The Research Of Female Roles’ Types In Jiaozhou Yangko

Jiaozhou yangko, also called “yangko in marching” or “yangkoon spot”, whose popular name is “crazy yangko” or “yangko in threecurves”, was regarded as one of the three greatest Shandong yangkosalong with Haiyang yangko and Guzi yangko.Jiaozhou yangko holds a history of over300years up to thepresent. As the first national intangible cultural heritage ofQingdao, it mainly spreads popularly among the area of Jiaozhou gulf.Characterized by graceful charming and natural stretching dancingmovements with masculine and morbidezza and mysterious dancing stylewhich features in heavy raise, light fall, flying walk,3curves,9motions and18postures, Jiaozhou yangko has become well-known homeand abroad. Its distinct melody and specific style not onlydemonstrate out the earnest and straightness of Shandong people’spersonality, but also exert the elegance and tenacity of Shandongwomen’s characteristic to the utmost. As a result, Jiaozhou yangkowas finally brought into the classroom teaching of folk dances inthe1950s and became a compulsory course of Peking Dance College,from which we can see it plays a really important role in Chinesefolk dances.This thesis begins with the analysis for the types of female rolesin Jiaozhou yangko. By adopting the document-analyzing inductivemethod in historical research, field-survey recording method etc,it has made a relatively complete trim and analysis via explorationinto the development and current situation of folk dancing classroomteaching as well as the stage products in specialized colleges andthat of the self-mode, cultural property, aesthetic value ofprimitive Jiaozhou yangko’s female roles during the process ofsocial alternations and historical changes. In addition, it alsocarries out a attempted probe and revolution of the key issue abouthow to protect this national intangible cultural heritage in theclassroom teaching of specialized colleges in Shandong province soas to prevent it from drifting with the current and maintain its ownproperties of strong-featured show style and original culture.In the newly-edited textbook of Jiaozhou yangko, I has rearrangedthe six traditional training sessions according to the distinction between the characteristics of the female role’s melody andcharacter and tried my best to keep the use of stage properties andaccompanying music native, which can help create a primitivecountry-like context in the classroom, let the students get know ofthe female role’s stylistic features of primitive Jiaozhou yangkoand fortify their understanding about the essence of style in orderto achieve the goal of protecting inheriting Jiaozhou yangko. Ibelieve that although the essence of dancing arts is innovation, weshould still erect a wall first and tell the students how our originalarts look like and where our root stands in before we pursue thefurther developments.The origin of the primitive Jiaozhou yangko art is deeply rootedin the earth in which it was nourished. The development and creationof this art can not be separated from its precursor in case it maylose its intrinsic vigor. Therefore, both the teachers and editorsshould take a rigorous attitude towards the edition, creation andcombination of their works. Only by reasonable innovation anddevelopment on the basis of studying further on its historicalculture, can they work out the classical masterpiece both of Jiaozhounative feature and epochal aesthetic value.