Yushu New Zhai Ka Nagqu Zhuo, Morphological Characteristics And The Cultural Resolution

Dancing is a kind of comprehensive art as well as a symbol of body language, which embodies local religion, cosmology, means of livelihood, aesthetic values, and many other aspects. Therefore, dancing should be restored in the social and cultural context and reviewed in a comprehensive dimension, so that its social and cultural significances could be revealed in a real sense.This paper centers on the study of Jia Naquzhuo, a type of religious singing and dancing prevails in Xingzhai Village of Yushu Prefecture, Qinghai Province, which attempts to interpret the dancing from a broad socio-cultural perspective. Upon the basis of previous academic research and documentation, this paper emploies method of field investigation under the scope of cultural anthropology to verify the academic documentation as well as collecting more valuable firsthand data. Meanwhile, this paper, by adopting the method of dance ecology, attempts to explore the origin and trace of Jia Naquzhuo, and compares its varied dancing features. The goal of the study is to explore and interpret the cultural connotations of Jia Naquzhuo and the genuine meanings it conveys.This paper divides into four parts. The introduction states the motive of the study, its significance, relevant research accomplishment and methodology. The first chapter introduces the history and evolvement of Jia Naquzhuo. The second chapter gives a deepening analysis of the form and characteristics of Jia Naquzhuo in terms of its performance procedures, music, costume and dancing moves. The third chapter concludes by profound analysis of the dancing's external morphological features from the cultural respect.The innovation of this paper lies in the following four aspects:firstly, it provides a unique way of duet, in which the last words of each sentence would be hidden in case of piracy; secondly, the performance of Jia Naquzhuo is elaborated to a great extent in the third chapter; thirdly, for further interpretation, the author finds out certain external forms of Jia Naquzhuo should be traced back to Bon Religion (a form of aboriginal religion in Tibet); fourthly, the author tries to interpret the religious connotation of the dancing, which is reflected in its unique scheduling mode. These points presented above are study focuses of this paper.