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==期末论文==zx

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

◦ ====起源与发展==== 长鼓舞的起源可以追溯至印度的细腰鼓。在公元 4 世纪左右，这种乐器经由丝绸之路传入中国中原地区。隋唐时期，它被纳入九部乐和十部乐中的“九，十部伎”。而朝鲜族的“高丽乐”也被列入著名的十部乐之中。宋代以后，杖鼓（一种细腰鼓）在中原地区逐渐消失，但在朝鲜族民族中继续流传，并更名为“长鼓”。明清时期，部分朝鲜人从朝鲜半岛迁入中国，长鼓舞也随之传入。经过长期发展，它逐渐形成了具有中国特色的朝鲜族长鼓舞。20世纪初，长鼓舞从农乐舞中脱离出来，成为一种独立的表演形式。每逢节日庆典，朝鲜族人民都会跳长鼓舞。20世纪50年代，朝鲜族舞蹈家对长鼓舞进行了精心改编，并首次将其搬上舞台，从而扩大了其影响力。（来源：《延边边境村落・历史文化数字展示平台，非物质文化遗产：朝鲜族长鼓舞》） ◦ ====概述==== 朝鲜族长鼓舞是朝鲜族极具代表性的传统舞蹈，主要流行于吉林省延边朝鲜族自治州及其他朝鲜族聚居区。2008年，来自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。 它已有上千年的历史，其核心道具长鼓的原型是起源于印度的细腰鼓。公元4世纪，这一乐器通过丝绸之路传入中国中原地区，并在隋唐时期被纳入宫廷乐舞体系。在高丽乐中，它被称为“唐鼓”“莫俞枷鼓”等；（来源：《延边边境村落・历史文化数字展示平台，非物质文化遗产：朝鲜族非遗长鼓舞》） 宋元时期，这种细腰鼓向东传播到朝鲜半岛，逐渐演变为符合朝鲜族审美与表演需求的长鼓舞，并成为朝鲜族农乐舞的伴奏乐器。（来源：中国民族文化资源网，《长鼓舞》） 明清时期，随着部分朝鲜族人迁移到中国，长鼓舞也随之流入，它逐渐与中国朝鲜族的生产生活及民俗文化相融合，形成了具有鲜明中国地方特色的舞蹈形式；这种舞蹈集击打、歌唱和舞蹈于一体。核心道具长鼓造型独特，两端粗、中间细，两面鼓发出不同的音高。舞者将长鼓斜挎于肩上，右手持鼓槌敲击，左手配合拍击鼓面，从而创造出丰富多变的节奏。（来源：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》） 长鼓能够产生交错的高低音。舞者将鼓挎在肩上，右手持鼓槌敲击，左手手指拍击鼓面，创造出丰富多变的节奏。他们的表演风格可分为柔派长鼓舞和刚派长鼓舞两类。柔派长鼓舞动作柔和舒展，多表现抒情意境；刚派长鼓舞动作粗犷有力，常融入插秧、收割等劳动场景元素。表演形式包括独舞、双人舞和群舞。舞蹈节奏通常由慢到快。在高潮部分，舞者还会做出连续旋转等高超技巧，并戛然而止，极具艺术感染力。伴奏乐器包括唢呐、笛子、伽倻琴等，常搭配《阿里郎》等经典的朝鲜族民谣。舞蹈动作具有耸肩、展肩、鹊雀步等特点，舞步多样，包含鹤步、垫步等，充分展现了朝鲜族舞蹈的独特魅力。如今，通过非物质文化遗产传承基地的建设、校园教学的普及以及国内外文化交流演出，长鼓舞不断焕发生机等方式，已经成为展示朝鲜族文化魅力的重要艺术标志。（来源：延边边境村落・历史文化数字展示平台，非物质文化遗产：《朝鲜族非遗长鼓舞》）

◦ ==== 舞蹈特征==== 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，男性长鼓舞则显得活泼奔放。大型长鼓舞通常由一名舞者领舞，其余伴舞；小型长鼓舞通常在节日期间时由2至4人对鼓起舞。 动作特征：该舞蹈以手部动作为主，形式变化多样，可概括为四个特点：扭、弹、矮、稳。舞者按照固定的鼓点节奏边击鼓边跳舞，强调动作的协调于节奏的统一，并用鼓摆出各种舞蹈造型。舞步具有“闪、转、旋、跃”和“蹲、腾、立、跳”的特点，“弯腰”、“屈膝” 动作变换时必须以“拧身”过度，每个舞姿都保持“体弯身拧”的特点，刚柔并济、步伐敏捷。 音乐伴奏：朝鲜族民歌的节拍形式属于三拍系统。三拍子以及由三拍子构成的 6/8、9/8、12/8、18/8 等复拍子在歌曲中占有重要地位。长鼓舞由唢呐、笛子、锣鼓、笙箫等多种吹奏和打击乐器伴奏，基本鼓点是 “咚咚、咚、咚咚、咚”。长鼓被击打时的轻重缓急与舞者的舞姿相互配合，使鼓与舞完美融合。舞蹈的曲调丰富多彩，包括《阿里郎》《道拉基》《阳山道》等。（来源：延边边境村落・历史文化数字展示平台，非物质文化遗产《朝鲜族非遗长鼓舞》）

◦ ====舞蹈特色==== 从艺术与审美价值来看，长鼓舞集击打、舞蹈、音乐于一体，实现了人、鼓、乐之间的高度协调。其刚柔并济的舞蹈动作和丰富的鼓点节奏，使其成为朝鲜族舞蹈艺术的代表，丰富了中国民间舞蹈的生态。从民族凝聚价值来看，作为朝鲜族节日与仪式中的核心表演形式，其轻快节奏和舒展动作体现了勤劳乐观的民族精神，是维系民族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区域的文化交融，作为国家级非遗，它通过传承基地和校园教学实现了文化的代际传承；同时通过国内外演出成为中外文化交流的桥梁。（来源：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：在长鼓舞的发展史中，涌现出了多位优秀的长鼓舞代表传承人，如中国长鼓舞技艺第一代传承人金斗昌，第五代传承人朴圣燮以及一级舞蹈演员崔美善。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，分别在图们市、延吉市、汪清县和前郭尔罗斯蒙古族自治县建立了朝鲜族长鼓舞传承基地，并举办了朝鲜族长鼓舞理论与技艺研讨会。延吉市文化中心则开设了朝鲜族长鼓演奏技法培训班，为长鼓舞的传承与发展搭建了学习交流平台，培养专业人才。（来源：《延边边境村庄・历史文化数字展示平台，非物质文化遗产《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.分为柔派长鼓舞和刚派长鼓舞，柔派长鼓舞动作柔和舒展，多表现抒情意境；刚派长鼓舞动作粗犷有力。 4.金斗昌。 5.在图们市、延吉市、汪清县和前郭尔罗斯蒙古族自治县建立了朝鲜族长鼓舞传承基地。