论羌族肩铃舞的“结构式”创作

On “Structured Style” Creation of Qiang Shoulder Bell Dance

本文通过对羌族肩铃舞的由来及作品进行分析梳理,研究肩铃舞这一形式与羌族的传统舞蹈"克西格拉""萨朗""巴绒"之间的关系,从而得出肩铃舞是一种"结构式"创作的民间舞蹈作品这一结论。

For the recent years, the shoulder bell dance of Qiang ethnic minority group has entered into public eyes. Especially after Wenchuan Earthquake, the Qiang people were reknown and re-understood. What is this dance derived from?Has it been choreographed or developed artificially? How can it create such a solid and marvelous atmosphere? With these questions, the author interviewed the local Qiang artist, curator at the cultural center, and choreographer SU Dongmei, finding out that shoulder bell dance is not a native dance of Qiang people but a 'structured style' dance composition.Professor ZHAO Tie-chun from Beijing Dance Academy believes that there are mainly three styles for creating Chinese ethnic and folk dance works: 'prototype adapted style,' 'refined style,' and 'structured style.' The 'structured style' is based on native dance form and content(or takes them as elements) to create a work by reorganizing, expanding, and surpassing the form and content among the linkage and relationship of different movements. It allows reconstruction of a work’s form and content, making it meet the national spirit, aesthetic ideal, and even philosophical meaning.' According to this definition, it is not difficult to see that shoulder bell dance features 'structured style.'I. The origin of the props, rhythms, and movements of shoulder bell dance The only Qiang dance using bells is the armor dance. It can be seen that shoulder bell dance utilizes the bell element in armor dance. Currently in shoulder bell dance, a long rope is tied to a performer’s shoulders, with a dove tree flower at each end of the rope and a bell hidden within the flower. While performing, the bells are swinging by shoulders. The rope extends the sense of space of the dance with the shoulder bells as the dance technique. One of the impressive dance movements in 'The Dover Tree Flowers are Blooming' are the female dancers moving in a line by swinging the same side arm and leg. After that, they roll the pelvis, lower the shoulders, and cross legs, which are the movements from Salang. Following the features of Salang dance, shoulder bell dance includes movements such as spine centered turning, quickly rotating lower legs clockwise and counterclockwise, and swinging the same side arm and leg, which embodies the choreographer’s respect for and preservation of the dance cultural phenomena. II. Expanding and surpassing shoulder bell dance The above-mentioned essence of dance rhythm can be seen in all forms of Qiang dance. Inspired by the 'pelvis rolling' in Barong dance, the choreographer of the shoulder bell dance has retained the main element of Qiang dance, 'rolling,' and developed the rolling into other parts of body. The flipping yellow bells strengthen the quality of the rolling, expanding the performing space and enhancing the beauty of dance technique.To sum up, the creative style of the shoulder bell dance is a structured one. It is not exactly the same as the original dance form. Rather, it reorganizes the cultures of different regions and expands the performing range by utilizing shoulder bells so as to invigorate the national spirit. This form of folk dance creation depends mainly on the choreographer’s in-depth understanding of the entirety and elements of the folk dance, and their respect, perseverance, and belief of the dance. To create a folk dance composition, one shall firstly respect the ethnic culture. Certainly, it is possible to realize innovation by integrating other dance styles and personal ideas. However, the typicality of a work shall be based on the apprehension and embodiment of the characteristics of the styles and attributes of the ethnic culture. Only in this way can people from this ethnic group be identified with the work and can the preservation, inheritance, and development of folk dance be promoted.