History of Ethnic Minority Dances in China

Author: Chief Editor: Ji Lanwei et al.
Publisher:
Publish Date: 1998-11-01
Features: Excerpts: In the upper part of the image, there is an original painting of a grand-scale female dance. There are nine female dancers, all nude, with full breasts, slender waists, and round hips, displaying exquisite and charming figures. Their faces are rendered using shallow bas-relief techniques, creating lifelike depictions with large eyes, high noses, round faces, small lips, slender necks, and long legs. They wear feathered tall hats and dance with outstretched arms, moving in a neat and harmonious manner. Another scene depicts a large collective dance, divided into three groups of dance images: one group with 34 dancers, another with 21 dancers, and a third with 31 dancers. Among them, dancers of both genders and all ages participate, accompanied by animals such as tigers and monkeys. Over 30 small figures perform collective dances with bent bodies and heads, moving in a synchronized manner, creating an extremely lively atmosphere. The most precious aspect of the Kangjiashimen rock paintings lies in the numerous prehistoric dance scenes depicting animal imitations and (genital worship). For example, primitive ancestors dressed as various animals, wearing monkey heads, with triangular faces, large ears, short foreheads, round eyes, wide noses, and arms held straight upward, performing dances in human-like poses. In the scenes, both men and women are nude. The male dancers are rugged and strong, with most displaying exaggerated genitalia. The female dancers are graceful and beautiful, with some lying together playfully, others embracing or engaging in sexual activities, and some dancing wildly. Wang Binghua, in an article published in Xinjiang Cultural Relics, commented on the artistic value of the Kangjiashimen rock paintings in the history of Chinese dance: "Not only do they provide us with a rare depiction of large-scale dance scenes from primitive society, filling a gap in the study of dance history in northern Xinjiang, but they also offer significant new materials for research on the origins of primitive dance." Rock paintings in the Alishan range, a branch of the Kunlun Mountains in southern Xinjiang, also preserve many prehistoric scenes of primitive dances and songs. For instance, rock paintings along the Muliqa River in the Alishan Valley depict animal imitations, with dancers adorned with animal tails, deer antlers, feathered headpieces, and dancing costumes, holding hands and performing. Scattered around are images of solo, duet, and group dances. The dancers are all equipped with headpieces and tail decorations, dressed in animal hides, and holding ox tails or hunting trophies, spinning and dancing—a scene that perfectly matches the primitive dances and songs described in the Ancient Music Chapter of Lüshi Chunqiu ("In the past, Ge Tian's music was performed by three people, holding ox tails and stamping their feet to sing eight songs"). The Xingdi rock paintings in the Kuruk Mountains, stretching from Kurla in the west to Shule River in the east, contain nearly 300 images, many of which reflect dances associated with religious rituals, warfare prayers, and hunting celebrations. According to Hu Bangzhu's on-site investigations, one scene depicts a duet where both dancers face forward, with each holding the other's shoulder with one hand. Their legs are bent, and the right dancer moves his left arm downward while the left dancer extends his right arm horizontally, holding an object resembling a sheep—this may have been a ritualistic dance. Another group of duet dancers exhibits different characteristics: the left dancer has long feathers in his hair, dressed as a half-human, half-beast—this could have been a mimetic dance or a form of shamanism. Additionally, there are scenes of primitive people engaging in wrestling and acrobatic performances, such as inverted aerial flips, fully showcasing the exceptional skills of ancient Xinjiang dancers.
Four. Legendary Western Music and Dance
According to the Mu Tianzi Zhuan, unearthed from the tomb of King Xiang of Wei in the Jin Prefecture during the Warring States period, King Mu of the Western Zhou Dynasty (the fifth generation) was a highly ambitious ruler named Ji Man. During his 17th year of reign, he traveled westward in a chariot pulled by eight majestic horses, commanded by drivers such as Zao Fu and Li Yi, leading six armies. He ventured far into the ancient western regions, meeting the Queen Mother of the West on "Qunyu Mountain" (Yaoshi) and experiencing the magnificent and colorful music and dance arts of the area. The Zuo Zhuan, Volume 12, records: "In the past, King Mu wished to satisfy his desires by traveling the world, leaving traces of his chariots and horses everywhere." The Zhushu Jiyian also states: "In the 17th year of King Mu's reign, he marched westward to Kunlun Mountain and met the Queen Mother of the West." From this, we can confirm that King Mu, also known as the "Heavenly King Mu," indeed existed in Chinese history. It is believed that "Qunyu Mountain," or "Yushan," refers to "Kunlun Mountain." The Shanhaijing (West Mountain Circuit) chapter describes: "Yushan is where the Queen Mother of the West resides. She resembles a human but has leopard tails, tiger teeth, and a booming roar. Her hair is unkempt, and she wears a victory crown, overseeing the five calamities and punishments of heaven." The Shanhaijing (Great Wilderness West) chapter also mentions: "On Kunlun Mountain, there is a deity with a human face, tiger body, marked tail, and white complexion. She wears a victory crown, has tiger teeth and leopard tails, lives in caves, and is named the Queen Mother of the West." Based on these descriptions, the mythical Queen Mother of the West is depicted as a fierce and monstrous deity of Kunlun. The terms "Queen Mother," "victory crown," and "blue bird," all rich in feminine connotations, further suggest that she was the female leader of the western Kunlun Mountains.
Afterword:
The History of Ethnic Minority Dance in China was an early research project initiated by the Institute of Ethnic Literature and Arts at Minzu University of China. In 1991, it was included in the university's "Eight-Five" key research plan, and by the end of the year, a writing team was formed, comprising dance history and theory experts from Minzu University of China, Jilin, Inner Mongolia, Xinjiang, Tibet, Yunnan, Guizhou, and Guangxi. In 1997, the project was also included in the "National Art Science 'Nine-Five' Plan" as a state-funded research topic. During the writing process, the book received enthusiastic support, guidance, and assistance from renowned experts and scholars in the dance and ethnic history fields. Among them were famous dancers and historians Dai Ailian, Jia Zuoguang, Wang Kefen, and Zhi Huajun, as well as the distinguished ethnic historian Professor Chen Yongling. Mr. Jia Zuoguang, despite his busy schedule, reviewed part of the manuscript and wrote a preface for the book. Professor Liu Baoyuan, former director of the Institute of Ethnic Literature and Arts at Minzu University of China, Associate Professor Li Yushan, former chair of the Dance Department, and Researcher Luo Xiongyan of Beijing Dance Academy all participated in the initial preparation of the book. General Manager Zhang Rui of the Wuyi Art Costumes Factory in Hohhot, Inner Mongolia, donated 10,000 yuan to support the book's publication, making a significant contribution to its timely release. From the project's inception to publication, it also received the care and support of Professor Yu Chen, director of the Research Department at Minzu University of China; Associate Professor Ding Wenlou, president of Minzu University of China Press; and Academician Yuan Bingchang, special editor. Professor An Keqin, honorary director of the Institute of Ethnic Literature and Arts at Minzu University of China, and Deputy Researcher Yun Feng, also provided support.
With heartfelt gratitude and respect, we express our sincere thanks and appreciation to all the experts and institutions mentioned above for their immense support and assistance in bringing this book to fruition. The History of Ethnic Minority Dance in China was written on the foundation of previous research, incorporating the latest findings through collaborative effort. Due to the authors' limited capabilities, imperfections and errors may still exist, and we kindly invite readers to point them out.
The Writing Team of The History of Ethnic Minority Dance in China
January 1998