A Textual Research On The Evolution Of Su Mozhe,a Western Region Song And Dance Drama

As a product of the fusion of multicultural,multi regional,and multi-ethnic spirits along the Silk Road,the Western Regions song and dance drama "Su Mozhe" has gone through the process of dissemination from Persia to the Western Regions,the Central Plains to Japan,the fusion of various regional customs without fixed forms,and the localization process of constantly saying goodbye to the mother body to innovation,ultimately becoming an indispensable component of the exploration of traditional Chinese music and dance art,And served as one of the "pioneers" of later theatrical art,and created a comprehensive performance that integrates instrumental music,dance,narrative,and lyrics-the art of song and dance drama.Nowadays,in the exploration of the song and dance drama "Su Mozhe",it can be found that its content appears in two forms: literary and historical materials,including literature and art,as well as image materials.The research on music is relatively in-depth,while the research on dance can be said to be stagnant.As an important carrier of culture and a concrete manifestation of "materialization","Su Mozhe" can be said to be an early cultural representation of the art of song and dance,playing different cultural functions in different regions.Its inherent Persian cultural genes,on the one hand,are widely spread in an open and inclusive social environment and cultural mindset,relying on different environmental soils.On the other hand,due to his image of wearing a ghost beast mask,his naked dance team ceremony,and his massive cast,he had a deviation from the traditional cultural mode of the mid to late Tang Dynasty.His fate also shifted from being popular for a while to being "banned",and the disintegration of music and dance was also regrettable.After spreading to Japan,it became the local refined music.This paper,from the perspective of evolution,and based on the drawing of the image data "Kucha Buddhist relics box",with the help of cultural science,art,semiotics and other interdisciplinary theoretical methods,tries to trace the origin in history,draw essence from culture,and discuss from three aspects: the origin,shape,and flow of Su Mozhe.The first part,starting from the origin,focuses on analyzing the historical background of its occurrence and various theories of origin.Through analysis and research,it can be confirmed that(1)its parent resources are foreign cultures;(2)"Su Mozhe" is a musical art that grew in the Western Regions;(3)After being passed down,"Su Mozhe" was able to take shape in the Kucha region.The second part,mainly using the semiotics methodology,analyzes the symbolic meanings of its language image,dance team mask,dance costumes and other symbols from the "words of a hundred schools",based on the form of the Western Region song and dance drama Su Mozhe,and tries to analyze the theoretical basis of its dynamic appearance of music and dance.The third part,through cultural interpretation of its evolution,reveals that it is not only a one-way cultural transmission,but also a reflection on the evolution of lively music and dance art.Among them,the author conducted a detailed examination of the relationship between the scholars’ widely discussed "Huntuo Dance" and "Su Mozhe",and found that the dance parts of the two still cannot be equated.The meaning of "begging for cold" in their dance,the use of Hu people’s dance,and the use of hats are almost unrelated.Subsequently,the elegant music "Sumo" that spread to Japan also became the spiritual legacy of Persian,Western Regions,Central Plains,and Japanese culture.