Chinese Ethnic Performing Arts (3) 西域演藝

“Silkroad Oasis Cultures” 

 

The ethnic minority groups speaking the Turkic language in the northwestern area, including Uygur, Uzbek, Kirgiz, Kazak, and Tajik, belong to this cultural category. Uygur means "unity" or "alliance." The origin of this ethnic group can be traced back to the Dingling nomads in northern and northwestern China and in areas south of Lake Baikal in central Asia. The Uygurs made rapid socio-economic and cultural progress between the 9^th and 12^th centuries. Nomadism gave way to settled farming. Commercial and trade ties with central China began to thrive better than ever before. Through markets, they exchanged horses, jade, frankincense and medicines for iron implements, tea, silk and money. They intermarried with Tibetan, Qiang and Mongol people in southern Xinjiang, and evolved into the group now known as the Uygurs. In the late 10^th century, Islam was introduced and it eventually replaced the other religions, such as Shamanism, Manichae, Jingism Ao'ism (Mazdaism) and Buddhism, which had been popular for hundreds of years. The western regional culture developed quickly, with Uygur, Han, Sanskrit, Cuili and Poluomi languages, calendars and painting styles being used.

 

Uygur culture and art, which have a long and rich tradition, have flourished with the historical development of the Uygur people. Uygur literature is very rich in style and subject matter. Many folk tales, parables, comedies, poems and proverbs praise the courage, wisdom and kindness of the ordinary people, while satirizing the greed, cruelty and foolishness of the exploiting classes. For instance, "The Tales of Afandi" contain stinging satire about the Bayis and Imams who bully the people. The Uygurs are excellent at dancing and singing. The "12 Mukams” is an opera epic comprising more than 340 classic songs and folk dances. Another suite with distinct Uygur flavor is the "Daolang Mukams" from Daolang, another place in Xinjing. Uygur folk dances are distinguished by head and wrist movements. Their clever coordination is enhanced by the typical posture of tilted head, thrust chest and erect waist. The rhythmic and continuous shivering of the knees and the momentary shiver when a movement is changed lend grace and continuity. The fast turns of Uygur folk dances emphasize speed and are followed by an abrupt stop, like a soaring eagle that stops suddenly. The various dances all have their own turns. A turning contest brings the dance to its climax. There are special tempi for various Uygur folk dances, but syncopation and dotted rhythms are prominent features (Figure 3 shows an Uygur ethnic dance drama named "The Flower of Daolang" which features enchanting dances, touching music and colorful ethnic clothes). Their lively dances demonstrate diligence, bravery, openness and optimism. 

 

On festive days and at gatherings of friends and relatives, Uygurs love to sing and dance. First, some people sing a prelude, then while the drummers beat the drums vigorously, people rise to their feet to choose partners and start the dance (men and women usually dance separately). As the beat quickens, the dance becomes more exciting. Sometimes the couples touch at the shoulders, then separate like a whirlwind. The two dancers spin facing each other, then separate to vie with each other in a stunning display of turns. The most outstanding movements are a broad lunge and a bending and shivering of the knees. The lunge is a quick step or a dash, while the shivering movement is a bending and stretching of the knee that goes through the whole dance. These characteristic movements reflect the Uygur people's past work and life in rugged mountain areas, swamps and desert.  Kalun, Daolang rawap, Daolang olijak, tambourines and other ancient folk instruments are used for accompaniment. Kalun, a plucked stringed instrument, is the principal instrument, producing fascinating music. Daolang rawap, another plucked stringed instrument, has a mellow tone. The olijak is a bowed four-stringed instrument. The tambourines play a particularly important role in the accompaniment. When the dance reaches its climax, the players often hold the tambourines overhead and beat them with their palms to inspire the dancers. At the end of the drama, dancers spin to right and left as the spectators clap, raise their thumbs and shout, "Wu si ta! (Skilled dancer!)" The dance comes to an exciting and exuberant end.