Exploring Yangtze River Culture through Jingchu Dance

The evolution of civilization in the Yangtze River Basin has always coexisted and prospered with dance art.  As one of the important birthplaces of the Yangtze River culture, the dance art of Jingchu region integrates the Central Plains ritual system with the culture of southern ethnic minorities, forming unique aesthetic features such as "upturned sleeves and folded waist" and "slender waist and long sleeves".  From sacrificial Nuo dance to wedding waving, from plate and drum dance  to lianxiang dance , Jingchu dance is not only a witness to history, but also a living expression of the endless vitality of Yangtze River culture.

Sacrifice and Ritual: "Nuo Dance" and "Funeral Jumping Dance"

The ancestors of Jingchu used the "Nuo Dance" to exorcise evil spirits and invoke blessings. Dancers wore masks and performed the battle of the gods with vigorous body language, their movements imbued with the masculine energy of a "tiger descending the mountain." Meanwhile, the "Funeral Jumping Dance" in Badong and Changyang regions showcases their concept of life and death: the dance posture of "tiger hugging its head" in the form of a white tiger intertwines with the rhythm of relaxed, trembling knees, elevating the funeral ritual into a celebration of life.

Folk Customs and Local Flavor: "Hand-Waving Dance" and "Lianxiang"

The "Hand-Waving Dance" of the Tujia people centers around the "eagle soaring in the sky" steps, including the flashing wing step and the grinding eagle step, simulating hunting scenes and showcasing the diligence and wisdom of the Tujia ancestors.   The "Lianxiang" of Enshi combines the lianxiang stick with bamboo poles, using techniques such as "circling and striking," "tossing and catching with turns," and others to depict the grace and agility of young girls in a waterside village.   Additionally, the "Eight Treasures Copper Bell Dance" of the Tujia people uses copper bells as props.   Dancers convey the mysterious atmosphere of sacrifices and festivals through the clear sound of the bells and body movements, making it an important symbol of Tujia culture.

Historical Classics: "Plate and Drum Dance" and "Mulberry Picking"

The "Plate and Drum Dance" of the Han Dynasty used the drumhead as a stage, with dancers leaping and moving between seven plates, their movements combining strength and grace in "soaring jumps" and "stomping steps," making it a pinnacle of Jingchu music and dance.  Meanwhile, "Mulberry Leaf Picking" simulates the act of picking mulberry leaves, showcasing the poetic charm of farming life in the land of Chu, and is a concrete expression of imagery such as "plucking the tender convolvulus" found in "The Songs of Chu."

The modern rebirth of Jingchu dance

"Chime and Dance of the Ancient Bells": Utilizing the chimes of Marquis Yi of Zeng, it revives the scenes of sacrifice and banquet music in the state of Chu, combining the sounds of bells and chimes with the elegant long-sleeved dance movements, recreating the harmonious "eight musical tones" of the ritual and music civilization.

"Nine Songs" Song-Dance Poetry and Music: Based on the poems of Qu Yuan, it interprets the Chu people's longing for their homeland and national sentiment through classical dance postures featuring "slim waists and graceful necks" and sacrificial rituals of "stroking the table and descending,".

"Tuliba people", using Tujia wedding customs as a thread, incorporates folk songs and dances such as "Eight Treasures Copper Bell Dance" into a modern dance drama, unveiling a folk custom tableau;   "Home by the Yangtze River", integrating diverse art forms including song, dance, music, painting, and poetry, portrays the picturesque humanistic charm of the Yangtze River, and has won honors such as the Wenhua Award and the Lotus Award.

"Wang Zhaojun" blends the water sleeves of the Chu region with the steppe hu-jia (a type of reed instrument), portraying the great righteousness of leaving the imperial palace for the northern deserts for the sake of the country, and showcasing the collision and fusion of northern and southern cultures; "Landscape Ballad", against the backdrop of the tragic swan song of the children of the Xiajiang River, uses modern stage design and body language to delve into the lofty realm of the characters' spirits.