Research On Shandong Folk Dance

As a province of folk culture,Shandong contains rich and colorful folk art,and folk dance is one of the unique branches.More than 200 kinds of folk dances have been spread in Shandong in history,and more than 120 kinds are still scattered all over Shandong today.Under the influence of the local natural and cultural environment,they have formed distinctive artistic forms,aesthetic characteristics,cultural connotation and social functions,meanwhile they have always evolved with the social development and culture.It plays an irreplaceable role in different historical environments.Looking at the previous academic research on Shandong folk dance,although the number of achievements is not a few,most of them adopt the method of case studies to carry out targeted,single and local research on some dance items,while few regard Shandong folk dance as a whole and carry out overall grasp and research.Therefore,this paper attempts to carry out an overall study of Shandong folk dance from the perspective of integrity.In the process of research,we should not only reflect the integrity of Shandong folk dance,but also respect the purpose and characteristics of each dance;We should not only rely on historical relics and documents,but also rely on contemporary documents and existing dance items;We should not only observe the appearance and refine its style,form and aesthetic characteristics,but also conduct essential analysis to deeply explore its cultural connotation,aesthetic style and social value.At the same time,this paper will borrow the discipline theories and methods of artistic anthropology,dance ecology and ethnic dance,and obtain valuable first-hand materials as an important support for the research through in-depth and detailed field investigation.In addition,this paper pays attention to the combination of theoretical research and applied research in the research process and strives to comprehensively and systematically present the development panorama of Shandong folk dance from the theoretical and practical levels.This paper designs the introduction,conclusion and six interrelated and independent chapters.Each chapter not only dominates the overall research object of "Shandong folk dance",but also forms a certain relationship with each other;It also focuses on the ontology,history,form,value,inheritance,strategy and trend of Shandong folk dance.From the perspective of logical framework,the logical relationship between chapters is not a simple progressive or parallel logical relationship,but gradually unfolds along the path of ontology research practical research.Introduction.The introduction part is mainly used to explore the relevant basic problems of this paper.First,it clearly clarifies the background,reasons and research significance of the topic;Secondly,it reviews the research status and academic history of the topic,and it summarizes the existing research experience while it analyzes the limitations of the current research;Thirdly,it explains the research methods,research objectives,research contents and innovation of the paper.The first chapter is the ontology of Shandong folk dance: Research on concept,distribution and types.This chapter attempts to study the concept,distribution and type characteristics of Shandong folk dance from the perspective of ontology.First of all,although folk dance has existed since ancient times as a type of dance,it has experienced a long conceptual journey as a proper noun.In different historical periods and social contexts,it has been expressed by people with different titles such as "folk custom dance","local style dance" and "folk and non-governmental dance".Proper nouns are not only similar in pression but also overlapped and intertwined in referring to objects regarding to the names of folk dance and national dance,national folk dance,folk dance,traditional dance,natural dance,social dance,mass dance and even other nouns.A clear discrimination of the differences is the premise of an accurate understanding of folk dance.On the basis of clarifying the definition of folk dance,this chapter then frames the connotation and extension of Shandong folk dance as the research object of this paper;Secondly,although Shandong folk dance spreads all over Shandong,it shows certain regional characteristics in the distribution of dance items.Shandong is divided into four regions:Central Shandong,Southwest Shandong,Northwest Shandong and Jiaodong Peninsula.The statistics and mastery of the local folk dances are more conducive to the refinement and induction of the regional characteristics of folk dances,and provide a certain cushion for the research on the relationship between aesthetic characteristics and regional culture;Finally,there are some problems in the current classification of Shandong folk dance,such as the separation of types and dance items,and the non-uniform classification basis,resulting in the overlapping and intersection of types,which cannot be effectively exclusive,and then the dance items divided by types fall into an ambiguous situation.Based on the classification of Chinese folk dance,this paper tries to avoid the limitations of the existing classification,and divides Shandong folk dance into five types: "Yangko","Drum Dance","lamp dance","sign dance" and "others",and carries out type research to refine the type characteristics.The second chapter is the historical theory of Shandong folk dance: the development track of spiral rise.This chapter combs and investigates the development track of Shandong folk dance from ancient times to now in a historical perspective.In the process of combing,we mainly rely on official documents,local county chronicles,dance cultural relics and dance pictures in folklore,in order to clarify the development context of folk dance in Shandong.In ancient times,with the sprouting of dance in Qilu,the development of Shandong folk dance officially began with the advent of "Qingjiao".Although the Xia and Shang Dynasties lacked traces of folk dance activities in Shandong,the "great Xia" and "witch dance" had a far-reaching impact on the formation of Shandong folk dance in later generations;The Zhou Dynasty was the peak of the development of folk dance in Shandong.The folk music and dance in Qi and Lu were particularly prosperous,and many symbolic dance items appeared.The activity space of Shandong folk dance in the Han Dynasty was extensive,covering the court and countryside.Its activities are mostly recorded by dance relics such as brick and stone portraits of the Han Dynasty and dancing figurines;During the Wei and Jin Dynasties,population mobility promoted the national integration of the South and the north,and laid the foundation for the formation of the diversity of folk dance styles in Shandong in the future.The development of Shandong folk dance in the Tang Dynasty basically continued the trend of the previous dynasty.The development of folk dance in Song Dynasty was unprecedentedly prosperous.There were more mature representative dance items in the folk dance team,such as "village music","bamboo horse","dry dragon boat","fluttering butterfly" and "dance judgment".These dance items can also find one-to-one correspondence in today’s Shandong folk dance,which is enough to prove its deep influence in later generations.During the Yuan,Ming and Qing Dynasties,the rulers restricted the development of folk songs and dances by issuing a series of prohibitions,however folk dances still continued to grow like weeds in folk areas with their tenacious vitality.The vast majority of Shandong folk dances originated in the Ming and Qing Dynasties,which then laid the characteristics of today’s Shandong folk dances with rich types and distinctive forms.During the period of the Republic of China,more Shandong folk dance spread more slowly and stably in fixed areas.Because of their distinctive forms,many dance items played an important role in propagating revolutionary slogans and uniting the masses during the war.Since contemporary times,the development of Shandong folk dance can be divided into three stages.After Seventeen years of the founding of the People’s Republic of China,a large number of dancers began to go deep into the folk,and took root in the local areas.They restored and sorted out the folk dance in Shandong;During the "Cultural Revolution",Shandong folk dance was severely damaged and suppressed because it was regarded as "the poison of feudalism" and "the leisure of the petty bourgeoisie",and all kinds of dance activities were banned;Since the new era,Shandong folk dance has ushered in a long-standing development vitality.Not only did the normal activities return to normal,but all kinds of folk dance performances and competitions also resumed one after another;At the same time,professional dancers continue to sort out and protect Shandong folk dance resources as well as deeply tap the training value and aesthetic value of folk dance,and they promoted the development of classroom and stage of folk dance.The third chapter is the form theory of Shandong folk dance: the form construction under the guidance of aesthetic attributes.This chapter mainly involves the refinement,induction and research on the aesthetic characteristics and causes of Shandong folk dance.Because the construction of folk dance form needs to be based on the premise of aesthetics,and the aesthetic characteristics have become the most concentrated,concise and intuitive embodiment of folk dance form.The aesthetic characteristics of Shandong folk dance are mainly reflected in six aspects: rich and unique dance language,distinct and diverse performing roles,funny and lively singing accompaniment,eye-catching image of clothing and props,free and flexible performance methods and rigorous performance procedures.In the exploration of the causes of the aesthetic characteristics of Shandong folk dance,this paper mainly borrows the perspective,methods and theories of dance ecology,and divides the ecological environment system on which folk dance depends into two parts: natural environment and cultural environment,and then analyzes them by focusing on many of the aspects.The natural environment consists of terrain,water area and species.These three factors also exert influence on the character of folk dance inheritors,the form of folk dance and the mode of transmission of folk dance;The cultural environment is divided into two parts: folk culture and traditional culture.The age season in folk culture promotes the formation and development of folk dance;Entertainment folk custom provides rich nourishment for the formation of folk dance forms;Belief in folk custom is an important opportunity for the origin of folk dance and lays the cultural connotation of folk dance.The influence of Confucian culture and Taoist culture contained in traditional culture on Shandong folk dance is mainly reflected in that Shandong folk dance pays attention to the standardization and etiquette of performance procedures,and some dance items reflect the pursuit of the harmony of Yin and Yang.The fourth chapter is the value theory of Shandong folk dance: the construction of value system with aesthetics as the intermediary.This chapter mainly studies the multi-value system of Shandong folk dance,and highlights the core role of aesthetics in the construction of value system.Although the social value of Shandong folk dance has existed since ancient times,it is not invariable and it has experienced many value evolution in the development of later generations.In ancient society,folk dance was an important tool for ancestors to entertain themselves and express their feelings.Aesthetic self-entertainment value was the leading value,and some educational values(etiquette education,hunting education,etc.)were also included;In slavery and feudal society,folk dance has changed from self-entertainment art to performance art for people to watch with the emergence of the ruling class and the appearance of professional dancers,and aesthetic others-entertainment value became the leading value by replacing aesthetic self-entertainment value;Entering the contemporary society,as folk dance enters the classroom as a teaching content,its aesthetic education value has been further developed and deepened.At the same time,folk dance has a certain aesthetic cognitive value because it contains rich cultural genes and cultural factors.However,no matter how many changes carried out,aesthetics is always an important prerequisite for the existence of many values.Other values can be effectively connected and controlled in the value system only based on the aesthetic foundation and the aesthetic attribute of folk dance.The fifth chapter is the inheritance theory of Shandong folk dance: multiple paths and aggravation of difficulties.This chapter mainly analyzes the inheritance trend,inheritance dilemma and causes of Shandong folk dance based on the contemporary social environment.Contemporary time is an important turning point in the development of Shandong folk dance.In more than 70 years since modern times,Shandong folk dance has experienced profound changes from inside to outside.Dance tends to simplify the original form and aesthetic elements;In terms of social function,the utilitarian function of entertaining God has been transformed into non-utilitarian self-entertainment function or aesthetic function;In terms of cultural attribute,the solemn and sacred cultural ceremony has been transformed into civilian and secular folk art.At the same time,Shandong folk dance is also facing unprecedented inheritance difficulties,such as the absence of inheritance subject and the serious loss of inheritance audience.Rome wasnt built in one day and the emergence of these difficulties is not taken place in a short-term,but gradually appears and intensifies with the passage of the times,which has seriously restricted the development of the daily inheritance of folk dance and posed a serious threat to the survival of folk dance.From the objective environment,under the influence of urbanization,the local space has undergone rapid changes from inside to outside,which has greatly compressed the inheritance space of folk dance and made folk dance face the problem of nowhere to live;From the perspective of subjective factors,dance has shaken the status of the audience and intensified the impact on the modern society;The development of economy has accelerated the flow of local population to the city,resulting in a serious empty-nest phenomenon in the village,which leads to the serious lack of inheritance subject and audience.The sixth chapter is the Strategy theory of Shandong folk dance: all-round and multi-dimensional strategy exploration.This chapter carries on the analysis of the inheritance dilemma and its causes of Shandong folk dance in the previous chapter,trying to build an all-round and multi-dimensional protection and inheritance system,and explores targeted protection and inheritance exploration.In today’s rapidly developing society,if Shandong folk dance tends to get rid of the inheritance dilemma and realizes the continuous spread and development,it needs the joint efforts of top and bottom,host and guest,and inside and outside.From the perspective of the government,we should fully play the leading role,and strengthen the mechanism construction of folk dance protection and inheritance,including aspects of policies and systems,in order to provide a good and orderly inheritance space for folk dance.At the same time,the competent authorities should actively explore targeted protection and inheritance measures,and clarify the inheritance object and inheritance subject responsibility,and improve the representative inheritance selection and evaluation system,and strengthen the protection of folk dance cultural space;From the perspective of inheritance subject,folk dance inheritors and artists should give full play to their main responsibilities and actively expand the inheritance path.And in limited conditions,multiple values of folk dance should be maximized;From the perspective of dancers,dancers should intervene in the protection and inheritance of folk dance in a reasonable and reasonable way.We should give full play to professional advantages,and make effective use of social resources,communication platforms and other favorable conditions,and actively broaden the communication channels of folk dance,and strengthen the artistic creation and cultural research of folk dance.At the same time,dancers should promote the discipline construction and industrial development of folk dance,and promote the protection and inheritance of folk dance,and move towards systematization,institutionalization and scientize it.Conclusion: the future trend of Shandong folk dance.The contemporary development of Shandong folk dance is complex,showing a state of interweaving progress and retrogression.First,the living space of folk dance is shrinking sharply.In particular,earth shaking changes have taken place in private areas under the coercion of urbanization.Second,the forms of folk dance are gradually enriched.The change of the living environment of folk dance leads to the corresponding change of the noumenon of folk dance.The emergence of the survival crisis of folk dance,in addition to irresistible factors,is closely related to its own situation to a great extent.As a contemporary dancer,when we are facing the complex development situation of folk dance,we should not only correctly view the change process of the survival of the fittest,but also protect and inherit folk dance as much as possible through effective measures.