Five thousand-word composition of dance thesis

Dance is a performing art, a representation of the inner and outer beauty of the human body, and a concerto in which man and nature live in harmony. Jalaluddin Rumi said, "When you dance, the whole universe dances." Liezi Tang Wen said: "When playing drums, birds are dancing and diving." On Yi's cohesion, he said, "The dance of drums is the most wonderful."

It goes without saying that as an artistic style, dance constitutes "the integration of many rules, so it is the unity of diversity." Generally speaking, the emergence and development of China national dance art with oriental characteristics is the result of mutual care and coordination of the time and space characteristics of dance art. In view of this, this paper will explore its time and space care within the spatial scope of China dance art development and along the time clues of art development.

First, the timeliness of the development of dance art

With the passage of time, the development of dance art depends on the development of society, and its goal is achieved through the labor in life, so the dance art itself is inevitably branded with the times and has a distinct era. The Chinese nation has a long history and its splendid dance culture has reached a high level. This level has been precipitated and developed for a long time.

China's dance only entered the field of performing arts in Xia and Shang Dynasties, and professional dancers appeared. The "dancing painted pottery basin" unearthed in Sunjiazhai, Datong, Qinghai vividly recorded this historical fact. Although they were slaves at that time, they contributed to the development of dance art in China. It is said that Xia Jie's dance was "taking the torch as the beauty and the public as the view". It can be seen that the development of dance at that time had reached a considerable level. Otherwise, this aesthetic requirement can't be achieved. As for the Shang Dynasty, we all know that this is an era of theocracy, and the status of witches is very important. Those who can convey God's will by divination are wizards, and wizards are dancers. Shuowen: "Witches, wishes and women can do intangible things, while those who dance down dance with the gods, in line with the workers." The Lingshan chapter of Shan Hai Jing and Xiye Jing also has his name. There are ten witches who can go to heaven and enter the earth, which is beyond ordinary people's ability. Wizards have a special step, that is, to enter heaven through witchcraft dance and then return to the ground, so they need to learn to dance first. There are "witch dance" and "exorcism dance" in the witch sacrifice, which belong to witch dance, but because it also affects Japan and the Korean peninsula. After the Song Dynasty, Nuo dance, as an influential art form, stood the test of time. At that time, it was integrated into traditional Chinese opera and developed into Nuo opera. It is precisely because of this development that this extremely important drama has aroused great concern in the world, especially in Asia. The Zhou Dynasty was the first time in China's dance history. The representative music and dances in primitive times were collected, among which the most representative ones were Da Shao, Da Xia and Da Wu. At that time, the elegant music system was created, and elegant music gradually declined because of its poor artistic appeal and no appreciation value. During the Eastern Zhou, Spring and Autumn Period and Warring States Period, people no longer paid attention to it, elegant music declined and folk dance flourished.

The Han Dynasty was a dynasty that ruled for a long time in the history of our country, and it was also the second era of China's dance art, and "Baixi" was the most popular performing art form at that time. Among them, the most famous dance names are Pangu Dance, Towel Dance, Bǐ ng @ ① Dance, Wu Mi Dance and Tudor Dance. Throughout history, we will find that the towel dance is today. Just like today's Taiping Drum, "Wu Mi Dance" is a stroke-by-stroke dance, and the immortals, monks and nuns and other figures in the traditional operas we see now often dance stroke by stroke, which may be related to this ancient tradition. "Duo Dance" is a dance with bells. Up to now, Tujia people still have the "Babel Tongling Drum", and Tibetan "Reba" also rings the bell. The witch dance of the Han nationality also has traces of ringing bells.

The Tang Empire has an extremely important influence in the history of our country, and has also made considerable achievements in dance art, which can be said to be another peak stage of Chinese dance art. It inherited the tradition of Zhou and Han Dynasties, and developed the art of dance, among which nine-part, ten-part, left-part geisha, inner-part geisha, sword dance, soft dance and so on have great influence. After the Song and Yuan Dynasties, until the Ming and Qing Dynasties, traditional Chinese opera rose, and primitive dance gradually declined as an independent performing art variety. However, the dance absorbed and integrated into China's traditional opera has been highly developed and achieved brilliant results, forming a strict training system, performance methods and procedures. As the main means of China traditional opera, singing, reciting, doing and beating are four skills, among which doing and beating are all dances or dances.

Culture depends on continuous accumulation, continuous development of art and continuous innovation of creation, and the development of the whole culture develops with the progress of the times. Looking at the development history of dance art, it is not difficult to find that the popular dance forms in various historical periods not only adapted to the trend of the times at that time, but also preserved and developed the dance art of the previous generation. This is the timeliness of the development of dance art, not just synonymous with a certain era. It is also the embodiment of the concept of flowing time. In this flowing historical process, the development of dance has reached a higher level. Moreover, the appreciation and creation of dance art can not be separated from the study of the temporality of dance art. If we can't grasp the temporality characteristics of dance art, we can't appreciate, create and develop dance art accurately.