芒果视频

基本介紹

龍(long)(long)(long)(long)(long)(long)(long)(long)舞(wu)，也稱“舞(wu)龍(long)(long)(long)(long)(long)(long)(long)(long)”，民(min)間(jian)又(you)叫“耍(shua)龍(long)(long)(long)(long)(long)(long)(long)(long)”、“耍(shua)龍(long)(long)(long)(long)(long)(long)(long)(long)燈(deng)”或“舞(wu)龍(long)(long)(long)(long)(long)(long)(long)(long)燈(deng)”，在(zai)全國各地和(he)各民(min)族間(jian)廣(guang)泛分(fen)(fen)布(bu)，其形(xing)(xing)式品種的(de)(de)(de)多樣(yang)，是任何其他(ta)民(min)間(jian)舞(wu)都無法(fa)比擬的(de)(de)(de)。早在(zai)商代的(de)(de)(de)甲骨文(wen)中(zhong)，已出(chu)現以(yi)(yi)數人集體祭龍(long)(long)(long)(long)(long)(long)(long)(long)求雨的(de)(de)(de)文(wen)字；漢代董(dong)仲舒(shu)《春(chun)秋繁露》的(de)(de)(de)記錄中(zhong)已有明確的(de)(de)(de)各種舞(wu)龍(long)(long)(long)(long)(long)(long)(long)(long)求雨的(de)(de)(de)記載(zai)；此后歷朝歷代的(de)(de)(de)詩文(wen)中(zhong)記錄宮廷或民(min)間(jian)舞(wu)龍(long)(long)(long)(long)(long)(long)(long)(long)的(de)(de)(de)文(wen)字屢(lv)見不(bu)鮮。直至現在(zai)，龍(long)(long)(long)(long)(long)(long)(long)(long)舞(wu)仍是民(min)間(jian)喜慶節令場合普遍(bian)存在(zai)的(de)(de)(de)舞(wu)蹈形(xing)(xing)式之一。龍(long)(long)(long)(long)(long)(long)(long)(long)舞(wu)最基本(ben)的(de)(de)(de)表(biao)現手段(duan)是其道具造(zao)型、構(gou)圖(tu)變化和(he)動(dong)作(zuo)套路(lu)。根據龍(long)(long)(long)(long)(long)(long)(long)(long)形(xing)(xing)道具的(de)(de)(de)扎(zha)制材料的(de)(de)(de)不(bu)同，分(fen)(fen)為(wei)布(bu)龍(long)(long)(long)(long)(long)(long)(long)(long)、紗龍(long)(long)(long)(long)(long)(long)(long)(long)、紙龍(long)(long)(long)(long)(long)(long)(long)(long)、草龍(long)(long)(long)(long)(long)(long)(long)(long)、錢龍(long)(long)(long)(long)(long)(long)(long)(long)、竹(zhu)龍(long)(long)(long)(long)(long)(long)(long)(long)、棕龍(long)(long)(long)(long)(long)(long)(long)(long)、板凳龍(long)(long)(long)(long)(long)(long)(long)(long)、百葉龍(long)(long)(long)(long)(long)(long)(long)(long)、荷花龍(long)(long)(long)(long)(long)(long)(long)(long)、火龍(long)(long)(long)(long)(long)(long)(long)(long)、雞(ji)毛龍(long)(long)(long)(long)(long)(long)(long)(long)、肉龍(long)(long)(long)(long)(long)(long)(long)(long)等等；北(bei)方(fang)龍(long)(long)(long)(long)(long)(long)(long)(long)舞(wu)的(de)(de)(de)制作(zuo)一般(ban)(ban)高大(da)粗(cu)重(zhong)，風格古樸(pu)剛勁；南方(fang)龍(long)(long)(long)(long)(long)(long)(long)(long)舞(wu)則(ze)精巧(qiao)細致，活潑(po)敏捷。龍(long)(long)(long)(long)(long)(long)(long)(long)舞(wu)從(cong)色彩上可分(fen)(fen)為(wei)黃、白、青(qing)、紅、黑等，以(yi)(yi)黃龍(long)(long)(long)(long)(long)(long)(long)(long)最為(wei)尊(zun)貴。龍(long)(long)(long)(long)(long)(long)(long)(long)舞(wu)的(de)(de)(de)構(gou)圖(tu)和(he)動(dong)作(zuo)一般(ban)(ban)具有“圓曲”、“翻滾”、“絞纏”、“穿(chuan)插(cha)”、“竄躍(yue)”等特征。龍(long)(long)(long)(long)(long)(long)(long)(long)舞(wu)的(de)(de)(de)傳統表(biao)演(yan)程序一般(ban)(ban)為(wei)：“請龍(long)(long)(long)(long)(long)(long)(long)(long)”、“出(chu)龍(long)(long)(long)(long)(long)(long)(long)(long)”、“舞(wu)龍(long)(long)(long)(long)(long)(long)(long)(long)”和(he)“送龍(long)(long)(long)(long)(long)(long)(long)(long)”。民(min)間(jian)有“七(qi)八歲玩草龍(long)(long)(long)(long)(long)(long)(long)(long)，十五六耍(shua)小龍(long)(long)(long)(long)(long)(long)(long)(long)，青(qing)壯年(nian)舞(wu)大(da)龍(long)(long)(long)(long)(long)(long)(long)(long)”的(de)(de)(de)說法(fa)。舞(wu)龍(long)(long)(long)(long)(long)(long)(long)(long)人數少(shao)則(ze)一人舞(wu)雙龍(long)(long)(long)(long)(long)(long)(long)(long)，多則(ze)百人舞(wu)一大(da)龍(long)(long)(long)(long)(long)(long)(long)(long)。

龍是中(zhong)華(hua)(hua)民族的圖騰和(he)(he)信奉的祖先(xian)；龍舞(wu)是華(hua)(hua)夏精神(shen)的象(xiang)征，它體現了(le)中(zhong)華(hua)(hua)民族團(tuan)結(jie)合力、奮發(fa)開(kai)拓的精神(shen)面(mian)貌，包含了(le)天(tian)人(ren)和(he)(he)諧、造福人(ren)類(lei)的文化內涵，是中(zhong)國人(ren)在吉慶(qing)和(he)(he)祝福時節最(zui)常見的娛(yu)樂(le)方式，氣(qi)氛熱烈，催人(ren)振奮，是中(zhong)華(hua)(hua)民族極為珍貴(gui)的文化遺產。

舞蹈特色

龍形道具

中(zhong)(zhong)國(guo)漢族民間舞蹈(dao)，因舞蹈(dao)者持傳(chuan)說中(zhong)(zhong)的龍形道具而(er)得名。龍的形象源于(yu)中(zhong)(zhong)國(guo)古代圖騰，被視為民族的象征。傳(chuan)說中(zhong)(zhong)龍能行云布(bu)雨(yu)，消災(zai)降(jiang)福。于(yu)2006年(nian)列入首批《國(guo)家級(ji)非物質(zhi)文化遺(yi)產名錄》，編號Ⅲ-4。流傳(chuan)較為廣泛(fan)的有：

1.龍燈

又(you)稱火(huo)龍(long)(long)、金龍(long)(long)。用竹(zhu)篾和(he)(he)綢布扎成龍(long)(long)頭(tou)、龍(long)(long)身（3～10節(jie)）和(he)(he)龍(long)(long)尾(wei)，彩繪龍(long)(long)鱗，每節(jie)龍(long)(long)身中都裝有燭燈。起舞(wu)(wu)時，一(yi)人手持(chi)彩燈（象征寶珠(zhu)）在前領舞(wu)(wu)，其他多人持(chi)龍(long)(long)頭(tou)、龍(long)(long)身和(he)(he)龍(long)(long)尾(wei)下的木柄隨舞(wu)(wu)，表演“二龍(long)(long)戲珠(zhu)”、“金龍(long)(long)蟠玉柱”等。龍(long)(long)燈多在節(jie)慶(qing)之夜舞(wu)(wu)弄(nong)，以鑼鼓、嗩(suo)吶(na)伴奏，同時施放煙花爆竹(zhu)，蔚(yu)為壯觀熱鬧。

2.草龍

南方農民(min)在(zai)夏歷五、六月間(jian)，用(yong)柳條(tiao)(tiao)、青藤(teng)、稻草等扎成龍(long)(long)(long)形(xing)。龍(long)(long)(long)身(shen)上插(cha)滿香火，傍晚以(yi)后在(zai)田間(jian)場院(yuan)舞(wu)(wu)弄，看起(qi)來星火點點、香煙(yan)繚繞。過去多(duo)在(zai)鬧蟲災或干旱(han)時的(de)(de)祭祀活動中(zhong)舞(wu)(wu)弄，有驅蟲、祈雨之意。此外還有些龍(long)(long)(long)身(shen)不(bu)相連結的(de)(de)龍(long)(long)(long)舞(wu)(wu)，如流行于浙江一(yi)帶(dai)的(de)(de)百葉(xie)龍(long)(long)(long)，是(shi)由(you)幾十盞(zhan)甚至上百盞(zhan)荷(he)花(hua)燈(deng)、荷(he)葉(xie)燈(deng)、蝴蝶(die)燈(deng)穿插(cha)串連而成，大(da)荷(he)花(hua)燈(deng)作龍(long)(long)(long)頭，蝴蝶(die)燈(deng)當龍(long)(long)(long)尾，來回穿梭游(you)走。而江蘇流行一(yi)種段龍(long)(long)(long)，龍(long)(long)(long)頭、龍(long)(long)(long)身(shen)和龍(long)(long)(long)尾都由(you)紅綢扎成，輕盈優美，多(duo)由(you)婦女舞(wu)(wu)弄，魚貫走出許多(duo)隊形(xing)，猶如一(yi)條(tiao)(tiao)彩虹在(zai)空中(zhong)蜿(wan)蜒。龍(long)(long)(long)舞(wu)(wu)是(shi)中(zhong)國傳(chuan)統(tong)節日中(zhong)流行最廣(guang)的(de)(de)民(min)間(jian)舞(wu)(wu)蹈，世界上華人聚居區(qu)也(ye)以(yi)龍(long)(long)(long)舞(wu)(wu)來表現社區(qu)傳(chuan)統(tong)文化。

根據龍(long)(long)(long)(long)形(xing)道具的扎制材料的不同，分(fen)為(wei)布龍(long)(long)(long)(long)、紗龍(long)(long)(long)(long)、紙龍(long)(long)(long)(long)、草(cao)龍(long)(long)(long)(long)、錢龍(long)(long)(long)(long)、竹(zhu)龍(long)(long)(long)(long)、棕龍(long)(long)(long)(long)、板凳龍(long)(long)(long)(long)、百葉龍(long)(long)(long)(long)、荷花龍(long)(long)(long)(long)、火龍(long)(long)(long)(long)、雞毛龍(long)(long)(long)(long)、肉(rou)龍(long)(long)(long)(long)等(deng)等(deng)；北方龍(long)(long)(long)(long)舞(wu)(wu)的制作(zuo)一(yi)般高大粗重，風格古樸剛勁；南方龍(long)(long)(long)(long)舞(wu)(wu)則精巧細致，活(huo)潑敏捷。龍(long)(long)(long)(long)舞(wu)(wu)從色彩上可分(fen)為(wei)黃(huang)、白、青、紅、黑等(deng)，以黃(huang)龍(long)(long)(long)(long)最為(wei)尊貴。龍(long)(long)(long)(long)舞(wu)(wu)的構圖和動作(zuo)一(yi)般具有“圓曲”、“翻滾”、“絞(jiao)纏(chan)”、“穿(chuan)插”、“竄躍”等(deng)特征。

表演形式

龍(long)舞的表演場地(di)是城(cheng)鎮廣場，社區，區域較大的地(di)方。龍(long)舞的傳統表演程序一(yi)(yi)般(ban)為：“請(qing)龍(long)”、“出龍(long)”、“舞龍(long)”和“送龍(long)”。民間有“七八(ba)歲玩草龍(long)，十(shi)五(wu)六耍小(xiao)龍(long)，青壯年(nian)舞大龍(long)”的說法。舞龍(long)人數少則一(yi)(yi)人舞雙龍(long)，多(duo)則百人舞一(yi)(yi)大龍(long)。

服飾

龍舞表演多以(yi)男性(xing)演員(yuan)(yuan)為(wei)主，演員(yuan)(yuan)的(de)服(fu)飾是(shi)圓領白色(se)(se)(se)緊身衣，上衣扣(kou)子為(wei)褐(he)色(se)(se)(se)，形狀似云朵狀。扣(kou)子兩邊有(you)龍狀花(hua)紋(wen)，袖口處有(you)如龍身鱗片(pian)花(hua)樣，腰間扎有(you)紅色(se)(se)(se)或綠(lv)色(se)(se)(se)綢帶。頭裹(guo)白色(se)(se)(se)羊肚(du)毛(mao)巾，下身穿淺(qian)黃色(se)(se)(se)緊腿褲，腳蹬云頭布鞋，妝(zhuang)容(rong)多以(yi)薄粉敷面。

音樂

龍舞(wu)(wu)在運動(dong)過(guo)程中離不開鼓(gu)點樂(le)(le)器的(de)搭(da)配(pei)，音(yin)樂(le)(le)在舞(wu)(wu)龍過(guo)程中有(you)著重(zhong)要(yao)(yao)的(de)地位，演(yan)(yan)奏(zou)(zou)風(feng)格具有(you)民族傳統性。其旋律、節奏(zou)(zou)與火龍舞(wu)(wu)的(de)動(dong)作、造型畫面和諧一致，主(zhu)(zhu)要(yao)(yao)以(yi)打擊(ji)(ji)(ji)樂(le)(le)的(de)伴奏(zou)(zou)形式為主(zhu)(zhu)。在鼓(gu)點的(de)襯托下，使龍舞(wu)(wu)表(biao)現生(sheng)機勃(bo)勃(bo)。伴奏(zou)(zou)樂(le)(le)器多以(yi)鑼、鼓(gu)、镲(cha)等打擊(ji)(ji)(ji)樂(le)(le)為主(zhu)(zhu)，樂(le)(le)隊(dui)(dui)鼓(gu)點無固定模式，以(yi)舞(wu)(wu)者(zhe)舞(wu)(wu)龍情緒(xu)調(diao)整節奏(zou)(zou)快慢(man)變化，屬(shu)于(yu)即興演(yan)(yan)奏(zou)(zou)。鼓(gu)點音(yin)樂(le)(le)使火龍舞(wu)(wu)表(biao)演(yan)(yan)顯得活靈(ling)活現，振奮人心(xin)。火龍舞(wu)(wu)表(biao)演(yan)(yan)時(shi)，樂(le)(le)隊(dui)(dui)由四到六人組成，每個人的(de)職能不同，其中鼓(gu)主(zhu)(zhu)要(yao)(yao)敲(qiao)擊(ji)(ji)(ji)主(zhu)(zhu)要(yao)(yao)節奏(zou)(zou)，鑼主(zhu)(zhu)要(yao)(yao)敲(qiao)擊(ji)(ji)(ji)重(zhong)音(yin)，镲(cha)是每拍子敲(qiao)擊(ji)(ji)(ji)一次，音(yin)樂(le)(le)在基(ji)本鼓(gu)點與曲譜(pu)下反復(fu)，直到與動(dong)作完成為止。

基本動作

龍(long)(long)(long)(long)舞中的龍(long)(long)(long)(long)，由龍(long)(long)(long)(long)頭(tou)、龍(long)(long)(long)(long)身(shen)和龍(long)(long)(long)(long)尾(wei)構成(cheng)，龍(long)(long)(long)(long)身(shen)較長，是龍(long)(long)(long)(long)的主體。在(zai)制(zhi)作(zuo)這種表演的龍(long)(long)(long)(long)時，用(yong)竹篾或者鐵絲為架(jia)子，外面抹(mo)上紙(zhi)或者是布，龍(long)(long)(long)(long)身(shen)的節(jie)與(yu)節(jie)之(zhi)間，用(yong)布縫成(cheng)筒(tong)狀(zhuang)連接，然后彩(cai)繪其形(xing)。龍(long)(long)(long)(long)身(shen)、龍(long)(long)(long)(long)頭(tou)、龍(long)(long)(long)(long)尾(wei)制(zhi)成(cheng)后，在(zai)龍(long)(long)(long)(long)身(shen)的每(mei)節(jie)中部(bu)插置蠟梗，下部(bu)安置木(mu)柄，供表演的人用(yong)手(shou)抓握。

龍舞(wu)在(zai)開(kai)始表演時，由(you)許多人每人各舉(ju)一(yi)節(jie)木柄，左右揮舞(wu)，使龍體在(zai)空(kong)中悠悠蠕動(dong)。一(yi)般(ban)是(shi)一(yi)手(shou)(shou)在(zai)上，一(yi)手(shou)(shou)在(zai)下(xia)，兩手(shou)(shou)相距四十(shi)厘米。舞(wu)龍表演者(zhe)在(zai)舞(wu)蹈過程中，可以(yi)(yi)隨(sui)時調動(dong)雙(shuang)手(shou)(shou)之間的(de)(de)距離(li)。雙(shuang)手(shou)(shou)執(zhi)(zhi)桿運動(dong)路線以(yi)(yi)繞八字為主。除此以(yi)(yi)外，舞(wu)蹈過程中常有倒(dao)(dao)把(ba)(ba)動(dong)作，主要包(bao)括上倒(dao)(dao)把(ba)(ba)和下(xia)倒(dao)(dao)把(ba)(ba)。指揮演員(yuan)的(de)(de)執(zhi)(zhi)桿方法(fa)與(yu)舞(wu)龍。夜(ye)晚舞(wu)龍時，要點燃龍體內的(de)(de)蠟燭，輔以(yi)(yi)彩(cai)燈(deng)、蓮花燈(deng)等各式花燈(deng)，同(tong)時施放煙火、爆竹，造(zao)成一(yi)定(ding)的(de)(de)聲勢(shi)，吸引觀眾，使龍舞(wu)呈(cheng)現出(chu)不(bu)同(tong)凡響的(de)(de)風彩(cai)來。

火龍(long)舞的(de)(de)基本(ben)步法主要是跑碎步，隨著音樂的(de)(de)高潮(chao)以及舞龍(long)的(de)(de)幅(fu)度控制步伐。由于龍(long)舞是由多人組成的(de)(de)隊伍，因此要配合默契，步伐統一。火龍(long)舞運動(dong)量(liang)很大(da)，不同的(de)(de)動(dong)作大(da)部分都是在(zai)跑碎步中完(wan)成的(de)(de)。

傳承價值與現狀

對中國古典舞的影響

中(zhong)國(guo)(guo)古(gu)典(dian)舞(wu)(wu)(wu)(wu)是在提煉中(zhong)國(guo)(guo)戲曲舞(wu)(wu)(wu)(wu)蹈和(he)武術(shu)的(de)(de)(de)基礎(chu)上，吸收中(zhong)國(guo)(guo)傳統(tong)文化之(zhi)精髓，并融合多(duo)種(zhong)藝術(shu)形式發(fa)展演變而成的(de)(de)(de)中(zhong)國(guo)(guo)舞(wu)(wu)(wu)(wu)蹈藝術(shu)的(de)(de)(de)典(dian)菹，它(ta)是中(zhong)華民族文化藝術(shu)的(de)(de)(de)結晶(jing)。從它(ta)的(de)(de)(de)基本動律(lv)(lv)、舞(wu)(wu)(wu)(wu)姿形態(tai)及(ji)運動軌跡來(lai)看(kan)，其(qi)體勢，總呈現為(wei)一種(zhong)回(hui)旋(xuan)(xuan)狀(zhuang)(zhuang)態(tai)，回(hui)旋(xuan)(xuan)狀(zhuang)(zhuang)態(tai)即(ji)“ 圓(yuan)” 一— “轉”的(de)(de)(de)狀(zhuang)(zhuang)態(tai)，這種(zhong)狀(zhuang)(zhuang)態(tai)是中(zhong)國(guo)(guo)古(gu)典(dian)舞(wu)(wu)(wu)(wu)動律(lv)(lv)形態(tai)與(yu)身法最顯著的(de)(de)(de)特點，故(gu)中(zhong)國(guo)(guo)古(gu)典(dian)舞(wu)(wu)(wu)(wu)被稱為(wei)“劃圓(yuan)的(de)(de)(de)藝術(shu)” 。在長(chang)期(qi)的(de)(de)(de)表演實踐中(zhong)，中(zhong)國(guo)(guo)古(gu)典(dian)舞(wu)(wu)(wu)(wu)始(shi)終(zhong)與(yu)“圓(yuan)” 有著密不可分的(de)(de)(de)關系，即(ji)“ 萬變不離其(qi)圓(yuan)”，并在此基礎(chu)上形成了以"擰、傾、圓(yuan)、曲"為(wei)核心的(de)(de)(de)動律(lv)(lv)形態(tai)。

而(er)在(zai)“ 龍(long)(long)(long)(long)(long)舞(wu)(wu)” 表演中，以單龍(long)(long)(long)(long)(long)為例，龍(long)(long)(long)(long)(long)舞(wu)(wu)開始時總是先繞場一(yi)兩周一(yi)—圓場，勾畫出一(yi)個(ge)圓形(xing)(xing)無極圖，然后(hou)開始耍龍(long)(long)(long)(long)(long)，舞(wu)(wu)龍(long)(long)(long)(long)(long)隊伍的(de)(de)(de)(de)成員(yuan)將龍(long)(long)(long)(long)(long)頭、龍(long)(long)(long)(long)(long)身、龍(long)(long)(long)(long)(long)尾依(yi)次(ci)先后(hou)從上而(er)下(xia)劃8字(zi)，形(xing)(xing)成整個(ge)龍(long)(long)(long)(long)(long)體的(de)(de)(de)(de)S 形(xing)(xing)游動，《百戲竹枝詞· 龍(long)(long)(long)(long)(long)燈(deng)(deng)斗》詩題解說(shuo)：其龍(long)(long)(long)(long)(long)燈(deng)(deng)” 以竹蔑為之(zhi)(zhi)(zhi)(zhi)，外(wai)(wai)覆以紗，婉蜓之(zhi)(zhi)(zhi)(zhi)勢(shi)亦(yi)復可觀(guan)。“龍(long)(long)(long)(long)(long)舞(wu)(wu)的(de)(de)(de)(de)運動形(xing)(xing)態(tai)(tai)非常明顯地(di)呈現(xian)為一(yi)種(zhong)循環變化(hua)、婉蜓曲(qu)折的(de)(de)(de)(de)形(xing)(xing)態(tai)(tai)，它的(de)(de)(de)(de)形(xing)(xing)態(tai)(tai)可以用一(yi)個(ge)字(zi)來概括，就(jiu)是“回” 。除此之(zhi)(zhi)(zhi)(zhi)外(wai)(wai)，在(zai)中國古典舞(wu)(wu)袖(xiu)(xiu)(xiu)舞(wu)(wu)中，身袖(xiu)(xiu)(xiu)不可分，水(shui)袖(xiu)(xiu)(xiu)借助身休的(de)(de)(de)(de)"擰、傾、圓、曲(qu)”和(he)住(zhu)復回旋如龍(long)(long)(long)(long)(long)的(de)(de)(de)(de)動勢(shi)，才能有“ 長袖(xiu)(xiu)(xiu)以隧回"，故中國古典舞(wu)(wu)袖(xiu)(xiu)(xiu)舞(wu)(wu)的(de)(de)(de)(de)“ 身袖(xiu)(xiu)(xiu)合一(yi)“ 體現(xian)著龍(long)(long)(long)(long)(long)舞(wu)(wu)" 回”之(zhi)(zhi)(zhi)(zhi)意(yi)象的(de)(de)(de)(de)形(xing)(xing)式美。

文化價值

“ 龍(long)舞(wu)” 作(zuo)為(wei)“龍(long)文化” 藝(yi)術的代(dai)表．是(shi)在幾千(qian)年歷史發(fa)(fa)展過程中，人(ren)們(men)(men)所創造出來(lai)的代(dai)表中華民(min)族(zu)、中國文化、華夏精神(shen)的象征(zheng)。“龍(long)舞(wu)”是(shi)以一種崇(chong)高的美和(he)(he)神(shen)奇的美傳達(da)行人(ren)們(men)(men)內心的愿(yuan)望和(he)(he)希冀，表現(xian)著人(ren)們(men)(men)對龍(long)圖騰(teng)、對生命、對宇(yu)宙的崇(chong)拜，龍(long)文化既體現(xian)了“天人(ren)和(he)(he)諧”的文化內涵，也(ye)體現(xian)了華夏人(ren)民(min)繼承與發(fa)(fa)揚(yang)的民(min)族(zu)精神(shen)，是(shi)中華民(min)族(zu)優秀傳統文化之一。

舞(wu)龍(long)(long)(long)(long)是對(dui)龍(long)(long)(long)(long)的(de)(de)一(yi)(yi)種形象化和具體化，其(qi)(qi)表(biao)現(xian)形式受它所要表(biao)達對(dui)象的(de)(de)限制(zhi)，因而，舞(wu)龍(long)(long)(long)(long)表(biao)演形式是隨著龍(long)(long)(long)(long)形態(tai)的(de)(de)發(fa)展(zhan)而發(fa)展(zhan)的(de)(de)。如今呈現(xian)所的(de)(de)“龍(long)(long)(long)(long)”，是最完美的(de)(de)中國現(xian)代(dai)龍(long)(long)(long)(long)的(de)(de)形象，與古代(dai)龍(long)(long)(long)(long)有著巨大差(cha)異。“龍(long)(long)(long)(long)”的(de)(de)外(wai)部(bu)形態(tai)由春秋(qiu)前的(de)(de)匍匐(fu)爬(pa)狀(zhuang)、結構粗糙、蛇身獸頭到(dao)(dao)戰(zhan)國以(yi)后(hou)(hou)的(de)(de)剛健(jian)有力、結構復(fu)雜(za)，再到(dao)(dao)宋代(dai)以(yi)后(hou)(hou)的(de)(de)蜿(wan)蜒多(duo)姿，通體華美；其(qi)(qi)氣(qi)勢上從(cong)春秋(qiu)前的(de)(de)粗野與狂放、暴力與恐(kong)怖到(dao)(dao)戰(zhan)國以(yi)后(hou)(hou)的(de)(de)不(bu)可(ke)一(yi)(yi)世(shi)的(de)(de)蓬勃之(zhi)勢，再發(fa)展(zhan)到(dao)(dao)宋以(yi)后(hou)(hou)其(qi)(qi)保留不(bu)可(ke)一(yi)(yi)世(shi)的(de)(de)豪氣(qi)，退卻(que)了原本的(de)(de)剛猛。通過(guo)勞動人民的(de)(de)聰智(zhi)才慧，“龍(long)(long)(long)(long)”的(de)(de)外(wai)形與神韻不(bu)斷發(fa)展(zhan)與豐富，創造(zao)出(chu)了一(yi)(yi)條活靈活現(xian)，氣(qi)勢蓬勃的(de)(de)“龍(long)(long)(long)(long)”。

主要流派的價值與現狀

銅梁(liang)龍舞(wu)有(you)與(yu)民俗活動緊密相連(lian)、套路豐富(fu)、動律諧(xie)趣(qu)的特點，伴奏音樂(le)獨特，道具構思巧妙，造型夸張，服飾儉樸大(da)方，舞(wu)者參舞(wu)自由，退舞(wu)方便，有(you)群眾參與(yu)性。

銅梁(liang)龍(long)舞體現(xian)了團(tuan)結合(he)力(li)、造福人類(lei)、奮發向上、與天和諧(xie)的精神(shen)，同時具有娛神(shen)娛人、彰顯威力(li)等社(she)會功能。銅梁(liang)龍(long)舞聞名于世(shi)的僅大蠕龍(long)、火龍(long)等少數品種(zhong)，多(duo)數龍(long)舞品種(zhong)已處于瀕危境(jing)地，亟待保護和拯救。

湛江人龍舞逐(zhu)漸失去了(le)往日的(de)吸引力，處(chu)于衰落狀(zhuang)態，為保(bao)護民間(jian)文(wen)化(hua)遺產，有必要(yao)對它進行盡(jin)快搶(qiang)救和整理。

浦江(jiang)板凳(deng)龍保留了中國(guo)尤(you)其是浙(zhe)中和(he)江(jiang)南沿(yan)(yan)海(hai)一帶“龍信仰”的民(min)間(jian)文化傳統，融匯了書畫、剪紙等(deng)民(min)間(jian)藝(yi)術(shu)的民(min)間(jian)形態，傳承了群眾體育和(he)廣(guang)(guang)場舞蹈(dao)的藝(yi)術(shu)形式，具有民(min)俗、歷史研究價值和(he)民(min)間(jian)工藝(yi)傳承功能，在浦江(jiang)和(he)浙(zhe)中及江(jiang)南沿(yan)(yan)海(hai)一帶產生(sheng)了深遠而廣(guang)(guang)泛的影響。但時代變(bian)遷所(suo)造成的沖(chong)擊也不可避免地降臨在浦江(jiang)板凳(deng)龍身(shen)上，使它的傳承陷入(ru)窘境，亟待(dai)搶救與(yu)保護。

長興百(bai)葉龍作為中國漢(han)民族一(yi)種獨特的(de)(de)民間舞蹈，具有極高(gao)的(de)(de)藝(yi)術(shu)價(jia)值。時代的(de)(de)變遷給長興百(bai)葉龍的(de)(de)有序傳承帶來了(le)影響，使這一(yi)寶貴的(de)(de)民間藝(yi)術(shu)形式面臨(lin)生存危機。為保護、傳承百(bai)葉龍藝(yi)術(shu)，長興地方(fang)政府未雨(yu)綢(chou)繆(mou)，采(cai)取了(le)一(yi)系列有效措(cuo)施，一(yi)個保護地方(fang)文化資源、共(gong)創(chuang)特色(se)文化品牌(pai)的(de)(de)良好氛圍正在形成。

奉化(hua)布(bu)龍(long)(long)的(de)文(wen)化(hua)價值(zhi)較突出，且(qie)民(min)(min)(min)間流布(bu)的(de)生態環(huan)境(jing)面臨(lin)潛在(zai)的(de)危機，故(gu)地(di)方政(zheng)府(fu)已將它率先列入保護范疇。1990年(nian)，奉化(hua)布(bu)龍(long)(long)入選《中國民(min)(min)(min)族民(min)(min)(min)間舞蹈集成（浙江卷）》；1996年(nian)，奉化(hua)市被文(wen)化(hua)部命(ming)名為“中國民(min)(min)(min)間藝術之鄉”；2005年(nian)，奉化(hua)布(bu)龍(long)(long)被浙江省(sheng)政(zheng)府(fu)列入首批非物(wu)質文(wen)化(hua)遺(yi)產(chan)代表作名錄。

瀘州雨壇彩(cai)(cai)龍(long)(long)的(de)龍(long)(long)頭(tou)造型獨特，主要依據(ju)瀘縣全國重點文物(wu)保護(hu)(hu)單位龍(long)(long)腦橋的(de)龍(long)(long)頭(tou)設計，額高，嘴短(duan)，雙目突出可動(dong)，下頜開合自如(ru)，形象既威武有神，又憨愚可親。龍(long)(long)身用竹篾扎(zha)制(zhi)(zhi)成骨(gu)架(jia)，分組分節，可長可短(duan)。整個龍(long)(long)身用竹篾扎(zha)成圈，相互串聯，套上(shang)龍(long)(long)衣后靈活多變。龍(long)(long)尾(wei)也區(qu)別于(yu)一般的(de)火(huo)炬尾(wei)、蛇(she)形尾(wei)，呈鰱魚狀，極(ji)富情趣(qu)。時(shi)下，雨壇彩(cai)(cai)龍(long)(long)同(tong)樣面臨(lin)新(xin)時(shi)代的(de)挑戰，急需建立保護(hu)(hu)和(he)傳承機制(zhi)(zhi)。

傳承保護措施

1.加強政府的主導作用

面對市場化經濟(ji)的(de)(de)(de)(de)不斷(duan)發(fa)展, 在龍(long)舞(wu)(wu)這一民(min)間傳(chuan)統(tong)體育項目的(de)(de)(de)(de)保護(hu)過程中, 當地(di)政(zheng)(zheng)府的(de)(de)(de)(de)主導作(zuo)用這一角色(se)是不容質疑(yi)的(de)(de)(de)(de)。政(zheng)(zheng)府方面需要(yao)用銳利的(de)(de)(de)(de)眼(yan)光深入挖掘龍(long)舞(wu)(wu)這一民(min)間傳(chuan)統(tong)體育項目, 做好龍(long)舞(wu)(wu)的(de)(de)(de)(de)保護(hu)工作(zuo)，在政(zheng)(zheng)府的(de)(de)(de)(de)主導下，成立專業的(de)(de)(de)(de)龍(long)舞(wu)(wu)表演和比賽隊伍(wu)，將舞(wu)(wu)龍(long)工作(zuo)升級為職業化，以舞(wu)(wu)龍(long)為生(sheng)。應該注意并(bing)處(chu)理好文(wen)化保護(hu)和經濟(ji)開發(fa)兩(liang)方面的(de)(de)(de)(de)關系, 避免龍(long)經濟(ji)吞食(shi)龍(long)文(wen)化的(de)(de)(de)(de)悲劇發(fa)生(sheng)。

2.提高民眾參與的積極性、融入社區活動

龍舞是發源于民(min)間(jian)、成長于民(min)間(jian)的傳統(tong)體(ti)育(yu)項(xiang)目, 保護和發展龍舞也理應充分結(jie)合民(min)間(jian)特色，充分與大眾(zhong)(zhong)生(sheng)活相結(jie)合；也理應注(zhu)重調動大眾(zhong)(zhong)參與的積極性, 以擴大其民(min)間(jian)影響(xiang)力。

3.推動火龍燈舞走入校園

教育(yu)作為民(min)族(zu)文(wen)(wen)化傳(chuan)承的(de)(de)重要途(tu)徑, 在培(pei)養民(min)族(zu)文(wen)(wen)化認同感中(zhong)具有關鍵性的(de)(de)作用，當(dang)代青少年是民(min)族(zu)優(you)秀文(wen)(wen)化的(de)(de)繼承者、傳(chuan)播者和創(chuang)造(zao)者, 也是中(zhong)國特(te)色社(she)會主義的(de)(de)建(jian)設者，中(zhong)華民(min)族(zu)偉大復興的(de)(de)擔當(dang)者。將“龍舞”推(tui)廣進(jin)入當(dang)地學校，通過組建(jian)校園(yuan)表(biao)演(yan)隊的(de)(de)方式，參(can)與校內外各種文(wen)(wen)化節日活動，借鑒以學校為主體，以古鎮(zhen)為中(zhong)心，輻射(she)四周地域為方向的(de)(de)重要載體, 擴大龍文(wen)(wen)化影響力。

4.做好關于火龍燈舞文化的宣傳和對外交流工作

作(zuo)為民(min)(min)(min)間特(te)色的(de)(de)非物質文(wen)化遺產(chan)保護(hu)之(zhi)(zhi)一的(de)(de)龍舞(wu)，要以其自身的(de)(de)文(wen)化特(te)色不(bu)斷加強與不(bu)同(tong)地域(yu)、不(bu)同(tong)文(wen)化類(lei)型、不(bu)同(tong)民(min)(min)(min)間活動之(zhi)(zhi)間的(de)(de)文(wen)化交流與合作(zuo),吸收借鑒不(bu)同(tong)文(wen)化的(de)(de)精髓，促進文(wen)化的(de)(de)交融與渲染同(tong)時(shi)也要擴大火龍燈舞(wu)的(de)(de)社會影響(xiang)和文(wen)化吸引(yin)力(li)。深(shen)入(ru)挖掘龍舞(wu)的(de)(de)民(min)(min)(min)間藝術文(wen)化特(te)色, 并(bing)利用現代(dai)化的(de)(de)舞(wu)臺(tai)藝術包裝手段(duan), 讓民(min)(min)(min)間藝術充分(fen)走(zou)上現代(dai)舞(wu)臺(tai)，走(zou)進民(min)(min)(min)眾的(de)(de)生活。

主要流派

銅梁龍舞

申報(bao)地區(qu)或單位：重慶(qing)市

銅(tong)梁龍舞(wu)系流傳于(yu)重(zhong)(zhong)慶市(shi)銅(tong)梁縣境內的一種以龍為主要道具的舞(wu)蹈(dao)藝術形式。它興(xing)起于(yu)明，鼎盛(sheng)于(yu)清，在當代重(zhong)(zhong)放異彩，飲(yin)譽全球。

銅梁龍(long)(long)舞(wu)包(bao)括龍(long)(long)燈(deng)(deng)舞(wu)和(he)彩燈(deng)(deng)舞(wu)兩大(da)系列。龍(long)(long)燈(deng)(deng)舞(wu)主要(yao)包(bao)括大(da)蠕龍(long)(long)、火(huo)龍(long)(long)、稻草龍(long)(long)、筍殼龍(long)(long)、黃荊(jing)龍(long)(long)、板(ban)凳龍(long)(long)、正龍(long)(long)、小彩龍(long)(long)、竹(zhu)梆龍(long)(long)、荷花龍(long)(long)十(shi)個品種(zhong)，其(qi)中以大(da)蠕龍(long)(long)最有特(te)色。彩燈(deng)(deng)舞(wu)主要(yao)包(bao)括魚躍龍(long)(long)門、泥(ni)鰍吃湯圓(yuan)、三條、十(shi)八學士、亮獅(shi)、開山虎(hu)、蚌(bang)殼精、犀牛望月(yue)、豬啃南瓜、高臺龍(long)(long)獅(shi)舞(wu)、雁塔(ta)題名、南瓜棚十(shi)二個品種(zhong)。

湛江人龍舞

申報地(di)區或單位：廣東省(sheng)湛(zhan)江市

廣東(dong)(dong)省(sheng)東(dong)(dong)海(hai)(hai)島(dao)(dao)東(dong)(dong)山鎮東(dong)(dong)山圩村的人龍(long)舞(wu)素有“東(dong)(dong)方(fang)一(yi)絕”的美稱。表演時，幾十至(zhi)數百名青壯年和(he)少年均穿短褲，以(yi)人體相(xiang)接，組(zu)成(cheng)一(yi)條“長(chang)龍(long)”。在(zai)鑼鼓震天、號角(jiao)齊鳴(ming)中(zhong)，“長(chang)龍(long)”龍(long)頭高昂，龍(long)身翻騰，龍(long)尾勁(jing)擺，一(yi)如蛟龍(long)出(chu)海(hai)(hai)，排山倒(dao)海(hai)(hai)，勢不(bu)(bu)可(ke)擋，顯現出(chu)獨特的海(hai)(hai)島(dao)(dao)色彩和(he)濃厚的鄉(xiang)土氣息，是東(dong)(dong)海(hai)(hai)島(dao)(dao)乃至(zhi)雷(lei)州半島(dao)(dao)經(jing)久不(bu)(bu)衰的民間風俗和(he)大型廣場娛樂活動的重要組(zu)成(cheng)部分。每逢春節(jie)、元宵、中(zhong)秋佳節(jie)和(he)一(yi)些重大喜慶節(jie)日，東(dong)(dong)山圩村必連(lian)舞(wu)幾個晚上“人龍(long)”，東(dong)(dong)西兩街戶(hu)戶(hu)張(zhang)燈結彩，家家傾巢而(er)出(chu)，人流如潮，熱鬧(nao)非(fei)凡。

據藝(yi)人(ren)傳說(shuo)，人(ren)龍(long)舞(wu)大約始(shi)于(yu)明末，被清(qing)軍(jun)打敗的(de)(de)明軍(jun)撤(che)退(tui)到(dao)雷州(zhou)半(ban)島(dao)和東海(hai)(hai)島(dao)，適(shi)逢中(zhong)秋，地(di)方百姓為鼓舞(wu)明軍(jun)士氣(qi)，編排了(le)這個(ge)舞(wu)蹈。此(ci)后(hou)人(ren)龍(long)舞(wu)便(bian)在這里流傳開來，至清(qing)乾(qian)嘉(jia)時達(da)于(yu)鼎盛。人(ren)龍(long)舞(wu)是(shi)東海(hai)(hai)島(dao)特殊社(she)會歷史因素與地(di)域自然條(tiao)件的(de)(de)產物，它將(jiang)古海(hai)(hai)島(dao)群眾娛(yu)龍(long)、敬龍(long)、祭(ji)海(hai)(hai)、尊祖、奉神等多(duo)種風俗融(rong)入“人(ren)龍(long)”之中(zhong)，形(xing)成(cheng)(cheng)了(le)自創一體、獨(du)具一格的(de)(de)龍(long)舞(wu)表(biao)演(yan)(yan)形(xing)式和“人(ren)龍(long)”精神。湛江人(ren)龍(long)舞(wu)有(you)起龍(long)、龍(long)點頭、龍(long)穿云、龍(long)卷浪等獨(du)具特色(se)的(de)(de)表(biao)演(yan)(yan)程(cheng)式，表(biao)演(yan)(yan)者練就(jiu)了(le)快速托人(ren)上肩(jian)的(de)(de)穩健動(dong)(dong)作和步法(fa)，隊形(xing)流暢多(duo)變，動(dong)(dong)作一氣(qi)呵成(cheng)(cheng)，遠望動(dong)(dong)感十(shi)足，近觀粗獷(guang)雄壯(zhuang)，成(cheng)(cheng)為中(zhong)華龍(long)文化延伸與發展的(de)(de)重要組成(cheng)(cheng)部(bu)分。

汕尾滾地金龍

申報(bao)地區或單位：廣(guang)東省(sheng)汕尾市

根據廣東(dong)省汕尾市南(nan)溪(xi)村(cun)(cun)老人(ren)黃天樞藏書中的(de)(de)記載和(he)部分(fen)知情(qing)者(zhe)的(de)(de)敘述，“滾(gun)(gun)地(di)金龍”始創于南(nan)宋，明嘉靖年(nian)間(jian)，黃氏光(guang)昭公一(yi)支從(cong)福建漳州移居廣東(dong)陸(lu)豐(feng)南(nan)溪(xi)村(cun)(cun)，帶來《滾(gun)(gun)地(di)金龍演史傳》的(de)(de)傳本。黃氏南(nan)溪(xi)“滾(gun)(gun)地(di)金龍”繁(fan)衍了十七代。后來由該村(cun)(cun)的(de)(de)金龍藝師(shi)、傳統武(wu)術師(shi)傳到陸(lu)豐(feng)潭西鎮深溝村(cun)(cun)，大安(an)(an)(an)鎮的(de)(de)安(an)(an)(an)博、下安(an)(an)(an)聯、頂潭、安(an)(an)(an)塘村(cun)(cun)，西南(nan)鎮的(de)(de)兩軍(jun)、下村(cun)(cun)，陸(lu)豐(feng)城東(dong)鎮的(de)(de)上神山村(cun)(cun)等(deng)地(di)。

南溪(xi)村(cun)“滾地金龍(long)(long)”表(biao)演(yan)(yan)時，由二人鉆入“龍(long)(long)身被套(tao)”，一(yi)人舞(wu)(wu)(wu)龍(long)(long)頭，一(yi)人舞(wu)(wu)(wu)龍(long)(long)尾(wei)。整個(ge)表(biao)演(yan)(yan)過程(cheng)分為“開(kai)場見禮”、“打圍巡(xun)洞(dong)”、“游(you)潭(tan)戲(xi)水”、“抻筋洗鱗”、“伏(fu)蟄聞雷(lei)”、“迎(ying)雷(lei)起(qi)舞(wu)(wu)(wu)”、“駕(jia)云飛(fei)騰(teng)”、“收場還(huan)禮”八(ba)個(ge)舞(wu)(wu)(wu)段，表(biao)演(yan)(yan)中模仿的(de)龍(long)(long)旋(xuan)舞(wu)(wu)(wu)飛(fei)騰(teng)、戲(xi)水嬉(xi)耍、沉思奮(fen)醒、柔靜盤曲、勇猛奮(fen)進等(deng)動(dong)作。伴奏(zou)(zou)用(yong)威武雄(xiong)壯、嘹亮開(kai)闊(kuo)的(de)海陸豐(feng)正字戲(xi)的(de)“牌子大鑼(luo)鼓”，大嗩吶按不(bu)同的(de)表(biao)演(yan)(yan)情(qing)節(jie)吹奏(zou)(zou)不(bu)同的(de)曲調，有(you)【宮娥怨】、【哭皇天】、【山坡羊】、【八(ba)板頭】等(deng)曲牌。表(biao)情(qing)豐(feng)富、套(tao)路眾(zhong)多、舞(wu)(wu)(wu)段精彩、技藝(yi)兼善是這個(ge)舞(wu)(wu)(wu)蹈的(de)基本特(te)點。

1996年(nian)，南溪村被(bei)廣(guang)東省文(wen)化廳(ting)授予“民族(zu)民間藝術之鄉”稱號，滾地(di)金(jin)龍被(bei)編入《中國舞蹈志》，并在國家和省級地(di)區(qu)的重(zhong)大活動中多次(ci)獲(huo)獎(jiang)。

浦江板凳龍

申報地區(qu)或單位：浙(zhe)江(jiang)省浦(pu)江(jiang)縣

浦(pu)江(jiang)(jiang)(jiang)縣位于(yu)(yu)浙江(jiang)(jiang)(jiang)中部偏西，金華市北部。據浦(pu)江(jiang)(jiang)(jiang)白馬鎮夏張村張姓族(zu)譜載，自唐朝始，“龍騰燈舞(wu)鬧元宵”便成了浦(pu)江(jiang)(jiang)(jiang)民間的(de)習俗，浦(pu)江(jiang)(jiang)(jiang)縣志中稱(cheng)之(zhi)為(wei)“燈節”。浦(pu)江(jiang)(jiang)(jiang)板(ban)凳龍盛(sheng)行于(yu)(yu)浦(pu)江(jiang)(jiang)(jiang)縣鄉(xiang)村，廣(guang)泛(fan)流傳于(yu)(yu)江(jiang)(jiang)(jiang)南沿(yan)海各地。綜觀浦(pu)江(jiang)(jiang)(jiang)板(ban)凳龍的(de)傳承發(fa)展，唐代為(wei)其孕育期，宋、元為(wei)其成熟期，明、清為(wei)其鼎盛(sheng)期；中華人民共和國成立(li)后，尤其是(shi)改革(ge)開放以后，為(wei)其弘揚傳承期。

從(cong)構造上(shang)看，浦(pu)江板(ban)凳龍(long)(long)(long)(long)由龍(long)(long)(long)(long)頭、龍(long)(long)(long)(long)身（子(zi)燈）、龍(long)(long)(long)(long)尾(wei)三部分組(zu)成，俗稱長(chang)燈。根據龍(long)(long)(long)(long)頭造型(xing)，可分仰天龍(long)(long)(long)(long)、俯地龍(long)(long)(long)(long)、大蝦(xia)龍(long)(long)(long)(long)等類別(bie)。因凳板(ban)（龍(long)(long)(long)(long)身）上(shang)的設置造型(xing)不同(tong)，亦有方(fang)燈、酒壇燈、字燈等十(shi)一種(zhong)不同(tong)的形(xing)態。每逢節(jie)日或重大慶(qing)典興燈，以(yi)麥(mai)餅團、剪刀(dao)箍、甩尾(wei)巴為(wei)主要(yao)表(biao)演陣(zhen)式(shi)。

浦江板(ban)凳龍(long)，顧名思(si)義(yi)就是一(yi)條條用單個(ge)板(ban)凳串聯(lian)而成(cheng)的(de)游動(dong)的(de)龍(long)燈，它讓人(ren)們(men)(men)充分感受到廣場民間舞蹈(dao)氣勢恢宏、剛強柔(rou)美的(de)特(te)征(zheng)，在(zai)鑼聲、號角、銃聲震天(tian)，喝(he)彩聲此起(qi)彼伏的(de)氛圍中(zhong)接受和(he)(he)領悟娛(yu)己(ji)娛(yu)人(ren)的(de)生活習俗和(he)(he)敬天(tian)順(shun)人(ren)的(de)民眾信仰。一(yi)條浦江板(ban)凳龍(long)幾乎就是一(yi)個(ge)藝(yi)術(shu)綜合體(ti)(ti)，它集書法、繪(hui)畫、剪紙、刻花、雕塑(su)藝(yi)術(shu)和(he)(he)扎(zha)制編糊工藝(yi)為一(yi)體(ti)(ti)，融體(ti)(ti)育、雜技、舞蹈(dao)為一(yi)爐。游動(dong)起(qi)來(lai)的(de)龍(long)舞兼有(you)粗獷(guang)、細膩(ni)、奔放、嚴整的(de)風格(ge)，通過這(zhe)種激(ji)情與哲理、娛(yu)樂教化(hua)(hua)合一(yi)的(de)舞蹈(dao)，人(ren)們(men)(men)得到了感官(guan)和(he)(he)心(xin)靈的(de)雙重滿(man)足。浦江板(ban)凳龍(long)是地(di)道的(de)百姓(xing)文(wen)化(hua)(hua)，廣場性、廣泛性、驚險性為其(qi)主(zhu)要(yao)特(te)征(zheng)，其(qi)參加(jia)人(ren)數(shu)之多(duo)、活動(dong)場地(di)之大(da)，在(zai)同(tong)類形式中(zhong)實屬罕(han)見。

長興百葉龍

申報(bao)地區或單位：浙江省長興縣

長興(xing)百(bai)葉龍發源并(bing)流(liu)傳(chuan)于浙江(jiang)省長興(xing)縣(xian)林城鎮一帶，至(zhi)21世紀10年代已有一百(bai)六十(shi)多年的歷(li)史。

傳(chuan)統(tong)百葉龍(long)(long)多(duo)在(zai)廟(miao)會及節慶(qing)時表演，先從“游四門”、“圓(yuan)場”等(deng)隊(dui)形開(kai)始，當荷花燈(deng)聚成(cheng)圓(yuan)圈、相互(hu)連接以(yi)構成(cheng)“龍(long)(long)”形時，外(wai)圈舞隊(dui)熱烈舞蹈，以(yi)遮(zhe)引觀(guan)眾(zhong)視線(xian)；“龍(long)(long)”一成(cheng)形，即騰空躍起，眾(zhong)舞隊(dui)立(li)時散開(kai)，突出百葉龍(long)(long)，形成(cheng)高(gao)潮(chao)。

百葉(xie)龍(long)(long)的表演方(fang)式(shi)也劃分為舞(wu)臺(tai)舞(wu)、行街舞(wu)、廣場舞(wu)等(deng)不同形式(shi)，且日趨復雜，以(yi)適應不同的表演場合。其主(zhu)要隊形有(you)長蛇陣、接(jie)龍(long)(long)、踩四門、剪(jian)刀陣、走四角等(deng)，主(zhu)要動(dong)作有(you)游龍(long)(long)、滾(gun)龍(long)(long)、龍(long)(long)盤柱、騰(teng)龍(long)(long)、臥龍(long)(long)、睡龍(long)(long)、龍(long)(long)出水、龍(long)(long)吐(tu)須等(deng)。

百葉龍(long)(long)舞蹈表演時(shi)，荷(he)花(hua)(hua)在(zai)瞬間(jian)突變(bian)(bian)成龍(long)(long)是其最顯著的特(te)點，由此將中國傳統的舞龍(long)(long)轉化成龍(long)(long)舞，通(tong)過湖水蕩漾(yang)、荷(he)葉擺動(dong)、荷(he)花(hua)(hua)盛開、彩蝶(die)撲飛、荷(he)花(hua)(hua)變(bian)(bian)龍(long)(long)、蛟龍(long)(long)嬉(xi)戲、龍(long)(long)變(bian)(bian)荷(he)花(hua)(hua)等動(dong)作和情節，完(wan)成一個完(wan)整(zheng)的舞蹈過程，展(zhan)出江南水鄉(xiang)的絕美意境。

1957年(nian)，百葉龍(long)榮(rong)獲(huo)第二屆(jie)全(quan)國(guo)民間音樂舞(wu)蹈匯(hui)演(yan)(yan)特等(deng)獎，由周恩(en)來總(zong)理(li)推薦參加莫(mo)斯(si)科(ke)“第六屆(jie)世界青年(nian)大(da)學生聯歡節”演(yan)(yan)出，榮(rong)獲(huo)金獎，2000年(nian)又(you)獲(huo)“群星獎”舞(wu)蹈大(da)賽(sai)金獎。

奉化布龍

申(shen)報地區或(huo)單位：浙江省奉化市

奉(feng)化(hua)布(bu)龍(long)因起源和(he)流布(bu)于(yu)浙江(jiang)奉(feng)化(hua)而(er)得名(ming)，是全(quan)國頗(po)有(you)影響的代(dai)表性龍(long)舞之一。它由敬神(shen)、請神(shen)、娛神(shen)的民間(jian)儀式逐(zhu)漸演變成(cheng)為富有(you)特(te)色的民間(jian)舞蹈，迄(qi)今(jin)已有(you)八百(bai)多年歷史(shi)。

舞(wu)得活(huo)、舞(wu)得圓(yuan)、神態真、套(tao)路多、速度快(kuai)是奉化布龍(long)(long)(long)的主(zhu)要藝(yi)術特(te)征(zheng)。整(zheng)個舞(wu)蹈由(you)(you)盤、滾、游(you)(you)、翻(fan)、跳、戲等基本套(tao)路和小游(you)(you)龍(long)(long)(long)、大游(you)(you)龍(long)(long)(long)、龍(long)(long)(long)鉆(zhan)尾等過渡動作組(zu)成，舞(wu)者動作矯健，舞(wu)姿變化多端，技藝(yi)嫻熟。所有(you)(you)舞(wu)蹈動作都(dou)在龍(long)(long)(long)的游(you)(you)動中進行(xing)，能(neng)做到(dao)“形(xing)變龍(long)(long)(long)不停(ting)，龍(long)(long)(long)走套(tao)路生”，“人(ren)緊(jin)(jin)龍(long)(long)(long)也圓(yuan)，龍(long)(long)(long)飛人(ren)亦舞(wu)”，造型生動，轉換巧(qiao)妙，動作間的銜(xian)接和遞(di)進十分緊(jin)(jin)湊(cou)。由(you)(you)于(yu)龍(long)(long)(long)身輕，舞(wu)動起來(lai)速度快(kuai)，龍(long)(long)(long)圈環環相扣，龍(long)(long)(long)身緊(jin)(jin)緊(jin)(jin)纏繞。奉化布龍(long)(long)(long)傳(chuan)統套(tao)路多達四(si)十余個，為一般龍(long)(long)(long)舞(wu)所罕見，其中有(you)(you)的已被(bei)用作國家體育舞(wu)龍(long)(long)(long)比賽的規(gui)定(ding)動作，為大江南(nan)北(bei)的龍(long)(long)(long)舞(wu)所移植(zhi)。

瀘州雨壇彩龍

申報地區或單位(wei)：四川(chuan)省瀘縣

四川瀘州雨壇彩(cai)(cai)龍以(yi)其悠久的(de)歷史(shi)和浪漫的(de)龍舞(wu)表演藝(yi)術(shu)被譽為“東(dong)方活龍”。清光緒(xu)十八年左右，當地藝(yi)人將原有的(de)“草把龍”改成彩(cai)(cai)龍，到1919年，出現(xian)了第一(yi)條雨壇彩(cai)(cai)龍。自此每逢年節或婚喪嫁娶，當地百姓都要舞(wu)彩(cai)(cai)龍。

雨壇(tan)彩(cai)龍(long)(long)的表(biao)(biao)(biao)演(yan)重在(zai)一(yi)個“活”字，“人(ren)龍(long)(long)合一(yi)”。表(biao)(biao)(biao)演(yan)時舞(wu)者(zhe)“動(dong)于中而(er)形于外”，“心(xin)有性(xing)情(qing)(qing)(qing)，手(shou)衍神色(se)”，“手(shou)隨眼(yan)動(dong)，眼(yan)隨心(xin)動(dong)”。在(zai)川(chuan)劇打擊樂的伴奏下，龍(long)(long)與“寶”交織纏綿，緊緊呼應，在(zai)龍(long)(long)舞(wu)中對龍(long)(long)的個性(xing)特征、生活情(qing)(qing)(qing)態(tai)進行生動(dong)的描摹。雨壇(tan)彩(cai)龍(long)(long)按連(lian)綿不斷的太極(ji)圖案行進表(biao)(biao)(biao)演(yan)，套路變幻莫測(ce)，表(biao)(biao)(biao)演(yan)活潑靈動(dong)，變化(hua)多(duo)端，或(huo)(huo)脫衣(yi)，或(huo)(huo)翻滾，或(huo)(huo)嘆氣(qi)，或(huo)(huo)擦癢，極(ji)顯(xian)龍(long)(long)之性(xing)情(qing)(qing)(qing)。在(zai)此過程中，舞(wu)者(zhe)與龍(long)(long)的情(qing)(qing)(qing)感(gan)融為(wei)一(yi)體。

在漫長的(de)表(biao)(biao)演實踐中，雨(yu)壇(tan)彩龍(long)(long)(long)(long)的(de)傳(chuan)人(ren)(ren)們(men)不斷(duan)更(geng)新、豐(feng)富(fu)表(biao)(biao)演內(nei)容，形(xing)成了完整(zheng)的(de)表(biao)(biao)演套路(lu)和經(jing)典的(de)動作造型，如龍(long)(long)(long)(long)出洞、龍(long)(long)(long)(long)搶寶、龍(long)(long)(long)(long)脫衣、龍(long)(long)(long)(long)背劍、龍(long)(long)(long)(long)嘆氣、龍(long)(long)(long)(long)砌塔、龍(long)(long)(long)(long)抱柱、黃(huang)龍(long)(long)(long)(long)滾、倒掛金鉤、太子騎(qi)龍(long)(long)(long)(long)等，最大限(xian)度地展示(shi)了人(ren)(ren)們(men)對(dui)龍(long)(long)(long)(long)的(de)想象(xiang)。以(yi)藝人(ren)(ren)羅(luo)銀坤等羅(luo)氏兄(xiong)弟為代表(biao)(biao)，構成了雨(yu)壇(tan)彩龍(long)(long)(long)(long)的(de)傳(chuan)承人(ren)(ren)系統。在當(dang)代，這個傳(chuan)人(ren)(ren)系統大大拓(tuo)展，不僅有一(yi)批青年人(ren)(ren)加入，而且重慶、銅梁、成都等地還派人(ren)(ren)來學藝，雨(yu)壇(tan)彩龍(long)(long)(long)(long)的(de)流布區域由(you)此(ci)得到了擴展。

河上板龍舞

河上板龍舞(wu)是(shi)(shi)民(min)(min)間舞(wu)蹈(dao)形(xing)式, 是(shi)(shi)龍舞(wu)的(de)一種, 舞(wu)蹈(dao)形(xing)象為(wei)中華(hua)民(min)(min)族的(de)圖騰———龍, 它集(ji)中展現了蕭山(shan)民(min)(min)間工藝的(de)精華(hua), 是(shi)(shi)蕭山(shan)民(min)(min)間文化的(de)杰出代表。從南宋(song)紹興二(er)十(shi)九年 (1159) 開(kai)始,至2009年已有(you)850余年歷史。

旦場人龍舞

電白旦(dan)(dan)(dan)場鎮旦(dan)(dan)(dan)場村人(ren)(ren)(ren)龍(long)(long)(long)起源于(yu)清朝雍(yong)正(zheng)年間，至今已有(you)(you)(you)270多(duo)年歷史。據村里老人(ren)(ren)(ren)說，旦(dan)(dan)(dan)場村的(de)(de)人(ren)(ren)(ren)龍(long)(long)(long)是(shi)(shi)這(zhe)(zhe)(zhe)樣形成(cheng)的(de)(de)：當時村人(ren)(ren)(ren)在池塘中(zhong)游泳，覺(jue)得純粹的(de)(de)游泳已缺(que)乏趣味(wei)，于(yu)是(shi)(shi)分成(cheng)兩隊人(ren)(ren)(ren)馬，舉(ju)行(xing)“戰(zhan)斗”。戰(zhan)斗的(de)(de)規則(ze)是(shi)(shi)：雙方(fang)都有(you)(you)(you)大(da)人(ren)(ren)(ren)和小孩(hai)(hai)，大(da)人(ren)(ren)(ren)站在水中(zhong)，將小孩(hai)(hai)托在肩(jian)上，讓(rang)小孩(hai)(hai)對打，前面(mian)的(de)(de)小孩(hai)(hai)被打到(dao)水中(zhong)之后(hou)(hou)，后(hou)(hou)面(mian)的(de)(de)小孩(hai)(hai)迅速補上，繼續戰(zhan)斗，直到(dao)有(you)(you)(you)一隊小孩(hai)(hai)被完(wan)全(quan)打倒為(wei)止。后(hou)(hou)來人(ren)(ren)(ren)們(men)忽(hu)然想到(dao)現在這(zhe)(zhe)(zhe)種形式的(de)(de)人(ren)(ren)(ren)龍(long)(long)(long)：大(da)人(ren)(ren)(ren)抬著仰臥的(de)(de)小孩(hai)(hai)，一個(ge)接一個(ge)，組(zu)(zu)成(cheng)龍(long)(long)(long)身，前面(mian)一個(ge)小孩(hai)(hai)坐(zuo)立大(da)人(ren)(ren)(ren)肩(jian)上宛(wan)如龍(long)(long)(long)頭，這(zhe)(zhe)(zhe)便是(shi)(shi)人(ren)(ren)(ren)龍(long)(long)(long)。在重大(da)節日(ri)，村民便自發(fa)組(zu)(zu)織成(cheng)人(ren)(ren)(ren)龍(long)(long)(long)進行(xing)表演。人(ren)(ren)(ren)龍(long)(long)(long)歷經(jing)200多(duo)年演變與(yu)改進，在動(dong)作(zuo)、節奏、斗龍(long)(long)(long)技巧等方(fang)面(mian)日(ri)益(yi)完(wan)善。如今，旦(dan)(dan)(dan)場村年年“人(ren)(ren)(ren)龍(long)(long)(long)”飛舞，鑼鼓喧天，萬眾(zhong)歡呼，給(gei)全(quan)村人(ren)(ren)(ren)帶來了歡樂與(yu)喜慶(qing)，使全(quan)村呈現出一派繁榮與(yu)祥和的(de)(de)景象(xiang)。

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