User:Cao Yuan

                                                                    Mongolian Ethnic Dance
                                                                          Cao Yuan

Abstract

   As a form of cultural pracitce,Mongolian traditional dance is not only a typical representative of grassland nomadic culture,but also an important part of Chinese dance culture.As a typical represetative of the dance of Mongolian dance has always beendeeply embedded with the historical migration,cultural identity and grassland ecology of Mongolian. The Mongolian nationality is a typical northern nomadic people. In their daily production and life, the ancestors of  the grassland express their thoughts of advocating nature and their brave and enthuisatic  national character by imitating the natural forms of animals,plants,mountains,rivers and so on.Over time,the most primitive state of Mongolian dance has been formed(Olis,2024).Its movement system is not only derived from the dynamic refinement of production methods such as shamanism and Tibetan Buddhism, showing the aesthetic characteristics of 'vigorous stretch, hardness and softness'.In terms of body characteristics, Mongolian dace emphasizes the posture of 'standing chest and standing waist, waist and other parts, it forms a dynamic language of 'clear edges and corners,soft middle and rigid'. From an overall perspective, the tilt state of Mongolian dance through the lower limbs and head belongs to the key dance form in Mongolian dance(Li,2020).As an imporatant of Chinese dance culture,Mongolian dance, with its unique artistic charm and cultural value, has become an important carrier for studying the historical context, national spirit and ecological wisdom of grassland civilization. Its inheritance and development have always been rejuvenated in the dialogue between tradition and modernity.

Main Parts 1.Historical evolution of Mongolian dance

   The historical evolution of Mongolian dance can be traced back to the Neolithic Age.In the rock paintings of Yinshan and Ulanqab in Inner Mongolia, dancers danced with bows and simulated the scenes of birds and beasts, which were intertextual with the celebratory dance recorded in the 'secret history of Mongolia', confirming the symbiotic relationship between early dance, hunting ceremony and nature worship.After 16th century, the infiltration of Shamanism and Tibetan Buddhism promoted the transformation of its religious ritualization. The sacrificial dance of Shaman wizards' rotating hundreds of circles in situ' evolved into a collective ceremony of 'throwing scarves and stepping around the circle'in Andai dance.The secularization of religious dance is particularly significant in folk scenes such as Ordos wedding. In modern times, the purification of dance in nomadic civilization has become hte core feature.The 'horse hand 'and'backward kicking step' in male dance derived from the rein posture and horse training dynamics.The 'cradle step'and 'flying geese' of female dance stimulate the migration of migratory birds through the ups and downs of their arms. This kind of artistic refinement of life movements reaches the extreme in classic works such as 'horse knife dance' of the 'horseman'.The dancer stimulates the rotation of the set of horses with a hard shoulder, and twists the waist to show the explosive force of the horse, sublimating the wisdom of grassland survival into a body language with philosophical implications.

2.Classification and corresponding characteristics of Mongolian dance

   According to the function and form, Mongolian dance can be devided into four categories:religious sacrifice,folk life,competitive performance and epic narrative. In the religious sacrificical dance, Chama dance take Tibetan Buddhist celebration as the carrier, intergrates the mask of protector god, stylized movement and Buddhist narrative, and forms a four-in-one art form of'speaking,singing,dancing and music.'Among the folk life dances, Andai dance belongs to the first dance of the Mongolian nationality.'Andai'is translated as 'bow up' or raise your head 'in the Mogolian language.The early Andai dance belongs to religious dance,which is usually used to pray for the protection of the gods and healing of diseases.(Zu long Caiqige,2023).Andai dance evolved from a shaman healing ritual to a collective song and dance, forming an interactive mode of "stepping around a towel and stepping around a towel"; Chopstick dance through red silk chopsticks and shoulders around the circle movement law, show male heroic spirit; Cup bowl dance with the head of the porcelain bowl, holding the double cup "pull arm, soft arm, broken shake shoulder" movement, to convey the beauty of women's modesty and flexibility. In the competitive performance dance, the horse knife dance is based on the movement of soldiers' knife drill, and shows the bravery of grassland warriors through "chopping, blocking and jumping"; The archery dance simulates the posture of drawing a bow and archery, and conveys the martial spirit by "lunging, twisting the waist and swinging the arm". Epic narrative dance is based on the heroic epic of the Mongolian nationality, and reappears historical events and myths and legends through the techniques of "duet dance, group dance and mime", which is both narrative and ornamental.

3.Cultural connotation of Mongolian dance

   The cultural coontation of Mongolian dance can be explained from the three dimensions of collective memory of nomadic civilization, totem expression of nature worship and aesthetic presentation of national spirit.The original form of 'stepping on the ground for the festival ' and 'dancing around the ress' profoundly reflects the lifestyle of 'living by water and grass.'Inthe aspect of nature worship, the worship of eagles, horses and mountains is directly projected into dance movements.'Sawuerdeng'stimulates the gallop of horses with shoulder shaking to convey deep emotion to grassland. At the level of national spirit, the rhythm characteristics of 'Dakai Dahe, Shuzhan Haomai' are isomorphic to the Mogolian national character of ' enthusiastic and uninhibited'.'Benteng' shows the high-spirited spirit of the Chinese nation in the new era through the change of group dance formation.' Happy song of bell props. This kind of dance sublimates the national spirit into and asethetic form with universal value through the artistic treatment of body language.The movement characteristics of Mongolian dance are distinct.It combines strength and softness,strength and gracefulness. For example, bold and unrestrained horsesteps, vigorous and powerful shaking shoulders, and strtchy and smmoth soft arms not only show the bravery and boldness of the Mongolian people, but also reflect their love of life and pursuit of beauty(Narula,2025).

4.Modern development and innovation of Mongolian dance

   Choreographers have integrated works that resoonate with audiences across generations（Si,2024）. The modern development of Mongolian dance is embodied in the three paths of contemporary reconstruction of traditional vocabulary, pratical exploration of cross-cultural integration and technological empowerment of stage aesthetics. Learning and inheriting Mongolian dance enables students to deeply appreciate the cultural values and traditional customs behind it, strengthening their cultural identity（Chen&Moonsuwan, 2025).

In the reconstruction of traditional vocabulary, contemporary choregraphers give new connotations to traditional movements through deconsturction and reorganization. For example,'Eagle'integrates modern dance gournd movements and space scheduling on the basis of retaining shoulder hard towering, showing the dialogue between man and nature.'Gobi Dune ' uses 3D projection technology to create a desert landscape and strengthen the visual impact of dance.In terms of corss- cultural intergration,Mongolian dance actively absorbs nutrients from other art forms.' Dancing strings' combines horsehead music with modern choreography, and creates an aesthetic experience of'sound and shape isomorphsim' through light changes.Because Monogolian dance and ballet have the characteristics of upright, open outside in terms of posture,rhythm and aesthetic style of dance, there is a certain internal relationship between the two.(2023,Yang Qian)' Into the Light' expands the performance dimension by drawing on the ballet toe technique. In the field of stage aesthetics, digital media techonoligy promotes the innovatin of Mongolian dance presentation, and' grassland wine song' realizes the interaction between dancers and virtual grassland through AR technology.'Romantic Prarie' uses UAV formation to stimulate flying geese and enhance narrative tension. This kind of innovation not only retains the stability of traditional dance genes, but also expands its performance space through modern means, providing a new path for the inheritance and development of Mogolian dance in the contemporary cultural context,making it always become a link between national memory and the spirit of the lines.

Terms and Expressions:

shamanism 萨满教 tibetan buddhism 藏传佛教 ulanqab city 乌兰察布 'The Secret History of the Mongols' 《蒙古秘史》 andai dance安代舞 lamaism 喇嘛教 cup and bowl dance 蛊碗舞 Totem expression 图腾表达 Khorchin'Bo'dance科尔沁“博”舞 horse-heade fiddle马头琴 'Savourden'《萨吾而登》 Combining hardness with softness刚柔并济 Buddhist narrative佛理叙事 ‘Happy song bell ringing’《马铃摇响幸福歌》 ‘Happy song bell ringing'《草原酒歌》

Questions:

1.What kind of historical factors is Mongolian dance related to? 2.Which two religions drove the transformation of Mongolian dance? 3.What kinds of Mongolian dance can be divided according to function and form? 4.What are the implications of the improvisational performance of Andai? 5.What is the innovation of Dancing Strings?

Answers:

1.Historical migration, cultural identity and grassland ecology 2.Shamanism and Tibetan Buddhism 3.According to the function and form, Mongolian dance can be divided into four categories: religious sacrifice, folk life, economic performance and epic narrative. 4.It is not only an imitation of grassland life, but also a strengthening of group cohesion. 5."Dancing Strings" combines morin khuur music with modern choreography, and creates an aesthetic experience of "sound-form isomorphism" by referring to ballet and lighting changes.

References:

[1]娜如拉.蒙古舞在当代舞蹈教育中的价值与影响研究[J].尚舞,2025,(05):117-119. [2]欧丽斯.传承中华优秀传统文化背景下蒙古舞的创新路径[J].大观(论坛),2024,(09):54-56. [3]杨婧.芭蕾基训与蒙古舞训练的融通互恰[J].尚舞,2023,(22):156-158. [4]祖龙才其格.蒙古舞的地域特征及艺术表现分析[J].尚舞,2023,(05):123-125. [5]李大.蒙古族民间舞蹈表演形式的地域性研究[J].艺术品鉴,2020,(24):71-72. [6]Zheng, Fang & Li, Qi. (2023). Cultural Memory and Interpretation of Meaning: Mongolian Dance in the Perspective of the Chinese Nation Community. 10.2991/978-2-38476-126-5_220. [7]Si, A. (2024). Exploring the Integration of Mongolian Dance in Aesthetic Education for its Inheritance and Development. International Education Forum. 2. 48-53. 10.26689/ief.v2i10.8875. [8]Chen, Yuxuan & Moonsuwan, Thanyalak. (2025). The Inheritance and Innovation of Modern Mongolian Dance: A Case Study of "Ben Teng". Journal of Posthumanism. 5. 4737-4748. 10.63332/joph.v5i5.1963.

                                                                          蒙古族舞蹈

摘要

 蒙古族传统舞蹈作为一种文化实践形式，不仅是草原游牧文化的典型代表，也是中国舞蹈文化的重要组成部分。(Zheng,2023). 蒙古舞作为中国北方游牧民族舞蹈艺术的典型代表，其形成与发展始终与蒙古族的历史迁徙，文化认同及生态形成深度互嵌。蒙古族是典型的北方游牧民族，草原先民们在日常生活中，通过模仿动物、植物、山川、河流等的自然形态，用肢体语言来表达他们崇尚自然的思想和勇敢热情的民族性格，久而久之，便形成了蒙古族舞蹈的最原始形态（欧丽斯，2024）。动作体系既源于收留、游牧等生产方式的动态提炼，又深受萨满教，藏传佛教等宗教意识的形塑，呈现出“雄浑舒展、刚柔并济”的美学特质。在体态特征上，蒙古舞强调“挺胸立腰、上身略后倾”的体态，通过肩、臂、腕、腰等部位的协调律动，形成“棱角分明、柔中带刚”的动态语言。以整体角度分析，蒙古舞通过下肢、头部构成的倾斜状态术语蒙古舞中关键舞蹈状态（李大，2020）。作为中华舞蹈文化的重要组成部分，蒙古舞以其独特的艺术魅力与文化价值，成为研究草原文明历史脉络、民族精神及生态智慧的重要载体，其传承与发展始终在传统与现代的对话中焕发新生。

论文主体部分 1.蒙古舞的历史演变

 蒙古舞的历史演变可以追溯至新石器时代，内蒙古阴山、乌兰察布等地的岩画实证显示，其岩画中舞者执弓而舞、模拟飞禽走兽的场景，与《蒙古秘史》记载的庆典舞蹈形成互文，印证早期舞蹈与狩猎仪式、自然崇拜的共生关系。十六世纪后，萨满教与藏传佛教的渗透推动宗教仪式转型萨满巫师“原地旋转数百圈”的祭祀舞蹈演变为安代舞中“甩巾踏步、绕圈狂欢”的集体意识，宗教舞蹈的世俗化转向在鄂尔多斯婚礼等民俗场景中尤为显著。至近现代，游牧游牧文明的舞蹈提纯为核心特征，男性舞蹈中的“勒马手”“倒踢步”源自握缰姿态与驯马姿态，女性舞蹈的“摇篮步”“雁飞”则通过双臂欺负模拟候鸟迁徙，此类对生活动作的艺术化提炼在《牧马人》《刀马舞》等经典作品中达到极致，舞者以肩部硬耸模拟套马杆旋转，以腰部拧转表现勒马爆发力，将草原生存智慧升华为具有哲学意味的身体语言。

2.蒙古舞的分类与相应特色

 蒙古舞依据功能与形式可分为宗教祭祀、民俗生活、经济表演、史诗叙事四类。宗教祭祀类舞蹈中，查玛舞以藏传佛教庆典为载体，融合护法神面具、程式化动作与佛理叙事，形成“说、唱、舞、乐”四位一体的艺术形态。民俗生活类舞蹈中，安代舞属于蒙古族的第一舞，“安代”在蒙古族语言当中被译为“欠身起来”、“抬起头来”。初期的安代舞属于宗教性舞蹈，通常用来祈求神灵庇佑、求神治病（祖龙才其格，2023）。安代舞从萨满治病仪式演变为集体歌舞，以“甩巾踏步、绕巾踏步”形成互动模式；筷子舞通过扎红绸的筷子与肩部绕圆动律，展现男性豪迈气概；盅碗舞以头顶瓷碗、手持双盅的“拉臂、柔臂、碎抖肩”动作，传递女性端庄柔韧之美。竞技表演类舞蹈中，马刀舞以战士持刀操练动态为原型，通过“劈砍、格挡、腾跃”展现草原武士的英勇；射箭舞则模拟拉弓射箭姿态，以“弓步、拧腰、甩臂”传递尚武精神。史诗叙事类舞蹈以蒙古族英雄史诗为蓝本，通过“对舞、群舞、哑剧”手法再现历史事件与神话传说，兼具叙事性与观赏性。

3.蒙古舞的文化内涵

 蒙古舞的文化内涵可以从游牧文明集体记忆、自然崇拜图腾表达、民族精神审美呈现三重维度阐释。其“踏地为节”、“绕树而舞”的原始形态深刻反映“逐水草而居”的生活方式。自然崇拜方面，对雄鹰、骏马、山川的崇拜直接投射于舞蹈动作中，《萨吾尔登》以肩部抖动模拟骏马奔腾，传递对草原的深厚情感。民族精神方面，“大开大合、舒展豪迈”的动律特征与蒙古族“热情奔放、豪爽不羁”的民族性格形成同构，《奔腾》通过群舞阵型变化展现新时期中华民族昂扬精神，《马铃摇响幸福歌》以马铃道具节奏讴歌草原幸福生活，此类舞蹈通过身体语言的艺术处理，将民族精神升华为具有普世价值的审美形态。蒙古舞的动作特点鲜明，它融合了力量与柔美、刚健与婀娜。例如，豪迈奔放的马步、矫健有力的抖肩以及舒展流畅的柔臂等动作，既展现了蒙古族人民的勇敢和豪爽，又体现了他们对生活的热爱和对美的追求（娜如拉，2025）。

4.蒙古舞的现代发展与创新

 编舞人员巧妙地将传统舞蹈元素与现代艺术理念相结合，创造出与不同年代的观众产生共鸣的创新产品（Si,2024）。蒙古族舞蹈的学习和传承，使学生对蒙古族舞蹈有了深刻的体会。学习相关的文化价值和传统习俗，加强了他们的文化认同，促进了文化包容性（Chen&Moonsuwan, 2025)。在传统语汇重构中，当代编导通过解构与重组赋予传统动作新内涵，如《鹰》在保留肩部硬耸基础上融入现代舞地面动作与空

间调度，表现人与自然对话；《戈壁沙丘》以3D投影技术营造沙漠景观，强化舞蹈视觉冲击力。跨文化融合方面，蒙古舞积极吸收其他艺术形式养分，《舞动的琴弦》将马头琴音乐与现代编舞结合，通借鉴芭蕾过灯光变化营造“声形同构”审美体验；由于蒙古舞与芭蕾舞在体态、韵律与舞姿审美方式上存在挺拔与直立、形体外开与内心开阔等特征，因而二者存在一定的内在关联（2023，杨倩）。《走进光里》借鉴芭蕾足尖技巧拓展表现维度。此类创新既保留传统舞蹈基金稳定性，已通过现代手段拓展其表现空间，为蒙古舞在当代文化语境中的传承与发展提供新途径，时期始终成为连接民族记忆与时代精神的桥梁。

专业术语:

萨满教 shamanism 藏传佛教 tibetan buddhism 乌兰察布 ulanqab city 《蒙古秘史》'The Secret History of the Mongols' 安代舞 andai dance 喇嘛教 lamaism 蛊碗舞 cup and bowl dance 图腾表达 Totem expression 科尔沁“博”舞Khorchin'Bo'dance 马头琴 horse-heade fiddle 《萨吾而登》‘Savourden’ 刚柔并济 Combining hardness with softness 佛理叙事 Buddhist narrative 《马铃摇响幸福歌》‘Happy song bell ringing’ 《草原酒歌》'Happy song bell ringing'

问题：

1.蒙古舞与蒙古族哪几种历史因素相关？ 2.哪两种宗教推动了蒙古舞蹈的转型？ 3.蒙古舞依照功能与形式可以分为哪几类？ 4.安代舞的即兴表演有什么含义？ 5.《舞动的琴弦》的创新之处在哪？

答案:

1.历史迁徙、文化认同及草原生态 2.萨满教与藏传佛教 3.蒙古舞依据功能与形式可分为宗教祭祀、民俗生活、经济表演、史诗叙事四类。 4.既是对草原生活的模仿，也是对群体凝聚力的强化。 5.《舞动的琴弦》将马头琴音乐与现代编舞结合，通借鉴芭蕾过灯光变化营造“声形同构”审美体验。

参考文献：

[1]娜如拉.蒙古舞在当代舞蹈教育中的价值与影响研究[J].尚舞,2025,(05):117-119. [2]欧丽斯.传承中华优秀传统文化背景下蒙古舞的创新路径[J].大观(论坛),2024,(09):54-56. [3]杨婧.芭蕾基训与蒙古舞训练的融通互恰[J].尚舞,2023,(22):156-158. [4]祖龙才其格.蒙古舞的地域特征及艺术表现分析[J].尚舞,2023,(05):123-125. [5]李大.蒙古族民间舞蹈表演形式的地域性研究[J].艺术品鉴,2020,(24):71-72. [6]Zheng, Fang & Li, Qi. (2023). Cultural Memory and Interpretation of Meaning: Mongolian Dance in the Perspective of the Chinese Nation Community. 10.2991/978-2-38476-126-5_220. [7]Si, A. (2024). Exploring the Integration of Mongolian Dance in Aesthetic Education for its Inheritance and Development. International Education Forum. 2. 48-53. 10.26689/ief.v2i10.8875. [8]Chen, Yuxuan & Moonsuwan, Thanyalak. (2025). The Inheritance and Innovation of Modern Mongolian Dance: A Case Study of "Ben Teng". Journal of Posthumanism. 5. 4737-4748. 10.63332/joph.v5i5.1963.

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