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Danse chinoise / Chinese dance
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Enya



Inscrit le: 26 Aoû 2005
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MessagePosté le: Jeu Aoû 06, 2009 7:14 am    Sujet du message: Danse chinoise / Chinese dance Répondre en citant

In order not to insert too many discussions of Chinese dance in the thread of “Nouvelles de la Chine” - mainly talking about ballet performances info in China, please allow me to open a new thread (un nouveau fil) to talk about Chinese dance, especially Chinese classical/traditional dances, and later on Chinese folk dances. Here I would like to express my thanks to Buddy’s passion to Chinese dance, as well as Buddy and Sophia’s encouragement, so that I could reflect on our own dances and try to introduce them to all the friends on Dansomanie.

As I'm not very sure about the translations of some terminologies, I use Chinese characters, Chinese Ping Yin together with English explanations.

When talking about Chinese classical or traditional dance nowadays, it refers to Chinese classical/traditional dance at present, or to say, modern Chinese classical/traditional dance, because there is no such terminology like classical dance in the old days. I think the term “classical dance” is borrowed from the Western classical ballet and is mainly applied after 1950s. Therefore I prefer to use Chinese traditional dance, still, it’s a kind of modern traditional dance.

Dance has never occupied a completely independent position as an independent form of art in the long history of China, except Tang Dynasty, it always attached to songs and music (before Song Dynasty), or to Chinese traditional operas (from Song Dynasty to the end of Qing Dynasty). We usually use the term Ge Wu (歌舞, means songs and dances) instead of saying dance separately when talking about performances in China. In the mainland China of present days, apart from the only 6 Chinese ballets companies (the National Ballet of China, Shanghai Ballet, Guangzhou Ballet, Liaoning Ballet, Tianjin Ballet and Hong Kong Ballet) and some modern dance companies who focus only on dances professionally, we have quite a lot of Troupes of Songs and Dances, in each province, in the army, and in each Ministry, they are all named like “the Troupe of Songs and Dances of xxxxxx” who mainly deal with Chinese songs and dances, including Chinese classical/traditional dances, Chinese folk dances (we have 56 nationalities, each nationality has its own specific folk dances) and contemporary dances, and sometimes foreign folk dances, but not ballet.

And when talking about Chinese dances nowadays, it usually refers to three main categories: traditional/classical dances(中国古典舞, mainly means the dances performed in the Imperial Court in the old ages and imitated at present), folk dances (中国民族民间舞) and contemporary dances(中国当代舞).


A Brief history of Chinese dance

I would like to give a short list of Chinese history and culture background so that we could have a rough idea for the whole, when I refer to dances in different ages.

- Xia Dynasty 夏朝, about 2070 BC – 1600 BC
- Shang Dynasty 商朝, 1600 BC – 1046 BC
- Zhou Dynasty 周朝, 1046 BC – 256 BC, the first peak period of Chinese dance, the first official Bureau of Music and Dance formed.
- Chun Qiu / Zhan Guo 春秋战国, 770 BC – 476 BC / 475 BC - 221BC, a very important period of Chinese culture. Literature especially poems (for example, Shi Jing 诗经), music/songs, philosophical thoughts etc. (for example, Kongzi 孔子and his Confucianism) were well developed and achieved rather high level.

Usually we call all the above periods as Pre- Qin Period (先秦时期).

- Qin Dynasty 秦朝, 221 BC – 206 BC
- Han Dynasty 两汉, 206 BC – 220 AC, the second peak period of Chinese dance
- San Guo (Three States) 三国, 220 – 280
- Jin4 Dynasty 两晋, 265 – 420
- Nan / Bei (South / North) Dynasty 南北朝, 420 – 589 / 386 – 581
- Sui Dynasty 隋朝, 581 – 618
- Tang Dynasty 唐朝, 618 – 907, the third peak period and the summit of Chinese dance, as well as the most prosperous and unsurpassed period of Tang poetry (Tang Shi, 唐诗), calligraphy, painting, sculpture, music, etc.
- Wudai (Five States) and Shiguo (Ten States) 五代十国, 907 – 979
- Song Dynasty 两宋, 960 – 1279, Chinese dances start to decline but still keep a place as a form of art, Chinese traditional operas commence to develop. Song verse (Song Ci, 宋词), prose, calligraphy, painting and music reach another peak.
- Liao, Xi Xia and Jin1 辽、西夏、金, 916 – 1125, 1038 -1227, 1115 – 1234
- Yuan Dynasty 元朝, 1271 – 1368, Chinese operas dominate the domain of performing art till Qing Dynasty, Chinese dances as performing art disappear and dances merge into Chinese traditional operas.
- Ming Dynasty 明朝, 1368 – 1644
- Qing Dynasty 清朝, 1644 – 1911, Western dances including ballet start to be introduced in China.
- Period of Nationalism 中华民国, 1911 – 1949
- The People’s Republic of China 中华人民共和国, 1949 – present, ballet is introduced in China and is developping, new Chinese traditional/classical dances come into being.

When talking about ancient Chinese dance, it always refers to dances in the Imperial Court and folk dances. Folk dances are always there from the past to the present, so I just focus on introducing dances in the Imperial Court, i.e. so-called classical dances in different periods.

Dance in Zhou Dynasty

Starting from the Xia Dynasty and during the Shang Dynasty, dance entered into the scope of entertainment and became a type of performing art together with music and songs, to amuse Emperor and nobles, as well as to offer a sacrifice to Gods.

It was in the Zhou Dynasty, the Imperial Court established the very first official organization - the Bureau of Music and Dance (乐舞机构) to be in charge of the affairs of etiquette in music and dance. The master pieces of this set of Etiquette Music and Dance were called Six-Dance 六舞 (including the famous dance Claude Gate, which has been lost for very very long time), the purpose of Six-Dance was to eulogize the virtues and achievements of the Emperors. The etiquettes and use of Six-Dance were strictly formulated, ranging from words of songs, tunes and melodies of the songs, dresses and personal adornments, movements and formations etc. Therefore the general style and characteristic of Six-Dance were standardized under strict rules which were illegal to be changed. According to historical records, Six-Dance marked the beginning of Chinese Ya-Yue-Wu (雅乐舞) - ancient Chinese refined dance accompanied by music, and Ya-Yue-Wu established the pattern of “Trinity of poem, dance and music/song”. It was also in the Zhou Dynasty that the first educational organization of Yue-Wu (乐舞, music and dance) arose.

During the period of Chun Qiu & Zhan Guo, folk dances were well developed, folk dances with performing characteristics became favored by the nobles, outstanding artists of Yue-Wu from all over the states were collected in the Court and in the families of nobles. In Shi Jing (诗经), the first collection of ancient Chinese poems, there are quite a lot of descriptions on the events of folk dances by normal people. Dancers with slender waist were wearing dresses with very long sleeves, playing musical instrument, standing on tiptoe, swinging and turning waist, the dance was elegant, graceful and buoyant in this period according to historical records and unearthed relics.


Dance in Han Dynasty

Under stable and prosperous social environment of the Han Dynasty, a new kind of performing art – Bai-Xi (百戏, hundreds of dramas) came into being and became the most important performing art. Bai-Xi was a kind of comprehensive performance combining acrobatics, martial arts, magic, farce, dances, music and songs etc. It covered various kinds of pieces from the old ages, from different regions, from different nationalities and from foreign countries (mainly Central Asia). Dance in this period had developed quite a lot, for example, the form of dance drama appeared, means there existed plot and figures in dance drama already, and dancers knew how to use expressions in performances.

Dancers in Han Dynasty were very slim and graceful, they were dressed in very flimsy clothes like cicada’s wings with long sleeves or long silk shawl. Showing dancing techniques and skills was already a big part in dance performances. Movements were mainly focused on arms, waving of sleeves, turnings, swinging of waist and hip, etc. The style was bright and colorful.

Ge Wu (dance accompanied by songs) was still very popular in the Court and in the families of nobles, dancers in those places were very skillful and represented the highest level of Ge Wu in Han Dynasty. Zhao Feiyan (literally flying swallow), Empress of Emperor Han Chengdi, was famous of being good at dancing. Very slim and light as a flying swallow, she knew how to control her breath during dancing, and she could dance on a crystal plate supported by hands of somebody – it is said.

The masterpieces of dance in Han Dynasty includes typically Chang Xiu Wu (长袖舞, dance with long sleeves), Jin Wu (巾舞, dance with long silk shawl), Jian Wu (剑舞, dance with sword), etc.

(to be continued)


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Buddy



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MessagePosté le: Jeu Aoû 06, 2009 7:39 pm    Sujet du message: Répondre en citant

Thank you so much (非常感 (google translation)), Enya, for all this very interesting information,which is so well presented. I look forward with pleasure to reading everything else that you will offer us.


Merci beaucoup, Enya, pour ces informations, très intéressantes et très bien décrites. J'attends avec plaisir toutes les choses en plus que vous pourriez nous dire.

Plus loin, si possible, je voudrais parler un peu de choses plus générales de la danse chinoise et sa partie du monde global de la danse que j'appelle "Lyrical Dancing".( Je ne sais pas les mots en français. Y-a-t-il quelqu'un/une qui pourrait m'aider à trouver ces mots en français ?) C'est la danse gracieuse, poétique, musicale, douce et tranquille comme le ballet, la "lyrical dance" contemporaine, la danse 'classique' chinoise, etc.

Je suis un vrai débutant à la connaissance du monde de la danse chinoise. Pour le moment je trouve quelques éléments très intéressants et aussi très importants pour notre monde aujourd'hui.

C'est l'importance de....

la nature et le naturel

l'esprit tranquille et la vie tranquille

la grâce et le raffinement

la personnalité et la vivacité (ou comme sophia a dit, "ces danses traditionnelles et en même temps savantes.").

Si l'on voudrait voir le début de cette discussion, on peut le voir aux "Nouvelles de la Chine," pages 6-8.

(The beginning of this discussion can be found here.)

http://www.forum-dansomanie.net/forum/viewtopic.php?t=3357&start=75

(Google Translate, french to english)

http://translate.google.com/translate_t?hl=en&sl=fr&tl=en#


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Enya



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MessagePosté le: Ven Aoû 07, 2009 8:22 am    Sujet du message: Répondre en citant

Dance in Tang Dynasty

Tang Dynasty is the most flourishing, brilliant period in Chinese history. Economy prosperous and political situation stable, Chinese dance reaches its top position as an independent form of performing art in Chinese history.

Folk dances in Tang Dynasty were divided into two main categories according to their styles – Ruan Wu (软舞, Supple Dances) and Jian Wu (健舞, Vigorous Dances), both types were all popular in the Imperial Court, among the nobles and among the common people, elements from different folk dances and from foreign dances notably from Korea, Sinkiang, India, Persia, and Central Asia were incorporated in both types of dances. From the terms, we could know that Ruan Wu is much more lyrical and exquisite with slow rhythm like adage in ballet, while Jian Wu much more strong and vigorous with fast and lucid rhythm. Both types were usually presented in the form of solo or duet, to show dancer’s high skills.

Masterpieces of Ruan Wu , for example:
- Lu Yao (绿腰), mainly focus on waving long sleeves and movements of waist and upper-body, similar to Chang Xiu Wu in Han Dynasty.
- Chun Ying Zhuan (春莺啭, singing of warblers in Spring), by using music and dance to simulate the pleasant singing of warblers.
- Yang Liu Zhi (杨柳枝, branches of willow), to simulate supple and beautiful state of willow branches in the wind.

Masterpieces of Jian Wu , for example:
- Hu Xun (胡旋, turnings of Hu people*), well known for various swift and nimble turnings. Yang Guifei (杨贵妃, name Yang Yuhuan杨玉环, http://en.wikipedia.org/wiki/Yang_Guifei), Imperial Consort of Emperor Tang Xuanzong (唐玄宗, also called Emperor Tang Minghuang 唐明皇, name Li Longji 李隆基, http://en.wikipedia.org/wiki/Emperor_Xuanzong_of_Tang ), was famous of good at this dance, so was An Lushan (安禄山,http://en.wikipedia.org/wiki/An_Lushan ), a captain and diplomatic envoy, who provoked a mutiny in Mid-Tang Dynasty (historically called An Shi rebellion, http://en.wikipedia.org/wiki/An_Shi_Rebellion ) and caused the death of Yang Guifei.

(* Note: Hu people: In Tang Dynasty, Chinese majority Han people called the minority people in Western and Northern regions as Hu people. The Western regions in Tang Dynasty refer to today’s Xin Jiang Autonomous Region of China and part of Central Asia, i.e. the regions alongside the Silk Road. Norther regions refer to today's Mongolia (both Inner Mongolia Autonomous Region of China and Outer Mongolia ) and North-Eastern Provinces of China. Hu people were good at equestrian skills, shooting arrows, singing and dancing. )

- Hu Teng (胡腾, jumps of Hu people), well known for various gallops and jumps, steps were rapid and changing all the time.
- Jian Qi Wu (剑器舞, dance with sword), a very high-skilled and difficult dance with sword. Celebrated dancers were Gongsun Daniang (公孙大娘), Li Shi’erniang (李十二娘) and General Pei Min (裴旻). Famous poet Du Fu (杜甫) in Tang Dynasty had a vivid description of this dance in one of his poems.

- Another dance Zhe Zhi (柘枝) belonged to both Ruan Wu and Jian Wu, it could be performed in the form of solo, duet or ensemble. It combined the characteristics and high skills of both Ruan Wu and Jian Wu, elegant, refined, agreeable as well as vigorous and unrestrained.

For the celebration activities in the imperial court on the other hand, the Tang Dynasty imperial court founded the Pear Garden Academy (Li Yuan, 梨园), i.e. the Imperial Academy at Taichang Temple, to gather top dancing talents of the country to perform magnificent and lavish large-scale Yan Yue (宴乐, music and dance at state banquet). In fact, this Pear Garden was established by the Emperor Tang Xuanzong himself, who was good at music and dance. Yan Yue in Tang Dynasty was divided into two levels – Zuo Bu Ji (坐部伎, performing indoors in small-scale) and Li Bu Ji (立部伎, performing outdoors in courtyard or in square in large-scale). The performances were intended to eulogize the virtues and achievements of the Emperors while possessing quite high level of artistry, this is quite different from the Etiquette Music and Dance in Zhou Dynasty. Yan Yue inherited the traditions of Ya-Yue-Wu, the differences were in the development of artistry and entertainment values in music and dance. Famous programs of Yan Yue were for example Po Zhen Yue (破阵乐), Sheng Shou Yue (圣寿乐), Tai Ping Yue (太平乐), Jing Yun Yue (景云乐), Qing Shan Yue (庆善乐), Cheng Tian Yue (承天乐), Chang Shou Yue (长授乐), Tian Shou Yue (天授乐), Niao Ge Wan Shui Yue (鸟歌万岁乐), Long Chi Yue (龙池乐), An Yue (安乐), Da Ding Yue (大定乐), Shang Yuan Yue (上元乐), Guang Sheng Yue (光圣乐), …, etc. From the frescos of Dunhuang Grottoes, we could find the traces of Yan Yue of Tang Dynasty.

We have mentioned that ancient Chinese dance Yue-Wu was a “Trinity of poem, music and dance”. In Tang Dynasty, the system of Yue-Wu achieved its maturity and perfection, and Da Qu (大曲) was a perfect model of Yue-Wu which was composed of three parts: San Xu (散序) – opening part performed by musical instruments, Zhong Xu (中序) – singing part and Po (破) – dancing part. Each part was carefully arranged, dances were mixed with songs, solos and ensembles were interlaced. One of the most famous Da Qu programs was Nishang Yuyi Wu (霓裳羽衣舞, with dancers wearing dresses like rainbow and plume), it’s said that the Emperor Tang Xuanzong had composed the music for it and His Imperial Concubine Yang Guifei had taken the title role to dance in this program. Another famous poet Bai Juyi (白居易) in Tang Dynasty had written a poem with the same title to depict this dance (“飘然转旋回雪轻,嫣然纵送游龙惊。小垂手后柳无力,斜曳裾时云欲生。” – I’m so sorry that I’m not able to make an equivalent translation of this poem in a second language).

For traditional Festivals in Tang Dynasty, activities of singing and dancing were very popular. Emperor Tang Xuanzong used to organize some entertainment activities between nobles and common people, such as in the Lantern Festival, it’s said that there were thousands of people attended the performance of Ta Ge (we talked this dance several days ago in “Nouvelles de la Chine” with video clips, but this is the new creation in present days based on historical records), dancing while singing, lasting for three days, a really magnificent occasion.

As a whole, dance in Tang Dynasty as an independent form of art achieved its summit in the long history of China. It incorporated various dance elements from all over China and other foreign countries into colossal dances. It featured intricate body movement techniques, and made full use of colorful, gala stage costumes and props to set off the refined dance movements. Poetry, songs, dramatic plot and background music were integrated to create a comprehensive performing art rich in content and fanfare.

In terms of the techniques and skills of dance in Tang Dynasty, the torso and limbs of dancers were fully released, in addition to traditional techniques of movements of arms, waving of sleeves, turnings and swinging of waist and hip, movements and control of legs, various grand gallop and jumps, various difficult turnings were well developed, props such as sword, musical instrument etc. were widely used in dance.

One important thing which should be noted was the appearance of dance notation. It was started from Emperor Tang Taizong (唐太宗, name Li Shimin李世民, http://en.wikipedia.org/wiki/Li_Shimin ) who made the first notation Qin Wang Po Zhen Tu (秦王破阵图) for Yan Yue - Po Zhen Yue (破阵乐) which we had already mentioned, then the mature “Dance Notations of Dunhuang” or “Dunhuang Dance Manuscripts” (Dunhuang Wupu, 敦煌舞谱, http://en.wikipedia.org/wiki/Dunhuang_manuscripts ). Dance Notations of Dunhuang were discovered in the 19/20th century from the Dunhuang Grottoes, but those were just a part of dances in Tang Dynasty. Today, Notations of Dunhuang are very valuable materials for the research and re-construction of dances of Tang Dynasty, however, most of those notations are not in China, in the year of 1907~1908, they were taken away from China by Englishman Pech Aurel and Frenchman Paul Pelliot. Original notations are now stored in British Library (S.5643) and French National Library (P.3501). At the moment, the research and decryption of the notations is still at the stage of preliminary exploration.


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Buddy



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MessagePosté le: Sam Aoû 08, 2009 5:38 pm    Sujet du message: Répondre en citant

Merci beaucoup, Enya. C'est très intéressant et très informatif. Comme vous avez écrit la danse 'classique' chinoise est dans un état de redécouvrir. Il sera très intéressant de voir le résultat de la recherche de cette danse que commence maintenant.

Nous avons pour le moment les 'interprétations' de la danse 'classique' chinoise, qui sont, pour moi, très belles et très importantes.

J'aime un style globale que j'appelle "Lyrique" ou "Lyrical" du même sentiment du ballet. C'est possible que le style de danse "Ruan Wu" (Dynastie Tang) est le plus pré des danses chinoises en principe. Vous avez décrit ce style, "lyrical, exquisite, with slow rhythm like adage in ballet."

De plus

"It featured intricate body movement techniques, and made full use of colorful, gala stage costumes and props to set off the refined dance movements.

"In terms of the techniques and skills of dance in Tang Dynasty, the torso and limbs of dancers were fully released, in addition to traditional techniques of movements of arms, waving of sleeves, turnings and swinging of waist and hip, movements and control of legs...." *


Est-ce que c'est possible pour vous poster quelques vidéo-clips que vous pensez à représenter ce style 'classique' comme le style "Ruan Wu". Si vous pouvez donner leurs titres complets (aussi les lettres chinoises) c'est possible que je puisse trouver quelques meilleurs exemples pour nous de regarder dans notre format de l'internet ici.



* Traduction Google

"Il comprenait les mouvements du corps techniques complexes, et fait plein usage de couleurs, costumes de scène de gala et des accessoires de compenser les mouvements de danse raffinée.

"En ce qui concerne les techniques et les compétences de la danse dans la dynastie Tang, le torse et les membres des danseurs ont été entièrement libérées, en plus des techniques traditionnelles des mouvements des bras, en agitant de manches, tournures et de se balancer de la taille et les hanches, les mouvements et le contrôle des jambes ...."


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Enya



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MessagePosté le: Lun Aoû 10, 2009 9:30 am    Sujet du message: Répondre en citant

Just wait for a while, Buddy, I will try to post some photos and video clips as possible later on when I come to a specific piece of dance. Wink I have to say that those dances in ancient eras which I've mentioned in the prevous posts are all lost, and there are no reconstructions of those dances exactly the same as they were in the old days. It's unlike the situation of ballet that some ballets could be recovered more or less as they were in the era of Petipa, because there are notations that carefully record all the choreography, and those ballets are inherited generation by generation without interruption.

The reconstruction of Chinese traditional dances nowadays in China is mainly based on non-professional fragmented records in literary works, in poems, on ancient Chinese paintings and from unearthed relics, so it could be said that it's a kind of imagination and imitation of dances in ancient China, but not a real recreation or reconstruction. Although we have mentioned that there exists something like Dunhuang Dance Notations, the decryption of those notations is still a big question mark at the moment, and furthermore, those Dance Notations are just incomplete collection of Chinese traditional dances...

Come back to continue the history of Chinese dance:

Dance from Song Dynasty to the Period of Nationalism

As the extinction of Tang Dynasty, dance started to decline, many dances were lost. Dances that were left in Song Dynasty were modified, in the Imperial court of Song Dynasty, the major form of Yue-Wu was Dui Wu (队舞), with huge numbers of dancers dancing in strict patterns, and there appeared a trend of combination of singing, reciting and dancing together.

In Song Dynasty, Dance Notations had improved a little. Scholar and poet Zhou Mi (周密) of Song Dynasty recorded “De Shou Palace Dance Notation” (“德寿宫舞谱”) in his notes of historical materials Gui –Xin- Za-Shi (《癸辛杂识》). It’s said that this dance notation is much more descriptive and understandable than the Dunhuang Dance Notations. In Ming Dynasty, Zhu Zaiyu (朱载堉, http://en.wikipedia.org/wiki/Zhu_Zaiyu ), scholar and musician, used to draw up dance notations of Ya-Yue in his masterpiece Yue-Lu-Quan-Shu (《乐律全书》) containing notations for five dances (《人舞谱》、《六代小舞谱》、《灵星小舞谱》、《二佾缀兆图》、《小舞乡乐谱》). Dances in his notations are quite clear and could still be rehearsed today according to the notations.

Then in Yuan Dynasty, as Chinese traditional operas became mature and were major forms of performing art, dance disappeared gradually from the entertainment life of the Imperial court. And in Ming and Qing Dynasty, dance as an independent performing art was basically died out.

However, as Chinese operas contain four basic skills – Chang(唱, singing), Nian (念, recital, speech), Zuo (做, expressional skills and dance movements) and Da (打, combat, skills of martial arts), dance is still kept in Chinese operas and is demonstrated in the skills of Zuo and Da, for example, Waving of sleeves (舞袖) in Chinese operas is evolved from the ancient Chang Xiu Wu (dance of waving long sleeves). Many traditional folk dances are also components of dances in Chinese operas, like dance with a fan, dance with a long silk shawl, as well as Dragon Dance and Lion Dance. Skills of Chinese martial arts and acrobatics are also incorporated as dancing skills in Chinese operas.

On the other hand, as the extinction of Tang Dynasty, many dancers and works of Yue-Wu were scattered among the common people, and folk dances started to develop rapidly. In Song Dynasty, folk dances were a combination of music, dance, Chinese martial art and acrobatics, and usually played in traditional Chinese Festivals like Spring Festival, Lantern Festival, Ching Ming Festival and Mid-Autumn Festival, etc., and there were competitions between folk dance groups. Folk dances were also very popular in Ming and Qing Dynasty, thus many traditional folk dances were spread throughout ages till today. Those popular folk dances in Ming and Qing Dynasty were for example Yang Ge 秧歌, Gao Qiao高跷, Han Chuan旱船, Xiao Che小车, Zhu Ma竹马, Tai Ping Gu 太平鼓, Ba Wang Bian霸王鞭, Da Tou He Shang大头和尚, Long Wu 龙舞 (Dragon dance), Shi Wu狮舞 (Lion dance), Mian Ju Wu面具舞, Hua Ban Wu花板舞, Liang Shan Wu凉伞舞, Cai Cha Deng采茶灯, Hua Gu Deng花鼓灯, ect.

There were no official organizations or schools to create and teach folk dances. Usually it was the master to pass on the know-how of a piece of dance to his/her disciples. In ancient China there was a quite strict and closed master-apprentice system of learning particular skills such as martial arts, operas, acrobatics, dances, etc. So a dancing group was usually formed on a family basis, or based on close relationship of master and apprentices.

And from Ming and Qing Dynasty, apart from the folk dances of the majority Han Nationality, folk dances of nationalities of minorities in border areas took very important parts in the history of Chinese dance as well. The representative folk dances of minorities were notably of Xinjiang, South-Western regions (Yunnan, Sichuan, Guizhou, Guangxi, Tibet), Innner Mongolia, etc. And today, those folk dances of minorities are still very well-known in China and are often performed, for example in CCTV Spring Festival Gala.

In late Qing Dynasty, Western dances including ballet and contemporary dances started to be introduced into China. Yu Rongling (裕容龄, http://www1.chinaculture.org/library/2008-01/21/content_38234.htm ) was the first one to do so and she created some dances by combining both Chinese and Western culture elements, like Dance with a Fan, Dance of Lotus Fairy, Dance of Buddha, etc.

Then Wu Xiaobang (吴晓邦, http://www1.chinaculture.org/library/2008-01/21/content_38244.htm ) opened the era of modern Chinese dance in 1930s.

Dai Ailian (戴爱莲, http://www1.chinaculture.org/library/2008-01/21/content_38239.htm, http://www.independent.co.uk/news/obituaries/dai-ailian-466608.html ), mother of Chinese ballet, created many Chinese dances before the establishment the People’s Republic of China, then later she created some dances in traditional style, and among them her most important masterpieces include Lotus Dance ( He Hua Wu, 荷花舞) created in 1953 and Flying into the Sky (Fei Tian, 飞天) created in 1954. Fei Tian is a duet danced by two girls and is the first piece of dance created based on Dunhuang frescoes. One of the dancers who was premiered in this dance is famous Chinese classical dance artist Zi Huayun (资华筠). I’m not able to find a video clipe of Madam Dai Ailian’s version of Fei Tian but just a photo:

Source: http://paper.people.com.cn/

and below a video of Madam Dai Ailian’s Lotus Dance, please just ignore those annoying ads at the beginning:
http://blog.chinadance.cn/viewthread-36064.html

So above is just a quick running through the history of Chinese dance, not in details. Later I would focus on talking about Chinese dances and dance dramas created at present, even though they're called classical dances.


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Buddy



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MessagePosté le: Mar Aoû 11, 2009 12:25 pm    Sujet du message: Répondre en citant

C'est une très belle danse de la Lotus Flower Dance Company de Toronto, Canada, que je trouve d'être du même sentiment que "Lotus Dance" postée par Enya ci-dessus. Elle s'appelle "Dream Story".

http://www.youtube.com/user/qycy2006

Encore une fois, "Lotus Danse".

http://blog.chinadance.cn/viewthread-36064.html


PS--Pourrais-je mettre ici l'ouvre le plus récent du chorégraphe moderne, Christopher Wheeldon, s'appelle "Whither shall I wander" d'une sensibilité semblable.

http://www.facebook.com/video/video.php?v=243156045423&ref=mf


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Enya



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MessagePosté le: Mer Aoû 12, 2009 3:33 pm    Sujet du message: Répondre en citant

Techniques of Chinese Traditional Dances

From the evolution of Chinese dance, it’s obvious to see that techniques of Chinese dance are combinations of skills of dance steps and movements, Chinese martial arts, acrobatics and simulation of movements of animals (for example flying of an eagle/ a swallow, jump like a tiger …) and shapes of natural objects (for example arms moving like willow branches, fingers forming the shape of orchid, cloud steps …) .

From my personnel point of view, the main characteristics of the skills of Chinese traditional dance lie in the following:

- Chinese traditional dance focuses on movements of torso and arms, while ballet focuses on the movements of lower limbs. Movements of waist in Chinese dances are core elements of all, swinging, twisting, whirling, shifting, raising, lowering, protruding and harboring of waist are basic skills of waist movements. Movements of arms are flexible and various, like winging of willow branches, like flowing water, like waves, then furthermore the extension of arms - waving of long sleeves and silk shawl are typical skills.

- Usually the torso and legs are not kept straight during dancing, this is quite different from ballet. No matter in dynamic movements or in static postures, the curve along the chest, the waist and the hip is always in a shape of “S” or reversed “S”, so are the shape of legs and arms. This could be noticed from the pictures of dance drama Rain of Flowers on the Silk Road, which we have talked in the thread “Nouvelles de la Chine”. The control of equilibrium is realized through dynamic ways of various “S”, while in classical ballet, I believe a dancer should always keep her/his position of center-of-gravity in order not to lose equilibrium.

- Legs, knees, feet and joints of hip are not turned out like ballet but in parallel like jazz.

- Feet are ticked like “V” but not bended to form a shape of arch like in ballet. Now in new Chinese traditional dances we could see that feet of dancers are also bended like arch, this is not original but borrowed from ballet.

- Although there are duets in Chinese traditional dances, usually it’s just two dancers (and most of the time two danseuses) who dance separately. Even there is a duet by one danseuse and one danseur, it’s not possible to touch the body of the other’s in dance, so there are no such movements of “portés” like Pas de deux in a ballet. In today’s new Chinese traditional dance dramas or pieces of dances, it’s quite often to see some duets, or to say pas de deux, with “portés”, so this is not original Chinese dance but borrowed from ballet as well.

- Bending of waist backward is to form a shape of “n” between upper and lower body like acrobatics, this is quite different from ballet.

As the introduction of ballet into China, bar exercises of ballet are applied as basic practices in Chinese traditional dance, and sometimes those bar exercises are adapted more or less in Chinese style, eg. with not strict requirement of turn-out, with feet be either ticked or arched, some postures of Chinese dance (shen duan, 身段) are also added in bar exercises.

We’ve already mentioned the typical skills of Chinese dance - turnings, jumps, movements of waist, waving of long sleeves/silk shawl, playing of sword/fan etc., now I would like to list some terminologies of different skills, but they are not easy to be described as they are combinations of a series of movements.

Skills of turnings (翻转):
- Ta Bu Ye Zhuan踏步掖转
- Shang Bu Ye Zhuan上步掖转
- Kuai Tui Zhuan跨腿转
- Pang Tui Zhuan旁腿转, similar to “à la seconde en tournant”
- Shao Tang Tan Hai Zhuan扫蹚探海转
- Yuan Di Chuan Fan Shen 原地串翻身
- Dian Bu Fan Shen 点步翻身
- Xie Xian Chuan Fan Shen 斜线串翻身
- Tan Hai Fan Shen 探海翻身
- Kuai Fan Shen 跨翻身
- Xi Tui Fan Shen吸腿翻身
- Lian Xu Ping Zhuan连续平转, similar to “tours chai^nés déboulés”
- Kong Zhong Zhuan空中转
- Ban Tui Zhuan 搬腿转, “pied à la main en tournant”
- Yun Men Da Juan 云门大卷
- Yao Zi Fan Shen 鹞子翻身
- Pian Tui Fan Shen 蹁腿翻身
- Zi Jin Guan Zhuan紫金冠转

Skills of jumps (跳):
- Xi Tui Tiao吸腿跳
- Heng Shuang Fei Yan横双飞燕, similar to “grand écarté en l’air”
- Hou Shuang Fei Yan 后双飞燕
- Fen Tui Tiao分腿跳
- Dao Ti Zi Jin Guan 倒踢紫金冠
- Dao She Yan Tiao 大射燕跳
- Zan Bu 躜步
- Bai Tui Tiao摆腿跳
- Bai Lian摆帘
- Fei Jiao飞脚
- La Tui Ben Zi 拉腿蹦子
- Jian Shi Bian Shen Tiao剪式变身跳
- Xuan Feng Kong Zhuan旋风空转
- Zhuan Ti Heng Feng Yan转体横飞燕
- Liao Tui Yue Tiao 撩腿越跳

Skills of waving long sleeves (舞袖):
- Dou Xiu 抖袖
- Chu Shou Xiu出收袖
- Zhi Xian/Hu Xian Yang Xiu 直线、弧线扬袖
- Ping/Shang Tui Xiu平、上推袖
- Wai/Li Rao Xiu外、里绕袖
- Shang/Xia/Heng Zhua Xiu上、下、横抓袖
- Yang Da Xiu / Chu Shou Da Xiu扬搭袖、出收搭袖
- Ban Xiu Pian Hua 半袖片花
- Li Yuan Hua 立园花

Skills of playing sword (舞剑):
- Pan Jian 盘剑
- Mo Jian 抹剑
- Dian Beng Jian 点崩剑
- Ci Jian刺剑
- Liao Jian 撩剑
- Yun Jian 云剑
- Jiao Jian 搅剑
- Gua Jian 挂剑
- Ti La Jian 提拉剑
- Bai Wan Jian 掰腕剑
- Li Wai Wan Hua里外腕花

Other Skills:
- Xuan Zi旋子
- Tang Shen Beng Zi躺身蹦子
- Tang Shen Fei Jiao躺身飞脚
- Yuan Zan Bu圆躜步


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Buddy



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MessagePosté le: Lun Aoû 17, 2009 4:36 pm    Sujet du message: Répondre en citant

Enya, vous avez souligné beaucoup de choses de la danse chinoise qui sont très importants à la danse 'artistique' globale.

Quelques choses que vous avez écrit.

"Chinese traditional dance focuses on movements of torso and arms, while ballet focuses on the movements of lower limbs."

"The control of equilibrium is realized through dynamic way of various "S", while in classical ballet, I believe a dancer should always keep her/his position of center of gravity in order not to lose equilibrium."

"....intricate body movement techniques...."

[Traduccion Google anglais-français]
http://translate.google.com/translate_t?hl=en&sl=zh-CN&tl=en#

["La danse traditionnelle chinoise met l'accent sur les mouvements du torse et les bras, tandis que le ballet se concentre sur les mouvements des membres inférieurs."

«Le contrôle de l'équilibre est réalisé de manière dynamique par le biais de divers« S », tandis que, dans le ballet classique, je crois qu'un danseur doit toujours garder sa position de centre de gravité afin de ne pas perdre l'équilibre."

"....des techniques de la subtil mouvement du corps...."]



C'est cette subtilité des mouvements de la hauteur du corps et cet équilibre dynamique du corps entier qui sont très intéressants, très impressionnantes et très beaux.


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Buddy



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MessagePosté le: Lun Aoû 17, 2009 7:44 pm    Sujet du message: Répondre en citant

C'est une bonne exemple, peut-être, de la subtilité des mouvements de la hauteur du corps et cet équilibre dynamique du corps entier (cités ci-dessus), qui est dans un 'style approximatif' de la Dynastie Tang (il y a 1500 ans).

Encore une fois la danse très impressionnante et très belle, la "Tao Yao" 桃夭

http://www.youtube.com/watch?v=S1fGpl7TEtg&feature=PlayList&p=4D0F29C27FDCF650&index=33


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haydn
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MessagePosté le: Mar Aoû 18, 2009 7:45 am    Sujet du message: Répondre en citant

J'ai transféré ici le dernier message de Buddy qui ne justifiait pas l'ouverture d'un fil de discussion spécifique.


Buddy a écrit:
Je voudrais, si possible, regarder ici les danses différentes à travers les styles différents et les cultures différentes que j'appelle "La Lyrique" (Danse) ou "Lyrical" qui implique la danse gracieuse, poétique, musicale, douce et tranquille, etc. comme le ballet.

C'est une danse ballet-moderne s'appelle "Reflections" par le chorégraphe Miro Magloire.

http://www.youtube.com/watch?v=l-6UEwELaAM&eurl=http%3A%2F%2Fwww%2Eyoutube%2Ecom%2Fuser%2Fnewchamberballet&feature=player_profilepage#t=316

En comparaison, 'un devenant un favori de moi,' La Tao Yao dans un 'style approximatif' de la Dynastie Tang (il y a 1500 ans) en Chine.

http://www.youtube.com/watch?v=S1fGpl7TEtg&feature=PlayList&p=4D0F29C27FDCF650&index=33

[PS--Miro Magloire est le compositeur aussi.]


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Enya



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MessagePosté le: Mar Aoû 18, 2009 10:41 am    Sujet du message: Répondre en citant

Haydn, pourriez-vous transférer ici aussi les messages concernant la danse chinoise dans le fil "Nouvelles de la Chine"? Il y en a beaucoup:
tous à la page 7: http://www.forum-dansomanie.net/forum/viewtopic.php?t=3357&postdays=0&postorder=asc&start=90

et partie à la page 6: http://www.forum-dansomanie.net/forum/viewtopic.php?t=3357&postdays=0&postorder=asc&start=75

Rolling Eyes Wink


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Buddy



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MessagePosté le: Mar Aoû 18, 2009 11:06 am    Sujet du message: Répondre en citant

[quote="haydn"]J'ai transféré ici le dernier message de Buddy qui ne justifiait pas l'ouverture d'un fil de discussion spécifique.

Une autre fois, peut-être, haydn. Mes voeux les meilleurs.


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haydn
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MessagePosté le: Mar Aoû 18, 2009 12:05 pm    Sujet du message: Répondre en citant

Pour répondre au souhaît d'Enya de regrouper ici ce qui concerne la danse traditionnelle chinoise :


Enya a écrit:
Et pour les amies qui aiment la danse classique chinoise et qui seront à Beijing dans l'avenir proche, un spectale de la danse classique chinoise avec le style de la Dynastie Tang , Pluie de fleurs sur la Route de la soie (Rain of Flowers on the Silk Road, "丝路花雨") aura lieu dans la salle de drame au Grand théâtre national de Chine.



Ce drame de danse a été créé il y a 30 ans, en 1979, pour fe^ter le 30ème anniversaire de la fondation de la République de peuple de la Chine, par la Troupe de chant et danse de la province Gansu.

Ce drame de danse est inspiré par des anciennes fresques célèbres dans la grotte ancienne Dunhuang en province Gansu, sur la Route de la soie, daté en Dynastie Tang (618-907) dans l'histoire de la Chine.

Il raconte une histoire en Dynastie Tang sur la Route de la soie. Le peintre Shenbi Zhang (littérairement un peintre avec un pinceau magique) et sa fille Yingniang sauvent un marchand persian, Yinousi, qui est dans le coma dans le desert. Ils rencontrent une groupe de bandits, Yingniang est kidnappée. Quelques ans plus tard, on trouve que Yingniang devient une danseuse et chanteuse formidable dans une troupe de chant et danse, Yinousi la retire par donner beaucoup d'argent au patron de la troupe. Yingniang est réunie avec son père. Inspiré par des gestes et des movements de la danse de Yingniang, Shenbi Zhang crée ses chiefs-d'oeuvres sur les murales de la grotte Dunhuang - "Jouer du Pipa (un instrument musicale chinois) à revers"(反弹琵琶) et “Voler au ciel"(飞天). Ensuite, Yingniang se rend au Persan avec Yinousi. Quelques ans plus tard encore, conformément aux ordres du Roi persian, Yinousi revient à Tang (la Chine) en mission diplomatique avec Yingniang, mais ils rencontrent des bandits une fois encore sur la frontière. Me^me si la fille et le père, Yingniang et Shenbi Zhang revoit encore, ce sont les séparations durant la vie et l'éternel adieu de la mort... L'esprit de Shenbi Zhang, ses fresques dans la grotte Dunhunag est éternel à travers la longue rivière de l'histoire...










(les photos dessus: Jouer du Pipa à revers)

Du 27 juillet au 2 aou^t 2009, la salle de de drame, Grand théâtre national de Chine, Beijing
http://www.chncpa.org/n16/n1062/n8576/2052266.html


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haydn
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MessagePosté le: Mar Aoû 18, 2009 12:06 pm    Sujet du message: Répondre en citant

Enya a écrit:
... et plus de photos des fresques célèbres dans la grotte Dunhuang, en ce qui concene le spectacle La Pluie de fleurs sur la Route de la soie:

Jouer du Pipa à revers:






Voler au ciel:



et plus photos de spectacle:



















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haydn
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MessagePosté le: Mar Aoû 18, 2009 12:06 pm    Sujet du message: Répondre en citant

Buddy a écrit:
Un grand merci beaucoup, Enya, pour les belles photos et la belle histoire. Je ne peux pas être à Beijing pour voir ce spectacle mais peut-être une autre fois.
Aujourd'hui j'essaierai de poster un video-clip en plus que j'aime beaucoup de la même époque de laquelle vous avez ecrit, la Dynastie Tang. Est-ce-que c'est un point haut de la culture chinoise? Y avait-il une époque semblable en Europe? Y avait-il les autres époques comme ça en Chine?


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