芒果视频最新版 - 安卓v3.3.4版下载

基本介紹

龍(long)(long)(long)(long)(long)(long)(long)(long)舞(wu)(wu)，也稱“舞(wu)(wu)龍(long)(long)(long)(long)(long)(long)(long)(long)”，民間(jian)(jian)又叫“耍(shua)龍(long)(long)(long)(long)(long)(long)(long)(long)”、“耍(shua)龍(long)(long)(long)(long)(long)(long)(long)(long)燈”或“舞(wu)(wu)龍(long)(long)(long)(long)(long)(long)(long)(long)燈”，在(zai)全國各(ge)地(di)和(he)(he)(he)各(ge)民族間(jian)(jian)廣泛分(fen)布，其形式品種的(de)(de)(de)(de)(de)多樣，是(shi)(shi)任何其他民間(jian)(jian)舞(wu)(wu)都無法(fa)比(bi)擬的(de)(de)(de)(de)(de)。早(zao)在(zai)商代(dai)的(de)(de)(de)(de)(de)甲骨文(wen)中，已出現(xian)以(yi)數人(ren)集體(ti)祭龍(long)(long)(long)(long)(long)(long)(long)(long)求雨的(de)(de)(de)(de)(de)文(wen)字(zi)；漢代(dai)董仲舒(shu)《春秋繁(fan)露》的(de)(de)(de)(de)(de)記(ji)錄中已有(you)明確(que)的(de)(de)(de)(de)(de)各(ge)種舞(wu)(wu)龍(long)(long)(long)(long)(long)(long)(long)(long)求雨的(de)(de)(de)(de)(de)記(ji)載；此后歷朝(chao)歷代(dai)的(de)(de)(de)(de)(de)詩文(wen)中記(ji)錄宮(gong)廷或民間(jian)(jian)舞(wu)(wu)龍(long)(long)(long)(long)(long)(long)(long)(long)的(de)(de)(de)(de)(de)文(wen)字(zi)屢見不(bu)鮮(xian)。直(zhi)至現(xian)在(zai)，龍(long)(long)(long)(long)(long)(long)(long)(long)舞(wu)(wu)仍是(shi)(shi)民間(jian)(jian)喜慶節令場合普遍(bian)存在(zai)的(de)(de)(de)(de)(de)舞(wu)(wu)蹈形式之一。龍(long)(long)(long)(long)(long)(long)(long)(long)舞(wu)(wu)最基(ji)本的(de)(de)(de)(de)(de)表(biao)現(xian)手段是(shi)(shi)其道(dao)具造型(xing)、構圖(tu)變(bian)化和(he)(he)(he)動作套路。根(gen)據龍(long)(long)(long)(long)(long)(long)(long)(long)形道(dao)具的(de)(de)(de)(de)(de)扎制(zhi)(zhi)材料的(de)(de)(de)(de)(de)不(bu)同(tong)，分(fen)為布龍(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(cao)龍(long)(long)(long)(long)(long)(long)(long)(long)、錢龍(long)(long)(long)(long)(long)(long)(long)(long)、竹龍(long)(long)(long)(long)(long)(long)(long)(long)、棕(zong)龍(long)(long)(long)(long)(long)(long)(long)(long)、板(ban)凳(deng)龍(long)(long)(long)(long)(long)(long)(long)(long)、百(bai)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(mao)龍(long)(long)(long)(long)(long)(long)(long)(long)、肉龍(long)(long)(long)(long)(long)(long)(long)(long)等等；北(bei)方龍(long)(long)(long)(long)(long)(long)(long)(long)舞(wu)(wu)的(de)(de)(de)(de)(de)制(zhi)(zhi)作一般高大(da)粗重(zhong)，風格(ge)古樸剛(gang)勁；南方龍(long)(long)(long)(long)(long)(long)(long)(long)舞(wu)(wu)則(ze)精巧(qiao)細致，活潑敏捷(jie)。龍(long)(long)(long)(long)(long)(long)(long)(long)舞(wu)(wu)從(cong)色彩上可分(fen)為黃(huang)(huang)、白、青(qing)、紅、黑等，以(yi)黃(huang)(huang)龍(long)(long)(long)(long)(long)(long)(long)(long)最為尊(zun)貴。龍(long)(long)(long)(long)(long)(long)(long)(long)舞(wu)(wu)的(de)(de)(de)(de)(de)構圖(tu)和(he)(he)(he)動作一般具有(you)“圓曲(qu)”、“翻滾”、“絞纏”、“穿(chuan)插”、“竄躍”等特(te)征。龍(long)(long)(long)(long)(long)(long)(long)(long)舞(wu)(wu)的(de)(de)(de)(de)(de)傳統表(biao)演程序一般為：“請龍(long)(long)(long)(long)(long)(long)(long)(long)”、“出龍(long)(long)(long)(long)(long)(long)(long)(long)”、“舞(wu)(wu)龍(long)(long)(long)(long)(long)(long)(long)(long)”和(he)(he)(he)“送龍(long)(long)(long)(long)(long)(long)(long)(long)”。民間(jian)(jian)有(you)“七八歲玩草(cao)龍(long)(long)(long)(long)(long)(long)(long)(long)，十(shi)五六耍(shua)小龍(long)(long)(long)(long)(long)(long)(long)(long)，青(qing)壯年舞(wu)(wu)大(da)龍(long)(long)(long)(long)(long)(long)(long)(long)”的(de)(de)(de)(de)(de)說法(fa)。舞(wu)(wu)龍(long)(long)(long)(long)(long)(long)(long)(long)人(ren)數少(shao)則(ze)一人(ren)舞(wu)(wu)雙龍(long)(long)(long)(long)(long)(long)(long)(long)，多則(ze)百(bai)人(ren)舞(wu)(wu)一大(da)龍(long)(long)(long)(long)(long)(long)(long)(long)。

龍是中華(hua)民(min)族(zu)的(de)(de)(de)圖騰和(he)信奉(feng)的(de)(de)(de)祖先；龍舞是華(hua)夏精神(shen)的(de)(de)(de)象征(zheng)，它體現了中華(hua)民(min)族(zu)團結合力、奮發開拓(tuo)的(de)(de)(de)精神(shen)面貌，包含了天人和(he)諧、造福人類(lei)的(de)(de)(de)文化(hua)(hua)內涵，是中國(guo)人在吉慶和(he)祝福時節最常見的(de)(de)(de)娛樂方式(shi)，氣氛熱(re)烈，催(cui)人振奮，是中華(hua)民(min)族(zu)極為珍貴的(de)(de)(de)文化(hua)(hua)遺產。

舞蹈特色

龍形道具

中(zhong)(zhong)國漢(han)族民間舞蹈(dao)，因(yin)舞蹈(dao)者持傳(chuan)說(shuo)中(zhong)(zhong)的(de)(de)龍(long)形(xing)道具而(er)得名。龍(long)的(de)(de)形(xing)象源(yuan)于中(zhong)(zhong)國古(gu)代(dai)圖騰，被視為民族的(de)(de)象征。傳(chuan)說(shuo)中(zhong)(zhong)龍(long)能行云布雨，消(xiao)災降(jiang)福。于2006年列入首批(pi)《國家(jia)級非物質(zhi)文化遺(yi)產名錄(lu)》，編號Ⅲ-4。流傳(chuan)較(jiao)為廣泛的(de)(de)有：

1.龍燈

又稱火(huo)龍(long)(long)(long)(long)、金龍(long)(long)(long)(long)。用竹(zhu)篾和綢布(bu)扎(zha)成龍(long)(long)(long)(long)頭、龍(long)(long)(long)(long)身（3～10節(jie)）和龍(long)(long)(long)(long)尾，彩(cai)繪龍(long)(long)(long)(long)鱗(lin)，每節(jie)龍(long)(long)(long)(long)身中(zhong)都裝有燭燈。起舞(wu)(wu)時，一人手持彩(cai)燈（象征寶(bao)珠）在前(qian)領舞(wu)(wu)，其他多人持龍(long)(long)(long)(long)頭、龍(long)(long)(long)(long)身和龍(long)(long)(long)(long)尾下(xia)的木柄(bing)隨舞(wu)(wu)，表(biao)演“二(er)龍(long)(long)(long)(long)戲(xi)珠”、“金龍(long)(long)(long)(long)蟠玉柱”等。龍(long)(long)(long)(long)燈多在節(jie)慶之夜(ye)舞(wu)(wu)弄，以鑼(luo)鼓、嗩(suo)吶伴奏，同時施放煙花(hua)爆竹(zhu)，蔚為壯(zhuang)觀熱(re)鬧。

2.草龍

南(nan)方農民在(zai)夏歷五、六月間，用柳條(tiao)、青藤、稻草等扎成(cheng)(cheng)龍(long)(long)(long)(long)(long)(long)形。龍(long)(long)(long)(long)(long)(long)身(shen)上插滿香火，傍晚以后(hou)在(zai)田(tian)間場院舞(wu)弄，看(kan)起來星(xing)火點點、香煙(yan)繚繞(rao)。過去多(duo)在(zai)鬧(nao)蟲(chong)災或干(gan)旱時的祭祀活動中(zhong)(zhong)舞(wu)弄，有(you)驅(qu)蟲(chong)、祈雨(yu)之意(yi)。此外還有(you)些(xie)龍(long)(long)(long)(long)(long)(long)身(shen)不相(xiang)連結的龍(long)(long)(long)(long)(long)(long)舞(wu)，如流行于(yu)浙江一(yi)帶的百葉(xie)龍(long)(long)(long)(long)(long)(long)，是由幾(ji)十盞(zhan)甚(shen)至上百盞(zhan)荷(he)花(hua)燈、荷(he)葉(xie)燈、蝴(hu)蝶(die)(die)燈穿(chuan)插串連而成(cheng)(cheng)，大荷(he)花(hua)燈作(zuo)龍(long)(long)(long)(long)(long)(long)頭(tou)(tou)，蝴(hu)蝶(die)(die)燈當(dang)龍(long)(long)(long)(long)(long)(long)尾，來回穿(chuan)梭(suo)游走。而江蘇流行一(yi)種段龍(long)(long)(long)(long)(long)(long)，龍(long)(long)(long)(long)(long)(long)頭(tou)(tou)、龍(long)(long)(long)(long)(long)(long)身(shen)和龍(long)(long)(long)(long)(long)(long)尾都由紅綢扎成(cheng)(cheng)，輕盈優(you)美，多(duo)由婦女(nv)舞(wu)弄，魚貫(guan)走出許(xu)多(duo)隊形，猶如一(yi)條(tiao)彩(cai)虹在(zai)空中(zhong)(zhong)蜿蜒(yan)。龍(long)(long)(long)(long)(long)(long)舞(wu)是中(zhong)(zhong)國傳(chuan)統(tong)節日(ri)中(zhong)(zhong)流行最(zui)廣的民間舞(wu)蹈，世界上華人聚居(ju)區也以龍(long)(long)(long)(long)(long)(long)舞(wu)來表(biao)現社區傳(chuan)統(tong)文化。

根據龍(long)(long)(long)(long)(long)(long)(long)形道(dao)具的(de)扎制(zhi)材(cai)料的(de)不同(tong)，分為(wei)布龍(long)(long)(long)(long)(long)(long)(long)、紗龍(long)(long)(long)(long)(long)(long)(long)、紙龍(long)(long)(long)(long)(long)(long)(long)、草龍(long)(long)(long)(long)(long)(long)(long)、錢龍(long)(long)(long)(long)(long)(long)(long)、竹龍(long)(long)(long)(long)(long)(long)(long)、棕龍(long)(long)(long)(long)(long)(long)(long)、板凳龍(long)(long)(long)(long)(long)(long)(long)、百葉(xie)龍(long)(long)(long)(long)(long)(long)(long)、荷(he)花龍(long)(long)(long)(long)(long)(long)(long)、火龍(long)(long)(long)(long)(long)(long)(long)、雞毛(mao)龍(long)(long)(long)(long)(long)(long)(long)、肉龍(long)(long)(long)(long)(long)(long)(long)等等；北方(fang)龍(long)(long)(long)(long)(long)(long)(long)舞(wu)的(de)制(zhi)作一般高大粗(cu)重，風格古樸剛(gang)勁；南方(fang)龍(long)(long)(long)(long)(long)(long)(long)舞(wu)則精巧細致，活潑敏捷。龍(long)(long)(long)(long)(long)(long)(long)舞(wu)從色彩上可分為(wei)黃、白、青、紅、黑等，以黃龍(long)(long)(long)(long)(long)(long)(long)最為(wei)尊貴。龍(long)(long)(long)(long)(long)(long)(long)舞(wu)的(de)構圖和動作一般具有(you)“圓曲”、“翻(fan)滾(gun)”、“絞纏”、“穿插”、“竄躍”等特征。

表演形式

龍(long)舞(wu)的表演場(chang)地(di)是城(cheng)鎮廣場(chang)，社區，區域較大的地(di)方。龍(long)舞(wu)的傳統表演程序一般為(wei)：“請龍(long)”、“出龍(long)”、“舞(wu)龍(long)”和“送龍(long)”。民間(jian)有“七八歲玩草龍(long)，十五(wu)六耍小龍(long)，青(qing)壯年(nian)舞(wu)大龍(long)”的說法。舞(wu)龍(long)人(ren)(ren)數(shu)少則(ze)一人(ren)(ren)舞(wu)雙龍(long)，多則(ze)百人(ren)(ren)舞(wu)一大龍(long)。

服飾

龍(long)舞表演多(duo)以(yi)男(nan)性演員(yuan)為主，演員(yuan)的服(fu)飾是(shi)圓領(ling)白(bai)色(se)緊(jin)(jin)身(shen)衣(yi)，上衣(yi)扣(kou)子(zi)為褐色(se)，形狀(zhuang)似云朵(duo)狀(zhuang)。扣(kou)子(zi)兩邊(bian)有(you)(you)龍(long)狀(zhuang)花紋，袖口(kou)處有(you)(you)如龍(long)身(shen)鱗片花樣(yang)，腰(yao)間扎有(you)(you)紅色(se)或綠色(se)綢帶(dai)。頭(tou)裹(guo)白(bai)色(se)羊肚毛巾，下身(shen)穿淺黃色(se)緊(jin)(jin)腿褲，腳(jiao)蹬云頭(tou)布鞋(xie)，妝容多(duo)以(yi)薄(bo)粉敷面。

音樂

龍(long)舞(wu)(wu)(wu)(wu)在運(yun)動過(guo)(guo)程中離不開鼓(gu)點(dian)(dian)樂器(qi)的搭(da)配，音樂在舞(wu)(wu)(wu)(wu)龍(long)過(guo)(guo)程中有著重要(yao)(yao)(yao)的地位，演奏風格具有民族傳統(tong)性。其(qi)旋律(lv)、節奏與火龍(long)舞(wu)(wu)(wu)(wu)的動作、造型畫面和諧一致，主(zhu)(zhu)(zhu)要(yao)(yao)(yao)以(yi)打(da)擊(ji)樂的伴(ban)奏形式為主(zhu)(zhu)(zhu)。在鼓(gu)點(dian)(dian)的襯托(tuo)下(xia)，使龍(long)舞(wu)(wu)(wu)(wu)表現生機勃勃。伴(ban)奏樂器(qi)多以(yi)鑼、鼓(gu)、镲等打(da)擊(ji)樂為主(zhu)(zhu)(zhu)，樂隊鼓(gu)點(dian)(dian)無固(gu)定模式，以(yi)舞(wu)(wu)(wu)(wu)者舞(wu)(wu)(wu)(wu)龍(long)情緒調整(zheng)節奏快慢變化，屬(shu)于(yu)即興演奏。鼓(gu)點(dian)(dian)音樂使火龍(long)舞(wu)(wu)(wu)(wu)表演顯(xian)得活(huo)靈(ling)活(huo)現，振奮人心。火龍(long)舞(wu)(wu)(wu)(wu)表演時，樂隊由四到六人組成(cheng)，每(mei)個人的職(zhi)能不同，其(qi)中鼓(gu)主(zhu)(zhu)(zhu)要(yao)(yao)(yao)敲(qiao)(qiao)擊(ji)主(zhu)(zhu)(zhu)要(yao)(yao)(yao)節奏，鑼主(zhu)(zhu)(zhu)要(yao)(yao)(yao)敲(qiao)(qiao)擊(ji)重音，镲是每(mei)拍子敲(qiao)(qiao)擊(ji)一次，音樂在基本鼓(gu)點(dian)(dian)與曲譜(pu)下(xia)反復，直到與動作完(wan)成(cheng)為止。

基本動作

龍(long)(long)(long)(long)(long)舞中的龍(long)(long)(long)(long)(long)，由(you)龍(long)(long)(long)(long)(long)頭、龍(long)(long)(long)(long)(long)身(shen)(shen)和龍(long)(long)(long)(long)(long)尾構成，龍(long)(long)(long)(long)(long)身(shen)(shen)較長，是龍(long)(long)(long)(long)(long)的主體(ti)。在制(zhi)作這種(zhong)表演的龍(long)(long)(long)(long)(long)時，用(yong)竹篾或者鐵(tie)絲為架子，外面抹上紙或者是布，龍(long)(long)(long)(long)(long)身(shen)(shen)的節與節之(zhi)間，用(yong)布縫(feng)成筒狀(zhuang)連接，然(ran)后彩繪其形(xing)。龍(long)(long)(long)(long)(long)身(shen)(shen)、龍(long)(long)(long)(long)(long)頭、龍(long)(long)(long)(long)(long)尾制(zhi)成后，在龍(long)(long)(long)(long)(long)身(shen)(shen)的每節中部(bu)插置蠟梗(geng)，下部(bu)安(an)置木柄，供表演的人用(yong)手抓握。

龍(long)舞(wu)(wu)在開始表演(yan)時，由(you)許(xu)多人(ren)每人(ren)各舉一(yi)(yi)節木柄，左(zuo)右(you)揮舞(wu)(wu)，使龍(long)體(ti)(ti)在空(kong)中(zhong)悠悠蠕動。一(yi)(yi)般是一(yi)(yi)手(shou)(shou)在上，一(yi)(yi)手(shou)(shou)在下(xia)，兩手(shou)(shou)相距四十厘米。舞(wu)(wu)龍(long)表演(yan)者在舞(wu)(wu)蹈過程中(zhong)，可以(yi)(yi)(yi)隨時調動雙(shuang)手(shou)(shou)之間的(de)(de)(de)距離。雙(shuang)手(shou)(shou)執(zhi)桿運動路線以(yi)(yi)(yi)繞(rao)八字為主(zhu)。除此以(yi)(yi)(yi)外，舞(wu)(wu)蹈過程中(zhong)常(chang)有倒把(ba)動作(zuo)，主(zhu)要包括(kuo)上倒把(ba)和(he)下(xia)倒把(ba)。指揮演(yan)員的(de)(de)(de)執(zhi)桿方法與舞(wu)(wu)龍(long)。夜晚舞(wu)(wu)龍(long)時，要點燃龍(long)體(ti)(ti)內的(de)(de)(de)蠟燭(zhu)，輔以(yi)(yi)(yi)彩(cai)(cai)燈(deng)、蓮花(hua)燈(deng)等各式花(hua)燈(deng)，同(tong)時施放(fang)煙火、爆(bao)竹，造成(cheng)一(yi)(yi)定的(de)(de)(de)聲勢，吸(xi)引觀眾，使龍(long)舞(wu)(wu)呈現出(chu)不同(tong)凡響的(de)(de)(de)風彩(cai)(cai)來。

火龍舞(wu)(wu)(wu)的(de)(de)基本步法主(zhu)要(yao)是跑(pao)碎步，隨著音(yin)樂的(de)(de)高潮以及舞(wu)(wu)(wu)龍的(de)(de)幅(fu)度控制步伐。由于龍舞(wu)(wu)(wu)是由多人組(zu)成(cheng)的(de)(de)隊伍，因此要(yao)配合默契，步伐統一(yi)。火龍舞(wu)(wu)(wu)運動量很大，不同(tong)的(de)(de)動作(zuo)大部分(fen)都是在(zai)跑(pao)碎步中(zhong)完成(cheng)的(de)(de)。

傳承價值與現狀

對中國古典舞的影響

中(zhong)(zhong)國古(gu)(gu)典舞(wu)(wu)(wu)是在提(ti)煉(lian)中(zhong)(zhong)國戲(xi)曲(qu)舞(wu)(wu)(wu)蹈和武術(shu)的(de)基(ji)礎上(shang)，吸收中(zhong)(zhong)國傳統文化之精髓(sui)，并融合多種藝(yi)術(shu)形式(shi)發展演(yan)變(bian)而成(cheng)的(de)中(zhong)(zhong)國舞(wu)(wu)(wu)蹈藝(yi)術(shu)的(de)典菹，它是中(zhong)(zhong)華民族文化藝(yi)術(shu)的(de)結晶。從它的(de)基(ji)本動(dong)律(lv)(lv)、舞(wu)(wu)(wu)姿形態(tai)及運(yun)動(dong)軌跡來(lai)看，其體勢，總呈現為(wei)(wei)一種回(hui)旋狀(zhuang)態(tai)，回(hui)旋狀(zhuang)態(tai)即(ji)“ 圓(yuan)” 一— “轉(zhuan)”的(de)狀(zhuang)態(tai)，這(zhe)種狀(zhuang)態(tai)是中(zhong)(zhong)國古(gu)(gu)典舞(wu)(wu)(wu)動(dong)律(lv)(lv)形態(tai)與(yu)(yu)身法最顯(xian)著的(de)特點(dian)，故(gu)中(zhong)(zhong)國古(gu)(gu)典舞(wu)(wu)(wu)被稱(cheng)為(wei)(wei)“劃圓(yuan)的(de)藝(yi)術(shu)” 。在長期的(de)表演(yan)實(shi)踐中(zhong)(zhong)，中(zhong)(zhong)國古(gu)(gu)典舞(wu)(wu)(wu)始終與(yu)(yu)“圓(yuan)” 有著密不(bu)可分的(de)關系，即(ji)“ 萬變(bian)不(bu)離其圓(yuan)”，并在此基(ji)礎上(shang)形成(cheng)了(le)以(yi)"擰、傾、圓(yuan)、曲(qu)"為(wei)(wei)核心的(de)動(dong)律(lv)(lv)形態(tai)。

而在“ 龍(long)(long)(long)(long)舞(wu)(wu)(wu)” 表演中(zhong)(zhong)，以(yi)單龍(long)(long)(long)(long)為(wei)例，龍(long)(long)(long)(long)舞(wu)(wu)(wu)開(kai)始時總是先(xian)繞場一(yi)兩周(zhou)一(yi)—圓場，勾畫(hua)出一(yi)個圓形(xing)(xing)(xing)無(wu)極圖，然(ran)后(hou)(hou)開(kai)始耍龍(long)(long)(long)(long)，舞(wu)(wu)(wu)龍(long)(long)(long)(long)隊伍(wu)的(de)成員將龍(long)(long)(long)(long)頭、龍(long)(long)(long)(long)身(shen)、龍(long)(long)(long)(long)尾依(yi)次先(xian)后(hou)(hou)從上而下劃8字，形(xing)(xing)(xing)成整個龍(long)(long)(long)(long)體的(de)S 形(xing)(xing)(xing)游動(dong)，《百戲竹枝詞· 龍(long)(long)(long)(long)燈(deng)斗(dou)》詩題(ti)解說：其龍(long)(long)(long)(long)燈(deng)” 以(yi)竹蔑(mie)為(wei)之，外(wai)覆(fu)以(yi)紗，婉(wan)蜓(ting)之勢(shi)亦復可(ke)觀。“龍(long)(long)(long)(long)舞(wu)(wu)(wu)的(de)運(yun)動(dong)形(xing)(xing)(xing)態非常明顯地呈現(xian)為(wei)一(yi)種循(xun)環變化、婉(wan)蜓(ting)曲折(zhe)的(de)形(xing)(xing)(xing)態，它的(de)形(xing)(xing)(xing)態可(ke)以(yi)用一(yi)個字來概括，就是“回(hui)(hui)” 。除此之外(wai)，在中(zhong)(zhong)國古典(dian)舞(wu)(wu)(wu)袖(xiu)舞(wu)(wu)(wu)中(zhong)(zhong)，身(shen)袖(xiu)不可(ke)分(fen)，水袖(xiu)借(jie)助身(shen)休的(de)"擰(ning)、傾、圓、曲”和住復回(hui)(hui)旋如龍(long)(long)(long)(long)的(de)動(dong)勢(shi)，才能(neng)有“ 長袖(xiu)以(yi)隧回(hui)(hui)"，故中(zhong)(zhong)國古典(dian)舞(wu)(wu)(wu)袖(xiu)舞(wu)(wu)(wu)的(de)“ 身(shen)袖(xiu)合一(yi)“ 體現(xian)著龍(long)(long)(long)(long)舞(wu)(wu)(wu)" 回(hui)(hui)”之意象的(de)形(xing)(xing)(xing)式(shi)美(mei)。

文化價值

“ 龍(long)(long)舞” 作為“龍(long)(long)文(wen)化(hua)” 藝(yi)術的(de)代表．是(shi)(shi)(shi)在幾千年歷(li)史發(fa)展過程中，人(ren)們所創造出來的(de)代表中華民族、中國文(wen)化(hua)、華夏精神的(de)象征。“龍(long)(long)舞”是(shi)(shi)(shi)以一種(zhong)崇高的(de)美(mei)(mei)和(he)神奇(qi)的(de)美(mei)(mei)傳達行人(ren)們內心(xin)的(de)愿望(wang)和(he)希冀(ji)，表現(xian)(xian)(xian)著(zhu)人(ren)們對(dui)龍(long)(long)圖騰(teng)、對(dui)生命(ming)、對(dui)宇宙的(de)崇拜，龍(long)(long)文(wen)化(hua)既體現(xian)(xian)(xian)了(le)“天人(ren)和(he)諧”的(de)文(wen)化(hua)內涵，也體現(xian)(xian)(xian)了(le)華夏人(ren)民繼承(cheng)與發(fa)揚的(de)民族精神，是(shi)(shi)(shi)中華民族優秀傳統文(wen)化(hua)之一。

舞龍(long)(long)是(shi)對(dui)龍(long)(long)的(de)(de)(de)一種(zhong)形(xing)(xing)(xing)象化(hua)和具體化(hua)，其(qi)表現(xian)(xian)(xian)形(xing)(xing)(xing)式(shi)受(shou)它所要表達對(dui)象的(de)(de)(de)限制，因而，舞龍(long)(long)表演形(xing)(xing)(xing)式(shi)是(shi)隨著龍(long)(long)形(xing)(xing)(xing)態(tai)的(de)(de)(de)發展而發展的(de)(de)(de)。如(ru)今呈現(xian)(xian)(xian)所的(de)(de)(de)“龍(long)(long)”，是(shi)最完(wan)美(mei)的(de)(de)(de)中(zhong)國現(xian)(xian)(xian)代(dai)龍(long)(long)的(de)(de)(de)形(xing)(xing)(xing)象，與(yu)(yu)(yu)古代(dai)龍(long)(long)有著巨大差異。“龍(long)(long)”的(de)(de)(de)外(wai)部(bu)形(xing)(xing)(xing)態(tai)由春秋(qiu)前的(de)(de)(de)匍匐爬狀、結構粗糙、蛇身獸頭到(dao)戰(zhan)國以(yi)后(hou)的(de)(de)(de)剛(gang)健有力(li)、結構復雜(za)，再到(dao)宋代(dai)以(yi)后(hou)的(de)(de)(de)蜿蜒(yan)多姿，通體華美(mei)；其(qi)氣(qi)勢(shi)(shi)上(shang)從春秋(qiu)前的(de)(de)(de)粗野與(yu)(yu)(yu)狂放、暴(bao)力(li)與(yu)(yu)(yu)恐怖到(dao)戰(zhan)國以(yi)后(hou)的(de)(de)(de)不(bu)(bu)可(ke)一世(shi)的(de)(de)(de)蓬勃(bo)之勢(shi)(shi)，再發展到(dao)宋以(yi)后(hou)其(qi)保留不(bu)(bu)可(ke)一世(shi)的(de)(de)(de)豪(hao)氣(qi)，退卻了(le)(le)原本(ben)的(de)(de)(de)剛(gang)猛(meng) 。通過勞動人民的(de)(de)(de)聰智才慧，“龍(long)(long)”的(de)(de)(de)外(wai)形(xing)(xing)(xing)與(yu)(yu)(yu)神(shen)韻不(bu)(bu)斷(duan)發展與(yu)(yu)(yu)豐富，創造出(chu)了(le)(le)一條活(huo)靈活(huo)現(xian)(xian)(xian)，氣(qi)勢(shi)(shi)蓬勃(bo)的(de)(de)(de)“龍(long)(long)”。

主要流派的價值與現狀

銅梁龍(long)舞(wu)(wu)有與(yu)(yu)民(min)俗活(huo)動緊(jin)密相(xiang)連、套路豐富、動律諧趣的特(te)點，伴奏音(yin)樂獨特(te)，道具構思巧妙(miao)，造型(xing)夸張，服飾(shi)儉(jian)樸大(da)方(fang)，舞(wu)(wu)者(zhe)參舞(wu)(wu)自由，退舞(wu)(wu)方(fang)便，有群眾參與(yu)(yu)性。

銅(tong)梁(liang)龍舞體現了團結(jie)合力、造(zao)福人類、奮發向上、與天和(he)諧的(de)精神(shen)，同時(shi)具(ju)有(you)娛(yu)神(shen)娛(yu)人、彰(zhang)顯(xian)威(wei)力等社會功能(neng)。銅(tong)梁(liang)龍舞聞名于世(shi)的(de)僅大(da)蠕龍、火龍等少數(shu)品種，多(duo)數(shu)龍舞品種已處于瀕危境地，亟待保護(hu)和(he)拯救。

湛江(jiang)人龍(long)舞逐漸失去了往日的吸(xi)引(yin)力，處于(yu)衰落(luo)狀(zhuang)態，為保護民間文化遺(yi)產，有必要對它進行(xing)盡快搶救和整理。

浦江(jiang)板(ban)凳龍(long)保留(liu)了(le)(le)中(zhong)國(guo)尤其是浙中(zhong)和(he)(he)(he)江(jiang)南沿(yan)海一帶(dai)(dai)“龍(long)信仰(yang)”的(de)民間(jian)文化傳(chuan)統，融匯了(le)(le)書畫、剪紙等民間(jian)藝(yi)術的(de)民間(jian)形(xing)態，傳(chuan)承(cheng)(cheng)了(le)(le)群(qun)眾(zhong)體育和(he)(he)(he)廣(guang)場舞蹈的(de)藝(yi)術形(xing)式，具有民俗、歷史研究(jiu)價(jia)值和(he)(he)(he)民間(jian)工藝(yi)傳(chuan)承(cheng)(cheng)功能，在浦江(jiang)和(he)(he)(he)浙中(zhong)及江(jiang)南沿(yan)海一帶(dai)(dai)產生了(le)(le)深遠而廣(guang)泛的(de)影(ying)響。但(dan)時代變(bian)遷所(suo)造成(cheng)的(de)沖擊(ji)也不可避免地(di)降(jiang)臨在浦江(jiang)板(ban)凳龍(long)身上(shang)，使(shi)它(ta)的(de)傳(chuan)承(cheng)(cheng)陷入窘(jiong)境，亟待搶救與保護。

長興(xing)百葉(xie)龍作(zuo)為中國漢民(min)族一(yi)種獨(du)特的民(min)間(jian)舞蹈，具有(you)極高(gao)的藝(yi)術(shu)(shu)價值。時代的變(bian)遷給長興(xing)百葉(xie)龍的有(you)序傳承帶來了(le)影響，使這一(yi)寶貴的民(min)間(jian)藝(yi)術(shu)(shu)形(xing)式面臨生存危(wei)機。為保護(hu)、傳承百葉(xie)龍藝(yi)術(shu)(shu)，長興(xing)地方(fang)政府未(wei)雨綢(chou)繆，采取了(le)一(yi)系列有(you)效措施(shi)，一(yi)個保護(hu)地方(fang)文化資源(yuan)、共創特色(se)文化品牌的良好氛圍正在(zai)形(xing)成。

奉(feng)化(hua)(hua)布龍(long)(long)的(de)文化(hua)(hua)價值(zhi)較突出，且民(min)間流布的(de)生(sheng)態(tai)環境面臨潛在(zai)的(de)危機，故地方政府已(yi)將它率先列入(ru)保護范疇。1990年，奉(feng)化(hua)(hua)布龍(long)(long)入(ru)選《中(zhong)國(guo)民(min)族民(min)間舞蹈集(ji)成（浙(zhe)江(jiang)卷(juan)）》；1996年，奉(feng)化(hua)(hua)市被(bei)文化(hua)(hua)部命名為“中(zhong)國(guo)民(min)間藝術(shu)之鄉”；2005年，奉(feng)化(hua)(hua)布龍(long)(long)被(bei)浙(zhe)江(jiang)省政府列入(ru)首批非物質文化(hua)(hua)遺(yi)產代表作(zuo)名錄。

瀘(lu)州雨壇(tan)彩(cai)龍(long)(long)(long)的(de)龍(long)(long)(long)頭造型(xing)獨(du)特，主要依據瀘(lu)縣(xian)全國(guo)重點文物(wu)保(bao)護單位龍(long)(long)(long)腦橋(qiao)的(de)龍(long)(long)(long)頭設計，額高，嘴短(duan)，雙(shuang)目(mu)突出可(ke)(ke)動，下頜開(kai)合自(zi)如，形(xing)象既威武有神，又憨(han)愚可(ke)(ke)親。龍(long)(long)(long)身(shen)用竹(zhu)篾扎(zha)(zha)制成骨架，分組分節，可(ke)(ke)長可(ke)(ke)短(duan)。整個龍(long)(long)(long)身(shen)用竹(zhu)篾扎(zha)(zha)成圈，相互(hu)串(chuan)聯(lian)，套(tao)上龍(long)(long)(long)衣后靈活多變。龍(long)(long)(long)尾也區別(bie)于一般的(de)火炬尾、蛇形(xing)尾，呈鰱魚狀，極富情趣。時下，雨壇(tan)彩(cai)龍(long)(long)(long)同(tong)樣面臨新時代的(de)挑戰，急需(xu)建立保(bao)護和傳承機(ji)制。

傳承保護措施

1.加強政府的主導作用

面(mian)(mian)對(dui)市場(chang)化經(jing)濟(ji)(ji)(ji)的(de)不(bu)斷發(fa)(fa)展(zhan), 在(zai)龍(long)(long)舞(wu)(wu)(wu)這一民間傳統體(ti)育(yu)項(xiang)目的(de)保護(hu)過程中, 當(dang)地(di)政(zheng)府(fu)的(de)主導(dao)作(zuo)用(yong)這一角色是(shi)不(bu)容(rong)質疑的(de)。政(zheng)府(fu)方面(mian)(mian)需要用(yong)銳利的(de)眼(yan)光深入挖掘(jue)龍(long)(long)舞(wu)(wu)(wu)這一民間傳統體(ti)育(yu)項(xiang)目, 做好龍(long)(long)舞(wu)(wu)(wu)的(de)保護(hu)工作(zuo)，在(zai)政(zheng)府(fu)的(de)主導(dao)下，成立專業的(de)龍(long)(long)舞(wu)(wu)(wu)表演和比(bi)賽隊伍，將舞(wu)(wu)(wu)龍(long)(long)工作(zuo)升級為職業化，以舞(wu)(wu)(wu)龍(long)(long)為生。應該(gai)注意并處理好文(wen)化保護(hu)和經(jing)濟(ji)(ji)(ji)開(kai)發(fa)(fa)兩方面(mian)(mian)的(de)關系, 避免龍(long)(long)經(jing)濟(ji)(ji)(ji)吞食龍(long)(long)文(wen)化的(de)悲劇發(fa)(fa)生。

2.提高民眾參與的積極性、融入社區活動

龍舞是發(fa)源于民(min)間(jian)(jian)(jian)、成長于民(min)間(jian)(jian)(jian)的傳統體(ti)育(yu)項目, 保(bao)護和發(fa)展龍舞也理應(ying)充(chong)分結(jie)合民(min)間(jian)(jian)(jian)特(te)色，充(chong)分與大(da)眾生(sheng)活相結(jie)合；也理應(ying)注重調動大(da)眾參與的積(ji)極性, 以擴大(da)其民(min)間(jian)(jian)(jian)影響力。

3.推動火龍燈舞走入校園

教育作為(wei)民(min)(min)族文(wen)化傳承(cheng)的(de)(de)重要途徑, 在培養(yang)民(min)(min)族文(wen)化認同感(gan)中具有關鍵性的(de)(de)作用，當代青(qing)少年是民(min)(min)族優秀(xiu)文(wen)化的(de)(de)繼承(cheng)者(zhe)、傳播(bo)者(zhe)和(he)創造者(zhe), 也是中國特色社(she)會主義的(de)(de)建設者(zhe)，中華(hua)民(min)(min)族偉大復興的(de)(de)擔當者(zhe)。將“龍舞”推廣進入當地學校，通過組建校園表演隊的(de)(de)方式，參(can)與校內外各種(zhong)文(wen)化節日活動，借鑒以學校為(wei)主體(ti)，以古(gu)鎮(zhen)為(wei)中心，輻射四(si)周地域(yu)為(wei)方向的(de)(de)重要載體(ti), 擴大龍文(wen)化影響(xiang)力(li)。

4.做好關于火龍燈舞文化的宣傳和對外交流工作

作(zuo)為民間(jian)特色的非物質(zhi)文(wen)(wen)(wen)化遺(yi)產保護之一的龍舞(wu)，要以其自身的文(wen)(wen)(wen)化特色不(bu)斷加強與不(bu)同(tong)地域(yu)、不(bu)同(tong)文(wen)(wen)(wen)化類型、不(bu)同(tong)民間(jian)活動之間(jian)的文(wen)(wen)(wen)化交流(liu)與合作(zuo),吸(xi)收借鑒不(bu)同(tong)文(wen)(wen)(wen)化的精髓，促進(jin)文(wen)(wen)(wen)化的交融與渲(xuan)染(ran)同(tong)時也要擴大火龍燈舞(wu)的社會影響和文(wen)(wen)(wen)化吸(xi)引(yin)力。深(shen)入挖(wa)掘(jue)龍舞(wu)的民間(jian)藝術(shu)文(wen)(wen)(wen)化特色, 并利用現代(dai)化的舞(wu)臺藝術(shu)包裝(zhuang)手段, 讓(rang)民間(jian)藝術(shu)充分走上現代(dai)舞(wu)臺，走進(jin)民眾的生活。

主要流派

銅梁龍舞

申報地區或單位：重慶市

銅(tong)(tong)梁(liang)(liang)龍(long)舞(wu)系流(liu)傳(chuan)于(yu)重慶(qing)市銅(tong)(tong)梁(liang)(liang)縣境(jing)內的一種以龍(long)為主要道具的舞(wu)蹈藝術(shu)形式(shi)。它(ta)興起于(yu)明，鼎盛(sheng)于(yu)清，在當代重放(fang)異彩，飲(yin)譽全球(qiu)。

銅梁(liang)龍(long)(long)舞包(bao)括龍(long)(long)燈(deng)舞和彩燈(deng)舞兩(liang)大系列。龍(long)(long)燈(deng)舞主要(yao)包(bao)括大蠕(ru)龍(long)(long)、火龍(long)(long)、稻草龍(long)(long)、筍殼(ke)龍(long)(long)、黃荊龍(long)(long)、板凳龍(long)(long)、正龍(long)(long)、小彩龍(long)(long)、竹(zhu)梆龍(long)(long)、荷花龍(long)(long)十個品(pin)種，其中(zhong)以(yi)大蠕(ru)龍(long)(long)最有特色。彩燈(deng)舞主要(yao)包(bao)括魚躍龍(long)(long)門、泥(ni)鰍吃湯圓(yuan)、三條(tiao)、十八學士、亮獅、開山虎、蚌殼(ke)精、犀牛望月(yue)、豬啃南瓜、高臺龍(long)(long)獅舞、雁塔題名、南瓜棚(peng)十二個品(pin)種。

湛江人龍舞

申(shen)報地區或(huo)單位：廣(guang)東省(sheng)湛江市

廣東(dong)省東(dong)海(hai)島東(dong)山(shan)鎮(zhen)東(dong)山(shan)圩村的(de)人龍(long)舞素(su)有(you)“東(dong)方一(yi)絕(jue)”的(de)美稱。表(biao)演時，幾(ji)(ji)十(shi)至數百名青壯年(nian)和少年(nian)均穿(chuan)短褲，以(yi)人體相接，組成(cheng)一(yi)條“長龍(long)”。在鑼(luo)鼓震天、號角齊(qi)鳴中(zhong)，“長龍(long)”龍(long)頭高昂，龍(long)身翻騰，龍(long)尾勁擺，一(yi)如(ru)(ru)蛟(jiao)龍(long)出(chu)海(hai)，排山(shan)倒海(hai)，勢不可(ke)擋，顯現出(chu)獨特的(de)海(hai)島色彩(cai)和濃(nong)厚的(de)鄉土氣息，是東(dong)海(hai)島乃至雷州半島經久不衰的(de)民間風俗和大(da)型廣場娛樂活動的(de)重要組成(cheng)部分。每逢春節、元宵、中(zhong)秋佳節和一(yi)些重大(da)喜慶(qing)節日，東(dong)山(shan)圩村必(bi)連舞幾(ji)(ji)個晚上“人龍(long)”，東(dong)西兩街戶戶張燈結(jie)彩(cai)，家家傾巢而出(chu)，人流如(ru)(ru)潮，熱(re)鬧非凡。

據藝人(ren)傳(chuan)說，人(ren)龍(long)舞(wu)大約始于(yu)明末(mo)，被(bei)清軍打敗的(de)明軍撤退到雷州(zhou)半島和(he)東海(hai)(hai)(hai)島，適逢中秋，地方百姓為鼓舞(wu)明軍士氣(qi)，編排(pai)了(le)這個舞(wu)蹈。此后人(ren)龍(long)舞(wu)便在這里(li)流傳(chuan)開(kai)來，至清乾(qian)嘉時(shi)達于(yu)鼎盛(sheng)。人(ren)龍(long)舞(wu)是東海(hai)(hai)(hai)島特殊社(she)會歷史因素(su)與地域(yu)自然條件的(de)產物，它將古(gu)海(hai)(hai)(hai)島群(qun)眾娛龍(long)、敬龍(long)、祭(ji)海(hai)(hai)(hai)、尊祖、奉神(shen)等多種風俗融入(ru)“人(ren)龍(long)”之中，形成了(le)自創一(yi)體、獨具(ju)一(yi)格的(de)龍(long)舞(wu)表演形式和(he)“人(ren)龍(long)”精神(shen)。湛江人(ren)龍(long)舞(wu)有(you)起龍(long)、龍(long)點頭、龍(long)穿云、龍(long)卷浪等獨具(ju)特色的(de)表演程式，表演者練就了(le)快速托人(ren)上(shang)肩(jian)的(de)穩健動作和(he)步法，隊形流暢多變(bian)，動作一(yi)氣(qi)呵成，遠望動感(gan)十(shi)足，近(jin)觀粗獷雄壯，成為中華龍(long)文化(hua)延伸(shen)與發展(zhan)的(de)重(zhong)要組成部(bu)分。

汕尾滾地金龍

申報地區或單位：廣東省(sheng)汕尾市(shi)

根據(ju)廣(guang)東(dong)(dong)省汕尾(wei)市南溪(xi)村(cun)(cun)老人黃天樞藏(zang)書中的(de)記載(zai)和(he)部分知(zhi)情者(zhe)的(de)敘述，“滾(gun)地(di)金(jin)龍”始創于南宋，明(ming)嘉靖年間，黃氏光昭公一支(zhi)從福建(jian)漳州移居(ju)廣(guang)東(dong)(dong)陸豐(feng)南溪(xi)村(cun)(cun)，帶來(lai)《滾(gun)地(di)金(jin)龍演史傳》的(de)傳本。黃氏南溪(xi)“滾(gun)地(di)金(jin)龍”繁(fan)衍了十七代(dai)。后來(lai)由該(gai)村(cun)(cun)的(de)金(jin)龍藝師、傳統武術師傳到陸豐(feng)潭西鎮深(shen)溝村(cun)(cun)，大安(an)鎮的(de)安(an)博、下安(an)聯、頂潭、安(an)塘村(cun)(cun)，西南鎮的(de)兩(liang)軍(jun)、下村(cun)(cun)，陸豐(feng)城東(dong)(dong)鎮的(de)上神(shen)山村(cun)(cun)等地(di)。

南溪村“滾(gun)地(di)金龍(long)”表演時，由二人鉆入“龍(long)身被套(tao)”，一人舞(wu)龍(long)頭，一人舞(wu)龍(long)尾。整個表演過(guo)程分為“開(kai)場見禮(li)”、“打圍巡洞”、“游潭戲水(shui)”、“抻筋洗(xi)鱗”、“伏蟄(zhe)聞雷”、“迎(ying)雷起舞(wu)”、“駕(jia)云(yun)飛騰”、“收場還禮(li)”八個舞(wu)段，表演中模仿的(de)龍(long)旋舞(wu)飛騰、戲水(shui)嬉耍、沉(chen)思奮醒、柔靜(jing)盤(pan)曲、勇猛奮進等(deng)動作。伴奏用威武雄壯、嘹亮開(kai)闊的(de)海陸豐(feng)正字戲的(de)“牌(pai)子(zi)大(da)鑼(luo)鼓”，大(da)嗩吶按不(bu)同的(de)表演情節吹奏不(bu)同的(de)曲調(diao)，有【宮娥怨】、【哭皇天】、【山坡羊】、【八板(ban)頭】等(deng)曲牌(pai)。表情豐(feng)富、套(tao)路眾多、舞(wu)段精彩、技藝兼善(shan)是這個舞(wu)蹈(dao)的(de)基本(ben)特點。

1996年，南溪村被廣(guang)東省文化廳授(shou)予“民族民間藝術(shu)之(zhi)鄉”稱號，滾(gun)地金龍被編入《中國舞蹈志》，并在(zai)國家(jia)和(he)省級(ji)地區(qu)的(de)重大活動中多次獲(huo)獎。

浦江板凳龍

申報地區或單(dan)位：浙江(jiang)省浦江(jiang)縣(xian)

浦江(jiang)(jiang)縣位于浙江(jiang)(jiang)中(zhong)(zhong)部(bu)偏西，金(jin)華市北部(bu)。據浦江(jiang)(jiang)白馬(ma)鎮夏張村(cun)張姓(xing)族譜載，自唐朝(chao)始，“龍(long)騰(teng)燈舞鬧元宵(xiao)”便成(cheng)(cheng)了浦江(jiang)(jiang)民(min)間(jian)的習俗，浦江(jiang)(jiang)縣志中(zhong)(zhong)稱之(zhi)為“燈節”。浦江(jiang)(jiang)板(ban)凳龍(long)盛行于浦江(jiang)(jiang)縣鄉(xiang)村(cun)，廣泛流傳于江(jiang)(jiang)南(nan)沿(yan)海(hai)各(ge)地(di)。綜觀浦江(jiang)(jiang)板(ban)凳龍(long)的傳承發展，唐代為其孕育期(qi)，宋、元為其成(cheng)(cheng)熟期(qi)，明、清為其鼎盛期(qi)；中(zhong)(zhong)華人民(min)共和國(guo)成(cheng)(cheng)立后(hou)(hou)，尤其是(shi)改革開放(fang)以后(hou)(hou)，為其弘揚(yang)傳承期(qi)。

從(cong)構造(zao)(zao)上(shang)看(kan)，浦江板(ban)凳龍(long)(long)(long)由龍(long)(long)(long)頭、龍(long)(long)(long)身（子(zi)燈(deng)(deng)）、龍(long)(long)(long)尾(wei)三(san)部分組(zu)成，俗(su)稱(cheng)長(chang)燈(deng)(deng)。根據龍(long)(long)(long)頭造(zao)(zao)型，可分仰天(tian)龍(long)(long)(long)、俯地龍(long)(long)(long)、大蝦(xia)龍(long)(long)(long)等類別。因(yin)凳板(ban)（龍(long)(long)(long)身）上(shang)的(de)設(she)置造(zao)(zao)型不(bu)同，亦有方(fang)燈(deng)(deng)、酒壇燈(deng)(deng)、字燈(deng)(deng)等十一(yi)種不(bu)同的(de)形態。每逢節(jie)日或重大慶典興燈(deng)(deng)，以麥餅(bing)團(tuan)、剪刀箍(gu)、甩尾(wei)巴(ba)為(wei)主要表演陣式。

浦(pu)江(jiang)板(ban)凳(deng)龍(long)，顧名思義就是(shi)一(yi)條條用單個板(ban)凳(deng)串聯(lian)而成的(de)游動的(de)龍(long)燈，它讓人(ren)們充(chong)分感(gan)(gan)受到廣場民間舞(wu)(wu)(wu)蹈氣勢恢宏、剛強柔美的(de)特征，在(zai)鑼聲(sheng)、號角、銃聲(sheng)震天，喝彩(cai)聲(sheng)此起彼伏的(de)氛圍中接受和(he)領悟(wu)娛己(ji)娛人(ren)的(de)生活習俗和(he)敬天順人(ren)的(de)民眾信仰(yang)。一(yi)條浦(pu)江(jiang)板(ban)凳(deng)龍(long)幾乎就是(shi)一(yi)個藝術(shu)綜合體，它集書法、繪畫、剪紙、刻(ke)花、雕塑藝術(shu)和(he)扎制編糊工藝為一(yi)體，融體育、雜技、舞(wu)(wu)(wu)蹈為一(yi)爐。游動起來的(de)龍(long)舞(wu)(wu)(wu)兼有粗獷、細膩(ni)、奔(ben)放、嚴(yan)整的(de)風(feng)格，通(tong)過(guo)這種激(ji)情(qing)與哲理、娛樂教化合一(yi)的(de)舞(wu)(wu)(wu)蹈，人(ren)們得到了感(gan)(gan)官和(he)心(xin)靈的(de)雙重滿足。浦(pu)江(jiang)板(ban)凳(deng)龍(long)是(shi)地道的(de)百(bai)姓文化，廣場性、廣泛(fan)性、驚險性為其(qi)主要特征，其(qi)參(can)加人(ren)數之多、活動場地之大，在(zai)同類形式中實屬罕(han)見。

長興百葉龍

申報地區或單(dan)位(wei)：浙(zhe)江省(sheng)長興縣

長興(xing)百葉龍(long)發(fa)源并流傳于浙江省長興(xing)縣林(lin)城鎮一帶(dai)，至21世紀10年代已有一百六十(shi)多年的歷(li)史。

傳統百葉龍(long)(long)多(duo)在(zai)廟會(hui)及(ji)節慶時表演，先從“游(you)四門”、“圓(yuan)場”等隊形(xing)(xing)開始，當荷(he)花燈聚成(cheng)圓(yuan)圈、相互(hu)連接(jie)以(yi)構成(cheng)“龍(long)(long)”形(xing)(xing)時，外圈舞隊熱烈舞蹈，以(yi)遮(zhe)引觀眾(zhong)視線；“龍(long)(long)”一成(cheng)形(xing)(xing)，即騰(teng)空躍起，眾(zhong)舞隊立時散開，突出百葉龍(long)(long)，形(xing)(xing)成(cheng)高潮。

百葉龍(long)的(de)表演(yan)方式也劃分為舞臺舞、行街舞、廣(guang)場(chang)舞等(deng)(deng)不(bu)同形(xing)(xing)式，且日趨復雜，以適應不(bu)同的(de)表演(yan)場(chang)合(he)。其主(zhu)要(yao)隊形(xing)(xing)有(you)(you)長(chang)蛇陣(zhen)、接龍(long)、踩四門、剪刀陣(zhen)、走(zou)四角等(deng)(deng)，主(zhu)要(yao)動(dong)作有(you)(you)游(you)龍(long)、滾龍(long)、龍(long)盤柱、騰(teng)龍(long)、臥(wo)龍(long)、睡(shui)龍(long)、龍(long)出水、龍(long)吐須等(deng)(deng)。

百葉龍舞(wu)蹈表演時，荷(he)花在(zai)瞬間突(tu)變(bian)(bian)成龍是其最顯著的(de)(de)(de)特(te)點(dian)，由此(ci)將中國傳統(tong)的(de)(de)(de)舞(wu)龍轉化成龍舞(wu)，通(tong)過湖水(shui)蕩(dang)漾、荷(he)葉擺動、荷(he)花盛開、彩蝶(die)撲(pu)飛、荷(he)花變(bian)(bian)龍、蛟龍嬉(xi)戲、龍變(bian)(bian)荷(he)花等動作和情節，完成一(yi)個完整的(de)(de)(de)舞(wu)蹈過程，展出江南水(shui)鄉的(de)(de)(de)絕美意境(jing)。

1957年，百葉龍榮獲第二屆(jie)全國(guo)民間(jian)音樂舞蹈(dao)匯演特等獎，由(you)周(zhou)恩來總理推薦參加莫斯科“第六屆(jie)世界青(qing)年大學生(sheng)聯歡節”演出，榮獲金獎，2000年又獲“群星獎”舞蹈(dao)大賽金獎。

奉化布龍

申(shen)報(bao)地區或單位：浙江省奉化(hua)市(shi)

奉化布(bu)龍(long)(long)因起(qi)源和流布(bu)于浙江奉化而得(de)名，是全國頗有影響的(de)代表性龍(long)(long)舞之一(yi)。它由敬神(shen)、請神(shen)、娛(yu)神(shen)的(de)民間(jian)儀(yi)式逐漸演變成為富(fu)有特色(se)的(de)民間(jian)舞蹈，迄今已有八百多年(nian)歷(li)史(shi)。

舞(wu)(wu)得活、舞(wu)(wu)得圓(yuan)、神態真、套(tao)路多、速(su)度快(kuai)是(shi)奉化(hua)布龍(long)(long)(long)的(de)主要藝術特征。整(zheng)個舞(wu)(wu)蹈由盤(pan)、滾、游(you)、翻、跳、戲等基本套(tao)路和(he)小游(you)龍(long)(long)(long)、大游(you)龍(long)(long)(long)、龍(long)(long)(long)鉆尾等過渡動(dong)(dong)作(zuo)組(zu)成(cheng)，舞(wu)(wu)者動(dong)(dong)作(zuo)矯健，舞(wu)(wu)姿變化(hua)多端(duan)，技藝嫻熟。所(suo)有(you)舞(wu)(wu)蹈動(dong)(dong)作(zuo)都(dou)在龍(long)(long)(long)的(de)游(you)動(dong)(dong)中進行(xing)，能做到“形變龍(long)(long)(long)不停，龍(long)(long)(long)走套(tao)路生(sheng)”，“人緊龍(long)(long)(long)也圓(yuan)，龍(long)(long)(long)飛人亦舞(wu)(wu)”，造型生(sheng)動(dong)(dong)，轉(zhuan)換巧妙，動(dong)(dong)作(zuo)間(jian)的(de)銜接(jie)和(he)遞進十分緊湊。由于龍(long)(long)(long)身輕，舞(wu)(wu)動(dong)(dong)起來速(su)度快(kuai)，龍(long)(long)(long)圈環(huan)環(huan)相扣，龍(long)(long)(long)身緊緊纏繞。奉化(hua)布龍(long)(long)(long)傳(chuan)統(tong)套(tao)路多達四十余(yu)個，為(wei)一般龍(long)(long)(long)舞(wu)(wu)所(suo)罕見，其中有(you)的(de)已被用作(zuo)國家(jia)體(ti)育舞(wu)(wu)龍(long)(long)(long)比賽的(de)規定動(dong)(dong)作(zuo)，為(wei)大江(jiang)南北的(de)龍(long)(long)(long)舞(wu)(wu)所(suo)移植。

瀘州雨壇彩龍

申(shen)報地區或單位：四川省瀘(lu)縣

四川瀘州(zhou)雨壇彩龍以其悠(you)久的歷史和浪漫的龍舞(wu)表演(yan)藝(yi)術(shu)被(bei)譽為“東方活龍”。清(qing)光緒十(shi)八年左(zuo)右，當地藝(yi)人將原(yuan)有的“草把(ba)龍”改成彩龍，到1919年，出現(xian)了(le)第(di)一條雨壇彩龍。自此每逢年節或婚喪嫁娶，當地百(bai)姓(xing)都要舞(wu)彩龍。

雨(yu)(yu)壇(tan)彩龍(long)(long)的(de)(de)(de)表演(yan)(yan)重在一(yi)個(ge)“活(huo)”字，“人龍(long)(long)合一(yi)”。表演(yan)(yan)時(shi)舞(wu)者“動于中而形(xing)于外(wai)”，“心有性(xing)(xing)情，手(shou)(shou)衍神色”，“手(shou)(shou)隨眼動，眼隨心動”。在川(chuan)劇打擊樂的(de)(de)(de)伴奏下，龍(long)(long)與“寶”交(jiao)織纏(chan)綿(mian)，緊緊呼應，在龍(long)(long)舞(wu)中對龍(long)(long)的(de)(de)(de)個(ge)性(xing)(xing)特(te)征、生活(huo)情態進行(xing)生動的(de)(de)(de)描(miao)摹(mo)。雨(yu)(yu)壇(tan)彩龍(long)(long)按(an)連綿(mian)不斷的(de)(de)(de)太極圖案行(xing)進表演(yan)(yan)，套路變(bian)(bian)幻莫(mo)測(ce)，表演(yan)(yan)活(huo)潑靈動，變(bian)(bian)化(hua)多(duo)端，或(huo)脫衣，或(huo)翻滾，或(huo)嘆氣，或(huo)擦(ca)癢(yang)，極顯龍(long)(long)之(zhi)性(xing)(xing)情。在此過程中，舞(wu)者與龍(long)(long)的(de)(de)(de)情感(gan)融(rong)為一(yi)體。

在漫長的表演實踐中，雨壇(tan)彩(cai)(cai)龍(long)(long)(long)的傳人(ren)(ren)們不(bu)斷更新、豐富表演內容，形(xing)成(cheng)了(le)完整的表演套路和經典的動作造型，如龍(long)(long)(long)出洞、龍(long)(long)(long)搶寶、龍(long)(long)(long)脫衣、龍(long)(long)(long)背劍、龍(long)(long)(long)嘆氣(qi)、龍(long)(long)(long)砌塔(ta)、龍(long)(long)(long)抱柱(zhu)、黃龍(long)(long)(long)滾、倒掛金(jin)鉤、太子騎龍(long)(long)(long)等(deng)，最大(da)限度地(di)展(zhan)示了(le)人(ren)(ren)們對龍(long)(long)(long)的想象。以藝人(ren)(ren)羅銀坤等(deng)羅氏兄弟為代表，構成(cheng)了(le)雨壇(tan)彩(cai)(cai)龍(long)(long)(long)的傳承人(ren)(ren)系(xi)統。在當代，這個傳人(ren)(ren)系(xi)統大(da)大(da)拓(tuo)展(zhan)，不(bu)僅有一批青年(nian)人(ren)(ren)加入，而(er)且重慶、銅梁(liang)、成(cheng)都等(deng)地(di)還(huan)派人(ren)(ren)來學藝，雨壇(tan)彩(cai)(cai)龍(long)(long)(long)的流布區域(yu)由此得(de)到了(le)擴(kuo)展(zhan)。

河上板龍舞

河上板龍舞(wu)是民(min)間舞(wu)蹈形式(shi), 是龍舞(wu)的一種, 舞(wu)蹈形象為中(zhong)華(hua)民(min)族的圖騰———龍, 它集中(zhong)展現了蕭山(shan)民(min)間工藝(yi)的精(jing)華(hua), 是蕭山(shan)民(min)間文化(hua)的杰(jie)出代表。從南宋紹興二十九年 (1159) 開始(shi),至2009年已(yi)有850余年歷史(shi)。

旦場人龍舞

電白旦場鎮旦場村人(ren)(ren)龍起源于(yu)清朝雍正年(nian)(nian)間，至今已有270多(duo)年(nian)(nian)歷史。據(ju)村里老人(ren)(ren)說，旦場村的(de)人(ren)(ren)龍是這樣(yang)形(xing)成(cheng)的(de)：當(dang)時(shi)村人(ren)(ren)在(zai)池塘中游泳，覺得(de)純粹(cui)的(de)游泳已缺(que)乏趣味，于(yu)是分成(cheng)兩隊人(ren)(ren)馬，舉行“戰(zhan)(zhan)斗(dou)”。戰(zhan)(zhan)斗(dou)的(de)規則(ze)是：雙(shuang)方(fang)都(dou)有大(da)(da)人(ren)(ren)和小(xiao)(xiao)(xiao)(xiao)孩(hai)(hai)(hai)，大(da)(da)人(ren)(ren)站在(zai)水中，將(jiang)小(xiao)(xiao)(xiao)(xiao)孩(hai)(hai)(hai)托在(zai)肩上，讓小(xiao)(xiao)(xiao)(xiao)孩(hai)(hai)(hai)對(dui)打(da)，前面的(de)小(xiao)(xiao)(xiao)(xiao)孩(hai)(hai)(hai)被打(da)到水中之后(hou)，后(hou)面的(de)小(xiao)(xiao)(xiao)(xiao)孩(hai)(hai)(hai)迅速補上，繼續戰(zhan)(zhan)斗(dou)，直(zhi)到有一(yi)隊小(xiao)(xiao)(xiao)(xiao)孩(hai)(hai)(hai)被完全打(da)倒為止。后(hou)來(lai)人(ren)(ren)們忽然想到現(xian)在(zai)這種形(xing)式的(de)人(ren)(ren)龍：大(da)(da)人(ren)(ren)抬著仰(yang)臥(wo)的(de)小(xiao)(xiao)(xiao)(xiao)孩(hai)(hai)(hai)，一(yi)個接一(yi)個，組成(cheng)龍身(shen)，前面一(yi)個小(xiao)(xiao)(xiao)(xiao)孩(hai)(hai)(hai)坐立大(da)(da)人(ren)(ren)肩上宛如龍頭，這便(bian)(bian)是人(ren)(ren)龍。在(zai)重大(da)(da)節日，村民(min)便(bian)(bian)自發(fa)組織成(cheng)人(ren)(ren)龍進行表演。人(ren)(ren)龍歷經200多(duo)年(nian)(nian)演變與改(gai)進，在(zai)動作、節奏、斗(dou)龍技巧等方(fang)面日益完善(shan)。如今，旦場村年(nian)(nian)年(nian)(nian)“人(ren)(ren)龍”飛(fei)舞，鑼(luo)鼓喧天(tian)，萬眾(zhong)歡(huan)呼，給(gei)全村人(ren)(ren)帶來(lai)了歡(huan)樂與喜慶，使全村呈現(xian)出一(yi)派繁榮與祥和的(de)景象。

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