“Hua’erCultures”ItmaynotbewellknowninthewesterncountriesthatthereisaheavyMuslimpopulationinnorthwesternChina,otherthantheTurkiclanguagegroupsinXinjing.TheyaretheHui,Sala,Bao'an,Dongxiang,TuandYuguethnicgroups.Accordingtohistoricalrecords,theancestorsoftheSalapeopleemigratedfromcentralAsiaduringtheYuandynasty,some1,000yearsago.Ontheotherhand,theHuipeople(itisbelievedthattheirancestorscamefr...[
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“HighlandCultures”TheQinghai-Tibetplateau,knownas“theroofoftheworld”,iscomposedoffar-stretchingmountains,loftyicypeaksandprecipitousgrandcanyons.MountQomolangma,meaning"thethirdgoddess"intheTibetanlanguage,orEverestasitisknownintheWest,istheworld'shighestpeak,morethan39,000feethigh.Qomolangmateemswithsnow-cappedpeaksandglaciers.Itboastsfourpeaksabove8,000meters,and38peaksabove7,000meters,thusr...[
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“SilkroadOasisCultures”TheethnicminoritygroupsspeakingtheTurkiclanguageinthenorthwesternarea,includingUygur,Uzbek,Kirgiz,Kazak,andTajik,belongtothisculturalcategory.Uygurmeans"unity"or"alliance."TheoriginofthisethnicgroupcanbetracedbacktotheDinglingnomadsinnorthernandnorthwesternChinaandinareassouthofLakeBaikalincentralAsia.TheUygursmaderapidsocio-economicandculturalprogressbetweenthe9thand...[
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“PastureLandCultures”ThevastprairieinnorthChinahasnurturedthestrongcharacteroftheherdsmenintheMongolian,Xibe,ManchuandKazakhtribes.TakingtheMongoliansasarepresentativeexample,theyhavelivedintribalgroupssinceancienttimes,enduringanextremeclimateandlandscape,withruggedmountainsanddesertinthesouth,anddrysteppelandsandharshwintersinthenorth.TheMongoliansbelievedinshamanisminancienttimes,andthey...[
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3.主要舞蹈团体的特点：为在大洋彼岸将中国的民族舞蹈艺术薪火相传，北美的演艺团体必须以与中国国内舞蹈团体显著不同的方式运作。因而拥有一些别具一格的特点。小结如下：演艺团体的创办：大部分北美中华民族舞蹈演艺团体由资深中华民族舞蹈家创办并担任艺术总监。但是也有例外，如三藩市(旧金山)华人歌舞团由香港移民于1959年创办，明尼苏达州中美舞蹈社由[
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1。简介：中华民族在几千年的繁衍生息，文明演进的历史进程中，创造了博大精深，魅力无穷的文化艺术。中华民族舞蹈是其中的一个重要组成部份。中国丰富的文史资料对历史上舞蹈形象的具体描述，可上朔到5,800年前。一些久远的舞蹈姿态和造型，保存在新近发现的石窟壁、雕塑、画像石、画像砖、陶俑，以及各种出土文物上的绘画、纹饰舞蹈形象之中。随著东西方文化[
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Mostartscantracetheirorigintodance.Danceoriginatesfromhumanlifeandthebasicemotionalneedsofhumanbeings.Itaptlyreflectsthesociety,history,ethics,aestheticsandcustomsoftheethnicgroupitrepresents.Danceasavisualartdoesnotrequiretranslationinconveyingitsmessages.Itcaneasilyserveasabridgeforharmoniousrelationshipsbetweenpeopleofdifferentethnicorigins.Inthissense,theappreciationofthedanceartformhelps...[
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Regardlessofwhattheofficialpolicyis,theethnicminoritygroupsaredisadvantagedinmanyaspectsofsociallifeinChina.Theymostlyliveintheremoteinlandorborderregions.Theseareasarecharacterizedbyharshnaturalconditions,poortransportationandinadequateeducationalopportunities,whichhaveseverelyhinderedlocalsocio-economicdevelopment.Poorinterethniccommunicationandmisunderstandingleadssomepeopletoconsiderethec...[
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ManyofthepeopleIhavemetintheUnitedStatesthinkoftheChineseasahomogenousrace.Infact,thereare56ethnicgroupsinChina.Amongthem,theHanpeopleaccountfor92%ofthecountry'stotalof1.3billion,whiletheother55ethnicgroups(seeNote1fortheirnames)makeuptheremaining8%--thatisthereasontheyareofficiallycalled“ethnicminorities”inChina.ThelargestethnicminoritygroupistheZhuangpeopleinsouthChina,totaling16million,w...[
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楊麗萍是筆者最為喜愛的著名中華民族舞蹈藝朮家之一。一襲黑色布衣，腳踩手工刺繡的繡花鞋，三尺長發隨意綰在腦后，一只軟軟的臘染布包侉在身上，楊麗萍常常是這樣素面朝天地走在北京鬧市街頭或者云南大理的鄉間.楊麗萍是白族人﹐來自謎一般的云南(參見本系列之四)，她本身就是一個謎。這位藝朮家處世低調、來去無聲，只用驚世駭俗的舞姿詮釋一切。第一次[
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