说“扭”:中华民族舞蹈原始发生蠡测续说(一)

“Twist”:A Preliminary Study on the Origin of Chinese National Dance(Part One)

“扭”,作为秧歌舞蹈中最显著的动态特征及其律动根源,是中华民族舞蹈原始发生值得关注并应当探求的一种文化现象。从陕北秧歌的“扭摆走”到东北秧歌的“稳中浪”,从胶州秧歌的“翠花扭三步”到安徽花鼓灯的兰花“三掉腰”等,不同地域的秧歌、花鼓灯舞蹈,由于不同动态的参与,“扭”得异彩纷呈。然而各地秧歌中“扭”的成因却不尽相同:“兰花”舞蹈之“扭”的直接成因是“女子缠足”习俗,东北秧歌的“浪”是高跷舞蹈对“扭”的极大夸饰,冀东地秧歌“拉骨抻筋”呈现出“扭”的复杂形态,山东鼓子秧歌“花子”的舞式之“扭”强化了舞动之“扭”。在“视觉格式塔”视域中的秧歌舞蹈“绕菠花”“扭场子”,是“扭秧歌”的最高境界,在某种意义上可视为没有持举龙形道具的“龙舞”。目前的秧歌舞蹈主要存在于北方“旱作文化”之中,走出“水田”去探求“秧歌”与“稷神”的关系,会获得一些有益的启示。

“Twist,”as the most prominent dynamic feature and rhythmic source in Yangge dance,is a cultural phenomenon in the exploration of the origin of Chinese national dance.From the“twisting and swinging”in northern Shaanxi Yangge to the“stability with waves”in Northeastern ChinaYangge,from the“three-step twist of green flowers”in JiaozhouYangge to the“three waist turns”of Lan Hua in Anhui flower drum lantern dance,the“twist”in Yangge and flower drum lantern dances in different regions displays various ways due to different participationof dynamics.However,the causes of“twist”in Yangge vary:the direct cause of the“twist”in the“Lan Hua”dance is the custom of“foot binding”for women;the“waves”in Northeastern ChinaYangge greatly exaggerates the“twist”due to the tall stilts used in the dance;the“pulling bones and stretching tendons”in eastern HebeiYangge presents a complex form of“twist”,and the“twist”in Shandong drum Yangge“huazi”dance style strengthens the dynamic“twist”.In the“visual Gestalt”perspective,the Yangge dance of“twisting around the Bo flower”and“twisting in the square”represents the highest realm of“twistingYangge”and can be regarded,in a sense,as a“dragon dance”without holding dragon-shaped props.Currently,Yangge dance mainly exists in the“dry farming culture”in the northern China regions.Exploring the relationship between“Yangge”and“Ji Shen”outside the“paddy fields”will yield some beneficial insights.