A Study Of The Hani People 's Drums In The Folklore Activities

The to "Ang Ma Tu" folk activities in Hani drum dance as the research object, in on the basis of large amount of historical documents and previous research results review and summary,combined with the author’s fieldwork data, happened to Hani drum dance, ontological characteristics and cultural connotation of the were thorough research, the Hani social and historical customs and ethnic psychological quality development evolution to explore, and mang encouraging body language of the surface morphology of peep through the deep cultural connotation. Through the origin of "Ang Ma Tu" sacrificial rite of the Hani mang encouraged back, morphological analysis and summed up the ontological characteristics of the drum dance and interpretation contains the culture of its perspective. This thesis consists of an introduction,four chapters and conclusion of three parts. The author summarizes the research status and the significance of this paper, the research contents and methods in the introduction.The first chapter of "Ang Ma Tu" folk activities. From the "Ang Ma Tu" folk activities of discussion on the dependence of the natural and cultural background, through the field investigation and documentary presented in detail, and understand the experience "Ang Ma Tu" folk activities cabinet of initiation, formation and evolution of the long history of.The second chapter of "Ang Ma Tu" in the folk activities of drum dance ontology research.First from the drum dance in "Ang Ma Tu" folk festivals play a role: 1, the legendary origin of the drum dance; 2, mang encouraging data; 3, similar to the drum dance. Followed by the study of the external morphology of the Hani mang encouraged 1, drum dance performances; the basic form of 2, mang inspired action; 3, prop. The characteristics of Hani drum dance from three aspects.The third chapter to Hani drum dance culture perspective section drum dance and Hani production and living; the second section drum dance and Hani social structure and national character; the third section drum dance and Hani religious ideas and education exchanges.Through different drum dance habitat different side of the reaction and the Hani Traditional community life rhythm and cycle activities of direct relevance, and maps reaction drum dance culture connotation of a deep cultural connotation of the Hani itself.The fourth chapter with changes in the concept of Hani life lead to mang encouraging alreadyfrom many of the traditional tabu slowly break out, moving forward to meet the requirements of modern life and the new form. Motivation of this chapter Duimang encouraging changes in research, help to explore the profound understanding of Hani drum dance, and to its development in the contemporary better and put forward some constructive opinions.The last part is the conclusion, which summarizes some of the findings of this paper.