Research On The Folk Dance Of Hui Minority In Changji,Xinjiang From The Perspective Of Folk Music Culture

China is a country of multi-ethnic, multi-ecological regions. There are differentethnic customs, different cultural backgrounds, and different religious belief indifferent ecological regions. Diversity and unity of the Chinese nation is the result ofmulti-ethnic exchanging, influence and convergence. The ethnical culture of eachminority shows both differences and similarities.This thesis mainly studies the characteristics and present status of the Dancingof Hui minority under the influence of Hui ethnic music in Changji, Xinjiang, andanalyzes the relationship between dancing and its music. The methods of this studymainly involve multidisciplinary methods such as ethnology, folklore, religiousstudies, dancing studies, aesthetics and fieldworks. The author also interviews manyfolk musicians and collects a lot of relevant information, and base on this information,she analyzes the local characteristics of Hui Dance in Changji, and discovers itsunique style.Both music and dancing are "non-verbal text culture" and they are the consistingelements of culture. It covers relatively broad aspects, i.e. the horizontal width of thelife and vertical depth of history, through which one can see the development of anation’s social history and the formation of national culture.This thesis consists of6chapters, namely "the formation of Hui Minority","theHui music and dancing in Changji, Xinjiang","the dynamic image and culturalinterpretation of Hui Dancing in Changji, Xinjiang", and "conclusion".In the part of introduction, the author introduces the target and the significance ofthe thesis briefly. For the sake of raising the thesis, multidisciplinary researchmanners and field survey are adopted and applied for the research of the essay.Changji region is a place whose main minority is Hui minority. Because of the impactof Hui minority music and culture, a proper Hui minority dancing style is created. Recently, there are several different views of the formation of the styles; however,‘fusion theory’ is first raised by the author in the region of Changji.With regards to the ‘formation of Hui minority’, the author introduces the originof the nationality and the history of Hui minority, moreover, so are the geographiclocation, ecotype environment and the formation of Hui minority in the region ofChangji, and the local cultural features.In the part of ‘Hui minority music and dancing in the region of ChangjiXinjiang’, the author analyzes the dancing from the view of music, language andmotion in accordance with the Hui minority song,‘followers’ and feast songs, and therelationship between the songs and Hui minority dancing, by the means of fieldsurvey, musicology, dancology, or even visiting folk artists. Therefore, the authorraises ‘there must be something of each in the other’, and thinks that there are internalrelationships among music and dancing, dancing and folk, dancing and culture.With respect to the part of ‘the dynamic form and cultural explanation of Huiminority dancing in the region of Changji Xinjiang’, the author analyzes the actioncharacteristics of Hui minority in the region of Changji, especially to the dancingmotions including head, hands and steps, meanwhile, the author does a profoundresearch on the relationship between the local customs and the form of the regionaldancing style.With regard to the aspect of ‘the combination of Hui minority musical dancingart in the region of Changji Xinjiang’, the author analyzes the formation of thecharacteristics of dancing styles of Hui minority in the region of Changji with fourexamples,“ga lao han”“hua hua de ga mei”“cai dian dian” and “xiu”, thereby, drawsa conclusion of that Hui minority dance is as the outcome of the combination of thecommunication among the minorities of not only the music but also the customs andcultures.In conclusion, the author summarizes the essay and raises innovative viewpointby means of the study.