The Qingjiang Midstream Tujia Caesar Leafless Ho "study

This dissertation is based on the research of Sayerhe Dance, a funeral ritual dance of Tujia nationality-dominated regions in the Qing jiang River Vally. Based on the investigation and borrowing of the findings of previous scholars, vertically, the author tried to trace back to its origin, and sorted out its development as well as the compilation of textbook in this regard by way of integrating the method of history, anthropology, compatibilities, esthetics with choreographic pedagogy. While horizontally, the author ventured to make the initial exploration of the compilation of Sayerhe Dance teaching materials , combining choreographic teaching methodology. The whole text has a foothold in inheriting the rich legacy of the ethnic group of Tujia with the aim of popularizing it.This thesis is divided into three parts: the introduction, 4 chapters and the conclusion. The introduction part briefs on the objective and significance of conducting the research, its resources and the methods involved in studying and elaborate on some achievements related to the topic. The first chapter paints a big picture of the customs and the formations of the Sayerhe dance by integrating the research findings and the literature materials of the predecessors and analyzing the origin and the evolvement of this particular dance. The second chapter analyzes the conception and belief systems of the Tujia nationality residing across the Qing jiang River Valley departing from the essence of the funerary rites and the analysis of the generative mechanism underlying this special kind of dance. This chapter laid a sound foundation for its esthetic analysis in the next chapter. This chapter is featured by the concepts as follows: filial conducts and the ethics dictate on the functions of dance. The understanding of Yin and Yang, two instrumental elements of everything as believed by Chinese Taoist ancestors, decides on the sex of the performer. Sayerhe Dance implies that it is a mixed-type religious structure that features the essential elements of Confucianism, Buddhism,Taoism and witchcraft culture resting on the solid basis of witchcraft culture. The phenomena that ten and nine combine and tiger and phoenix coexist reflect the nature of Sayerhe Dance as a crystal of Ba culture and Chu culture (the now Hunan and Hubei Province) . Chapter 3 includes a deduction and summarization of the figures and appearances of Sayerhe Dance in addition to the aesthetic analysis of its features from the perspective of form aesthetics and dynamic characteristics. The dance stresses on external square and internal round as beauty and highlights complete in one go so that there is coherence in thought and unity in style. It emphasizes the three-step shakes and trembles rhythm and downward strong beats. This is a chapter that forms a connecting link between what comes before and what goes after. The fourth chapter is about the compilation of the Sayerhe teaching materials. It elaborates on the principles of the author governing the construction of the teaching materials using the four steps as a mainline: refining the materials, standardizing the gestures and moves, organizing the moves and integrating and organizing teaching. It cites practical examples from class so as to achieve a good combination of theory and practice. Last chapter being the conclusion generalizes and summarizes on the cognitive achievements laid out in this thesis.The breakthrough of it lies in its employment of verified methodology featuring multiple spectacles, multiple methods and multiple stresses for the analysis of aboriginal dancing. Under the prerequisites of stable foundation and clear emphasis, it introduces Sayerhe Dance into the teaching of the folk dancing.