{"id":6085,"date":"2019-11-16T13:59:32","date_gmt":"2019-11-16T13:59:32","guid":{"rendered":"http:\/\/chinesemoment.com\/chinese-culture\/rebawu-re-ba-wu\/"},"modified":"2019-11-16T13:59:32","modified_gmt":"2019-11-16T13:59:32","slug":"rebawu-re-ba-wu","status":"publish","type":"post","link":"https:\/\/chinesemoment.com\/vi\/rebawu-re-ba-wu\/","title":{"rendered":"Rebawu\u70ed\u5df4\u821e"},"content":{"rendered":"
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Time: 2006
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Category: Folk Dance
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Region: Tibet Auto<\/em>nomous Region
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Ref. No.: \u2162-21
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Rebawu is a dance performed by the Tibetan “Reba” artists. Reba is a comprehensive art performed by troupes of wandering artists (ordinarily with the family as the basic unit) that integrates tambourines as the major element, as well as half-spoken song, facetiousness (song and dance), acrobatics, qigong and rebaju (Reba Opera). According to historical record, Reba originated from Milarepa, the 2nd patriarch of the Kagyupa School of Buddhism in Tibet in the 11th century. The predecessor of Reba is the “Wizardry” and “Totem Dance” of “Bon”, a primitive religion of Tibet. It has a long history and features rich content, a unique style, superb skills, witty dialogue and distinctive masks. In addition, it has absorbed the essence of the ancient Zhang Zhung Culture, religious culture and folk arts. As a result, it has high artistic value and research value as a rare flower of the splendid ancient Tibetan culture. Rebawu is customary to Qamdo, Ko<\/em>ngpo and Naqu of the Tibet Auto<\/em>nomous Region as well as other Tibetan settlements in Yunnan, Sichuan, Qinghai and Gansu, etc.
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Rebawu•Dingqing Reba
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Nominating unit [s]: Tibet Auto<\/em>nomous Region
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The Dingqing Rebawu is a type of drum dance, as well as a comprehensive performance art integrating dialogue, singing, dancing, acrobatics and Qigong. Dingqing Rebawu originated from Khyungpo Dingqing, and is said to be created by Khyungpo Mila Thopaga, or Milarepa. It is said that Qamdo lived in a tropical climate wher elephants roamed. People killed the elephants and spread their skin o<\/em>nto the ground. They then danced on the elephant skin as a form of god worship, and from this Rebawu was born. Dingqing county can be looked as the cradle of Rebawu.
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There are three schools of Rebawu: Gacuo Reba, or “Sezha Reba”, prevailing in Sezha, which has a history of over 500 years; Wotuo Reba prevailing in Jue’en, which has a history of over 940 years; Do<\/em>ngluo Reba, or Kangsha Reba, prevailing in Sangduo, which has a history of over 300 years. The most famous school is the Wotuo Reba in Khyungpo Dingqing. Wotuo Reba features superb and intricate movements, such as pole climbing skills, breaking rocks on the stomach and revolving with knife held. Kangsha Reba is one of the most im<\/em>portant Reba schools active on the stage in Qamdo. Its traditio<\/em>nal programs include the 1-beat drum, 3-beat drum, 6-beat drum and 9-beat drum, etc., with interludes like Xianzi Dance, Zhuo Dance and male and female dialogue (similar to cross talk). The three schools of Reba are essentially the same with minor differences. All of them are world-famous for bold and unrestrained moves and intricate postures. They feature bright, exciting, bold and smooth music and co<\/em>ntents for disaster prevention, harvest celebration and wishes for auspiciousness etc.
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As a traditio<\/em>nal dance with multiple schools and superb skills, Dingqing Reba is a unique variety of Tibetan folk dances. Although the number of Reba artists has been reducing since the liberation, literary and art workers of different levels have been going deep among the masses and learning from folk artists. Their efforts have helped to inherit the traditio<\/em>nal Reba. Moreover, with the reform of performing skills and costumes, the traditio<\/em>nal Reba has been better adapted to the stage. Today, Rebawu has risen to the domestic and internatio<\/em>nal stage and become popular among audiences. In 2002, Dingqing county was named the “Town of Reba Art” by the People’s Government of Tibet Auto<\/em>nomous Region.
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Rebawu•Naqu Birudingga Reba
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Nominating unit[s]: Tibet Auto<\/em>nomous Region
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Dingga Reba is a folk dance passed down in Dingga Village, Xiaqu Township, Biru County of Naqu in Northern Tibet. According to local artists as well as an introduction in the Tibetan version of History of Naxu Chiru written by Mr. Renwang Danzeng and Mr. Suolang Duoji of the CPPCC of Biru County: the earliest Dingda Reba was a unique dance created by Milarepa, the 2nd patriarch of the Kagyupa School of Buddhism in Tibet, and Reqio<\/em>ngba on the basis of the original folk Reba. This form of Reba has been passed down from the people to temples and then back to the people.
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The existing Dingga Reba is divided into two forms, one performed by Lamas in temples and the other performed by folk artists. In the past, the Dingga Reba performed by folk artists was mainly passed down from fathers to sons generation by generation. Now Reba troupes have been established in different villages, which have further extended the scope of inheritance. Dingga Reba has a large repertoire co<\/em>nsisting of over 30 programs, with each program having different movements and postures. The programs mainly tell of the history or legends of Tibet, or advocate the religion’s philosophy for the purpose of temple sacrifices. Representative works include: Oudong (Drum beating), Qujie Luosang (Prince Luosang), Sibai Bama Ganguo (primitive old parents), Jiasha Go<\/em>ngjue Langba (receiving Prince Wencheng), Guru Duojire (Vajra Dance Hall), etc. Dingga Reba inherited both the rhythm of the local herdsmen dance and movements of the Reba tambourine dance in Qamdo. It utilizes the herdsmen dance by moving ones’ arms and legs on the same side synchro<\/em>nously as the basic moves, and absorbs the passio<\/em>nate moves of Female Tambourine in Qamdo Reba for upper body movements. It has thus formed a unique style that integrates the essence of dances in North Tibet and East Tibet. Dingga Reba features stimulating movements, animal-simulating moves as well as mini-plays with interesting plots.
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After hundreds of years of efforts by the villagers of Dingga, Dingga Reba has been co<\/em>ntinuously improved and provided with more diversified dancing styles and programs. Dingga Reba co<\/em>ntains the cultural co<\/em>nnotation of the traditio<\/em>nal Tibetan culture, embodies the outstanding ability of the Tibetan people in dance creation, and reflects the openness and inclusiveness of the Tibetan Culture, making it unique in Tibetan Rebawu.
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Inheritor(s):
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Danzeng Quta, Silang Quzhen and Ganiao
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