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| − | ==Final Exam Paper==
| + | #REDIRECT [[Main_Page]] |
| − | | + | ==期末论文== |
| − | ===Bai Tie-Dying===
| + | ===Korean Janggu Dance=== |
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| − | ===Contents===
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| − | Chapter 1 General Introduction
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| − | 1.1 Research Background
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| − | 1.2 Research Significance
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| − | Chapter 2 Historical Origin and Features
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| − | 2.1 Origin
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| − | 2.2 The Development Characteristics of Different Historical Periods
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| − | 2.3 Production Process
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| − | 2.4 Dye Types and Characteristics
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| − | Chapter 3 The Dilemma of Inheritance
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| − | 3.1 Lack of Inheritors
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| − | 3.2 Lack of Innovation
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| − | 3.3 Backward Marketing Methods
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| − | Chapter 4 Solutions to Tie-dying Inheritance
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| − | 4.1 Innovation of High-end Products Made from Tie-Dying
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| − | 4.2 Innovation of Dissemination Methods
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| − | 4.3 Application of AIGC System
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| − | Reference
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| − | Terms
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| − | Questions
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| − | Answers
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| − | ====Introduction====
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| − | =====Research Background=====
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| − | Intangible cultural heritage is the outstanding traditional culture of a country and a nation. 5G has broken through the technical barriers of live streaming. Intangible cultural heritage has also achieved rapid development through live streaming. The Bai ethnic group's tie-dyeing technique in Zhoucheng Village, Dali, has been refined through history and has become a symbol of the local characteristic culture. In the new environment, traditional intangible cultural heritage skills need to adapt to the new environment and make new changes.
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| − | =====Research Significance=====
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| − | From a practical perspective, intangible cultural heritage, as a spiritual heritage representing the cultural characteristics of a country or region, plays a promoting role in the current advocacy of rural cultural revitalization and the formation of rural cohesion. The Bai ethnic group's tie-dyeing village has a history of over a hundred years and is rich in cultural heritage. Tie-dyeing is one of its most prominent intangible cultural heritages, carrying the collective memory and emotional demands of villagers of different generations. To help tie-dyeing escape the fate of being "abandoned", this article traces its historical origin and explores its current development status, with the aim of innovatively developing tie-dyeing in contemporary times. This can enhance people's awareness of the protection of intangible cultural heritage and also provide certain inspirations for the development and protection directions of other intangible cultural heritages.
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| − | ====Historical Origin====
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| − | =====Origin=====
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| − | Tie-dyeing, a traditional folk craft that has evolved from the Qin and Han dynasties to the present, is practiced by the Bai people in Zhoucheng. Since the late Ming and early Qing dynasties, tie-dye handicrafts have been well inherited and developed in this region, integrating culture and art into a cohesive whole. In 2006, the Bai ethnic group’s tie-dyeing technique in Dali, Yunnan Province, was inscribed on the national list by the Ministry of Culture as a national intangible cultural heritage[5].
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| − | Zhoucheng, known as the “Hometown of Bai Ethnic Group’s Tie-dyeing,” is situated 23 kilometers north of the ancient city of Dali. It lies beside the Yunnan-Xizang Highway, 38 kilometers away from Xiaguan. As the largest natural village in Yunnan Province, it covers an area of 7 square kilometers and has a population of over 8868, nearly all of whom are Bai people. The village is home to over 1500 Bai ethnic households, making it the largest Bai ethnic village in Dali. It serves as an open folk tourism area for the Bai ethnic group, attracting visitors who come to tour the village.
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| − | =====The Development Characteristics of Different Historical Periods=====
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| − | In the sixteenth year of the Zhenyuan era of the Tang Dynasty, the Nanzhao dance troupe traveled to Chang’an to perform. The costumes they wore, described as having “skirts and jackets made from depictions of birds, beasts, plants, and trees, with patterns created using eight-color mixed leather”, were produced by using tie-dye techniques. The earliest physical evidence of tie-dye that we can see now originates from Astana in Turpan, Xinjiang. This Han Dynasty artifact has a history of approximately two thousand years. From this fabric fragment, one can observe the state of the dyeing: the valerian dots, similar to those on caviar, are uniform in size, evenly arranged, and brightly colored. These characteristics fully demonstrate that tie-dyeing techniques had already reached a relatively high level during the Qin and Han dynasties. Based on this evidence, it is reasonable to infer that the origin of manual dyeing and printing technology in our country should predate the Qin and Han dynasties. The reason earlier examples have not been discovered is likely due to the difficulty in preserving textiles over long periods, rather than the absence of such rudimentary printed and dyed fabrics.
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| − | After the tumultuous wars and divisions of the Wei, Jin, Northern and Southern Dynasties, the unification under the powerful Sui and Tang Dynasties brought people a peaceful and prosperous life. This also provided opportunities for the development and prosperity of tie-dyed clothing. At that time, both tie-dyeing techniques and printing and dyeing processes had reached a very high level. The craftsmanship was ever-changing, and the patterns were countless. There were various tie-dye techniques such as binding, pleating, twisting, knotting, and folding and sewing. The exquisite tie-tying techniques captured the essence of nature. There were patterns like deer placenta valerian and overlapping spots valerian like agate, as well as continuous net-like patterns in four directions, four-petal pattern, shippou pattern, and pattern with birdflower design. A wide variety of patterns and designs, including flower and bird motifs, were also achieved through the use of plant dyes and mineral dyes, creating a riot of colors. Commonly used dyes included madder for red, indigo for blue, and ochre for yellow. For example, the “Four-Petal Flower” unearthed from the Tang Dynasty, which adopted the techniques of scattered point arrangement and folding and stringing, features bright orange-yellow petals against a dark brown background. A Tang Dynasty shippou patterned vase preserved in a Japanese museum, dyed using the folding and stringing stitch method, forms a net-like structure with very beautiful patterns resembling copper coins. These tie-dyed fabrics, with their exquisite composition and smooth lines, were widely loved by people, from high-ranking officials and nobles to common folk. The use of tie-dye became a prevailing trend, making tie-dyed clothing popular. The Tang Dynasty witnessed unprecedented development and prevalence of tie-dyeing[6].
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| − | By the Song Dynasty, tie-dyeing had become very common. Moreover, the techniques of tie-making had also been continuously refined. Beautifully crafted zha dyeing products had become commonly used clothing items in daily life. However, the Song Dynasty adhered to frugality and issued edicts many times to prohibit or limit production. On one hand, the royal family’s ban on the use of tie-dyed and other printed and dyed items indicated that these techniques had developed and become more widespread than ever before. On the other hand, repeated prohibitions and heavy punishments dealt a blow to the booming folk tie-dyeing industry, resulting in many cases of the loss of dyeing techniques. This led to the prevalence of this ancient technique in the Sui and Tang Dynasties being fatally damaged and thus declined.
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| − | =====Production Process=====
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| − | The method of making tie-dye is unique. Old books vividly describe the process of making tie-dye by the ancients, “pick and gather the threads, tie them up, and then dye them. Once dyed, the knot is untied. All the knots are in their original colors, while the rest are dyed, making the colors rich and colorful.” The main steps of tie-dyeing include painting patterns, twisting and tying, soaking, dyeing the fabric, steaming, drying in the sun, thread removal, rinsing and grinding the fabric. Among them, the two main processes are tying flowers and soaking dyeing. The key techniques lie in the twisting and tying techniques and dyeing skills. Dyeing vats, dyeing sticks, drying racks, stone mills and the like are the main tools for tie-dyeing.
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| − | Tie-flower, originally known as “tying knots”, is a process that begins with the selection of fabric. According to the requirements of the pattern, the fabric is shaped into a certain form using methods such as creasing or crumpling [9], folding, rolling, and squeezing. Subsequently, with a needle and thread, it is sewn or wrapped stitch by stitch to make it tight and securely sewn, thereby transforming the fabric into a series of “knots”.
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| − | The dyeing process commences with soaking the fabric, which has been tied into “knot”, in clean water. The fabric is then placed in a dye vat for either cold dyeing after soaking or hot dyeing after heating. After a certain period, the fabric is removed and allowed to dry before being reimmersed in the dye vat for further dyeing. This repeated immersion process deepens the color with each cycle, a phenomenon known as “indigo blue is extracted from the indigo plant, but is bluer than the plant it comes from.”. The parts that have been sewn, being impermeable to the dye, naturally form beautiful patterns. Additionally, due to the varying stitches used by individuals and the differing degrees of dye penetration during the sewing and tying process, there is an element of randomness. As a result, the finished dyed products are rarely identical, thereby endowing them with greater artistic significance[8].
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| − | =====Dye Types and Characteristics=====
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| − | The main plants are indigo or soil indigo, which are commonly known as "radix isatidis" in folk terms. The indigo dye used for dyeing cloth in Zhoucheng is all grown and processed by the villagers themselves. Besides meeting the cloth dyeing needs of their own village, the surplus indigo is also sold to other regions.
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| − | Isatis root is a natural plant dye. The production process does not add any chemical components and causes no pollution to the environment. The non-toxic dye extracted from it conforms to the principle of sustainable development. The main colors are blue and white. The dyed fabrics are either blue with white patterns or blue with white patterns. The tones are fresh and elegant, with a unique charm, reflecting the pure and gentle aesthetic characteristics of the Bai ethinic groups. Moreover, through repeated immersion, various shades of blue can be formed. There is often a certain transitional gradient effect between the flower and the ground, with many ice cracks, naturally formed. And tie-dyed products made from plant indigo have bright colors and good color fastness, and are not easy to fade.
| + | ◦ ====Origin and Development==== |
| | + | The origin of the Janggu Dance can be traced back to the narrow-waisted drum from India. Around the 4th century AD, this musical instrument was introduced to the Central Plains of China via the Silk Road. During the Sui and Tang dynasties, it was adopted in the Nine and Ten Grand Drum Dances, and the Goryeo Music of the Korean ethnic group was included in the renowned Ten Great Musical Forms. After the Song Dynasty, the zhanggu (a type of narrow-waisted drum) gradually disappeared in the Central Plains of China but continued to be passed down among the Korean people, and was renamed the Janggu. In the Ming and Qing dynasties, some Koreans migrated from the Korean Peninsula to China, bringing the Janggu Dance with them. After a long period of development, it gradually evolved into the Korean Janggu Dance with distinct Chinese characteristics. In the early 20th century, the Janggu Dance separated from the Nongak Dance (farmers’ music dance) as an independent performance form. The Korean people perform this dance at every festival and celebration. In the 1950s, Korean dancers carefully adapted the Janggu Dance, which was staged for the first time, thus expanding its influence. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance) |
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| | + | ◦ ====Introduction==== |
| | + | The Korean Janggu Dance is a highly representative traditional dance of the Korean ethnic group, mainly popular in Yanbian Korean Autonomous Prefecture of Jilin Province and other Korean inhabited areas. In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance) |
| | + | It has a history of over a thousand years. The prototype of its core prop, the Janggu, is the narrow-waisted drum originating from India. In the 4th century AD, this instrument was introduced to the Central Plains of China through the Silk Road and incorporated into the imperial court music and dance system during the Sui and Tang dynasties. In the Korean Goryeo Music, it was known as the “dutanggu” and “maoyuanggu”, etc. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance) |
| | + | During the Song and Yuan dynasties, this type of narrow-waisted drum spread eastward to the Korean Peninsula, gradually evolving into the Janggu that meets the aesthetic and performance needs of the Korean ethnic group, and became an accompanying instrument for the Korean Nongak Dance. (China National Cultural Resource Network, Janggu Dance) |
| | + | In the Ming and Qing dynasties, with the migration of some Korean people to China, the Janggu Dance was introduced as well. It gradually integrated with the production, life, and folk culture of the Chinese Korean ethnic group, forming a dance form with distinct Chinese local characteristics. This dance is a combination of playing, singing, and dancing. The core prop, the Janggu, has a unique shape with thick two ends and a thin middle, and the two drumheads produce different pitches. The dancer slings the Janggu over the shoulder, holds a drumstick in the right hand to strike the drum, and uses the left hand to pat the drumhead, creating rich and varied rhythms. ( China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance) |
| | + | The Janggu can produce staggered high and low tones. The dancer slings the drum over the shoulder, strikes it with a drumstick in the right hand, and pats the drumhead with fingers of the left hand, creating a variety of rich rhythms. The performance style is divided into two categories: the soft-style Janggu dance and the vigorous-style Janggu dance. The soft-style Janggu dance features gentle and stretching movements, mostly expressing lyrical artistic conception; the vigorous-style Janggu dance has bold and powerful movements, often incorporating elements of labor scenes such as rice transplanting and harvesting. The performance forms include solo dance, duet dance, and group dance. The rhythm of the dance generally starts slow and gradually speeds up; during the climax, the dancer performs skillful movements such as continuous spinning, and ends abruptly, which is highly artistically appealing. The accompanying instruments include suona horn, bamboo flute, gayageum, etc., often paired with classic Korean folk songs such as Arirang. The dance movements are characterized by shoulder-raising, shoulder-stretching, and magpie steps, with various dance steps including crane steps and shuffle steps, fully demonstrating the unique charm of Korean dance. Today, through the construction of intangible cultural heritage inheritance bases, the popularization of campus teaching, and domestic and international cultural exchange performances, the Janggu Dance continues to thrive and has become an important artistic symbol showcasing the cultural charm of the Korean ethnic group. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance) |
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| − | ====The Dilemma of Inheritance==== | + | ◦ ====Dance Characteristics==== |
| | + | Performance Forms: The Janggu Dance boasts diverse performance forms, including solo dance, duet dance, and group dance. The female version of the dance is elegant in style, while the male version is lively and unrestrained. The large Janggu dance is usually led by one dancer with the rest following; the small Janggu dance is often performed by 2 to 4 people playing drums and dancing against each other during festivals and holidays. |
| | + | Movement Characteristics: The dance mainly features hand movements with various forms, which can be summarized into four characteristics: twisting, springing, squatting, and steadying. Dancers strike the drum while dancing in accordance with fixed drumbeat rhythms, emphasizing the coordination between movements and the unity of rhythm, and using the drum to create various shapes. The dance steps are characterized by “dodging, turning, spinning and leaping” and “squatting, soaring, standing and jumping”. When transitioning between movements such as “bowing the waist” and “bending the knees”, dancers must pass through with a “twisted torso”. Every dancing posture maintains the feature of “curved body and twisted torso”, combining hardness and softness with agile steps. |
| | + | Music Accompaniment: The metrical form of Korean folk songs belongs to the triple-beat system. Triple time and compound time such as 6/8, 9/8, 12/8, and 18/8 composed of triple beats occupy an important position in the songs. The Janggu Dance is accompanied by various wind and percussion instruments such as suona horn, bamboo flute, gong and drum, sheng and xiao. The basic drumbeat pattern is “dong-dong, dong, dong-dong, dong”. The tempo and intensity of the drumbeats coordinate with the dance movements, achieving a perfect integration of drum and dance. The dance features a rich variety of tunes, including Arirang, Doraji, and Yangsan Road. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance) |
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| − | =====Lack of Inheritors===== | + | ◦ ====Cultural Value==== |
| | + | From the perspective of artistic and aesthetic value, integrating playing, dancing, and music, the Janggu Dance achieves a high degree of coordination between human, drum, and music. Its dance movements combining hardness and softness with varied drumbeats make it a representative of Korean dance art, enriching the ecology of Chinese folk dance. From the perspective of ethnic cohesion value, as a core performance form in Korean festivals and rituals, its brisk rhythms and stretching movements reflect the ethnic spirit of diligence and optimism, serving as an important bond for maintaining ethnic identity and sense of belonging. Finally, from the perspective of cultural inheritance and exchange value, its development history witnesses cross-regional cultural integration. As a national intangible cultural heritage, it realizes intergenerational inheritance through inheritance bases and campus teaching; meanwhile, it serves as a bridge for cultural exchange between China and foreign countries through domestic and international performances. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance) |
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| − | There is a significant risk of discontinuity in the inheritance process of tie-dyeing techniques. The older generation, who have systematically learned and mastered the tie-dyeing technique, have been able to make a living from it. However, the tie-dyeing process is inherently complex and time-consuming. Despite the considerable time investment required, the income generated is often only sufficient to support a modest livelihood. As a result, young people are increasingly reluctant to devote substantial time and energy to learning these ancestral skills. This reluctance has led to a growing risk of discontinuity in the transmission of traditional tie-dyeing skills. The core contradiction lies in the long-term investment required for the inheritance of skills and the career pursuit and survival pressure of contemporary young people[7].
| + | ◦ ====Inheritance and Protection==== |
| − | | + | Inheritors: A number of outstanding representatives of the Janggu Dance have emerged, such as Jin Douchang, the first-generation inheritor of Janggu Dance skills in China, Park Sung-sup, the fifth-generation inheritor, and Cui Meishan, a first-class dancer. They have made important contributions to the inheritance and development of the Janggu Dance. |
| − | | + | Protection Measures: Relevant departments in Jilin Province have increased financial support, established Korean Janggu Dance inheritance bases in Tumen City, Yanji City, Wangqing County, and Qianguoerluosi Mongolian Autonomous County respectively, and organized seminars on the theory and techniques of the Korean Janggu Dance. Yanji City Cultural Center has held training courses on Janggu playing techniques, building a learning and exchange platform for the inheritance and development of the Janggu Dance and cultivating professional talents. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance) |
| − | =====Lack of Innovation===== | |
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| − | In today’s era that encourages innovation and development, tie-dyeing, as a traditional technique, faces significant challenges. The traditional dyeing process lacks innovation in its products, which is mainly manifested in low-end production. The products are highly homogeneous, and high-end ones are scarce.
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| − | At the very beginning of the birth of this art, tie-dyed products mainly included ethnic costumes, tablecloths, table flags, and other items. These were primarily supplied to meet local market demand and for export to foreign countries. However, after 2010, orders from abroad have decreased significantly. Merchants have had no choice but to expand into the domestic market, developing a series of tourism products.
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| − | As of 2020, the tie-dyed products in Dali Prefecture mainly include tablecloths, T-shirts, dresses, scarves, and table flags. A small number of high-end ethnic costumes are available, and the rest of the peripheral products include throw pillows, handbags, and toys, such as dolls, coasters, shoes, hats, socks, and door curtains. The current peripheral products are in the initial stage of research and development and have not been widely sold. They mainly focus on tourism products, such as T-shirts and dresses, which have become the main low-end tie-dye products in Dali Ancient Town, Xizhou Town, and Shuanglong Town. As the products with the widest audience range, the clothing of each store mainly relies on purchasing and selling. The styles, patterns, and forms of the products sold are almost identical, resulting in serious homogenization. The production and sales of the products have gone off track, lacking novelty and innovation. The market for low-end tie-dye products has not been enriched, nor has its artistic form been fully demonstrated. This is a problem brought about by insufficient innovation drive.
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| − | Another manifestation of the lack of innovation is the scarcity of high-end products. Artistic masterpieces are the highest expression of folk craftsmanship and can fully embody the art of Dali’s traditional dyeing, which has been passed down for thousands of years. High-end tie-dye products from Dali, such as traditional craft ethnic costumes, complex and exquisite series of table flags and tablecloths, and dedicated artworks, are only available in a few shops, workshops, or museums for appreciation or sale. There are over a thousand kinds of tie-dye patterns, but not many are presented. Neither merchants nor local Bai residents have fully utilized the original skills of this craft to master the superb tie-dyeing techniques and bring the art into the public eye, presenting tie-dyeing thoroughly and completely. This is a characteristic of high-end product scarcity and is also a problem caused by insufficient innovation drive.
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| − | If the essence of tie-dyeing techniques can be combined with high-end products, it will not only enhance the popularity of tie-dyeing but also bring back its top-notch artistic essence. The development and innovation of low-end products indirectly enhance one’s own economic self-sustaining capacity. Therefore, the issue of product innovation needs to be further addressed.
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| − | =====Backward Marketing Methods=====
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| − | Many local tie-dye practitioners are engaged in online business. Most of the members are middle-aged people over 35 years old and elderly people from Zhoucheng Village. They are mostly illiterate or those who can read but sell products through the Internet. This approach indicates a lack of understanding, indifference, and energy. Therefore, most major tie-dye producers do not have online stores and do not engage in online business activities.
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| − | Some local foreign merchants are currently developing online markets, such as opening online stores or promoting and advertising on various popular social media platforms. While exploring customers and conducting online operations, they also drive traffic to physical stores. However, due to reasons such as a single product range and insufficient professionalism in online operations, the online operation results of some merchants are not satisfactory and need to be improved. Overall, the specific business models both online and offline are backward, and the potential of tie-dyeing has not been fully exploited. The advantages of the product have not brought considerable economic benefits, and thus it is impossible to further invest in promoting the development of tie-dyeing.
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| − | ====Solutions to tie-dye inheritance====
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| − | =====Innovation of High-end Product Made from Tie-dying=====
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| − | Mass product manufacturing, apart from clothing, should expand its industrial chain by utilizing the patterns and designs of tie-dyeing and combining them with the consumption preferences of modern consumers. These designs can be applied to various product categories, such as canvas bags, hats, coasters, wedding dresses, art scrolls, and household items. This approach ensures that the products not only possess the beauty of traditional craftsmanship but also exhibit modern aesthetic appeal. High-end products and art pieces represent the pinnacle of cultural expression. The creation of high-end products should delve deeply into the historical roots of tie-dyeing, capturing the essence of its millennia-old cultural heritage and refining it for contemporary appreciation[4].
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| − | =====Innovation of Dissemination Methods=====
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| − | Due to the influence of the geographical environment and the traditional thoughts of ethnic minorities on the villagers of Zhoucheng Village, their media literacy and cultural literacy are not high. Coupled with their lack of a strong media awareness, the cost of their media learning is relatively high[3].
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| − | The promotion of live streaming of intangible cultural heritage, including tie-dyeing, requires a nuanced understanding and active participation from live-streaming hosts. These hosts, who utilize live-streaming media, play a crucial role in publicizing tie-dyeing culture. Young people, in general, exhibit a higher acceptance of modern media and possess a stronger ability to learn new things. This makes them ideal candidates for becoming live-streaming hosts. However, the fact that the younger generation has not yet mastered the traditional tie-dyeing skills presents a significant challenge. This gap in knowledge and skill has thus made the promotion of live streaming of intangible cultural heritage, particularly tie-dyeing, rather difficult.
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| − | To address this issue, it is urgent to introduce corresponding strategies to encourage the younger generation to devote themselves to the learning and inheritance of traditional tie-dyeing techniques. Cultivate the live-streaming awareness of the people in Zhoucheng to promote tie-dyeing, and carry out stratified and classified live-streaming specialized training based on the ability characteristics and cognitive levels of different groups. The practical teaching focuses on basic operations and process demonstration scenarios for middle-aged and elderly practitioners. For the younger group, it strengthens the cultivation of advanced skills such as content planning, interactive operation and new media communication. Through adaptive training, the participation threshold is lowered to consolidate the ability foundation of live streaming promotion. Villagers can hold offline practical workshops, with the core content being the basic operation of mobile phones and the simplification of live streaming processes. It covers practical function training such as one-click live streaming and automatic reply Settings, supplemented by dialect explanations and graphic manuals to enhance the adaptability of teaching. The focus is on conducting live streaming training for process demonstrations, through real-time demonstrations of core procedures such as flower arrangement and dyeing. By integrating the oral dissemination of knowledge points related to intangible cultural heritage, the professionalism and cultural nature of live-streaming content should be strengthened.
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| − | =====Application of AIGC System=====
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| − | In the digital transformation and innovative practice of tie-dyeing, AIGC (Artificial Intelligence Generated Content) technology can play a core enabling role. By collecting traditional tie-dye patterns for digital modeling and constructing a dedicated deep learning database, the technology can accurately extract the unique textures and color spectra of the tie-dyeing process. It can then intelligently generate diverse and innovative patterns based on users’ semantic demands. This approach not only significantly enhances the efficiency of pattern iteration and meets the demands for personalized customization but also promotes the deep integration of traditional craft symbols with modern aesthetic trends, breaking the temporal and spatial limitations of traditional pattern creation.
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| − | At present, 3D models are mainly applied in the display and promotion of cultural heritage, providing virtual situational experiences for precious cultural relics that were originally hard to access. In the 3D model world that integrates AR (augmented reality) and XR (Extended Reality) technologies, users can explore and practice by manipulating virtual objects, thereby obtaining a more interactive and immersive learning experience[1].
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| − | In terms of experience innovation, a virtual tie-dyeing interaction platform can be established. By leveraging VR (Virtual Reality) technology, the entire tie-dyeing process—from design conception and tying operations to dyeing and color fixation—can be fully replicated, allowing users to immerse themselves in the craft’s creation. Meanwhile, AR technology can be integrated to enable real-time previews of patterns and dynamic adjustments of effects, further optimizing the intuitiveness and convenience of the customization experience.
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| − | To ensure cultural value and intellectual property protection during digital transformation, the introduction of blockchain technology is particularly crucial. It can endow digital tie-dye works or physical tie-dye products with a unique and unalterable digital identity identifier and record core information such as material traceability, process flow, and cultural implications throughout the product’s entire lifecycle. This not only verifies the authenticity and inheritance of intangible cultural heritage techniques but also builds a robust barrier for intellectual property protection, preventing piracy and infringement. Moreover, it provides reliable value support for the expansion of tie-dyeing culture in contemporary cultural and creative industries, as well as in cross-border cooperation and other fields.
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| − | By integrating AR (Augmented Reality) and VR (Virtual Reality) technologies, users can experience the presentation effects of tie-dye patterns on different materials, such as cotton, silk, and linen, and under various lighting conditions in real time through their mobile phones or VR devices. At the same time, the virtual interaction platform enables users to simulate the entire tie-dyeing process, including tying, dyeing, and rinsing. This process not only enhances the visualization of the craftsmanship and enriches the user experience but also promotes the interactive dissemination of knowledge related to intangible cultural heritage. This immersive participation mode breaks through the limitations of traditional static displays and provides a new dynamic dissemination path for the digital transformation of intangible cultural heritage[2].
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| | ===References=== | | ===References=== |
| | + | ▪ Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance. |
| | + | ▪ China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance. |
| | + | ▪ China National Cultural Resource Network, Janggu Dance. |
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| − | [1]Tao C, Hong X. A three-dimensional visualization model for intangible heritage of tie-dye handicrafts[J]. npj Heritage Science, 2025, 13(1): 648-648.
| + | ===Words and Expressions=== |
| − | | + | 朝鲜族长鼓Korean Janggu / Korean Hourglass Drum |
| − | [2]韩美仪. AIGC技术在自贡扎染文创设计中的应用研究[J]. 西部皮革, 2025, 47(20): 119-121.
| + | 独舞 solo dance |
| − | | + | 双人舞 duet dance |
| − | [3]刘静, 陈俞颖, 崔嘉惠, 李露璐. 非遗直播的现实困境与发展路径探究——以大理周城村白族扎染为例[J]. 传播与版权, 2021, (09): 97-99.
| + | 群舞 group dance |
| − | | + | 对打起舞 dual-play dance with drum beats |
| − | [4]钱美琴.扎染的发展现状及对策研究——以云南大理为例[J].大众标准化, 2021, (16): 51-54.
| + | 扭、弹、矮、稳 twisting, springing, squatting, steadying |
| − | | + | 闪转旋跃 dodging, turning, spinning and leaping |
| − | [5]谢兵. 周城扎染研究综述[J]. 西部皮革, 2017, 39(14): 113-114.
| + | 鹊雀步 magpie step |
| − | | + | 垫步 shuffle step |
| − | [6]叶佑天, 刘超, 胡思斌. 浅谈扎染服装的历史、现状、发展[J]. 美与时代, 2003, (01):49-51.
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| − | | |
| − | [7]张京楠, 蔡炯. 扎染在现代生活中的保护与传承——以白族扎染为例[J].商展经济, 2025, (24): 59-62.
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| − | | |
| − | [8]https://baike.baidu.com/item/%E6%89%8E%E6%9F%93/2660805
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| − | | |
| − | [9]https://luopeitarx.com/blogs/article/what-is-tie-dye
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| − | | |
| − | | |
| − | ===Terms=== | |
| − | | |
| − | 1.扎染 tie-dyeing
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| − | | |
| − | 2.非物质文化遗产 intangible cultural heritage
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| − | | |
| − | 3.扎缬 binding
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| − | | |
| − | 4.撮缬 pleating
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| − | | |
| − | 5.夹缬 cliping
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| − | | |
| − | 6.绞缬 twisting
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| − | | |
| − | 7.打结 knotting
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| − | | |
| − | 8.折叠串缝 folding and sewing
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| − | | |
| − | 9.鹿胎缬 deer placenta valerian
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| − | | |
| − | 10.玛瑙缬 overlapping spots valerian like agate
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| − | | |
| − | 11.叠胜缬 continuous net-like patterns in four directions
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| − | | |
| − | 12.四瓣花罗 four-petal pattern
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| − | | |
| − | 13.七宝纹 shippou pattern
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| − | | |
| − | 14.花鸟纹 pattern with birdflower design
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| − | | |
| − | 15.茜草 madder
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| − | | |
| − | 16.赭石 ochre
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| − | | |
| − | 17.扎花 tie-flowering
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| − | | |
| − | 18.浸染 dip-dyeing
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| − | | |
| − | 19.拆线 stitch removal
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| − | | |
| − | 20.土靛 soil indigo
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| − | | |
| − | 21.湿靛 wet indigo
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| − | | |
| − | 22.板蓝根 isatis root
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| | | | |
| | ===Questions=== | | ===Questions=== |
| − | | + | 1.What is the prototype of the Janggu, the core prop of the Korean Janggu Dance? |
| − | 1. What is Bai Tie-dyeing? | + | 2.When was the Korean Janggu Dance included in the National Representative List of Intangible Cultural Heritage of China? |
| − | | + | 3.What are the two categories of performance styles of the Korean Janggu Dance? |
| − | 2. What is the production process of tie-dyeing? | + | 4.Who was the first-generation inheritor of the Korean Janggu Dance skills? |
| − | | + | 5.What institutions have been established in multiple places of Jilin Province for the inheritance of the Korean Janggu Dance? |
| − | 3. What are the main raw materials used in Bai Tie-dyeing? | |
| − | | |
| − | 4. How can we inherit Bai Tie-dyeing? | |
| | | | |
| | ===Answers=== | | ===Answers=== |
| | + | 1.Originated from the narrow-waisted drum of India. |
| | + | 2.In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China. |
| | + | 3.It is divided into two categories: the soft-style Janggu Dance and the vigorous-style Janggu Dance. The soft-style Janggu Dance features gentle and stretching movements, while the vigorous-style Janggu Dance has bold and powerful movements. |
| | + | 4.Jin Douchang. |
| | + | 5.Korean Janggu Dance inheritance bases have been established respectively in Tumen City, Yanji City, Wangqing County and Qianguoerluosi Mongolian Autonomous County. |
| | + | ===朝鲜族长鼓舞=== |
| | | | |
| − | 1. Bai Tie-dyeing is a traditional folk craft of the Bai people in Zhoucheng Village, Dali, with a history dating back to the Qin and Han dynasties. It was inscribed on the national intangible cultural heritage list in 2006, integrating culture and art, and featuring fresh and elegant blue-and-white tones.
| + | ◦ ====朝鲜族长鼓舞的起源发展==== |
| − | | + | 长鼓舞起源可追溯到印度的细腰鼓，大约在公元 4 世纪时，通过丝绸之路传入中国中原地区，隋唐时期在九、十部鼓舞中使用，朝鲜族的《高丽乐》就被列为著名的《十部乐》之一。宋代以后，杖鼓逐渐在中国中原地区消失，只在朝鲜族人民中流传，也改名为长鼓。明清时期，部分朝鲜族人从朝鲜半岛迁到中国，长鼓舞也随之传入，经过长期发展，逐渐形成了具有中国特色的朝鲜族长鼓舞。20 世纪初期，长鼓舞以独立的表演形式从农乐舞里脱离出来，每逢节日庆典，朝鲜族人民都会跳长鼓舞。20 世纪 50 年代，长鼓舞经朝鲜族舞蹈家们的精心改编，第一次登上舞台进行表演，从而扩大了它的影响。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》） |
| − | 2. The main steps of tie-dyeing include painting patterns, twisting and tying, soaking, dyeing the fabric, steaming, drying in the sun, thread removal, rinsing and grinding the fabric. Among them, the two main processes are tying flowers and soaking dyeing.
| + | ◦ ====介绍==== |
| − | | + | 朝鲜族长鼓舞是朝鲜族极具代表性的传统舞蹈，主要流传于吉林延边朝鲜族自治州及其他朝鲜族聚居区，2008 年吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》） |
| − | 3. The main raw material of Bai Tie-dyeing is indigo or soil indigo, commonly known as isatis root, a natural plant dye.
| + | 它有着上千年的发展历史，其核心道具长鼓的原型为起源于印度的细腰鼓，公元 4 世纪该乐器经丝绸之路传入中国中原地区，隋唐时期被纳入宫廷乐舞体系，在朝鲜族《高丽乐》中被称作“都昙鼓”“毛员鼓”等；（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》） |
| − | | + | 宋元时期，这类细腰鼓东传朝鲜半岛，逐渐演变为契合朝鲜族审美与演奏需求的长鼓，成为朝鲜族农乐舞的伴奏乐器。（中国民族文化资源网《长鼓舞》） |
| − | 4. Inheriting Bai Tie-dyeing requires innovating high-end and mass products by expanding the industrial chain and integrating with modern aesthetics. It also requires applying AIGC, VR, AR and various blockchain technologies for digital transformation and IP protection and optimizing marketing models while encouraging young people to learn the craft through related programs and collaborations.
| + | 明清时期，随着部分朝鲜族民众迁入中国，长鼓舞也随之传入，逐步与中国朝鲜族的生产生活、民俗文化融合，形成了具有中国本土特色的舞蹈形式；这一舞蹈集演奏、演唱与舞蹈于一体。核心道具长鼓造型两头粗、中间细，两面鼓音高不同，舞者肩挎长鼓，右手持鼓鞭，左手配合拍打鼓面，能敲击出丰富节奏。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》） |
| − | | + | 它能发出高低错落的音色。舞者肩挎长鼓，右手持鼓鞭敲击，左手以手指拍击鼓面，可敲击出丰富多变的节奏。表演风格分文、武两类，文长鼓动作柔和舒展，多展现抒情意境；武长鼓动作粗犷刚劲，常融入插秧、收割等劳动场景元素。表演形式涵盖独舞、双人舞、群舞等，舞蹈节奏多由慢渐快，高潮时舞者会展现连续旋转等技巧性动作，结尾戛然而止，极具艺术感染力。其伴奏乐器包括唢呐、笛子、伽倻琴等，常搭配《阿里郎》等朝鲜族经典曲目，舞蹈动作以扛手、伸肩、鹊雀步为特色，舞步包含鹤步、垫步等多种类型，尽显朝鲜族舞蹈的独特韵味。如今，长鼓舞通过非遗传承基地建设、校园教学普及、国内外文化交流展演等方式，不断焕发新的生机，成为展现朝鲜族文化魅力的重要艺术符号。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》） |
| − | ==期末论文== | |
| − | | |
| − | ===白族扎染=== | |
| − | | |
| − | ===目录===
| |
| − | | |
| − | 第一章总论
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| − | | |
| − | 1.1 研究背景
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| − | | |
| − | 1.2 研究意义
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| − | | |
| − | 第二章 历史渊源与特点
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| − | | |
| − | 2.1 起源
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| − |
| |
| − | 2.2 不同历史时期的发展特点
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| − | | |
| − | 2.3 生产流程
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| − | | |
| − | 2.4 染料种类及特性
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| − | | |
| − | 第三章继承的困境
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| − | | |
| − | 3.1 缺乏继承者
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| − | | |
| − | 3.2 缺乏创新
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| − | | |
| − | 3.3 落后的营销方式
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| − | | |
| − | 第四章扎染传承的解决方案
| |
| − | | |
| − | 4.1 扎染高端产品的创新 | |
| − | | |
| − | 4.2 传播方式的创新
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| − | | |
| − | 4.2 AIGC系统的应用
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| − | | |
| − | 参考文献
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| − | | |
| − | 术语
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| − | | |
| − | 问题
| |
| − | | |
| − | 答案
| |
| − | | |
| − | ====引言==== | |
| − | | |
| − | =====研究背景=====
| |
| − | | |
| − | 非物质文化遗产是一个国家、一个民族的优秀传统文化。5G时代打破了直播技术壁垒。非物质文化遗产也通过直播实现了快速发展。大理周城村白族扎染技艺经过历史的提炼，已成为当地特色文化的象征。新时代中，传统非物质文化遗产技艺需要适应新的环境，做出新改变。
| |
| − | | |
| − | =====研究意义=====
| |
| − | | |
| − | 从实践角度看，非物质文化遗产作为代表一个国家或地区文化特色的精神遗产，对当前倡导乡村文化振兴、形成乡村凝聚力具有促进作用。白族扎染是一个有着上百年历史的传统村落，文化底蕴深厚。扎染是其最突出的非物质文化遗产之一，承载着不同世代村民的集体记忆和情感诉求。为使扎染摆脱“被抛弃”的命运，本文对扎染进行了历史溯源和发展现状探寻，以求在当代创新性发展扎染。这可以提高人们对非物质文化遗产保护的认识，也可以为其他非物质文化遗产的开发和保护方向提供一定的启示。
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| − | | |
| − | ====历史渊源====
| |
| − | | |
| − | =====起源=====
| |
| − | | |
| − | 扎染是周城白族的一种传统民间工艺，从秦汉时期发展至今。自明末清初以来，扎染手工艺在该地区得到了很好的传承和发展，将文化和艺术融为一体。2006年，云南省大理白族扎染技艺被文化部列入国家级非物质文化遗产名录[5]。
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| − | | |
| − | | |
| − | 周城作为“白族扎染之乡”，坐落于滇藏高速公路沿线，地处大理古城以北，面积达7平方公里,是云南省最大的自然村。该村聚居着1500余户白族居民，总人口超8868人，几乎全是白族人，也是大理规模最大的白族村寨。作为对外开放的白族民俗旅游胜地，周城凭借独特的文化底蕴与民俗风情，吸引着各地游客慕名到访。
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| − | | |
| − | =====不同历史时期的发展特点=====
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| − | | |
| − | 唐真元十六年，南诏舞蹈团赴长安献演，其身着的服饰以鸟兽草木为纹样，采用八色混合皮革呈现图案，实为扎染工艺的早期应用成果。目前已知最早的扎染实物出土于新疆吐鲁番阿斯塔纳，为距今约两千年的汉代织物残片。该残片上的缬点形似鱼子酱，大小匀整、排布规整且色泽鲜亮，直观印证秦汉时期扎染技艺已发展至较高水平。由此可推断，我国手工印染技术的起源应早于秦汉，早期实物未被发现，大概率归因于纺织品难以长期保存，而非彼时无此类印染织物。
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| − | | |
| − | | |
| − | 历经魏晋南北朝的战乱与分裂，统一而强大的隋唐给人们带来安宁富足的生活，也给扎染服装带来发展繁荣的机遇。当时，扎染技巧与印染工艺都达到了很高水平，其技艺百变，图案万千。有扎缬、撮缬、夹缬、绞缬、打结、折叠串缝等巧夺天工的扎缬技艺；有鹿胎缬、玛瑙缬、叠胜缬、四瓣花罗、七宝纹、花鸟纹等千姿百态的图案纹样。印染工艺也取得了突破性的发展，利用植物染料、矿物染料染制出了万紫千红的色彩。常用茜草染红色，蓝靛染蓝色，用赭石染土黄色。例如，出土的唐代“四瓣花罗”采取散点排列、折叠串扎的技法，橘黄色的花瓣在深棕色的底色上显得亮丽秀美。保存于日本博物馆的唐代七宝纹扎染，采用折叠串针扎法，构成网状组织的铜钱花纹，非常漂亮。还有用绞针法缝扎成的花鸟纹，构图精美，线条流畅。这些扎染的衣料，受到人们广泛喜爱，上至达官贵人，下至百姓人家，使用扎染蔚然成风，使扎染服装在唐代得到空前的发展与盛行[6]。
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| − | | |
| − | 历史演变到了宋代，扎染已经非常普及，扎制技艺也日臻完善。做工精美的扎染用品成为日常生活中常用的服饰品。但宋王朝自奉节俭，多次下诏禁止生产或限制使用扎染等染缬品。皇室的禁令一方面说明了扎染等印染物品已空前的发展和普及；另一方面，三令五申的禁止，沉重打击了正蓬勃发展的民间扎染，致使不少扎染技法失传，导致盛行于隋唐的这项古老技艺受到致命摧残，就此衰落下来。
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| − |
| |
| − | =====生产流程=====
| |
| − | | |
| − | 扎染的制作方法别具一格，旧籍生动地描述了古人制作扎染的工艺过程：“‘撷’撮采线结之，而后染色。即染，则解其结，凡结处皆原色，余则入染矣，其色斑斓。”扎染的主要步骤有画刷图案、绞扎、浸泡、染布、蒸煮、晒干、拆线、漂洗、碾布等，其中主要有扎花、浸染两道工序，技术关键是绞扎手法和染色技艺。染缸、染棒、晒架、石碾等是扎染的主要工具。
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| − | | |
| − | 扎花，原名扎疙瘩，即在布料选好后，按花纹图案要求，在布料上分别使用撮皱、折叠、翻卷、挤揪等方法[9]，使之成为一定形状，然后用针线一针一针地缝合或缠扎，将其扎紧缝严，让布料变成一串串“疙瘩”。
| |
| − | | |
| − | 浸染，即将扎好“疙瘩”的布料先用清水浸泡一下，再放入染缸里，或浸泡冷染，或加温煮热染，经一定时间后捞出晾干，然后再将布料放入染缸浸染。如此反复浸染，每浸一次色深一层，即“青出于蓝”。缝了线的部分，因染料浸染不到，自然成了好看的花纹图案，又因为人们在缝扎时针脚不一、染料浸染的程度不一，带有一定的随意性，染出的成品很少一模一样，其艺术意味也就多了一些[8]。
| |
| − | | |
| − | =====染料的种类和特性=====
| |
| | | | |
| − | 主要植物为靛蓝或土靛蓝，民间俗称“板蓝根”。在周城，用于染布的靛蓝染料全部由村民自己种植和加工。除了满足本村的布料染色需求外，剩余的靛蓝也销往其他地区。
| + | ◦ ==== 舞蹈特色==== |
| | + | 表演形式：长鼓舞表演形式丰富多样，有独舞、双人舞、群舞等多种形式。女性长鼓舞风格优雅，男性长鼓舞活泼潇洒。大长鼓通常为一人领舞，众人随舞；小长鼓通常是在逢年过节时 2-4人对打起舞。 |
| | + | 动作特点：主要以手部动作为主，形式变化多样，概括为扭、弹、矮、稳四个方面的特征。舞者按照固定的鼓点节奏边击边舞，讲究动作与动作之间的配合以及节奏的统一，用鼓形成各式各样的造型。舞步以“闪转旋跃”和“蹲腾立跳”为主要特征，“弓腰”与“屈膝” 等舞蹈动作换位时必须“拧身”而过，每个舞姿都保持“曲体拧身”的特点，刚柔并济、步伐灵巧。 |
| | + | 音乐伴奏：朝鲜族的民歌节拍形式属于三拍系统，三拍子以及有三拍复合组成的 6/8、9/8、12/8、18/8 等复拍子在歌曲中占据着重要位置。长鼓舞以唢呐、笛子、锣鼓、笙箫等多种管弦乐器作为伴奏，基本鼓点是 “咚咚、咚、咚咚、咚”，长鼓击打的急缓轻重与舞姿相互配合，使鼓与舞完美融合，舞蹈的曲调丰富多彩，有《阿里郎》《道拉基》《阳山道》等曲目。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》） |
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| − | 板蓝根是一种天然植物染料。生产过程中不添加任何化学成分，对环境不造成污染。从中提取的无毒染料符合可持续发展的原则。主色调是蓝色和白色。染色的织物有蓝带白纹或蓝带白纹。色调清新淡雅，具有独特的韵味，体现了白族纯洁温柔的审美特征。此外，通过反复浸泡，可以形成各种深浅不一的蓝色。花与地面之间往往有一定的过渡梯度效应，有许多冰裂缝，自然形成。而植物靛蓝扎染产品颜色鲜艳，色牢度好，不易掉色。
| + | ◦ ====舞蹈特色==== |
| | + | 从艺术审美价值来看，集演奏、舞蹈、音乐于一体，人鼓乐高度协调，刚柔并济的舞姿与多变鼓点结合，是朝鲜族舞蹈艺术的代表，丰富了中国民族民间舞蹈生态。从民族凝聚价值来看，作为朝鲜族节庆、礼俗的核心表演形式，其明快节奏与舒展动作映射民族勤劳豁达的精神内核，是维系族群认同感与归属感的重要纽带。最后从文化传承与交流价值来看，其发展历程见证了跨地域文化交融，作为国家级非遗，通过传承基地、校园教学等实现代际传递；同时借助国内外展演，成为中外文化交流的桥梁。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆。朝鲜族长鼓舞） |
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| − | ====传承困境==== | + | ◦ ====传承与保护==== |
| − | | + | 传承人：出现了一批优秀的长鼓舞代表人物，如中国第一代长鼓舞技艺传承人金斗昌，第五代传承人朴圣燮以及一级舞蹈演员崔美善等，他们为长鼓舞的传承与发展做出了重要贡献。 |
| − | =====缺乏传承者=====
| + | 保护措施：吉林省相关部门加大资金扶持力度，在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地，并举办朝鲜族长鼓舞理论与技艺研讨会；延吉市文化馆举办了朝鲜族长鼓技法培训班，为长鼓舞的传承与发展搭建学习交流平台，培养专业人才。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》） |
| − | | |
| − | 扎染技艺在传承过程中存在出现断层的风险。老一辈人熟练掌握扎染工艺并以此为生，而新一代年轻人并没有系统学习过扎染技艺，且扎染工艺程序复杂、耗费时间长，所带来的收益也仅能支撑生计。年轻人并不愿意耗费大量的时间与精力学习祖先传下来的技艺，由此导致传统技艺传承出现断层风险。核心矛盾是技艺传承所需的长期投入与当代年轻人职业追求和生存压力之间的矛盾[7]。
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| − | =====缺乏创新=====
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| − | | |
| − | 在现今鼓励创新谋发展的年代，扎染作为一种传统染色工艺，其产品的创新不足，主要表现为低端产品同质化严重，高端产品稀缺。在这项技艺诞生之初，扎染产品主要为民族服饰、桌布、桌旗等，主要用于满足本地市场需求及出口国外。2010 年后，出口订单较大幅度减少，商人不得不开拓国内市场，研发系列旅游产品。截至 2020 年，大理地区的扎染产品主要包括桌布、T 恤、连衣裙、围巾、桌旗、少量高端民族服装，其余周边产品有抱枕、手袋、玩偶、茶杯垫、鞋、帽、袜、门帘等。目前周边产品处于研发初创期，尚未大面积销售，而主打的旅游产品——T 恤、连衣裙等服装，成为大理古城、喜洲镇、双廊镇最主要的低端扎染产品。
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| − | | |
| − | 作为受众范围最广的低端产品，各店铺的服饰主要靠进货销售，产品风格、图案、形式相差无几，同质化问题严重。产品生产与销售脱轨，缺少新意与变革，扎染低端产品市场未得到充分丰富，其艺术形式也未得到充分展现，这是创新动力不足所致。产品缺乏创新的另一表现是高端产品稀缺。艺术精品是传统民间工艺的最高表达，能够充分体现大理扎染传承千年的技艺。大理的高端扎染产品，如传统手工民族服饰、复杂精美的系列桌旗与桌布、潜心创作的艺术作品，仅在少数店铺、作坊或璞真博物馆有供欣赏或销售。扎染的各式扎花图案达上千种，但呈现出来的并不多。不论是商人还是本土白族居民，都没能很好地利用这项工艺原有的技艺，把高超的扎染工艺带入大众眼帘，把扎染彻底完整地呈现。这是高端产品稀缺性的特点，也是创新动力不足所致。
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| − | | |
| − | 若能把扎染技艺精髓与高端产品相结合，不仅有利于提高扎染知名度，还能将其顶级艺术精髓回馈于扎染低端产品的开发与创新，间接提高自身经济造血能力。因此，产品创新问题有待进一步解决。
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| − | | |
| − | =====落后的营销方式=====
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| − | | |
| − | 许多当地的扎染从业者都在从事网上业务。成员以35岁以上的中年人和周城村的老人为主。他们大多是文盲或会读书但通过互联网销售产品的人。这种态度表明缺乏理解、冷漠和精力。因此，大多数主要的扎染生产商没有网上商店，也不从事网上经营活动。
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| − | | |
| − | 一些当地的外国商人目前正在开发网络市场，例如开设网上商店或在各种流行的社交媒体平台上进行推广和广告。在探索客户和开展在线业务的同时，他们也为实体店带来了流量。但由于产品种类单一、线上运营专业性不足等原因，部分商家的线上运营效果并不理想，需要改进。总体而言，无论是线上还是线下，具体的商业模式都比较落后，扎染的潜力没有得到充分发挥。该产品的优势尚未带来可观的经济效益，因此不可能进一步投入促进扎染的发展。
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| − | | |
| − | ====扎染传承的解决方案====
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| − | | |
| − | =====扎染高端产品的创新=====
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| − | | |
| − | 除了服装之外，大众产品制造业应该利用扎染的图案和设计，结合现代消费者的消费偏好，扩大产业链。这些设计可以应用于各种产品类别，如帆布袋、帽子、杯垫、婚纱、艺术卷轴和家居用品。这种做法确保了产品既具有传统工艺之美，又具有现代审美情趣。高端产品和艺术品代表了文化表达的顶峰。高端产品的创造应该深入挖掘扎染的历史根源，捕捉其千年文化遗产的精髓，并将其提炼以供当代欣赏[4]。
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| − | | |
| − | =====传播方式的创新=====
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| − | | |
| − | 由于周城村村民受地理环境和少数民族传统思想影响，村民的媒介素质和文化素养都不高，再加上他们没有很高的媒介意识，导致他们的媒介学习成本较高[3]。
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| − | | |
| − | 非遗直播的推广与传播，尤其是扎染文化的传播，离不开直播从业者对非遗文化的深度理解与主动践行。这些借助直播媒介的传播者，在扎染文化的普及与推广中起着关键作用。从群体适配性来看，年轻人对现代媒体的接受度更高，且学习新事物的能力更强，无疑是非遗直播主播的优质潜在群体。然而，现实困境是，年轻一代尚未系统掌握扎染传统技艺。这种知识与技能的断层，使得非物质文化遗产，特别是扎染的直播推广工作面临诸多挑战，推进过程困难重重。
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| − | | |
| − | 为突破传承瓶颈，亟待出台相应策略，激励年轻一代投身传统扎染技艺的学习与传承。培养周城人民的直播意识以推广扎染，针对不同群体的能力特征与认知水平，开展分层分类的直播专项培训。面向中老年从业者聚焦基础操作与工艺展示场景的实操教学，面向年轻群体强化内容策划、互动运营与新媒体传播等进阶技能培育，通过适配性培训降低参与门槛，夯实直播推广的能力基础。村民可开展线下实操工作坊，以手机基础操作与直播流程简化教学为核心内容，涵盖一键开播、自动回复设置等实用功能培训，辅以方言讲解与图文手册提升教学适配性，重点开展工艺展示型直播培训，通过扎花、浸染等核心工序的实时演示，结合非遗相关知识点的口述传播，强化直播内容的专业性与文化性。
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| − | | |
| − | =====人工智能系统的应用=====
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| − | | |
| − | 在扎染的数字化转型和创新实践中，人工智能生成内容技术（AIGC，Artificial Intelligence Generated Content）可以发挥核心赋能作用。该技术通过收集传统扎染图案进行数字化建模，并构建专用的深度学习数据库，能够准确提取扎染过程中独特的纹理和色谱。然后，它可以根据用户的语义需求智能地生成多样化和创新的模式。这种方法不仅显著提高了图案迭代的效率，满足了个性化定制的需求，而且促进了传统工艺符号与现代审美趋势的深度融合，打破了传统图案创作的时空局限。
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| − | | |
| − | 目前，3D模型主要应用于文化遗产的展示与宣传，为原本难以接触的珍贵文物提供虚拟情境体验。在融合增强现实（AR）与拓展现实（XR）技术的3D模型世界中，用户可通过操控虚拟物体进行探索与练习，从而获得更具互动性与沉浸感的学习体验[1]。
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| − | | |
| − | 在体验创新方面，可以建立虚拟扎染互动平台。利用虚拟现实（VR）技术，可以完全复制整个扎染过程，从设计构思、扎染操作到染色、定色，让用户沉浸在工艺创作中。同时结合增强现实技术（Augmented Reality），实现图案的实时预览和效果的动态调整，进一步优化定制体验的直观性和便利性。
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| − | 区块链技术的引入，对于扎染数字化转型阶段文化价值的留存与知识产权的守护至关重要。通过该技术，数字扎染作品与实体扎染产品均可获得专属且不可篡改的数字身份标识。产品全生命周期中的核心信息：原料来源追溯、工艺操作流程、所蕴含的文化内涵等，都能被完整记录。这一做法既体现了非物质文化遗产技艺的传承脉络，又保护了知识产权，有效规避了盗版与侵权问题，进而为扎染文化在当代文创产业、跨界合作等领域的拓展延伸，筑牢可靠的价值根基。
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| − | 通过增强现实和虚拟现实技术的融合，用户可以通过手机或虚拟现实设备实时体验扎染图案在棉、丝、麻等不同材质、不同光照条件下的呈现效果。同时，虚拟交互平台可以让用户模拟整个扎染过程，包括扎染、染色、漂洗。这一过程不仅增强了工艺的形象化，丰富了用户体验，而且促进了非物质文化遗产相关知识的互动传播。这种沉浸式参与模式突破了传统静态展示的局限，为非物质文化遗产数字化转型提供了新的动态传播路径[2]。
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| − | ===参考文献===
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| − | [1] Tao C, Hong X. A three-dimensional visualization model for intangible heritage of tie-dye handicrafts[J]. npj Heritage Science, 2025, 13(1): 648-648.
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| − | [2] 韩美仪. AIGC技术在自贡扎染文创设计中的应用研究[J]. 西部皮革, 2025, 47(20): 119-121.
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| − | [3] 刘静, 陈俞颖, 崔嘉惠, 李露璐. 非遗直播的现实困境与发展路径探究——以大理周城村白族扎染为例[J]. 传播与版权, 2021, (09): 97-99.
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| − | [4] 钱美琴.扎染的发展现状及对策研究——以云南大理为例[J].大众标准化, 2021, (16): 51-54.
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| − | [5] 谢兵. 周城扎染研究综述[J]. 西部皮革, 2017, 39(14): 113-114.
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| − | [6] 叶佑天, 刘超, 胡思斌. 浅谈扎染服装的历史、现状、发展[J]. 美与时代, 2003, (01):49-51.
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| − | [7] 张京楠, 蔡炯. 扎染在现代生活中的保护与传承——以白族扎染为例[J].商展经济, 2025, (24): 59-62.
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| − | [8] https://baike.baidu.com/item/%E6%89%8E%E6%9F%93/2660805
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| − | [9] https://luopeitarx.com/blogs/article/what-is-tie-dye
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| | ===术语=== | | ===术语=== |
| − | | + | 朝鲜族长鼓Korean Janggu / Korean Hourglass Drum |
| − | 1.扎染 tie-dyeing
| + | 独舞 solo dance |
| − | | + | 双人舞 duet dance |
| − | 23.非物质文化遗产 intangible cultural heritage
| + | 群舞 group dance |
| − | | + | 对打起舞 dual-play dance with drum beats |
| − | 24.扎缬 binding
| + | 扭、弹、矮、稳 twisting, springing, squatting, steadying |
| − | | + | 闪转旋跃 dodging, turning, spinning and leaping |
| − | 25.撮缬 pleating
| + | 鹊雀步 magpie step |
| − | | + | 垫步 shuffle step |
| − | 26.夹缬 cliping
| + | 三拍系统 triple-beat system |
| − | | + | 《阿里郎》 Arirang（朝鲜族经典民谣，音译） |
| − | 27.绞缬 twisting
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| − | 28.打结 knotting
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| − | 29.折叠串缝 folding and sewing
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| − | 30.鹿胎缬 deer placenta valerian
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| − | 31.玛瑙缬 overlapping spots valerian like agate
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| − | 32.叠胜缬 continuous net-like patterns in four directions
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| − | 33.四瓣花罗 four-petal pattern
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| − | 34.七宝纹 shippou pattern
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| − | 35.花鸟纹 pattern with birdflower design
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| − | 36.茜草 madder
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| − | 37.赭石 ochre
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| − | 38.扎花 tie-flowering
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| − | 39.浸染 dip-dyeing
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| − | 40.拆线 stitch removal
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| − | 41.土靛 soil indigo
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| − | 42.湿靛 wet indigo
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| − | 43.板蓝根 isatis root
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| | ===问题=== | | ===问题=== |
| − | | + | 1.朝鲜族长鼓舞的核心道具长鼓原型是什么？ |
| − | 1.什么是白族扎染？ | + | 2.朝鲜族长鼓舞何时被列入国家级非遗名录？ |
| − | | + | 3.朝鲜族长鼓舞的表演风格分为哪两类？ |
| − | 2.扎染的生产工艺是怎样的？ | + | 4.朝鲜族长鼓舞的第一代技艺传承人是谁？ |
| − | | + | 5.为传承朝鲜族长鼓舞，吉林省在多地建立了什么机构？ |
| − | 3.白族扎染的主要原料有哪些？ | |
| − | | |
| − | 4.如何传承白族扎染？
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| | ===答案=== | | ===答案=== |
| − | | + | 1.起源于印度的细腰鼓。 |
| − | 1.白族扎染是大理周城村白族的传统民间工艺，其历史可以追溯到秦汉时期。2006年，白族扎染被列入国家非物质文化遗产名录。此类扎染集文化与艺术于一体，富有特色，清新优雅，蓝白相间。 | + | 2.2008年，吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。 |
| − | | + | 3.分为文长鼓和武长鼓两类，文长鼓动作柔和舒展，武长鼓动作粗犷刚劲。 |
| − | 2.扎染的主要步骤有画刷图案、绞扎、浸泡、染布、蒸煮、晒干、拆线、漂洗、碾布等，其中主要有扎花、浸染两道工序，技术关键是绞扎手法和染色技艺。 | + | 4.金斗昌。 |
| − | | + | 5.在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地。 |
| − | 3.白族扎染的主要原料为靛蓝，俗称板蓝根，是一种天然植物染料。 | |
| − | | |
| − | 4.传承白族扎染需要拓展产业链，与现代审美相结合，创新高端产品和大众产品; 还需要将人工智能生成内容技术、虚拟现实、增强现实等各种区块链技术结合，实现数字化转型和知识产权保护，优化营销模式，再通过相关项目和合作鼓励年轻人学习这门工艺。
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期末论文
Korean Janggu Dance
◦ ====Origin and Development====
The origin of the Janggu Dance can be traced back to the narrow-waisted drum from India. Around the 4th century AD, this musical instrument was introduced to the Central Plains of China via the Silk Road. During the Sui and Tang dynasties, it was adopted in the Nine and Ten Grand Drum Dances, and the Goryeo Music of the Korean ethnic group was included in the renowned Ten Great Musical Forms. After the Song Dynasty, the zhanggu (a type of narrow-waisted drum) gradually disappeared in the Central Plains of China but continued to be passed down among the Korean people, and was renamed the Janggu. In the Ming and Qing dynasties, some Koreans migrated from the Korean Peninsula to China, bringing the Janggu Dance with them. After a long period of development, it gradually evolved into the Korean Janggu Dance with distinct Chinese characteristics. In the early 20th century, the Janggu Dance separated from the Nongak Dance (farmers’ music dance) as an independent performance form. The Korean people perform this dance at every festival and celebration. In the 1950s, Korean dancers carefully adapted the Janggu Dance, which was staged for the first time, thus expanding its influence. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)
◦ ====Introduction====
The Korean Janggu Dance is a highly representative traditional dance of the Korean ethnic group, mainly popular in Yanbian Korean Autonomous Prefecture of Jilin Province and other Korean inhabited areas. In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
It has a history of over a thousand years. The prototype of its core prop, the Janggu, is the narrow-waisted drum originating from India. In the 4th century AD, this instrument was introduced to the Central Plains of China through the Silk Road and incorporated into the imperial court music and dance system during the Sui and Tang dynasties. In the Korean Goryeo Music, it was known as the “dutanggu” and “maoyuanggu”, etc. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)
During the Song and Yuan dynasties, this type of narrow-waisted drum spread eastward to the Korean Peninsula, gradually evolving into the Janggu that meets the aesthetic and performance needs of the Korean ethnic group, and became an accompanying instrument for the Korean Nongak Dance. (China National Cultural Resource Network, Janggu Dance)
In the Ming and Qing dynasties, with the migration of some Korean people to China, the Janggu Dance was introduced as well. It gradually integrated with the production, life, and folk culture of the Chinese Korean ethnic group, forming a dance form with distinct Chinese local characteristics. This dance is a combination of playing, singing, and dancing. The core prop, the Janggu, has a unique shape with thick two ends and a thin middle, and the two drumheads produce different pitches. The dancer slings the Janggu over the shoulder, holds a drumstick in the right hand to strike the drum, and uses the left hand to pat the drumhead, creating rich and varied rhythms. ( China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
The Janggu can produce staggered high and low tones. The dancer slings the drum over the shoulder, strikes it with a drumstick in the right hand, and pats the drumhead with fingers of the left hand, creating a variety of rich rhythms. The performance style is divided into two categories: the soft-style Janggu dance and the vigorous-style Janggu dance. The soft-style Janggu dance features gentle and stretching movements, mostly expressing lyrical artistic conception; the vigorous-style Janggu dance has bold and powerful movements, often incorporating elements of labor scenes such as rice transplanting and harvesting. The performance forms include solo dance, duet dance, and group dance. The rhythm of the dance generally starts slow and gradually speeds up; during the climax, the dancer performs skillful movements such as continuous spinning, and ends abruptly, which is highly artistically appealing. The accompanying instruments include suona horn, bamboo flute, gayageum, etc., often paired with classic Korean folk songs such as Arirang. The dance movements are characterized by shoulder-raising, shoulder-stretching, and magpie steps, with various dance steps including crane steps and shuffle steps, fully demonstrating the unique charm of Korean dance. Today, through the construction of intangible cultural heritage inheritance bases, the popularization of campus teaching, and domestic and international cultural exchange performances, the Janggu Dance continues to thrive and has become an important artistic symbol showcasing the cultural charm of the Korean ethnic group. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)
◦ ====Dance Characteristics====
Performance Forms: The Janggu Dance boasts diverse performance forms, including solo dance, duet dance, and group dance. The female version of the dance is elegant in style, while the male version is lively and unrestrained. The large Janggu dance is usually led by one dancer with the rest following; the small Janggu dance is often performed by 2 to 4 people playing drums and dancing against each other during festivals and holidays.
Movement Characteristics: The dance mainly features hand movements with various forms, which can be summarized into four characteristics: twisting, springing, squatting, and steadying. Dancers strike the drum while dancing in accordance with fixed drumbeat rhythms, emphasizing the coordination between movements and the unity of rhythm, and using the drum to create various shapes. The dance steps are characterized by “dodging, turning, spinning and leaping” and “squatting, soaring, standing and jumping”. When transitioning between movements such as “bowing the waist” and “bending the knees”, dancers must pass through with a “twisted torso”. Every dancing posture maintains the feature of “curved body and twisted torso”, combining hardness and softness with agile steps.
Music Accompaniment: The metrical form of Korean folk songs belongs to the triple-beat system. Triple time and compound time such as 6/8, 9/8, 12/8, and 18/8 composed of triple beats occupy an important position in the songs. The Janggu Dance is accompanied by various wind and percussion instruments such as suona horn, bamboo flute, gong and drum, sheng and xiao. The basic drumbeat pattern is “dong-dong, dong, dong-dong, dong”. The tempo and intensity of the drumbeats coordinate with the dance movements, achieving a perfect integration of drum and dance. The dance features a rich variety of tunes, including Arirang, Doraji, and Yangsan Road. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)
◦ ====Cultural Value====
From the perspective of artistic and aesthetic value, integrating playing, dancing, and music, the Janggu Dance achieves a high degree of coordination between human, drum, and music. Its dance movements combining hardness and softness with varied drumbeats make it a representative of Korean dance art, enriching the ecology of Chinese folk dance. From the perspective of ethnic cohesion value, as a core performance form in Korean festivals and rituals, its brisk rhythms and stretching movements reflect the ethnic spirit of diligence and optimism, serving as an important bond for maintaining ethnic identity and sense of belonging. Finally, from the perspective of cultural inheritance and exchange value, its development history witnesses cross-regional cultural integration. As a national intangible cultural heritage, it realizes intergenerational inheritance through inheritance bases and campus teaching; meanwhile, it serves as a bridge for cultural exchange between China and foreign countries through domestic and international performances. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
◦ ====Inheritance and Protection====
Inheritors: A number of outstanding representatives of the Janggu Dance have emerged, such as Jin Douchang, the first-generation inheritor of Janggu Dance skills in China, Park Sung-sup, the fifth-generation inheritor, and Cui Meishan, a first-class dancer. They have made important contributions to the inheritance and development of the Janggu Dance.
Protection Measures: Relevant departments in Jilin Province have increased financial support, established Korean Janggu Dance inheritance bases in Tumen City, Yanji City, Wangqing County, and Qianguoerluosi Mongolian Autonomous County respectively, and organized seminars on the theory and techniques of the Korean Janggu Dance. Yanji City Cultural Center has held training courses on Janggu playing techniques, building a learning and exchange platform for the inheritance and development of the Janggu Dance and cultivating professional talents. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)
References
▪ Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance.
▪ China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance.
▪ China National Cultural Resource Network, Janggu Dance.
Words and Expressions
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
独舞 solo dance
双人舞 duet dance
群舞 group dance
对打起舞 dual-play dance with drum beats
扭、弹、矮、稳 twisting, springing, squatting, steadying
闪转旋跃 dodging, turning, spinning and leaping
鹊雀步 magpie step
垫步 shuffle step
Questions
1.What is the prototype of the Janggu, the core prop of the Korean Janggu Dance?
2.When was the Korean Janggu Dance included in the National Representative List of Intangible Cultural Heritage of China?
3.What are the two categories of performance styles of the Korean Janggu Dance?
4.Who was the first-generation inheritor of the Korean Janggu Dance skills?
5.What institutions have been established in multiple places of Jilin Province for the inheritance of the Korean Janggu Dance?
Answers
1.Originated from the narrow-waisted drum of India.
2.In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China.
3.It is divided into two categories: the soft-style Janggu Dance and the vigorous-style Janggu Dance. The soft-style Janggu Dance features gentle and stretching movements, while the vigorous-style Janggu Dance has bold and powerful movements.
4.Jin Douchang.
5.Korean Janggu Dance inheritance bases have been established respectively in Tumen City, Yanji City, Wangqing County and Qianguoerluosi Mongolian Autonomous County.
朝鲜族长鼓舞
◦ ====朝鲜族长鼓舞的起源发展====
长鼓舞起源可追溯到印度的细腰鼓，大约在公元 4 世纪时，通过丝绸之路传入中国中原地区，隋唐时期在九、十部鼓舞中使用，朝鲜族的《高丽乐》就被列为著名的《十部乐》之一。宋代以后，杖鼓逐渐在中国中原地区消失，只在朝鲜族人民中流传，也改名为长鼓。明清时期，部分朝鲜族人从朝鲜半岛迁到中国，长鼓舞也随之传入，经过长期发展，逐渐形成了具有中国特色的朝鲜族长鼓舞。20 世纪初期，长鼓舞以独立的表演形式从农乐舞里脱离出来，每逢节日庆典，朝鲜族人民都会跳长鼓舞。20 世纪 50 年代，长鼓舞经朝鲜族舞蹈家们的精心改编，第一次登上舞台进行表演，从而扩大了它的影响。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
◦ ====介绍====
朝鲜族长鼓舞是朝鲜族极具代表性的传统舞蹈，主要流传于吉林延边朝鲜族自治州及其他朝鲜族聚居区，2008 年吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
它有着上千年的发展历史，其核心道具长鼓的原型为起源于印度的细腰鼓，公元 4 世纪该乐器经丝绸之路传入中国中原地区，隋唐时期被纳入宫廷乐舞体系，在朝鲜族《高丽乐》中被称作“都昙鼓”“毛员鼓”等；（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
宋元时期，这类细腰鼓东传朝鲜半岛，逐渐演变为契合朝鲜族审美与演奏需求的长鼓，成为朝鲜族农乐舞的伴奏乐器。（中国民族文化资源网《长鼓舞》）
明清时期，随着部分朝鲜族民众迁入中国，长鼓舞也随之传入，逐步与中国朝鲜族的生产生活、民俗文化融合，形成了具有中国本土特色的舞蹈形式；这一舞蹈集演奏、演唱与舞蹈于一体。核心道具长鼓造型两头粗、中间细，两面鼓音高不同，舞者肩挎长鼓，右手持鼓鞭，左手配合拍打鼓面，能敲击出丰富节奏。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
它能发出高低错落的音色。舞者肩挎长鼓，右手持鼓鞭敲击，左手以手指拍击鼓面，可敲击出丰富多变的节奏。表演风格分文、武两类，文长鼓动作柔和舒展，多展现抒情意境；武长鼓动作粗犷刚劲，常融入插秧、收割等劳动场景元素。表演形式涵盖独舞、双人舞、群舞等，舞蹈节奏多由慢渐快，高潮时舞者会展现连续旋转等技巧性动作，结尾戛然而止，极具艺术感染力。其伴奏乐器包括唢呐、笛子、伽倻琴等，常搭配《阿里郎》等朝鲜族经典曲目，舞蹈动作以扛手、伸肩、鹊雀步为特色，舞步包含鹤步、垫步等多种类型，尽显朝鲜族舞蹈的独特韵味。如今，长鼓舞通过非遗传承基地建设、校园教学普及、国内外文化交流展演等方式，不断焕发新的生机，成为展现朝鲜族文化魅力的重要艺术符号。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
◦ ==== 舞蹈特色====
表演形式：长鼓舞表演形式丰富多样，有独舞、双人舞、群舞等多种形式。女性长鼓舞风格优雅，男性长鼓舞活泼潇洒。大长鼓通常为一人领舞，众人随舞；小长鼓通常是在逢年过节时 2-4人对打起舞。
动作特点：主要以手部动作为主，形式变化多样，概括为扭、弹、矮、稳四个方面的特征。舞者按照固定的鼓点节奏边击边舞，讲究动作与动作之间的配合以及节奏的统一，用鼓形成各式各样的造型。舞步以“闪转旋跃”和“蹲腾立跳”为主要特征，“弓腰”与“屈膝” 等舞蹈动作换位时必须“拧身”而过，每个舞姿都保持“曲体拧身”的特点，刚柔并济、步伐灵巧。
音乐伴奏：朝鲜族的民歌节拍形式属于三拍系统，三拍子以及有三拍复合组成的 6/8、9/8、12/8、18/8 等复拍子在歌曲中占据着重要位置。长鼓舞以唢呐、笛子、锣鼓、笙箫等多种管弦乐器作为伴奏，基本鼓点是 “咚咚、咚、咚咚、咚”，长鼓击打的急缓轻重与舞姿相互配合，使鼓与舞完美融合，舞蹈的曲调丰富多彩，有《阿里郎》《道拉基》《阳山道》等曲目。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
◦ ====舞蹈特色====
从艺术审美价值来看，集演奏、舞蹈、音乐于一体，人鼓乐高度协调，刚柔并济的舞姿与多变鼓点结合，是朝鲜族舞蹈艺术的代表，丰富了中国民族民间舞蹈生态。从民族凝聚价值来看，作为朝鲜族节庆、礼俗的核心表演形式，其明快节奏与舒展动作映射民族勤劳豁达的精神内核，是维系族群认同感与归属感的重要纽带。最后从文化传承与交流价值来看，其发展历程见证了跨地域文化交融，作为国家级非遗，通过传承基地、校园教学等实现代际传递；同时借助国内外展演，成为中外文化交流的桥梁。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆。朝鲜族长鼓舞）
◦ ====传承与保护====
传承人：出现了一批优秀的长鼓舞代表人物，如中国第一代长鼓舞技艺传承人金斗昌，第五代传承人朴圣燮以及一级舞蹈演员崔美善等，他们为长鼓舞的传承与发展做出了重要贡献。
保护措施：吉林省相关部门加大资金扶持力度，在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地，并举办朝鲜族长鼓舞理论与技艺研讨会；延吉市文化馆举办了朝鲜族长鼓技法培训班，为长鼓舞的传承与发展搭建学习交流平台，培养专业人才。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
术语
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
独舞 solo dance
双人舞 duet dance
群舞 group dance
对打起舞 dual-play dance with drum beats
扭、弹、矮、稳 twisting, springing, squatting, steadying
闪转旋跃 dodging, turning, spinning and leaping
鹊雀步 magpie step
垫步 shuffle step
三拍系统 triple-beat system
《阿里郎》 Arirang（朝鲜族经典民谣，音译）
问题
1.朝鲜族长鼓舞的核心道具长鼓原型是什么？
2.朝鲜族长鼓舞何时被列入国家级非遗名录？
3.朝鲜族长鼓舞的表演风格分为哪两类？
4.朝鲜族长鼓舞的第一代技艺传承人是谁？
5.为传承朝鲜族长鼓舞，吉林省在多地建立了什么机构？
答案
1.起源于印度的细腰鼓。
2.2008年，吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。
3.分为文长鼓和武长鼓两类，文长鼓动作柔和舒展，武长鼓动作粗犷刚劲。
4.金斗昌。
5.在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地。