[Mashed] Ceremony and dance

the

ceremony is a way for people to behave in a given time and space environment.

during the ceremony, people expressed their feelings of respect, admiration and fear for the saints, as well as human piety and admiration for time and the rhythm of life in nature.

the ceremony was mostly based on faith.

in the context of the spiritual beliefs, it is true that there are different beliefs and values and different ways of ritualization.

since ancient times, chinese rituals have been combined with music and dance, resulting in a ritual tradition in which dance is an important tool.

this tradition continues to prevail and profoundly affects people ' s lives.

when we look at the various secular and religious rituals in different ethnic regions of china, it is clear that the dance arts, which express their feelings in human body language, play an important role in the ritual.

very few of the public ceremonies are still, and most of the rituals are in the form of actions.

almost all major human folklore and rituals are bound to dance, which is closely linked.

the ritual-related dance, we call it ceremonial dance.

specifically, ceremonial dance corresponds in form and style to the circumstances, emotions and purpose of a particular ritual and can have both physical and psychological effects on the participants in the ceremony.

ceremonial dance forms part of a particular society and its cultural traditions and is dependent on, belonging to and subject to the social and cultural traditions in which they live.

i.

ceremony and dance

ceremony is one of the oldest and most common sociocultural phenomena in the history of humankind.

dancing is an important part of the ritual, and many rituals are accomplished by ceremonial dance, through which the purpose of the ritual is communicated to the general public in an atmosphere of ceremonial dance.

at the same time, rituals are the space and soil upon which ceremonial dances are created and survived and the means through which they can be transmitted and developed.

from the experience of dance and its development, dance has been at the service of the gods as a ritual of worship as far back as the original society, and it is closely linked to the original religion.

with regard to primitive dance, ngos, referring to indian religious beliefs and rituals, stated: “the tribes have their regular festivals and certain forms of worship, in particular dances and competitions; dances, in particular, are the main components of all religious rituals.” this argument reveals the relationship between the original song and dance and the original religion.

the vast amount of sketches of primitive social times, such as those of the hanayama cliffs of the guangxi region, of the inner mongolia autonomous region, and of the xinjiang himalayas, discovered from our archaeology, are a graphic reflection of ancient religious rituals and cultural life, including a rich dance.

formally, these dances are solo dances, double dances, three-person dances and group dances, with a rich and diverse style.

qinghai dae-tung county, 1973, which is part of the ma's culture of pottery, is now more than 5,000 years old.

this was the first hand-to-hand image ever discovered in the dance image, where the ancients held hands, moved towards unity, and were well-positioned and vividly recorded the early stage of human dance。the “dance pottery pottery”, which was found in the burial of the tibetan community in hainan, qinghai province and in zhongzhi county in 1995, and which was also part of the neostone period, a group of 11 people and 13 others danced with their arms and looked so spectacular that we were able to fully appreciate the artistic glamour of ancient dances.

these are proof of the close relationship between dance and rituals in the original social era.

with the development of human society and the progressive progress of civilization, while the function of dance has gradually shifted from a recreational to a recreational one, dance remains an indispensable and important instrument of religious rituals and of major rituals in the secular life of people.

take the example of beijing and miyagi “foot the ghost”.

“ghost beating” is the subject of the seventh day of the palace's “big prayer society”, also known as the “goldon exorcism dance”, in tibetan, “buzak”, and in monhan, “buzza”.

it began in 1409 as a religious ritual that spreads buddhist teachings, promotes buddhist law and prays for peace in thailand.

the whole "ghost-playing" ceremony consisted of six sub-parts of ceremonial dances: "simple-geek-gypt dances, ashuiro dances, skull mask dances, hell master dances, doolin dances, cows, deer dances." the ceremonial ceremonial ceremonial moves and their distinct image of the person, in which the illusions are presented in a specific and moving image, have led to an understanding of the meaning of each ceremonial dance, and to the ceremonial, steady and sacred atmosphere in which the whole of the hallowed wish will culminate.

in terms of the place of ceremonial dance in rituals, whether in voluntary rituals of the people, in religiously rich monasteries, or in the life of people in festivities or mourning, dances are always integrated into rituals, transmitted in specific folkistic events of lasting duration, and reflect the basic content and characteristics of rituals.

ceremonial dances are subject to the precepts of the rituals, their forms of dance performance are subject to the provisions of the ritual itself, and dance styles are deeply marked with rituals, and are bound by these provisions to form inherent patterns, rhymes and artistic features.

visible ceremonial dances rely on and are integral to the ritual.

take as an example the dancing in the hmong area.

the dance is an artistic form of hand-held singing and dancing in the hmong area.

in the everyday life of the hmong, the dance is known for its light, fast, spinning, rolling and flexibility.

however, when the dance enters into the performance of the ritual, the ceremonial ritual gives a sense of ceremoniality and sanctity, and most of the ceremonial dances are silent, slow and soft.

the style of ritual dance is directly and closely related to the overall atmosphere of the ceremony.

these ritualic ritual dances are, in a sense, the vector of people's faith in the religious community.

"drama" is a tibetan folk dance that deters evil and prays for good.

it is more than a thousand years from now.

this is how they describe the charisma of dance in the area of the tibetans that sings and dances, and dances: “every time you ask for a charade, you read it 10,000 times, and every time you ask for a charade, you can break the barrier of your birth。it's not like we're going to have to do this.

as can be seen, this ritual dance has long been the object of visits and pilgrimages by men and women of good faith, from which we can also feel how close it is to dance.

is one of the ancient dances in the quechua region of the quembak region, which is known as the xin guang zhuang dance.

the main popular area is located in the new village of yugyu, yugyu state.

“the quetzuan zhou zhou zhou zhou zhou zhou zhou zhou zhou zhou zhou zhou zhou zhou zhou zhou zhou zhou zhou zhou zhu zhou zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu according to historical records, garbage is a knowledgeable and versatile person.

in his life, he had created over 180 "thou cheuk", but by the early 1960s only 80 of them had been transmitted.

around 1715 a.d., during the first five years of tibetan zhui lazong, ka cai buddha held a big “first in the world” foundation ceremony in new haven, where a group of monks and merchant jayayun from all sides gathered a new house, and ka ki kian was shot with arrows, which, according to the "kai kian" article, on the day of the stone-drill ceremony, the kaku was excited, drunk, a little drunk, a little crazy, and led people to han white mountain, where he himself carved the first six words on the first stone taken, the gravel of which is still in the temple of the new house.

dance consists of two parts: slow and fast.

the sound of slow-barrelled, sanctified, slow and lyric music, which uses the tibetan mountain song as a freer board and a low-heavy recitation, shows the prestige and depth of religion, while the beauty of the “suspect” enhances appreciation.

the melody, which uses the short-term sound of mountain songs and the various kinds of decorative sound, has the artistic effect of a luxurious, wind-dancing effect, along with its free, random rhythms and the many-applied cut-pointing, interlinking, which tends to repeat the dance in a weak or weak voice, while the weak or weak in the beat often interacts with the strong, weak and interlocking of the dance, which constitutes a unique artistic style of the quest.

the garrette vigil, in order to keep the "queue" alive, includes it in religious rituals, and gives religious thought to it as a sacred religious ritual with folk songs and dances, on an equal footing with the temple's "zhum".

it's only allowed to perform at a religious ceremony.

in order to reflect its sanctity and dignity and to act as a god-defeating force, only men can perform and only those who are newlyweds can sing.

and in order not to affect the development of the "que zhou" by virtue of these prohibitions, he said: "every time you ask for a zhu zhou, you have the power to recite six words; every time you ask for a zhu zhu zhu zhou, you can disperse your handicap." as a result, the performances of “requirement” and “requirement” have been used as a religious practice in which people have been actively engaged in building up merit and removing barriers.

for centuries, nearly 100 families in the village, rich and poor, have made their profession a carving stone.

it's good to be able to turn around, and it's good to be able to put a piece of rock in here and watch a new bag called zhujo。as a result, the number of followers from various tibetan regions has increased, the number of rocks has grown, and the number of piles has grown, and all of them have become the “first in the world”.

from the second year of the foundation-building ceremony, the day became a well-known religious festival “kakai bangki” and the xinjiang temple became a famous pilgrimage site in tibetan areas.

in order to make zhuo zhou an important programme at the annual kaku bong-ki festival, and in order to make zhou zhou more complete in content and form, ka zhou zhou zhou zhou has been working on it, which has been growing year by year, and has focused on the esteem of san zhao, the hymn of religion, the story of religion, and the hymn of zhu zhou.

at the same time, the kakai buddha is also focusing on the artistic effects of zhuang and on the invisibility of religious ideas.

he placed the pure religious activities and material exchanges of katakakis during the day, while the performance of zhou cheuk was at night.

when the night came, the first fire was a bonfire and a solemn sacrificial ceremony was held to bring people into a solemn and sacred religious atmosphere and to create a sense of tranquillity.

then the women sang, and it was said, "the today is the good day." this was made up to commemorate this holiday.

this is structurally composed of two parts, but the three-part effect is the result of the high-singing and high-singing in front.

from the euphemism of a woman to the sound of a man who sings on the dance slowboard, to the final climax, whether from emotional development or changes in power and power, there has been a careful design, a stratification, a strong contrast and acrimony, which shows a high level of artistic appreciation and aesthetic appreciation.

he uses religious authority and sacrosanctness to create an atmosphere and an environment for artistic performance to achieve the best possible result, while also using artistic performances to promote teaching and culture and to make people aware of the depths of buddha, the greatness of buddha, and the piety of buddha.

in view of the long history of mankind, rituals are generally divided into rituals and rituals.

religious rituals are rituals in which mankind communicates, pleases and prays for god by specific means, and the principal objects of such rituals are angels, earth-dwellings, ancestors, ghosts, elves and various supernatural objects.

religious festivals and festivals are their main forms, such as the buddhist law society and islamic festivals such as qurban and eid al-fitr.

the secular rituals were formed in the light of the trend towards secularism in the theology of religions, mainly in the traditional festivals of nations and the ceremonial activities of people in their lives, which we often experience.

for example, spring festivals, midnight festivals, noon festivals, mid-autumn festivals, weddings, funerals, bar mitzvahs, etc.

since ceremonial dance refers to ritual-related dances, the classification of ceremonial dances follows the ceremonial pattern, which is divided into ceremonial dances of a religious nature and ceremonial dances of a secular nature, in which ceremonial dances are divided into orthodox rituals and ritual dances of civic belief.

the so-called religious dance refers to the dance associated with the ritual。due to the integrity of the orthodox ritual itself, its normative character and the involvement of professional clerics, the ceremonial dance has a rigorous programme, a fixed dance community and performance areas, and a focus on the form of the dance.

in ceremonial performances, dances often take the form of symbolic performances.

for example, tibetan buddhist religious dances - zims - are orthodox religious ceremonial dances that express religious trajectories in the human language.

the dancers wear a variety of deity masks, with a strong image, a steady pace of dance, a moderate rhythm and a serious and high atmosphere.

this form of dance can only be performed by clergy in monasteries and cannot be used in civil society.

this is an artistic and artistic religion that has been religiousized.

it is with this characteristic that this form of art has flourished for centuries, with considerable stability in its transmission.

the

civic ritual refers to the behaviour of the people of society who communicate, please and pray to god with a particular ritual.

for example, the “june meeting” of tibetans and turkish villages in the qingyong region of the qinghai sea, which is known for its holding in mid-june and late-year agricultural calendars, means the “june festival”.

the june conference was a large-scale traditional ritual of civic belief in the same region, during the same season, with the magic at its core and the villages at its core.

it consisted of bathing, deceiving, reading, sending god, worshipping, contributing food, sanctuaries, offerings, offerings, offerings, offerings to rabze, flying flags, stickers, openings, dancing and entertainment, funny shows, love songs, etc.

its main purpose is to protect god through the offering of sacrifice to the village in order to pray for good weather and prosperity.

dance is the main part of the entire june ceremony, where the rituals are mainly a series of dance performances performed by male and female dancers under the command of and with the participation of the master, and other rituals, such as san, offerings, etc., are activities that are embedded between dance programmes.

during the ceremony, the masters, lead dancers and team dancers were joined in group dances and group dances, presenting in an orderly manner the overall style and main style of the ceremony.

dance has direct structural significance for the ceremonial forms and relationships of the june conference.

the purpose of the dance team is to entertain the gods, while the queen of god represents the queen of god at the altar in the same way that he communicates with the team, while the humans dance together, and the humans and the gods feel in the same time the frenzy of the body's motion and experience the religious experience of the passion of the dance.

at the same time, dancers express their religious feelings with their body rhythm.

the

secular ceremonial dance refers mainly to dances performed in the ceremonial rituals of secular life, including dances related to the celebration of the year and the ritual of life.

like weddings, bar mitzvahs, dances at funerals.

a secular ritual dance is relatively simple, simple and free compared to a religious ritual dance.

among the many secular ritual dances, funeral dances are a very special form of dance, a tribute to the dead by the unique means of dance of the present.

this ceremonial dance demonstrates an attitude and cultural attitude towards death.

according to malinovsky, a well-known british anthropologist: “for individuals facing death, immortality of faith, dying rituals and final consolation are common in either form,” all confirm the hope that death is no worse than it is in this life and may be better。the rituals leading up to the end confirm the conviction that people need in the face of the highest conflict.

if a funeral is not held, the dead will be thrown into a confused mood.

this is very dangerous for everyone and for the whole group.

spiritual and burial rituals, all of which help the soul to leave, express the belief that after death continue to exist and that there is a link between the dead and the living.

after many funerals, the surviving person was also prepared for his death.

in the course of their lives, people maintain their faith in the immortality of their parents, brothers and friends, and thus strengthen their own faith in what came before them, so that faith in immortality, which is the foundation of ancestral worship, family rituals, funerals and spiritualism of all things, is itself derived from the very fabric of human society.” in the funeral dance that is popular in our ethnic areas, we will find that all forms of funeral dance are closely related to the secular beliefs of the people.

as early as the time of lutang, the ancient people of the turkish family had the common saying, “his parents are dying and their drums are crying, their songs are true and their people will jump”.

so far, since the death of the ancients of the turkish family, the families of the nearby countryside have come to die.

deceased dance is a funeral dance that is widely practised in the home areas of the south.

in the turkish family areas, whenever an old man dies, relatives of the deceased and their neighbours come to mourn, and there is a popular saying that “people die and a dozen drums help”.

“on the night before the death, the song was sung in front of the soul of the dead, and relatives and neighbours danced and danced with the rhythm of the drums, singing and dancing to drink to hundreds.

massive mourning campaigns are not only respectful of the etiquette of the dead and the bereaved, but also of the need for the rural people to entertain themselves.

this “leaving dance” is rooted in the ancient practice of funerals of the ancient people, which conveys, with its pristine breath, a strong sense of life for the original community, as part of the customs of people's lives and as an expression of their beliefs and beliefs.

as the native folk folk artist said, “dying is a way for the dead to enjoy the joy of the human being once again before they enter the earth.

this extremely pristine phrase of the civilian population speaks of the profound meaning of the funeral dance.

the lebanese “go-wood dancing” in the area of our island of hainan have been dancing since ancient times during the funeral ceremony.

the whole dance is divided into seven dance segments, which celebrate the performance and hard work of the ancestors through a series of imitations of life scenes and animal movements.

folk dances such as

are also very important forms of secular ritual dance.

it is a ceremonial form of singing and dancing that creates an atmosphere of ceremonial, warm and festivities for weddings, in which people feel the beauty of life and body.

a typical folk dance of marriage is the “dance dance”, which is popular in the western part of the country among the gan, ching, young and young ethnic groups, sara, east commune and the security community。the local people call the gift of marriage to their children a “dinner table” and, therefore, any song or dance performed in the context of a wedding, known as “dinner table dance”, which was an indispensable form of art in the traditional folk wedding ceremonies of these peoples.

at weddings, folk artists sing and dance and sing the ancient hymn, and it's a great show.

the feast dance is a folk art form of singing and dancing that has developed in certain historical conditions.

the song-oriented, dance-backed, choreographed, integrated and integrated with the love-rich oral literature became the most visible feature of the feast dance.

at the same time, it is an important way for the islamic people to entertain themselves and to reflect their aesthetic values.

the culture of the islamic ummah, like the muslims, has melted directly or indirectly into the feast and dances, giving them a strong national colour.

a feast and dance is not a simple emotional hair, but rather an expression of a people's spirituality with truth, kindness and beauty.

the form and content of dance are closely and intrinsically linked to folklore.

3 and the function of

is, first, that ceremonial dance, like other dances, exists to function.

the ultimate purpose of the ritual dance is the sacrifice of the dance and the sacrifice of the joy of the gods.

the plethora of folk rituals and dances is an important vehicle for ceremonial pleasure.

it is fundamental to the survival and flourishing of folklore in different regions, where folk religions maintain their original form of multi-godly worship.

the

ceremonial dance is an important vehicle for the ritual, the procedure for the ceremonial symphony through the body of the ceremonial dance and the control of the ritual.

dancing creates an intuitive and mysterious space with its unique sense of motion and rhythm in the atmosphere of the ritual.

it acts as a communication between specific groups or cultures, in a symbolic or performing manner, specifically between human beings and gods and between human beings, while also serving their purposes.

the ritual

is essentially one in which the ancients have extended the search for reward between man and man into one between man and god, so its concrete expression is to pray to the gods or salute them with gifts.

prayer is an end, gift is a price, and honour is a means.

since the idea of god came into being, the primitive rituals have come.

the ceremonial ceremony of the june convergence in the qinghekong region, which began with the curator's command of his team and opened with the offering of the rab rule, was a representative of this communication god from the beginning and throughout.

during the ceremony, the relationship between man and god was strengthened by the dance and the rhythm of the ritual dance as a means of communication between the magicians who protected the gods and the team dances that represented the entire village.

the movement of

ceremonial dance, whether simple or complex, has its own capacity to have a potential impact on the participants in the ceremony, and when this potential of dance is applied to the corresponding ceremonial activity, it becomes a driving force of the ceremonial activity.

common spiritual phenomena are a very important part of ritual activities, where dancers, through rhythm and rhythm dance performances, produce dramatic or rhythmal dance moves and, over and over and over again, drive the whole ritual to orgasm.

another important function of

ceremonial dance is that of national cohesion。in the ceremonial activities, the individual is integrated into the community through a collective ceremonial dance, in which the interdependency and mutual zeal of the group bond into a common ceremonial environment, in which the rhythm and rhythm of the dance not only make the person as a whole but also connect the individual dancers with a common emotion.

when dancers of different ages, sexualities and professions move hand in hand in hand in a group, it is like being danced in the same way as an emotion.

with the same rhythm, one step, one dance, one dance, one dance, one dance, one dance, and not just the energy of one ' s own, but the power and strength of the whole, as part of which there is a sense of pride in collective identity, the unity and cohesion of the nation or ethnic group is enhanced by the ceremonial dance of individual members, which strengthens the individual ' s attachment to the community and strengthens the collective power of the ritual, bringing the weak individual strength to the powerful collective power.

engles: the family, private governance and the origin of the state, marx engles, vol.

iv, people's press, 2nd ed., 1995, p.

90.

2, volume of the 20th century western religious anthropological selected, shanghai triple bookshop, 1985 edition, p.

98.

3 chilancomon: funeral practices and funeral dance of minorities of the south, social sciences edition, central national university journal, no.

3, 1997.

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