Tht Study On Shamanism Dance In Ke'Erqin Of Inner Mongolia

This thesis takes Shamanism Dance in Ke'erqin of Inner Mongolia as the object of study. By sorting and analyzing related information and combining with open land investigation record, it also explores and sums up the origin, development, movement pattern, style, features and causes of formation, and based on this, further researches into the relation between the Shamanism Dance and the other folk dances in this area.The whole thesis is divided into six parts: introduction, overview of Ke'erqin Shamanism Dance, analysis of the dance form of Ke'erqin Shamanism Dance, analysis of the dance movements of Ke'erqin Shamanism Dance, analysis of the dance style of Ke'erqin Shamanism Dance, Ke'erqin Shamanism Dance and the contemporary Mongolian Dance, and the conclusion.The introduction part introduces the original intention of choosing this subject. Shamanism Dance has a long history and is an indispensable part of Mongolian folk dance, with its rich connotation and unique form and style. The existing dispersing research also determines that it is necessary to do a systematic research centering on this subject. As regards researching method, the author takes exploration of the movement pattern and features as the first research objective, emphasizes its descriptive function and finally solves the problem of causes.The overview part introduces the origin, the developing course and existing patterns of Shamanism Dance in Ke'erqin of Inner Mongolia and marshalled the geographical environment and historical circumstances where it came into being. In that process, the author puts forward the idea that Ke'erqin Shamanism Dance is different from the other Mongolian folk dances and is less influenced by external religions. The existing Shamanism Dance still plays a part of the religious function, and directly carries on the original Shamanism Dance.The part"analysis of the dance form"analyzes the dance pattern with the concept of choreme in the researching method expounded by Zi Huajun and other experts in the book Dance Ecology. This part precisely describes the dance of inventing God, dance of sending God,dance of worship,dance of wizerd and dance of drum.respectively, and further explains the religious connotation of dance.In the part"analysis of the dance movements", combining with open land investigation record, the author analyzes the head movements of Shamanism Dance----bowing the head, closing eyes, drawing in the underjaw, and straightening the neck----variation of the shoulder movements, arm's inner-side gyration and symmetry, bending knees, half squatting, Yinyang step and Gencuo step. Focused on dance itself, from description of visual movements to exploration of the movement motives, the analysis is detailing the part"analysis of the dance pattern".Based on the former analysis of the pattern and movements of Ke'erqin Shamanism Dance, the part"analysis of the dance style"puts forward the idea that Shamanism Dance possesses a whole style ---- coexistence of concrete stimulated reproduction and symbolic abstract meaning, blending of open stretching and introvert closing, and furor. Meanwhile, the author also believes that the above three style features form under the joint effect of natural environment, religion, and Shamanism itself.The part"Ke'erqin Shamanism Dance and the contemporary Mongolian Dance"takes Andai Dance and Mongolian dance on the stage as examples to dig out the relics of Shamanism culture in these dances. The author believes that Shamanism Dance enriches the vocabulary of Mongolian dance, expands the subject matter of Mongolian dance, and has great influence on Mongolian music and costume. Thus, the status and influence of Ke'erqin Shamanism Dance is demonstrated. The conclusion part summarizes some understanding and innovation that the author brings up during the course of argument.