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Final Exam Paper

Dish-Serving Dance of Yi Ethnic Group in Nanjian

Introduction

The Yi Ethnic Dish-Serving Dance, known as “Tiao Cai” in Mandarin, is a traditional performing art practiced primarily among Yi settlement area in Yunnan Province, with its most representative area of Nanjian Yi Autonomous County. Recognized as a National Intangible Cultural Heritage of China, the dance—also referred to elegantly as the “Dance with Tray Serving” (奉盘舞), commonly as the “Dish-Carrying Dance” (抬菜舞), and in the Yi language as “Wuqieba” (吾切巴, the person who serves dishes)—has a long history which integrates dance, music, and culinary service. It is performed during important ceremonial feasts to honor guests, in which designated “dish-guides” and “dish-carriers” move rhythmically from kitchen to banquet area, executing stylized Yi dance steps and arranging dishes in deliberate, often playful, configurations according to traditional layouts. What distinguishes “Tiao Cai” from ordinary dish serving is its synthesis of dance and diet, representing a high degree of uniformity of aesthetic form and social practice.

Origins: From Court Dance to Folk Ritual

The origins of “Tiao Cai” can be traced to the “tray dance” forms documented in the Nanzhao Music to the Emperor (南诏奉圣乐) of the Tang Dynasty over twelve centuries ago. This musical repertoire, created in the Nanzhao Kingdom (present-day Yunnan), was adopted into the Tang court’s official canon as one of its fourteen ceremonial music suites. Performances featured dancers carrying trays in synchronized, graceful movements, forming an important part of Nanzhao court etiquette. After a thousand years of historical evolution, this originally courtly dance gradually integrated into folk life, particularly preserving and developing within Yi settlement area. Nanjian, owing to its relatively isolated geography and cohesive Yi social organization, became a principal repository for the dance’s preservation. The transformation from palace ritual to folk custom involved a shift in function——once a display of imperial power and ceremonial order, it became a way for ordinary people to share joy and welcome guests.

Cultural Significance

The ritual of “Tiao Cai”, more than a practical method of serving food, functions as a culturally dense ceremony which imbued with the Yi people’s primitive religious beliefs, folk culture, and aspirations for a better life. It serves as a vital expression of their respect for guests, celebration of harvests, and prayers for good fortune.

First, “Tiao Cai” is a vital manifestation of Yi folk culture. In traditional Yi society, feasts served as crucial occasions for family reunions, village interactions, harvest celebrations, and ancestral worship. Through its solemn yet joyful ceremonial presentation, the ritual conveys the highest respect for guests while strengthening communal bonds and reinforcing social order.

Second, the dance integrates elements of Yi indigenous spirituality and views of nature. The distinctive hand posture for holding the tray—supporting it with the thumb, index, and little fingers while tucking the middle and ring fingers inward—is interpreted as a gesture of reverence toward heaven, earth, and ancestral spirits, while also symbolically warding off malign influences. The geometric arrangements of dishes, such as the “plum-blossom”, “square”, or “Eight Trigrams” patterns, are understood to mirror cosmic order and express a philosophy of harmony between humanity and the natural world.

Finally, “Tiao Cai” vividly expresses core Yi cultural traits: hospitality, collectivism, resilience, and joyous vitality. In the challenging mountainous environment, the Yi people sustained their communities through collective labor and sharing resources. “Tiao Cai” aesthetically celebrates the ethic of sharing and communal sustenance. The precise coordination among performers, the highly difficult movements, and the lively rhythm collectively convey an ethos of optimism and cultural pride.

Performance Forms and Artistic Characteristics

Through long-term development, “Tiao Cai” has formed a performance system that is both unified and diverse. Two principal modes of “Tiao Cai” have evolved: the ceremonial feast form and the staged performative form, each serving distinct social and aesthetic functions.

1. Feast Form (宴席跳菜)

Performed in actual feast contexts—weddings, birthdays, housewarmings, festivals—this is the traditional, socially embedded variant. The performance involves a duo or team: “dish-carriers” transport laden trays while “dish-guides” precede them, directing the flow and energizing the atmosphere with gestures or instrumental cues (e.g., waving handkerchiefs or playing the lusheng). Accompanied by instruments like suona and trombone, they dance to a lively rhythm from the kitchen to the banquet hall, delivering dishes through dance. Based on carrying technique, three sub-types are recognized:

(1)Head-Balancing Dish-Carrying(头功跳菜): Carriers balance trays on the head, sometimes in stacked layers.

(2)Mouth-Carrying Dance(口功跳菜): Carriers grip a table corner with the teeth, supporting dishes above.

(3)Hand-Carrying Dance(手功跳菜): Trays are carried in carriers’ hands, with incorporated spins, squats, and leaps.

The interaction between guide and carrier creates a dynamic interplay of restraint and release, embodying a choreographed dialogue that enhances the festive mood.

2. Stage and Square Performance Form (表演跳菜)

With the development of cultural dissemination and tourism, “Tiao Cai” dance has gradually transitioned from feast settings to stages and public squares, evolving into a more performative and artistic form. Stage versions, typically performed by troupes of about twenty, emphasize polished choreography, vigorous athleticism, and dramatic impact. Square performances, commonly seen at large-scale festivals, involves hundreds of participants. Through precise formation changes and grand visual compositions, it showcases the collective strength and majestic grandeur of Yi culture.

3. Dance Movement and Technical Mastery

Dish-serving dance's movement lexicon blends imitations of daily life with artistic creation. Signature steps for carriers include:

(1) Magpie Crouching in Nest (喜鹊蹲窝): The dish-carriers crouch and hop, mimicking the agile, nimble movements of birds.

(2) Flies rub the feet (苍蝇搓脚): The dish-carriers take rapid, shuffling footwork, resembling a fly scrubbing its feet—light and comical.

(3) Holding the golden tripod (手托金鼎): The dish-carriers steady the tray with both arms, standing tall and upright to convey solemnity.

(4) A golden harvest (五谷丰登): The dish-carriers use dance movements to mimic scenes of harvest, symbolizing auspiciousness.

Execution demands exceptional balance and control, as trays must remain steady throughout dynamic sequences. The music, primarily featuring traditional suona (唢呐)and trombone, boasts a lively and enthusiastic rhythm that perfectly complements the dance movements, collectively creating a festive and jubilant atmosphere.

Contemporary Safeguarding and Revitalization

As the pace of modernization accelerates, the social environment upon which China’s traditional culture relies for survival has undergone profound changes, and the transmission of the Yi people’s Tiao Cai culture now faces challenges.

Its inscription on the national intangible cultural heritage list in 2008 provided a policy framework for organized preservation efforts. Nanjian County, designated a “Hometown of Chinese Folk Dish-Serving Dance Art”, has implemented a multi-pronged safeguarding strategy, such as establishing local protection regulations and incorporating dance transmission into cultural development plans; establishing intangible cultural heritage transmission centers to encourage veteran artists to mentor apprentices and cultivate young successors; integrating “Tiao Cai” into school curricula and community activities to strengthen cultural identity; supporting its participation in festivals, tourism performances, and cultural exchanges, while preserving core elements and allowing appropriate stage adaptations to enhance its contemporary vitality.

Conclusion

The dish-serving dance of Yi ethnic group in Nanjian originated from Tang Dynasty court dance, gradually integrating into the daily life and ritual practices of the Yi people in Nanjian. It evolved into a folk art form that carries life emotions and collective memory. This transformation journey—from court to folk, from ritual to performance—reflects the self-adaptation and developmental vitality of local culture in the face of historical and social changes. Today, within the intertwined context of globalization and cultural diversity, this dance is not only systematically protected as intangible cultural heritage but also continues to solidify the Yi people’s identity and cultural consciousness through community transmission and festive celebrations. Through living transmission and adaptive innovation, “Tiao Cai” sustains its ritual significance and performance vitality in contemporary times, serving as a vital vehicle for conveying Yi cultural memory and participating in the construction of China’s diverse cultural landscape.

References

[1]李维锦(2008). 南涧彝族“跳菜”的价值解析[J].大理学院学报,(05):4-6+19.

[2]李瑶(2011). 彝族民间舞蹈跳菜及其传承、发展之探析[J]. 民族艺术研究, 24 (3) : 45-49.

[3]秦莹, &阿本枝(2007). 作为非物质文化遗产的南涧彝族“跳菜”[J].大理学院学报,(05):11-13+35.

[4]秦莹(2007). 南涧彝族“跳菜”礼仪的象征分析[J].广西民族研究,(03):79-86.

[5]秦莹(2008). “跳菜”:从村寨走向舞台和市场——南涧彝族“跳菜”礼仪的变迁[J].民族研究,(04):50-57+109.

[6] WeChat public account: https://mp.weixin.qq.com/s/KnzQT1Rw-mqzDUNHPxt35A

[7] WeChat public account: https://mp.weixin.qq.com/s/_pVYbrK1iW7QQlIyEbyWgw

Terms and Expressions

跳菜 Dish-Serving Dance/Tiao Cai

奉盘舞Dance with Tray Serving

抬菜舞Dish-Carrying Dance

《南诏奉圣乐》The Nanzhao Music to the Emperor

头功跳菜Head-Balancing Dish-Carrying

手功跳菜 Hand-Carrying Dance

口功跳菜 Mouth-Carrying Dance

喜鹊蹲窝Magpie Crouching in Nest

苍蝇搓脚Flies rub the feet

手托金鼎Holding the golden tripod

五谷丰登A golden harvest

Questions

1.What is the Yi name for the “Dish-Serving Dance” in Nanjian, and what are its formal and common Chinese appellations?

2.To which dynasty can the origins of the “Dish-Serving Dance” be traced back, and which court performance is considered its earliest documented form?

3.What are the three subtypes of the feast form classified according to the method of carrying dishes?

4.What is the symbolic meaning of the hand posture used to hold the tray in the Dish-Serving Dance?

5.In which year was the Yi Dish-Serving Dance included in China’s National Intangible Cultural Heritage List?

Answers

1.Wuqieba; Dance with Tray Serving; Dish-Carrying Dance.

2.Tang Dynasty; The Nanzhao Music to the Emperor.

3.Head-Balancing Dish-Carrying; Mouth-Carrying Dance; Hand-Carrying Dance

4.Symbolizing reverence toward heaven, earth, and ancestral spirits, while also symbolically warding off malign influences.

5.2008.

期末论文

南涧彝族跳菜

引言

彝族跳菜是流传于云南省彝族聚居区的传统舞蹈，尤以南涧彝族自治县为典型代表，是国家级非物质文化遗产之一。南涧彝族“跳菜”历史源远流长，雅称“奉盘舞”，俗称“抬菜舞”，彝语称为“吾切巴”，是彝族在宴请宾客的重大活动中，由引菜人和抬菜人从厨房到餐桌合着音乐的节拍，跳着彝族特有的舞步，诙谐幽默地按“棋子”的布局摆菜的一种融舞蹈、音乐、饮食于一体的上菜礼仪。“跳菜”与一般上菜最大的不同在于：它是舞蹈与饮食合二为一的典型,体现了艺术性与实用性的高度统一。

历史源流：从宫廷乐舞到民间仪礼

跳菜的历史可追溯至1200多年前的唐朝。根据史料记载，当时南诏王国创作的《南诏奉圣乐》曾被唐朝列为十四部乐礼之一，其中就已经有了“托盘起舞”的舞蹈形式，可视为跳菜的早期雏形。舞者以托盘为载体，跟随音乐而舞动，姿态庄重优美，是南诏宫廷礼仪的重要组成部分。

经过千年的历史演变，这一原属于宫廷的舞蹈逐渐融入民间生活，尤其在彝族的聚居区得以保存与发展。南涧地区因其相对封闭的地理环境和完整的彝族社群结构，成为跳菜传承的核心区域。跳菜从宫廷走向民间，从礼仪性舞蹈转变为宴席中的服务性表演，其功能也从彰显王权礼制转变为表达民间百姓的喜庆与待客之情。

文化内涵：礼仪、信仰与民族性格的凝聚

跳菜不仅是简单的上菜方式，更是蕴藏着彝族人民的原始宗教信仰、民俗文化和对美好生活的向往的仪式，是其表达对宾客敬重、庆祝丰收、祈求吉祥的重要表现形式。

首先，跳菜是彝族风俗文化的重要体现。在彝族传统社会，宴席是家族团聚、村寨交往、庆祝丰收乃至祭祀祖先的重要场合。跳菜通过庄严而欢快的仪式化上菜，表达了对宾客的至高尊重，也强化了群体之间的情感联结与社会秩序。

其次，跳菜融合了彝族的原始宗教信仰与自然观。舞蹈中托盘的手势（拇指、食指、小指托盘，中指、无名指内收）被解释为敬天、敬地、敬神，兼具驱邪避祟的象征意义。摆菜时形成的“梅花形”“四方形”“回宫八卦阵”等图案，也暗含天地和谐、万物有序的宇宙观，体现了彝族人民追求天人合一的文化心理。

最后，跳菜生动展现了彝族热情好客、乐观豁达、团结互助的民族性格。在艰苦的山地环境中，彝族人民通过集体劳作与共享成果维系社群存续，跳菜正是这种“共食共享”文化的艺术化表达。舞者之间默契的配合、高难度的动作与欢快的节奏，无不传递出积极向上的生命态度与浓郁的生活热情。

表演形式与艺术特色

跳菜在长期发展过程中，形成了既统一又多样的表演体系，主要可分为“宴席跳菜”与“表演跳菜”两类。

1. 宴席跳菜：生活场景中的仪式艺术

宴席跳菜主要应用于婚礼、寿宴、乔迁、节庆等实际宴饮场合，是跳菜最原生、最普遍的存在形式。表演者分为“引菜人”与“抬菜人”，二者在唢呐、大号等乐器的伴奏下，从厨房至宴席场地，踏着节奏明快的舞步，以舞送菜。根据抬菜方式的不同，又可细分为：

（1）头功跳菜：抬菜人以头顶托盘，甚至在头顶叠加菜盘，展现高超的平衡技巧。

（2）口功跳菜：抬菜人用口衔住方桌一角，桌上放置碗盘，在行进中保持稳定。

（3）手功跳菜：抬菜人以双手托盘，配合翻身、旋转、蹲跳等动作，灵活多变。

引菜人则手持手帕或芦笙，以轻盈舞步在前引导，通过舞动手帕和变换身姿的方式，为抬菜人开辟道路，同时调节现场气氛。这种“一引一抬”的配合，动静结合，张弛有度，极具观赏性与互动性。

2. 表演跳菜：舞台化与广场化的艺术提升

随着文化传播与旅游业的发展，跳菜舞逐渐从宴席走向舞台与广场，形成了更具展示性与艺术性的表演形式。舞台跳菜通常由20人左右的专业团队进行演绎，动作经过精心提炼与编排，更加粗犷豪放、节奏紧凑，突出了技巧性与视觉冲击力。广场跳菜则主要见于大型节庆活动，参与者可高达数百人，通过整齐的队形变换、宏大的场面构图，展现彝族文化的集体力量与磅礴气势。

3. 舞蹈动作与技巧体系

跳菜的舞蹈语言十分丰富，兼具生活模仿与艺术创造。抬菜人的典型动作包括：

（1）“喜鹊蹲窝”：抬菜人双腿蹲跳，模拟鸟雀灵动轻巧的姿态。

（2）“苍蝇搓脚”：抬菜人脚步细密快速，神似苍蝇搓足，轻盈而滑稽。

（3）“手托金鼎”：抬菜人双臂稳托菜盘，身形挺拔，显庄重之态。

（4）“五谷丰登”：抬菜人以舞蹈动作模拟丰收场景，寓意美好。

这些动作都需要抬菜人在保持托盘平稳的前提下完成，充分融合了舞蹈的韵律美与杂技的技艺性。与舞蹈相配合的音乐以彝族传统唢呐、大号为主，节奏欢快热烈，与舞蹈动作紧密契合，共同营造出喜庆欢腾的氛围。

当代传承与保护实践

随着现代化进程加速，我国传统文化赖以生存的社会环境发生深刻变化，彝族跳菜文化的传承也面临着挑战。2008年，彝族跳菜成功申报为国家级非物质文化遗产，标志着其文化价值获得国家认定，保护工作进入系统化阶段。南涧县作为“中国民间跳菜艺术之乡”，开展了一系列保护措施,，如制定地方性保护条例，将跳菜传承纳入文化发展规划；建立非遗传习所，鼓励老艺人培养年轻传承人；将跳菜引入中小学课堂与社区活动，增强文化认同；支持跳菜参与节庆、旅游展演与文化交流，在保持核心要素的基础上，适度进行舞台化改编，增强其当代生命力等。

结语

南涧彝族跳菜源于唐代宫廷乐舞，而后逐渐融入南涧彝族人民的日常生活与仪式实践，演变为一种承载生命情感与集体记忆的民间艺术形式。这一由宫廷至民间、从仪式到展演的变迁过程，折射出了地方文化在面对历史与社会变迁时的自我调适与发展活力。当下，在全球化和文化多样性交织的语境中，跳菜不仅作为非物质文化遗产受到系统保护，更在社区传承与节庆活动中持续凝聚着彝族的身份认同与文化自觉。通过活态传承与适应性创新，跳菜在当代得以延续其仪式内涵与表演生命力，成为传递彝族文化记忆、参与构筑中华文化多元图景的重要载体。

参考文献

[1]李维锦(2008). 南涧彝族“跳菜”的价值解析[J].大理学院学报,(05):4-6+19.

[2]李瑶(2011). 彝族民间舞蹈跳菜及其传承、发展之探析[J]. 民族艺术研究, 24 (3) : 45-49.

[3]秦莹&阿本枝(2007). 作为非物质文化遗产的南涧彝族“跳菜”[J].大理学院学报,(05):11-13+35.

[4]秦莹(2007). 南涧彝族“跳菜”礼仪的象征分析[J].广西民族研究,(03):79-86.

[5]秦莹(2008). “跳菜”:从村寨走向舞台和市场——南涧彝族“跳菜”礼仪的变迁[J].民族研究,(04):50-57+109.

[6]微信公众号：https://mp.weixin.qq.com/s/KnzQT1Rw-mqzDUNHPxt35A

[7]微信公众号：https://mp.weixin.qq.com/s/_pVYbrK1iW7QQlIyEbyWgw

术语