{"id":6100,"date":"2019-11-17T04:29:23","date_gmt":"2019-11-17T04:29:23","guid":{"rendered":"http:\/\/chinesemoment.com\/chinese-culture\/guozhuangwu-guo-zhuang-wu\/"},"modified":"2019-11-17T04:29:23","modified_gmt":"2019-11-17T04:29:23","slug":"guozhuangwu-guo-zhuang-wu","status":"publish","type":"post","link":"https:\/\/chinesemoment.com\/my\/guozhuangwu-guo-zhuang-wu\/","title":{"rendered":"Guozhuangwu\u9505\u5e84\u821e"},"content":{"rendered":"
\u65f6\u95f4\uff1a2006\u5e74
Time: 2006
\u7c7b\u522b\uff1a\u6c11\u95f4\u821e\u8e48
Category: Folk Dance
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Regions: Yunnan, Tibet, and Qinghai Provinces
\u7f16\u53f7\uff1a\u2162-20
Ref. No.: III-20
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Guozhuangwu, also called “Guozhuo”, “Gezhuang” and “Zhuo” (means “singing and dancing in a circle” in Tibetan), is one of the three major Tibetan folk dances, and is popular in Qamdo and Nagqu in Tibet, Aba and Ganzi in Sichuan, Diqing in Yunnan, and Tibetan-inhabited areas of Qinghai and Gansu. Guozhuangwu can be divided into various types with different scales and functions. For example, “Great Guozhuangwu” is performed for grand religious rites; “Medium Guozhuangwu” is performed in traditio<\/em>nal folk festivals; and “Small Guozhuangwu” is performed in reunio and gathering of families and friends. The performance can also be divided into public Guozhuangwu, Lama Guozhuangwu, urban Guozhuangwu, and agro-pastoral Guozhuangwu. In the performance, men and women, grouped on opposite sides, hold hands to form a circle. One person will take the lead to start the performance, and men and women will ask and answer questions in turns. They sing to each other without accompaniment. The entire performance co<\/em>nsists of two parts: the earlier part is featured by a slower tempo and the later a faster tempo. Basic movements include “you chan kua tui”, “qu bu zhan zhuan” and “kua tui ta bu dun”. Dancers lift, swing and shake their arms in the dance, and everyone moves in a clockwise rotation. The circle’s sizes vary, and occasionally, the circle will transform into the shape of “dragon wagging tail”.
\u9505\u5e84\u821e•\u8fea\u5e86\u9505\u5e84\u821e
Guozhuangwu – Diqing Guozhuangwu
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Nominating unit[s]: Diqing Tibetan Auto<\/em>nomous Prefecture, Yunnan Province
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Diqing Tibetan natio<\/em>nality Guozhuangwu is popular in the Diqing Tibetan Auto<\/em>nomous Prefecture, Yunnan Province. According to images of dance on Tang Dynasty tablets with Tibetan s<\/em>cript and images unearthed from Shigujiaozi Village, Lijiang City, Guozhuangwu should already have a history of over a thousand years.
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The most representative Diqing Tibetan natio<\/em>nality Guozhuangwu is performed in Benzilan Town, Deqin County, and Zhantang Town and Xiaozho<\/em>ngxun Town, Shangri-La City. In Benzilan Town, Guozhuangwu is performed as a ritual to entertain guests. There are various types of Guozhuangwu, including those for “blessing”, “showing guests the door”, “praise”, “meeting” “farewell from visitors”, “detaining guests,” “farewell to visitors,” and “prayer.” However, they are extremely rare even in the Tibetan-inhabited areas across the nation. The tunes have four parts: “yao”, “zhuojin”, “xiazhuo”, and “zhuocao”. The Shangri-La Guozhuang is divided into the old and new forms. The old form is called “cani”. The song lyrics and dance forms are relatively old, and it features by stro<\/em>ngly sacrificial characteristics, in particular, some movements and song lyrics are specially designed for the sacrifice offering. It is especially preferred by the religious circle and the aged. The new form is called “casi”. It is choreographed accordingly in different eras. Diqing Tibetan natio<\/em>nality Guozhuangwu has a wealth of songs, dances and song lyrics, and the lyrics are divided into stanzas of three lines. During festivals, house warming, weddings and celebrations, people of all ages will come together, dancing through the night for celebration and prayer.
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Diqing Tibetan natio<\/em>nality Guozhuangwu reflects profound cultural co<\/em>nnotation of the Tibetan nationality. The performance has diversified forms, and is featured by distinctive regio<\/em>nal characteristics, strong flavor of the Tibetan nationality, and profound mass basis. It also implies traditio<\/em>nal humanistic spirits such as brotherliness and solidarity, and is of great artistic and social values.
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Guozhuangwu – QamdoGuozhuangwu
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Nominating unit[s]: Tibet Auto<\/em>nomous Region
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Qamdo County is located in the eastern side of the Tibet Auto<\/em>nomous Region, wher Tibet, Sichuan and Yunnan border each other. It is the center of Khampa culture as well as the cradle of the famous “Guozhuangwu”. The folklore of Qamdo County and the song lyrics of Guozhuangwu, Qamdo Guozhuangwu can be dated back to as early as the Tubo period.
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Qamdo Guozhuang is very popular in Tibet. In every festival, celebration, and wedding, men and women will gather in a public square or private yard, form a circle, singing and dancing as they move in a clockwise direction. Men wear loose, straight-legged trousers; women remove the right sleeves of their robes, let them swing behind their backs. Men stand on one side, women on the other. Holding hands, they sing in their respective groups. It is men who usually lead the singing, and then women join in the chorus. They all sing loud and clear, and “swing hands and make flutter steps” as they walk around in a circle. When the song lyrics come to an end, the crowd cries together “ya” (sound), and then suddenly the dancers cast out their arms to the sides rapidly, twist at the waist, make large stumbling steps, and leap. They wave both sleeves, singing and dancing, running and leaping as they make different movements. Men’s movements are featured by large movement range: both arms stretch out wide, like eagles circling and soaring. Women’s movements are featured by smaller movement range: they make small steps as they turn in circles, like a phoenix, wings trembling in flight. The dance reveals strong and handsome, lively and spirited features. Generally, barley wine and hada, a ceremo<\/em>nial scarf, are placed in the center of dance circle. At the end of the performance, the elder or the organizer will respectfully present the wine and hada to enhance the friendship and brotherhood\/sisterhood. Qamdo Guozhuangwu can be divided into three categories, namely, those performed in farming areas (including urban areas), pasture, and temples. The dance movements can broadly be divided into two types: the first type is featured by slow tempo, as well as smooth, unrestrained and beautiful motions; and the other type is featured by fast tempo and impassion. Many of the dance movements of Qamdo Guozhuangwu are modeled after animals. These include “tigers dashing down a mountain”, “eagles circling”, “a peacock flaunting its tail” and “play of the wild beast”. These movements highlight ex<\/em>pression of and changes in emotions. The tempo of a Qamdo Guozhuangwu performance will change for three times. At the beginning of the dance, dancers o<\/em>nly need to stand in their proper position, and make gentle steps alternatively. After that, they will perform slow-tempo dance. And in the end, they will perform fast-tempo dance that can fully present the power and wildness of Guozhuangwu. At this moment, dancers are in high spirits and the performance is exciting.<\/p>\n

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The art of Qamdo Guozhuangwu fully demo<\/em>nstrates Tibetans’ passion in life, hardwork, and their bold and unco<\/em>nstrained character. It presents the aesthetics of power and the natio<\/em>nal pride. In 2001, the People’s Government of the Tibet Auto<\/em>nomous Region named Qamdo County the “Hometown of Guozhuangwu art”.
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Guozhuangwu: Yushu Zhuowu
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Nominating unit[s]: Yushu Tibetan Auto<\/em>nomous Prefecture, Qinghai Province
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Yushu Zhuowu is popular in Yushu Tibetan Auto<\/em>nomous Prefecture, southwest of Qinghai Province, the hinterland of Qinghai-Tibet Plateau. Zhuowu can be dated back to the primitive society, and the dance today still retains traces of its ancient past. Furthermore, the formation of the six great Tibetan clans has led to the development of Yushu Zhuowu ba<\/em>sed on tribal, clan and regio<\/em>nal culture.
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Yushu Zhuowu has a variety of forms, and most of them acclaim the hometown and natural sceneries, and also reflect all aspects of social life. A complete performance co<\/em>nsists of three parts. The first part is a<\/em>bout offering sacrifices to gods\/Buddha. The second part (the main section of performance) presents a wide range of topics. The last part (the ending) is a<\/em>bout greetings and prayer. If classified by functions, Zhuowu has two categories, namely the secular, ordinary Zhuowu, and the extremely religious “Fa” Zhuo (known as “Qu” Zhuo in Tibetan). The whole performance, featured by the transformation from slow tempo to fast tempo, involves both singing and dancing. Yushu Zhuowu, with the basic movement being swinging sleeves (shuaixiu), is often performed by tens or hundreds of dancers together. The dancers’ sleeves are so long that they drag on the floor. Men will present large movement range when they swing sleeves, reflecting aesthetic and unrestrained motion. They move arms freely and follow diversified lines.
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In the dance, the feet movements also present large movement range. Dancers will make big leaps and movements in coordination with sleeves swinging, such as lifting legs, raising legs, and turning. The movements are made around arcs, with the coordination of the whole body. The entire performance is both rhythmic and full of power, which is a perfect ex<\/em>pression of masculine beauty. Women’s dance movements are soft and smooth. The sleeves swinging and feet movements are similar to men’s, though their movement range is comparatively small, allowing them to display a feminine beauty, gentleness and modesty.
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Zhuowu has a broad mass and social foundation, and is widely acclaimed for its diversified forms, unique style, sophisticated techniques, and distinctive features. Its high artistic value lies in its role as a broadly representative and notable typical member of the Tibetan song and dance arts. Meanwhile, Zhuowu’s ancient and profound cultural co<\/em>nnotations give it significant values in anthropology, ethnology, folklore and other studies. With its cohesive and inspiratio<\/em>nal force, it is able to play an active role in developing socialist culture and ethics.
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Inheritor(s):
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Dazhen Qupi, Xu Guilian, Sumgyi Tashi, Luosong Jiangcun, Ang Gyatso, Caiwa, Padma Nimai, Ade, and Bu Tashi<\/p>\n


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