The Use Of Hunan Three-and-a-half-step Drums In Dance Works

"Ballad for the phantom", or"SiQingGuiGe/Guige", is a well-known ballad in Lilin, City of Z huzhou, it describes the local youth's yearning for love and ideal life and is widely circulated for its everlasting love. In the area of Hunan, the word " phantom" is a nick name used between people with close relationships and it contains feeling of both love and surprise. T he" Guige" vividly and precisely demonstrates the feeling of regret as well as miss after a girl failed to keep a date with her lover. This song is also a stereotype of a saying " H unan G iris have deep affections"In this paper, this ballad is used as an entry point for the choreography representing a cunning scheming of playing " hard to get" between sweethearts with a fancy foot work called "Three and a half steps". This paper introduces the aesthetic form of Hunan Flower-drum Opera, and the artistic creation combining local dance material and folk culture, taking "Three and a half steps" in the dance" SiQingGuiGe" as an example. The motion motivation of "Three and a half steps" is considered as the key and used in the dance drama with other footworks from Flower-drum Opera, and the character's psychological incentives are both concerned and used in the motion material when structuring the character relationships. In this paper, the relationship of "change" and " constant" between folk dance material and folk dance creation is discussed and analyzed based the arrange and demonstration of three-segment description of woman's missing for her lover in the dance drama.The use of "Three and a half steps" in the dance "SiQingGuiGe" has great inspirational meaning for the author. When creating and performing local folk dances, it is a skillful demonstration of selecting a representative motion element that matches the motion motivation, taking emotional and action as center of the storyline, re-evaluating the traditional Flower-drum Opera culture, and ultimately designing and organizing the structure of the dance. Therefore, in the premise of respecting the aesthetics of the original folk dance, re-create folk dances according to certain aesthetic requirements of stage performance can not only revitalize many dynamic folk dance materials, but also draw the public's attention on those folk art forms.