The Research Of Tuwo Drum-flower

Tuwo drum-flower is a kind of folk dance, which spreads in the Tuwo village in Qinshui county, Shanxi. It has a long history, covering three kinds of performing forms, that is beating, singing and dancing, which is a traditional kind of dancing in Shanxi. Also, it has advantages both in the north and the south, since it is sometimes bold like in north dances and sometimes soft and gentle just like in south dances. In it, the dancing and singing are connected perfectly. It is a reflection of lives of people around the Qin river areas, which is the marrow of Chinese Xiachuan culture. No matter from the performances or the clothers, it shows us its distinctive artistic characteristics, which makes it a distinctive dancing form in Shanxi folk dances, known as the folk dancing county in Han nationality.However, merely can we find any information about Tuwo drum-flower in present studies and literatures. Only in two books, Chinese Folk Dances, Shanxi and Chinese dances, shanxi, is Tuwo drum-flower mentioned. With the development of the passing on and protection of non-physical heritage, studying the Tuwo drum-flower sytematically has become an important and urgent matter.Basing on collecting information, investigating and studying, this essay gives a detailed description to Tuwo drum-flower, from its original function, which is to drive evils and to offer a sacrifice to gods, then used in Lantern festival, to modern functions such as being used for opening ceremony. It aslo shows us the differeces between the Tuwo drum-flower and the drum-flower in other areas, through a comparison between them. Special characters, stage properties and rich performance forms are all good nutritions and treatures for each dance investigator. In the continuously developing artistic lives, it first appeared as an alive but weak thing, then came to be a mature artistic form, and finally announced its own existance and exists in this world actively. The author investigated the Tuwo drum-flower in the passing on and protection of non-physical heritage, and has known its present dangerous situation by analyzing and explaining its origin, performancing forms and its artistic traits. Also, with special angles of views, the author has put forward the problems in the passing on of it, and the his suggestions as well. This essay gives Tuwo drum-flower a detailed and objective record, and reflects its performancing forms as well as traits systematically and completely. To develope it furtherly, I hope some specialists can take it seriously.