On The Combination Of Tradition And Modernity

The Guzi Yangko dance as the northern Han Yangko dance, originated in ancient history, is one of the most representative four Yangko dances. After it has been passed down for thousands of years via its enrichment and sublation, The Guzi Yangko dance forms a unique procedure, ideas, customs, people’s aesthetic temperament and interest, and thinking mode etc. Of course, as times changed, the interaction among all kinds of ideology, especially the great influence of Marxist thought and the ideology to represent the proletarian interests and demands on the building of socialist material civilization and spiritual civilization, has changed Chinese values and outlook on life of nearly a hundred years. Especially since the reform and opening up, coupled with the increasingly advanced technology, people’s living standard has been improved significantly and an endless stream of new forms of entertainment has emerged, so never before has people’s spiritual world been greatly satisfied. In such a trend, the heritage of the Guzi Yangko dance experiences a huge test. When the traditional customs collides with modern practices, can our ancient and valuable art form emit what kind of spark? The problem gives rise to the study interest during my Master’s study. Coupled with relevant theories such as folklore, dance ecology, dance culture and anthropology, this paper applies to the means of fieldwork. With the development and vicissitude of Guzi Yangko in modern society, this paper, which mainly concentrates on Guzi Yangko in ShangHe county under specific history and ages background, intensively analyzes and studies these aspects of cultural implications of dance, morphological characteristics, and Yangko ontology, etc.This paper is divided into five parts altogether:Preface part briefly expounds the reason and significance of the topic, the relevant research achievements at abroad and home, and the research method and theoretical basis; The first chapter summarizes historic culture and folk culture of Guzi Yangko from the perspective of folklore, dance culture and anthropology andprovide theory a reference for the follow-up investigation; The second chapter systematically sorts and analyzes the ecological environment of present Yangko, dance form and dance status quo by means of fieldwork and aims to show the reality of the Guzi yangko dance style; The third chapter, compared traditional Yangko with contemporary Yangko from relevant investigation data, presents the changing situation of contemporary Yangko through the analysis of transformation of dance function and wane of dance ontology and further expands the depth and breadth of research; The fourth chapter displays the reflection on the status quo of Guzi Yangko development and summarizes experience and lesson on the inheritance and development of the Guzi Yangko dance from the perspective of classroom teaching.