In the iQIYI variety show "Dance Student" broadcast last weekend, the Dunhuang Dance cooperated by the guest theoblade THE9-Xu Jiaqi and the contestants made the audience sigh that they saw our current "cultural self-confidence" in this variety show. As an important part of the history of ancient Chinese dance, Dunhuang dance has strong Silk Road cultural characteristics, and the traditional meaning of Chinese dance and the charm of Chinese culture can be seen everywhere. The dancers danced lightly and softly, dancing like Lan Shucui, graceful like a dragon, and leading the audience to step on the magical land of Mingsha Mountain in the Mogao Caves, and closely touching the history of the customs and customs that has been shining so far.
It is worth mentioning that the reason why Dunhuang dance can leave a strong mark in the long and splendid history of China is that it reflects the dissemination, exchange and integration of dance music art at that time. The Elements of Chinese and Western Culture, which are immersed in Dunhuang dance, are precisely the biggest characteristics of the inclusiveness of Chinese culture: in terms of dance style, it not only inherits and carries forward the Tang Music Dance, but also integrates the cultures of various ethnic groups in the Western Regions, forming a fusion characteristic of both the subtle and ethereal nature of the Central Plains and the unrestrained and feminine characteristics of the Western Regions. In terms of character image, it draws on representative cultural symbols such as Greek goddesses, Indian gods, and Persian veils, and integrates and creates a main image that has both the classical and feminine forms of the Han and Tang Dynasties, and finally forms Dunhuang dance, which fully demonstrates the traditional chinese culture of 5,000 years.
The eclectic continuation of Dunhuang dance is enough to explain why Chinese culture is so wonderful and profound. As General Secretary Xi Jinping said, the long volume of history has been unfolded, from the Zhao Wuling King Hufu Riding and Shooting, to the Sinicization Reform of Emperor Xiaowen of the Northern Wei Dynasty; from "Luoyang Family Learning Hule" to "Wanli Qiang People Doing Han Song"; from the frontier ethnic groups' habit of "tops and underwear" and "Yage Confucian clothes", to the prevalence of "tops and pants" in the Central Plains, Hu yi Hu hats, and the lion dances, huqin, and qipao that can be seen everywhere today, showing the mutual learning and integration of various ethnic cultures. The interplay of cultures of all ethnic groups and the enduring renewal of Chinese culture are the root of our strong cultural self-confidence today.
And such cultural self-confidence also abounds in "Dance Student", as a variety show of all dances, the integration and exchange of dance types can also be seen everywhere in the program. For example, the "M&M" of Chen Weiting's group in this issue of the program tried to mix and match popular and ethnic dances: from the very beginning, when I heard that Michael Jackson's dance was to try to integrate with Mongolian dance, Korean dance, Dai dance and other ethnic dances, to the continuous attempt process, it was wonderful until the eyes were full of joy, and Chen Weiting, who came to help in this issue, can be described as a large-scale "true incense" scene.
It can be said that China's long history provides inexhaustible and rich materials for dance creation, and "Dance Students", which tries to lead the audience to understand the ecology of Chinese dance, provides a platform for the exchange and integration of multiple dance types for professional college students and dance troupe dancers participating in the program, and jointly explores the possibility of more diversified combination and presentation of traditional dance styles and performance, pop and other cultures.
Editor: Guo Chaohao
The graphics and text are synthesized from Sina Entertainment, iQiyi, etc