Analysis of the repertoire of the dance Ghee Fragrance .

Analysis of the repertoire of the dance "Ghee Fragrance".

The "novelty" of the work "Ghee Fragrance" is mainly reflected in three aspects: first, a new image of Tibetan women, second, a new military-civilian relationship in the border ethnic minority areas, and third, a new compilation of dance movements. These three "new" are based on the director's real and credible feelings and meticulous observations of modern life, otherwise they would not have won the laurels with such a vivid and vivid artistic image close to life and the times.

First of all, starting from the first "new", since the 1990 Asian Games, when the Tibetan girl Dawa Yangzong lit the flame, the new look of Tibetan women at the end of the last century appeared in front of the people of the world. Now, more than ten years later, what kind of changes have taken place in the appearance and heart of today's Tibetan women? The ornate national costumes, together with the priceless headdresses, chest ornaments and waist ornaments, the graceful, swaying posture and the confident, lively and hearty personality all contain fashionable elements, and the sense of modernity is directly approached through the heavy robes.

The second "new" is the bold interpretation of the new "fish and water situation". When it comes to the relationship between the military and the people, many works retain the usual routines - how the army is and how the people are, the plot drags on and is lengthy, and the relationship between the military and the people is positioned on "kindness" and "gratitude", and it still stays on the class emotion of turning over serfs and singing.

In the work "Ghee Fragrance", the image of the soldier is blurred, and only the military kettle is used as a prop at the beginning and end, which points out the cause of the incident and the relationship between the characters, and the love of fish and water is expressed through the mood and posture of the girls when they are working.

Moreover, butter tea itself is an emotional symbol of respect, affection and welcome in the hearts of the Tibetan people, and the scene of young women's labor is relaxed, happy and enthusiastic, as if they are making butter tea for their brothers and sisters or even sweethearts, which is real and credible and feels ordinary and casual, and completely freezes the emotions on friendship and family affection.

The third "new" is the fresh compilation row. In the allegro part of the labor scene, 16 actresses go up to the stage, turn their backs to the audience, bow their backs, slump their waists, and shake their hips, and their movements change with the rhythm to strengthen, accelerate, and increase in size, absorbing the bright, cheerful, and unrestrained style characteristics of Tibetan dance.

The Tibetan people's open-minded, optimistic and open-minded national psychology is undoubtedly revealed through a short and powerful single action, which is extremely infectious. At the same time, the body curves and clothing characteristics outline the beautiful backs of young Tibetan women, which are not lacking in distinctive personalities but also have a timeless charm.

Here is an analysis of the repertoire of the author's own work "Ghee Fragrance".

I'll give you a ** and go up and take a look

Year 2001.

"Ghee Fragrance" Qi Chaokuan won the second prize of the Fifth National Dance Competition in 2001, so the dance creation time of "Ghee Fragrance" was accompanied by 2001.

Ghee Fragrance is based on the process of Tibetan women making butter tea for their relatives and sending butter tea to the People's Liberation Army as the basic theme, taking a realistic approach, taking the situation of Tibetan girls making butter tea for the People's Liberation Army as the background, through a series of labor actions as a dance plot, and the appearance of the "military kettle" to explain the relationship between the army and the people, and quietly and fully show the daily life of the Tibetan people.