A Sense of Community for the Chinese Nation Embodied in the Musical Dance Art of Early Dunhuang Grottoes

The musical dance art recorded in early Dunhuang Grottoes,though supposed to be created by ancient northern ethnic groups such as the Hun and Xianbei,gives expression to a strong thought of"Chinafication"and a sense of community for the Chinese nation.By analyzing the essence and content of the musical dance art in the Dunhuang Grottoes created during the Northern Liang(A.D.397-460),Northern Wei(A.D.386-534),Western Wei(A.D.535-556)and Northern Zhou(A.D.557-581)Dynasties,and by exploring the contribution of ancient ethnic groups such as the Hun and Xianbei in the formation and development of Chinese nation,this study reveals that the musical dance art in early Dunhuang Grottoes faithfully reflects the community pattern of the Chinese nation featured by"unity in diversity"developed since ancient times,and hopes that the future research and creation may expand their horizon by incorporating the musical dance art of early Dunhuang Grottoes into the system of contemporary Dunhuang dance.

在世界语境中讲好中国故事——以敦煌题材的舞蹈创作为例

敦煌题材的舞剧不胜枚举,但改革开放后中国第一部以此为题材创作的大型民族舞剧《丝路花雨》,40年来一直受到文化界的整体关注,此种现象并不多见。敦煌题材的舞蹈创作如何能在世界语境中讲好中国故事呢?敦煌好故事,既是“千年生命”的敦煌文化故事,也有当今敦煌“供养人”的故事。“讲好敦煌故事”并非指狭义的“情节叙事”,而是广义的“文化叙事”,涉及话语技巧和叙述行为,体现在舞蹈创作上,则可以涵盖“重建”并探索敦煌乐舞的剧场形态,创作叙事性民族舞剧,以及进行当代审美的舞蹈剧场或跨界总体艺术尝试等。

敦煌早期石窟乐舞艺术中的中华民族共同体意识

敦煌早期石窟乐舞艺术虽为古代北方匈奴族、鲜卑族所创,但其在开窟造像中却显露出强烈的“华化”思想与中华民族共同体意识。本文对敦煌早期北凉、北魏、西魏、北周石窟乐舞艺术的本质与内涵及古代匈奴族、鲜卑族为中华民族共同体意识的形成与发展所作的贡献进行了分析,认为,敦煌早期石窟乐舞艺术如实反映了自古以来中华民族“多元一体”的共同体格局,并希望在未来的研究与创作中开阔思路,将早期石窟乐舞艺术纳入当代敦煌舞建构体系。