have always been the focus of dance researchers. Among them, there are a lot of literatures that discuss the genesis of this cultural feature, but most of them are based on the theme of various ethnic dances as independent subjects. The causes of dance motivation are not explored in the single course “Plateau Nation” as a whole. This paper attempts to participate in the dance summary through literature investigation and practice. In view of the uniqueness of the unique geographical environment, customs and historical beliefs in the western plateau of China today, this article attempts to analyze the uniqueness of the uniqueness of the plateau nation It is produced in the life and environment of the ethnic grass-roots tribes, which accords with the historical development conditions in ethnic regions. From Tibetan, Qiang, Yi, Miao, Dai nationality in many summed up “a smooth edge ” the main reason of the law. Plateau ethnic dance culture, is the need to work together to understand and protect the dance workers, and “a side edge ” is a plateau movement with the characteristics of the plateau, it is the need to inherit and sublimate.