Dance as a Reflection of Culture: The Yangge Dance

Student’s Names
Professor’s Names
World Dance Cultures
Dates
Term Paper Proposal the Yangge Dance
Contents Introduction. 1 The Yangge Dance. 1 Origin. 1 Purpose of Yangge dance. 2 Venue of Performance. 3 Participants. 4 Costumes. 4 Yangee Dance Characteristics. 5 Conclusion. 5 Introduction
This research paper seeks to investigate how a particular form of dance within this syllabus is inherently a reflection of its own culture. The particular dance will cover its origins, purpose, venue and the participants including its impact on war, colonialism, politics with a description of its costuming, music and the overall characteristics. Dance acts as the key participant in the cultural practices across the globe. Through the present and past research dance has proven to be an inherent reflection of the presented culture. Dance plays has a myriad purpose from a means of worship in Haiti, Turkey and India including Bali's rites, the noh and kabuki theatrical traditions of Japan, the Wodaabe, Yoruba, and Dogon tribes of Africa, the healing zar dances of North Africa, and the rituals and activism of Native American tribes all use dance. In Hawai'i, Java, and Cambodia, in Catherine of Medici's Renaissance beauty contests, and in the French Baroque spectacles of Louis XIV's Versailles and the Paris Opera, the presentation of court dance as a symbol of power will be investigated. The terrible genocide of Cambodia's Royal Dancers, the Cultural Revolution in China, the effect of the French Revolution on Romantic ballets like La Sylphide and Giselle, and the persecution of a dance form all of these events illustrate the inescapable influence of politics on dance.
The subject of the term paper is the Yangge Dance, a well-known and emblematic dance of the Han people in northern China. It was also one of the first things to be included to China's list of intangible national cultural assets. It has its roots in agricultural production activities and was once a type of singing activity performed by farmers during the planting of rice. Every year, dozens of women and kids from rural households went out during the spring plow. An individual beat a large drum, and when the drums sounded, "the group of songs competed for a long day," which was known as "Yangge." Every year, during the spring plow, dozens of women and children from farming families traveled to the fields to plant rice seeds together. World Dance Cultures showcases a remarkable range of dance traditions used all over the world for anything from healing, fertility, and religious rites to theatrical entertainment, death ceremonies, and ancestor worship.
The Yangge Dance
Origin
Haiyang yangge is a folk dance that dates back to the Han Dynasty (206 BC–219 AD) and was at its height around the middle of the Qing Dynasty (1639–1909 AD), when it was a vital component of festival celebrations. The Haiyang yangge group consists of a leader, a musical ensemble, and dancers. Folk songs, gongs, and drums make up the yangge music. Although its shape and substance are always evolving, haiyang yangge has played a significant role in daily life. Yangge has long been a joyful activity for people to watch or perform. Every year, yangge is carried out in the first month of the Chinese lunar calendar to symbolize a fruitful new year. Through the years, professionals, academics, and craftspeople have worked together to preserve and transmit Haiyang yangge in a high-quality manner (Wilcox, Emily 33–42). The Beijing Dance Academy's dance department included Haiyang yangge to the necessary curricula in 1979. The Ministry of Culture named Haiyang city as the "Home of Chinese Folk Art" in 1998.
Yangge danse perfomed by local people, source
Yangge, also known as "Rice Sprout Song" in Chinese 秧歌, is a type of folk dance that originated as a dance called "Village Music" during the Song period. It is one of the most typical forms of folk art and is particularly well-liked in northern China. Tongge El In rural China, people like dancing to it. People created it out of amusement while at work. It is among the Han ethnic group's most representative artistic expressions. Depending on where it originated, the Yangge Dance has a variety of traits. The one in Shandong, for instance, is a clever fusion of a number of other folk dances (Wilcox, Emily 33–42). This is among the three most well-known Yangge dances of all time. The one in Shandong, for instance, is a clever fusion of a number of other folk dances. It is also one of Shandong's three most well-known Yangge Dances. The Jiazhou Yangge and the Guzi Yangge are the other two; both are in northern Shandong. The Haiyang Yangge's primary method of artistic expression is dance.
Purpose of Yangge dance
Yangge is a collection of communal folk dance that mixes music, dance, and feats. It has a rich history and a variety of styles, each of which is defined by unique foot motions and manipulations of silk handkerchiefs (Cowart, Timothy, 49-49). The two most common varieties are ground yangge and silt yangge. Yangge is a well-known dish in rural China that has its roots in farming and rice cultivation. Additionally, it shares certain similarities with the eulogies recited in the past during offerings to the God of the Farm. folk wushu (martial arts), folk songs, farming songs, acrobatics, and traditional operas were all heavily included during its creation. Yangge had expanded throughout the nation by the Qing Dynasty (1639–1922). According to regions or its shape, Yangge has several styles, such as the Guzi Yangge in Shandong, the Yangge in Liaoning, Beijin, Hebei Yangee ground, and the northern shaanxi.
The Guzi Yangge is found in Shandong, the Yangge is found in northern Shaanxi, the Ground Yangge is found in Hebei, Beijing, and Liaoning, the Manchurian Yangge is found in Manchuria, and the Stilts Yangge is found in Liaoning. It's also very common to see other forms like the Huagu (Flower Drum), Huadeng (Festive Lantern), Caicha (Tea-Leaf Picking), and Yingko Yangges. They all exhibit contentment and happiness. The number of performers in the dance is not predetermined it might be two, three, twenty, or even more than one hundred (Holm, 92–105). The performers are attired, each wearing a headdress made of colored papers that has been folded and a crimson silk band...