1、銅鼓舞(田林瑤族銅鼓舞),編號:Ⅲ-26
(1)批(pi)次/類(lei)型:2008年(第二批(pi)),擴展項目
(2)申報地區(qu)或單位:廣西壯族自(zi)治區(qu)田林縣(xian)
(3)保護單(dan)位(wei):田林縣文化館
2、銅鼓舞(南丹勤澤格拉),編號:Ⅲ-26
(1)批次(ci)/類型:2014年(第四批),擴展項目(mu)
(2)申報地區(qu)或單位:廣西壯族自(zi)治區(qu)南丹縣
(3)保(bao)護單位:南丹(dan)縣非(fei)物(wu)質文化遺(yi)產保(bao)護傳承(cheng)中心
3、銅鼓舞(雷山苗族銅鼓舞),編號:Ⅲ-26
(1)批次/類型:2008年(第二(er)批),擴展項目(mu)
(2)申報地區或(huo)單位:貴州省(sheng)雷(lei)山縣
(3)保護單(dan)位:雷山縣非(fei)物質文化(hua)遺(yi)產保護中(zhong)心
4、銅鼓舞(文山壯族、彝族銅鼓舞),編號:Ⅲ-26
(1)批次/類型:2006年(第一批),新增項目
(2)申報地區(qu)或單位(wei):云南省文山(shan)壯族(zu)苗(miao)族(zu)自治(zhi)州(zhou)
(3)保護單位:文山壯族苗(miao)族自(zi)治州非物(wu)質文化(hua)遺(yi)產保護和藝術(shu)研究中心
于云南楚雄出土的(de)銅(tong)鼓(gu),距今已有2600多(duo)年。銅(tong)鼓(gu)可能由銅(tong)釜演化而(er)來,原為(wei)炊具或禮(li)器。明代(dai)(dai)《蜀中風俗記(ji)》中載,婚喪與(yu)年節(jie)時,當地都要(yao)“擊銅(tong)鼓(gu)歌(ge)舞(wu)”。同時,銅(tong)鼓(gu)舞(wu)與(yu)祭祀(si)(si)或巫(wu)術(驅病(bing)祈福(fu))活動也緊密相關,如宋代(dai)(dai)史(shi)籍上說(shuo):“擊銅(tong)鼓(gu)、銅(tong)沙鑼以祀(si)(si)神”;“病(bing)不知醫,尚跳(tiao)鬼,數人為(wei)群,擊鼓(gu)鳴鉦,跳(tiao)舞(wu)呼號”。
古代(dai)嶺(ling)南(nan)西(xi)(xi)部的(de)(de)(de)廣西(xi)(xi)盛(sheng)產(chan)銅(tong)(tong)(tong)(tong),《舊唐書·地(di)理志(zhi)》說:銅(tong)(tong)(tong)(tong)陵縣漢屬合浦(pu)郡,"界內有(you)銅(tong)(tong)(tong)(tong)山"。《太平寰宇記(ji)》卷一(yi)五八記(ji)載:"銅(tong)(tong)(tong)(tong)山,昔(xi)越王(wang)趙佗(tuo)于此山鑄銅(tong)(tong)(tong)(tong)。"東漢馬援南(nan)征(zheng)時曾獲得(de)大量(liang)的(de)(de)(de) "駱(luo)越銅(tong)(tong)(tong)(tong)鼓(gu)"。由此可見,壯族(zu)(zu)先(xian)民是(shi)較早(zao)鑄造和使用銅(tong)(tong)(tong)(tong)鼓(gu)的(de)(de)(de)民族(zu)(zu)之一(yi)。壯族(zu)(zu)地(di)區(qu)(qu)銅(tong)(tong)(tong)(tong)鼓(gu)的(de)(de)(de)紋(wen)(wen)(wen)(wen)(wen)飾(shi)(shi)特征(zheng),大致(zhi)可分(fen)為(wei)兩(liang)大類(lei)(lei),一(yi)類(lei)(lei)是(shi)粵桂式的(de)(de)(de)銅(tong)(tong)(tong)(tong)鼓(gu),其(qi)紋(wen)(wen)(wen)(wen)(wen)飾(shi)(shi)是(shi)中(zhong)原地(di)區(qu)(qu)商、周時代(dai)習見的(de)(de)(de)云(yun)紋(wen)(wen)(wen)(wen)(wen)、雷紋(wen)(wen)(wen)(wen)(wen)、席(xi)紋(wen)(wen)(wen)(wen)(wen)等,另一(yi)類(lei)(lei)為(wei)滇桂式型的(de)(de)(de)銅(tong)(tong)(tong)(tong)鼓(gu),有(you)翔(xiang)鷺(lu)紋(wen)(wen)(wen)(wen)(wen)、舞蹈(dao)紋(wen)(wen)(wen)(wen)(wen)、劃船紋(wen)(wen)(wen)(wen)(wen)等,民族(zu)(zu)特點(dian)較為(wei)濃厚。晉朝(chao)人裴淵《廣州(zhou)記(ji)》(轉引自鄭師許《銅(tong)(tong)(tong)(tong)鼓(gu)考略(lve)》有(you):"俚僚鑄銅(tong)(tong)(tong)(tong)為(wei)鼓(gu),鼓(gu)為(wei)高大為(wei)貴,面闊丈余,初成(cheng),懸于庭,克晨置酒,招(zhao)(zhao)致(zhi)同類(lei)(lei),來者盈門,豪富子(zi)女,以金(jin)銀為(wei)大镲,執(zhi)以叩敲(qiao),叩竟,留遺(yi)主(zhu)人也。"銅(tong)(tong)(tong)(tong)鼓(gu)紋(wen)(wen)(wen)(wen)(wen)飾(shi)(shi)上(shang)的(de)(de)(de)舞蹈(dao)人象(xiang)和史書上(shang)的(de)(de)(de)記(ji)載,反映(ying)了古代(dai)壯族(zu)(zu)先(xian)民在(zai)銅(tong)(tong)(tong)(tong)鼓(gu)鑄成(cheng)時招(zhao)(zhao)致(zhi)親(qin)朋,歡樂舞蹈(dao)的(de)(de)(de)習俗。
古代銅鼓(gu)是(shi)部落統治權(quan)力的(de)象征(zheng),到明、清兩(liang)代時,廣(guang)西實行"改土歸流(liu)(liu)"政策(ce),部落首領地(di)位衰落,銅鼓(gu)失去了(le)它原有(you)的(de)作用(yong),只(zhi)作為(wei)一(yi)種樂器流(liu)(liu)傳于民間(jian)了(le)。
史書有壯族(zu)"親戚(qi)宴(yan)會(hui),即以(yi)匏笙銅鼓(gu)為樂(le)"及"節會(hui)則鳴銅鼓(gu)"之載(清羅(luo)士琳(lin)著《晉義熙(xi)銅鼓(gu)考》)。這(zhe)種習俗至(zhi)今還(huan)在壯族(zu)村寨中流行(xing)著,每(mei)(mei)當喜(xi)慶(qing)豐收或歡度節日,群眾便興高采烈(lie)地(di)抬出銅鼓(gu)來敲(qiao)擊。每(mei)(mei)村的銅鼓(gu)隊,由音調高低不同的兩面公鼓(gu)和兩面母鼓(gu)組成(cheng),公鼓(gu)的體積較(jiao)小(xiao),音調高亢,母鼓(gu)體積較(jiao)大,音調低沉。敲(qiao)擊時(shi),四個鼓(gu)手(shou)(shou)(shou)雙手(shou)(shou)(shou)持竹片,右手(shou)(shou)(shou)擊鼓(gu)心,左手(shou)(shou)(shou)打鼓(gu)邊(bian),節奏多變(bian),音調諧和。
流傳于中國(guo)西南彝族(zu)、苗(miao)族(zu)、壯族(zu)、瑤(yao)族(zu)、水族(zu)、布依族(zu)等少數(shu)民族(zu)中的民間舞(wu)(wu)。以擊打(da)銅鼓(gu)而舞(wu)(wu)為(wei)特征。銅鼓(gu)舞(wu)(wu)是中國(guo)最古老的舞(wu)(wu)種之一(yi)。苗(miao)族(zu)銅鼓(gu)舞(wu)(wu)是一(yi)人擊鼓(gu)并兼領舞(wu)(wu),他擊出(chu)時快時慢(man)節奏有序的鼓(gu)點(dian),自己隨之起舞(wu)(wu),眾人環繞他,時進時退,踩著鼓(gu)點(dian)舞(wu)(wu)蹈。
彝族稱為(wei)“妻麗”。是云南(nan)東部(bu)彝族人(ren)民喜愛的(de)古老的(de)傳統民間舞(wu)蹈。流(liu)傳在(zai)文山壯族苗族自治(zhi)州的(de)富寧、廣南(nan)、麻栗坡、西疇等縣。由于跳“妻麗”時(shi),擊銅鼓伴(ban)奏,故叫銅鼓舞(wu)。
銅(tong)(tong)鼓(gu)(gu)(gu)最(zui)早用作炊(chui)具,古代南方(fang)民(min)(min)族(zu)亦(yi)作為(wei)(wei)(wei)禮(li)(li)器,是(shi)權(quan)力的(de)象征。其聲洪遠,故又是(shi)傳(chuan)遞信息(xi)的(de)工具。銅(tong)(tong)鼓(gu)(gu)(gu)被視為(wei)(wei)(wei)吉祥之(zhi)物(wu),平(ping)時(shi)(shi)妥善保(bao)存,遇隆重節日或婚(hun)喪禮(li)(li)儀才擊(ji)(ji)鼓(gu)(gu)(gu)而舞(wu)。據(ju)《唐書?南蠻列傳(chuan)》載(zai):“擊(ji)(ji)銅(tong)(tong)鼓(gu)(gu)(gu),吹木角,歌舞(wu)為(wei)(wei)(wei)樂。”明(ming)代《蜀中(zhong)風俗(su)記》載(zai):“馬湖之(zhi)夷,歲暮百十為(wei)(wei)(wei)群,擊(ji)(ji)銅(tong)(tong)鼓(gu)(gu)(gu)歌舞(wu),飲酒穹(qiong)晝夜(ye)以為(wei)(wei)(wei)樂。”“婚(hun)姻以牛、酒為(wei)(wei)(wei)聘……會聚擊(ji)(ji)銅(tong)(tong)鼓(gu)(gu)(gu),吹角。”“喪葬擊(ji)(ji)鼓(gu)(gu)(gu)唱歌,男(nan)女圍(wei)尸(shi)跳躍(yue),舉哀而散……。”(《貴州嘉靖(jing)通志(zhi)》)這種(zhong)習俗(su)至(zhi)今仍保(bao)留在水族(zu)等少數(shu)民(min)(min)族(zu)的(de)喪葬活(huo)(huo)動(dong)中(zhong)銅(tong)(tong)鼓(gu)(gu)(gu)舞(wu)也與祭祀(si)、宗教活(huo)(huo)動(dong)緊密相(xiang)連, 《南州異(yi)物(wu)志(zhi)》中(zhong)記有以擊(ji)(ji)鼓(gu)(gu)(gu)為(wei)(wei)(wei)伴(ban)奏而舞(wu)的(de)祭祀(si)活(huo)(huo)動(dong)。宋代以后,西南諸民(min)(min)族(zu)因生活(huo)(huo)貧困(kun),缺醫少藥,在染疾患病(bing)之(zhi)時(shi)(shi),即(ji)“擊(ji)(ji)銅(tong)(tong)鼓(gu)(gu)(gu)、銅(tong)(tong)沙鑼以祀(si)神”。“病(bing)不知(zhi)醫,尚跳鬼,數(shu)人為(wei)(wei)(wei)群,擊(ji)(ji)鼓(gu)(gu)(gu)鳴征,跳舞(wu)呼號”(《黎歧紀聞》、《宋史?蠻夷列傳(chuan)》)。中(zhong)華人民(min)(min)共和國成立后,銅(tong)(tong)鼓(gu)(gu)(gu)舞(wu)多(duo)用于年節慶(qing)典活(huo)(huo)動(dong)中(zhong),成為(wei)(wei)(wei)群眾自娛性的(de)舞(wu)蹈。
銅(tong)(tong)鼓(gu)(gu)(gu)舞(wu)是以(yi)鼓(gu)(gu)(gu)手有節(jie)(jie)(jie)奏地(di)擊鼓(gu)(gu)(gu),由鼓(gu)(gu)(gu)點(dian)的(de)節(jie)(jie)(jie)奏變(bian)化而(er)引起(qi)舞(wu)蹈(dao)者(zhe)的(de)動(dong)(dong)作(zuo)(zuo)(zuo)和(he)隊形變(bian)化的(de)一(yi)種舞(wu)蹈(dao)。其(qi)(qi)特點(dian)動(dong)(dong)作(zuo)(zuo)(zuo)按其(qi)(qi)形式有六七種。每種動(dong)(dong)作(zuo)(zuo)(zuo)各有不同的(de)舞(wu)步(bu)和(he)節(jie)(jie)(jie)拍,風格不盡相同。銅(tong)(tong)鼓(gu)(gu)(gu)舞(wu)中(zhong)的(de)集體舞(wu)以(yi)一(yi)種固定(ding)的(de)男女青年圍(wei)成圓圈隊形。其(qi)(qi)隊形還有半(ban)圓形、一(yi)字(zi)形、縱形、交(jiao)叉對跳、四方(fang)形等。舞(wu)步(bu)矯健有力,舞(wu)姿粗獷靈活,動(dong)(dong)作(zuo)(zuo)(zuo)幅度大,情(qing)緒飽(bao)滿。跳至(zhi)高(gao)潮時(shi)鼓(gu)(gu)(gu)手還常常伴以(yi)歡快(kuai)的(de)喊和(he)激動(dong)(dong)的(de)呼叫,波(bo)瀾起(qi)伏的(de)情(qing)緒和(he)動(dong)(dong)人的(de)場(chang)面,充(chong)分體現了(le)當地(di)人民(min)豪放、樸實的(de)民(min)族性(xing)格,抒發了(le)他們純潔(jie)快(kuai)樂(le)的(de)思想(xiang)感情(qing)。
苗(miao)族銅鼓(gu)(gu)舞(wu)(wu)多在盛大節日(ri),如“吃(chi)牯(gu)臟(zang)”“苗(miao)年”“蘆(lu)笙節”活(huo)(huo)動(dong)中表(biao)(biao)演(yan)(yan)。銅鼓(gu)(gu)架(jia)設在場地中心(xin),由一名鼓(gu)(gu)手(shou)敲(qiao)打(da),另一人(ren)持特制木(mu)桶置于(yu)銅鼓(gu)(gu)后面,時近時遠(yuan)相配合,以(yi)增強樂(le)音效果。舞(wu)(wu)者(zhe)人(ren)數不限(xian),經常是(shi)越百上千,圍成幾個大圓圈(quan),合著銅鼓(gu)(gu)的(de)(de)敲(qiao)擊變化互相呼應,表(biao)(biao)演(yan)(yan)以(yi)日(ri)常勞動(dong)生活(huo)(huo)為(wei)內容(rong)的(de)(de)舞(wu)(wu)蹈。苗(miao)族銅鼓(gu)(gu)的(de)(de)敲(qiao)打(da)方法(fa),一般(ban)都有(you)固定的(de)(de)鼓(gu)(gu)點(dian)、讀(du)法(fa)及呼喊(han)聲,由于(yu)群眾非常熟悉(xi)這些鼓(gu)(gu)點(dian)和讀(du)法(fa)所(suo)包含(han)的(de)(de)內容(rong),所(suo)以(yi)鼓(gu)(gu)聲具有(you)"鼓(gu)(gu)語"的(de)(de)特點(dian)。鼓(gu)(gu)手(shou)執雙槌棒擊鼓(gu)(gu)鼓(gu)(gu)點(dian)有(you)專門的(de)(de)讀(du)法(fa):“咚(dong)”表(biao)(biao)示(shi)右手(shou)擊鼓(gu)(gu)心(xin),“嘎”表(biao)(biao)示(shi)左手(shou)擊鼓(gu)(gu)邊,“的(de)(de)”表(biao)(biao)示(shi)雙槌相擊。例如“翻高(gao)豆(dou)”,意為(wei)“趕(gan)(gan)(gan)斑鳩(jiu)”,舞(wu)(wu)蹈表(biao)(biao)現農民聽說飛來(lai)(lai)的(de)(de)斑鳩(jiu),正在刨出黃豆(dou)種啄(zhuo)(zhuo)食,于(yu)是(shi)騎(qi)著馬(ma)來(lai)(lai)到(dao)田(tian)里(li)驅趕(gan)(gan)(gan)斑鳩(jiu)。舞(wu)(wu)蹈動(dong)作(zuo)有(you):在地邊趕(gan)(gan)(gan)斑鳩(jiu)、作(zuo)抬腿(tui)趕(gan)(gan)(gan)、騎(qi)著馬(ma)趕(gan)(gan)(gan)、拍掌轉身下蹲甩腰趕(gan)(gan)(gan)斑鳩(jiu)等4個動(dong)作(zuo)。又如"平冷潘拉冬高(gao)冬",苗(miao)語意為(wei)"迎(ying)客舞(wu)(wu)",表(biao)(biao)現主人(ren)以(yi)舞(wu)(wu)蹈歡(huan)迎(ying)客人(ren)的(de)(de)到(dao)來(lai)(lai)。據說此鼓(gu)(gu)點(dian)是(shi)受山林中啄(zhuo)(zhuo)木(mu)鳥(niao)"篤(du)篤(du)"啄(zhuo)(zhuo)木(mu)聲的(de)(de)啟發(fa)而(er)編成的(de)(de)。客人(ren)到(dao)來(lai)(lai)時,主人(ren)和迎(ying)客者(zhe)在路邊兩旁,拍手(shou)歡(huan)舞(wu)(wu),迎(ying)客人(ren)進(jin)寨。其他(ta)還有(you)表(biao)(biao)現"獲獵歸來(lai)(lai)""兒童放鴨""撈蝦""捉蟹",以(yi)及"吃(chi)牯(gu)臟(zang)"中表(biao)(biao)演(yan)(yan)的(de)(de)祭祀(si)性"刀舞(wu)(wu)"等,都有(you)不同(tong)的(de)(de)鼓(gu)(gu)點(dian)讀(du)法(fa)和苗(miao)語鼓(gu)(gu)詞。
瑤族銅(tong)鼓(gu)(gu)舞(wu)蔚為壯觀:逢(feng)年(nian)節,十幾面(mian)甚至幾十面(mian)銅(tong)鼓(gu)(gu)一(yi)字排開,每面(mian)鼓(gu)(gu)一(yi)人邊擊邊舞(wu);中間還有(you)一(yi)面(mian)直徑不小于(yu)60厘米的大木(mu)鼓(gu)(gu)領奏,全(quan)場鼓(gu)(gu)聲(sheng)震天,時(shi)促(cu)時(shi)緩。壯族銅(tong)鼓(gu)(gu)有(you)公(gong)、母(mu)之分,跳(tiao)舞(wu)時(shi),它們(men)各分左右,中間夾一(yi)大皮(pi)鼓(gu)(gu),皮(pi)鼓(gu)(gu)主奏,公(gong)母(mu)銅(tong)鼓(gu)(gu)伴(ban)奏,別有(you)韻味。
布依族銅(tong)鼓(gu)(gu)(gu)(gu)舞(wu)(wu)(wu)常(chang)在(zai)喪葬儀(yi)式中進行,當村中老人去世后,由兩名(ming)舞(wu)(wu)(wu)者合著銅(tong)鼓(gu)(gu)(gu)(gu)、皮鼓(gu)(gu)(gu)(gu)的(de)(de)(de)鼓(gu)(gu)(gu)(gu)聲緩(huan)緩(huan)而舞(wu)(wu)(wu),以此(ci)哀悼(dao)故(gu)去的(de)(de)(de)老人。平(ping)常(chang)跳銅(tong)鼓(gu)(gu)(gu)(gu)舞(wu)(wu)(wu)時(shi),還常(chang)和(he)"刷(shua)把(ba)(ba)舞(wu)(wu)(wu)"一(yi)同表演,并(bing)稱之為(wei)"銅(tong)鼓(gu)(gu)(gu)(gu)刷(shua)把(ba)(ba)舞(wu)(wu)(wu)"。舞(wu)(wu)(wu)蹈中銅(tong)鼓(gu)(gu)(gu)(gu)聲、刷(shua)把(ba)(ba)聲交織(zhi)鳴響,表演別具一(yi)格,增添了濃郁的(de)(de)(de)民族色(se)彩。水(shui)族有(you)過(guo)"端(duan)節(jie)"的(de)(de)(de)習俗,水(shui)語稱作"借端(duan)",是豐收后的(de)(de)(de)盛大節(jie)日,過(guo)去在(zai)農(nong)歷(li)的(de)(de)(de)八九月(yue)間,后改(gai)為(wei)十一(yi)月(yue)的(de)(de)(de)第一(yi)個(ge)"亥"日。屆時(shi),各村寨(zhai)都(dou)敲起銅(tong)鼓(gu)(gu)(gu)(gu)歡度節(jie)日,并(bing)把(ba)(ba)活動的(de)(de)(de)場地(di)叫作"端(duan)坡",人們合著銅(tong)鼓(gu)(gu)(gu)(gu)、皮鼓(gu)(gu)(gu)(gu)、蘆笙(sheng)的(de)(de)(de)樂聲,在(zai)場地(di)上盡情高歌歡舞(wu)(wu)(wu)。
流傳于中(zhong)國南方以及(ji)西南地區(qu)的(de)(de)(de)(de)族(zu)(zu)、苗(miao)族(zu)(zu)、壯族(zu)(zu)、瑤族(zu)(zu)、水族(zu)(zu)、布依族(zu)(zu)等少數(shu)民族(zu)(zu)中(zhong),以敲打(da)銅(tong)鼓(gu)(gu)而舞(wu)為共同特征的(de)(de)(de)(de)舞(wu)蹈。銅(tong)鼓(gu)(gu)面刻花(hua)紋,曲腰(yao),中(zhong)空無底(di),側有4耳用以懸(xuan)掛(gua),鼓(gu)(gu)重數(shu)十斤。銅(tong)鼓(gu)(gu)舞(wu)是(shi)中(zhong)國古代重要的(de)(de)(de)(de)文(wen)化遺產。云南楚雄出土的(de)(de)(de)(de)春秋中(zhong)期的(de)(de)(de)(de)銅(tong)鼓(gu)(gu),距(ju)今(jin)已有2600多年(nian),是(shi)迄(qi)今(jin)世界(jie)上(shang)發現的(de)(de)(de)(de)年(nian)代最久遠的(de)(de)(de)(de)銅(tong)鼓(gu)(gu),在晉寧石寨山漢墓出土的(de)(de)(de)(de)一個銅(tong)鼓(gu)(gu)貯(zhu)貝器的(de)(de)(de)(de)外暈花(hua)紋上(shang),有3個男子擊(ji)銅(tong)鼓(gu)(gu)而舞(wu)的(de)(de)(de)(de)形象,廣西花(hua)山崖畫(hua)上(shang)也繪有壯族(zu)(zu)先(xian)民圍(wei)著銅(tong)鼓(gu)(gu)歡呼雀躍的(de)(de)(de)(de)舞(wu)蹈圖象。
廣西(xi)南丹縣一(yi)(yi)(yi)(yi)帶山區瑤族(zu)人民每至(zhi)春(chun)節(jie)(jie)期(qi)間(jian)都以打銅鼓(gu)(gu)活動慶賀節(jie)(jie)日。屆時將(jiang)數面(mian)銅鼓(gu)(gu)一(yi)(yi)(yi)(yi)字排(pai)開,懸于木(mu)架上,每面(mian)銅鼓(gu)(gu)由一(yi)(yi)(yi)(yi)名鼓(gu)(gu)手(shou)右手(shou)拿(na)槌(chui)敲(qiao)擊鼓(gu)(gu)面(mian),左手(shou)拿(na)小木(mu)棍擊鼓(gu)(gu)腰(yao),另一(yi)(yi)(yi)(yi)人持(chi)(chi)木(mu)桶,隨鼓(gu)(gu)點節(jie)(jie)奏(zou)(zou)將(jiang)木(mu)桶送(song)向銅鼓(gu)(gu)口,取其共(gong)鳴。在銅鼓(gu)(gu)隊的伴(ban)奏(zou)(zou)下,一(yi)(yi)(yi)(yi)名舞者雙手(shou)持(chi)(chi)鼓(gu)(gu)槌(chui),圍(wei)繞一(yi)(yi)(yi)(yi)面(mian)大木(mu)鼓(gu)(gu),邊敲(qiao)邊舞。鼓(gu)(gu)的直徑約60厘米,高(gao)1米左右,擊鼓(gu)(gu)節(jie)(jie)奏(zou)(zou)復雜,動作穩健而多變,場面(mian)壯觀(guan)。
貴州南部的(de)水族人民,于(yu)農歷十一(yi)月過(guo)水族春節(jie)時,敲銅(tong)鼓歌唱跳舞(wu)(wu)慶賀,舞(wu)(wu)蹈動作開放而變化自(zi)如。布(bu)依(yi)族流傳著“銅(tong)鼓刷(shua)把舞(wu)(wu)”,每年農歷四月初八、七(qi)月十五日或春節(jie)時,青年男(nan)女相聚,手持刷(shua)把或竹竿(gan),合(he)著銅(tong)鼓的(de)節(jie)奏(zou)互相敲擊而舞(wu)(wu)。
地跨云(yun)南、廣西兩省的(de)族山寨,除有眾人圍繞銅(tong)鼓而舞外,還(huan)有男子左手抱小銅(tong)鼓,右手用拳邊(bian)敲擊邊(bian)舞動的(de)銅(tong)鼓舞。舞時(shi)以(yi)腰部及胯(kua)部的(de)扭動為主,動作古樸(pu)而健美。
廣西東蘭、馬(ma)山(shan)、都安一帶的壯(zhuang)族銅鼓(gu)(gu)(gu)舞于春節時(shi)表(biao)演(yan),舞時(shi)懸掛(gua)兩面銅鼓(gu)(gu)(gu),有公(gong)(gong)鼓(gu)(gu)(gu)、母鼓(gu)(gu)(gu)之分,中間(jian)一人(ren)敲擊(ji)大皮鼓(gu)(gu)(gu)跳舞,以公(gong)(gong)、母兩鼓(gu)(gu)(gu)伴(ban)奏,動作變化較多(duo)。廣西西部山(shan)區(qu)的壯(zhuang)族農民,至今在農閑之時(shi),相聚山(shan)頭以賽銅鼓(gu)(gu)(gu)為(wei)樂,表(biao)現(xian)內容多(duo)為(wei)民間(jian)傳說(shuo)和故事,有《瓦崗夫(fu)人(ren)守山(shan)寨》、《趕山(shan)鞭》等,擊(ji)銅鼓(gu)(gu)(gu)以伴(ban)歌舞。
因文山壯(zhuang)族苗族自治州緊鄰(lin)廣(guang)(guang)西(xi)壯(zhuang)族自治區,所以云(yun)南彝族的(de)銅(tong)鼓(gu)(gu)(gu)舞(wu)和廣(guang)(guang)西(xi)彝族的(de)銅(tong)鼓(gu)(gu)(gu)舞(wu)同(tong)出一源,動(dong)作(zuo)也大(da)同(tong)小異。廣(guang)(guang)西(xi)的(de)銅(tong)鼓(gu)(gu)(gu)舞(wu)是在節日(ri)或喪事(shi)時跳的(de)。舞(wu)時一人打鼓(gu)(gu)(gu),男(nan)在外圈,女(nv)在里圈,圍(wei)著(zhu)銅(tong)鼓(gu)(gu)(gu),隨(sui)著(zhu)鼓(gu)(gu)(gu)的(de)節奏起舞(wu)。舞(wu)步(bu)(bu)象(xiang)攀(pan)登(deng)山路的(de)樣子,每邁一步(bu)(bu),雙膝(xi)隨(sui)之頻頻顫動(dong),甚為奇特。步(bu)(bu)伐大(da)致(zhi)分為六種,即二(er)步(bu)(bu)、三步(bu)(bu)、四步(bu)(bu)、六步(bu)(bu)、八步(bu)(bu),至最后一拍,腳向前(qian)(qian)踢出。男(nan)女(nv)同(tong)舞(wu)時,互相拉手,前(qian)(qian)后擺動(dong)。男(nan)子單獨排(pai)成長隊舞(wu)蹈時,則各(ge)執(zhi)折扇一把,屈伸于前(qian)(qian)側(ce)和胸(xiong)前(qian)(qian)。舞(wu)蹈動(dong)作(zuo)比較簡單,主要在于隊形(xing)的(de)變化,節奏由慢而快,至高(gao)潮而收。廣(guang)(guang)南那灑鎮馬貴(gui)村壯(zhuang)族的(de)銅(tong)鼓(gu)(gu)(gu)舞(wu)完整(zheng)保(bao)留了十二(er)套(tao)舞(wu)蹈動(dong)作(zuo),反映著(zhu)一年(nian)四季十二(er)個月不同(tong)的(de)生(sheng)產內容(rong)。
文山(shan)(shan)壯(zhuang)族(zu)春(chun)節期間的(de)(de)(de)賽銅(tong)鼓(gu),場面(mian)壯(zhuang)觀(guan),激動人心。銅(tong)鼓(gu)比賽以紅水河為界,各村(cun)的(de)(de)(de)銅(tong)鼓(gu)隊(dui),把自己(ji)的(de)(de)(de)銅(tong)鼓(gu)扛上河岸旁的(de)(de)(de)山(shan)(shan)頂上,雙(shuang)(shuang)方(fang)(fang)隔河遙(yao)遙(yao)相(xiang)對。比賽開始,各擊(ji)鼓(gu)的(de)(de)(de)健兒,精神抖擻,奮力敲(qiao)擊(ji),鼓(gu)聲(sheng)(sheng)震撼山(shan)(shan)川(chuan)。助戰的(de)(de)(de)伙伴(ban)拿著草笠,為擊(ji)鼓(gu)者(zhe)扇涼鼓(gu)勁,吶喊助興。圍(wei)觀(guan)的(de)(de)(de)群眾,滿(man)山(shan)(shan)遍野(ye),夜間,火把串(chuan)串(chuan)川(chuan)流不息,場面(mian)異(yi)常雄偉(wei)壯(zhuang)觀(guan)。比賽是以銅(tong)鼓(gu)聲(sheng)(sheng)最響亮,打鼓(gu)時間最長者(zhe)為勝,雙(shuang)(shuang)方(fang)(fang)往往直(zhi)打到銅(tong)鼓(gu)聲(sheng)(sheng)啞,有一方(fang)(fang)認(ren)輸為止。然后(hou)群眾便心滿(man)意足的(de)(de)(de)唱著山(shan)(shan)歌,排著長隊(dui),歡天(tian)喜地(di)的(de)(de)(de)返回寨子。
如今流傳在(zai)(zai)壯族地區的銅鼓(gu)(gu)(gu)舞(wu),表演(yan)時,一(yi)般(ban)是(shi)將四面銅鼓(gu)(gu)(gu)掛在(zai)(zai)村前(qian)的大(da)榕樹上,由(you)四個小(xiao)伙子敲(qiao)(qiao)擊,作(zuo)為(wei)伴奏;前(qian)面置一(yi)大(da)皮(pi)鼓(gu)(gu)(gu),由(you)一(yi)老鼓(gu)(gu)(gu)手(shou)雙手(shou)持棍敲(qiao)(qiao)擊,他(ta)是(shi)舞(wu)蹈(dao)的主要表演(yan)者。他(ta)邊(bian)(bian)敲(qiao)(qiao)鼓(gu)(gu)(gu),邊(bian)(bian)舞(wu)蹈(dao),有正(zheng)面打(da)(da)、抬腿打(da)(da)、轉身打(da)(da)、翻(fan)身打(da)(da)等各種擊鼓(gu)(gu)(gu)動作(zuo),節奏由(you)慢到快,反復變(bian)化,舞(wu)姿靈活敏捷。另(ling)有兩(liang)個小(xiao)伙,一(yi)個左肩扛竹筒,右(you)手(shou)持竹棍邊(bian)(bian)敲(qiao)(qiao)竹筒邊(bian)(bian)舞(wu),另(ling)一(yi)個拿雨帽為(wei)擊鼓(gu)(gu)(gu)者扇(shan)涼,邊(bian)(bian)扇(shan)邊(bian)(bian)舞(wu),三人彼此穿插(cha)跳躍(yue),配合自(zi)然協調(diao),場(chang)面熱烈(lie),情緒歡騰(teng)。
銅(tong)鼓(gu)舞(wu)(wu)屬族(zu)(zu)群性的集體舞(wu)(wu)蹈。舞(wu)(wu)者(zhe)圍成圓圈(quan),踏著鼓(gu)聲節奏沿逆時針方向起舞(wu)(wu),跳(tiao)完一組舞(wu)(wu)蹈動(dong)作再(zai)跳(tiao)另一組,內容都是壯族(zu)(zu)、彝(yi)族(zu)(zu)農耕生(sheng)產(chan)生(sheng)活的反(fan)映(ying)麻栗坡、富寧等幾個村(cun)寨中的銅(tong)鼓(gu)舞(wu)(wu),主要用于祈雨、求(qiu)豐(feng)收(shou)和老人喪葬等民俗活動(dong)。壯族(zu)(zu)、彝(yi)族(zu)(zu)的銅(tong)鼓(gu)舞(wu)(wu)流傳普遍,動(dong)作古樸,舞(wu)(wu)蹈語匯非常豐(feng)富。壯族(zu)(zu)銅(tong)鼓(gu)舞(wu)(wu)表演時,一人敲銅(tong)鼓(gu),另一人以木盒輔助形成共鳴滑音,這在其他音樂演奏中是找不到的。
彝族(zu)(zu)的(de)銅(tong)鼓(gu)演(yan)奏(zou)則(ze)是一種專門技巧,一人用公、母(mu)兩面(mian)銅(tong)鼓(gu)可演(yan)奏(zou)十(shi)(shi)二(er)(er)種音調組合,簡稱十(shi)(shi)二(er)(er)調。據稱公鼓(gu)代表(biao)太陽,母(mu)鼓(gu)代表(biao)月(yue)亮,十(shi)(shi)二(er)(er)調代表(biao)一年十(shi)(shi)二(er)(er)個(ge)月(yue),因此彝族(zu)(zu)的(de)銅(tong)鼓(gu)舞(wu)還包含著本地(di)民(min)族(zu)(zu)的(de)歷法文(wen)化內(nei)容,積淀著壯(zhuang)、彝先民(min)自然崇(chong)拜、祖先崇(chong)拜,維系民(min)族(zu)(zu)生存發展等(deng)多方面(mian)的(de)歷史(shi)文(wen)化內(nei)涵(han),具(ju)有鮮(xian)明的(de)民(min)族(zu)(zu)、地(di)域特(te)色和重要的(de)歷史(shi)、文(wen)化、藝(yi)術(shu)價值。
銅(tong)(tong)(tong)(tong)鼓(gu)舞(wu)——銅(tong)(tong)(tong)(tong)鼓(gu)和銅(tong)(tong)(tong)(tong)鼓(gu)舞(wu)是青銅(tong)(tong)(tong)(tong)器時代的文(wen)化遺存(cun)與(yu)發展,銅(tong)(tong)(tong)(tong)鼓(gu)上積淀著(zhu)古代農(nong)耕(geng)民(min)族(zu)、沿海漁民(min)的文(wen)化創造,也可以探尋在今(jin)日(ri)民(min)間舞(wu)蹈中的遺存(cun)。主要(yao)在壯、苗(miao)、彝、瑤(yao)、水、布依等(deng)民(min)族(zu)中流(liu)傳,是今(jin)日(ri)比較偏僻(pi)的山區村寨。銅(tong)(tong)(tong)(tong)鼓(gu)舞(wu)的表演形(xing)式(shi),主要(yao)是以銅(tong)(tong)(tong)(tong)鼓(gu)為主,還配合蘆笙、大鼓(gu)等(deng)樂(le)器作為伴奏,一般都在節日(ri)中進(jin)行。各(ge)民(min)族(zu)有自己的特定節日(ri)和活(huo)動(dong)方式(shi),舞(wu)蹈的跳法與(yu)風格(ge)各(ge)有特色,他(ta)們(men)從不同(tong)方面(mian)繼承了古代銅(tong)(tong)(tong)(tong)鼓(gu)、銅(tong)(tong)(tong)(tong)鼓(gu)舞(wu)的功能與(yu)樂(le)舞(wu)習(xi)俗,并不斷匯(hui)入新的文(wen)化創造。
每年“打(da)公節(jie)”,即農(nong)歷六月十(shi)五日這一(yi)天,彝族人民(min)百十(shi)人為一(yi)群,跳“妻麗”,擊銅鼓為樂,連跳三(san)天三(san)夜盡興而散。
銅鼓舞(wu)是載歌(ge)載舞(wu)的(de)群眾性自娛舞(wu)蹈,男(nan)女(nv)均可參加,人數(shu)不限。舞(wu)蹈的(de)風(feng)格(ge)和律動別具一格(ge)。它(ta)以胸(xiong)、腰及胯部(bu)的(de)大幅度扭擺為基調(diao),舞(wu)風(feng)清新、純樸。步(bu)伐不復雜,基本是一步(bu)一并腳(jiao),向(xiang)前進(jin)或橫走,膝部(bu)隨(sui)扭擺而(er)屈伸(shen)。有(you)時拉(la)手,有(you)時左(zuo)、右(you)手交(jiao)替上(shang)下(xia)甩(shuai)動。男(nan)子左(zuo)手抱(bao)銅鼓,右(you)手敲擊,腳(jiao)步(bu)男(nan)女(nv)相同。舞(wu)蹈時歌(ge)唱,跳到(dao)高(gao)潮時呼(hu)叫,情(qing)緒激越。
因文山壯族苗族自治州(zhou)緊鄰廣西(xi)壯族自治區,所以云南彝族的(de)(de)銅(tong)鼓舞(wu)(wu)(wu)和廣西(xi)彝族的(de)(de)銅(tong)鼓舞(wu)(wu)(wu)同出一(yi)源,動(dong)作也大同小異。廣西(xi)的(de)(de)銅(tong)鼓舞(wu)(wu)(wu)是(shi)在(zai)節日(ri)或喪事時(shi)(shi)跳的(de)(de)。舞(wu)(wu)(wu)時(shi)(shi)一(yi)人(ren)打鼓,男在(zai)外圈,女(nv)在(zai)里(li)圈,圍(wei)著銅(tong)鼓,隨著鼓的(de)(de)節奏起(qi)舞(wu)(wu)(wu)。舞(wu)(wu)(wu)步(bu)(bu)(bu)(bu)象攀(pan)登山路的(de)(de)樣子(zi),每邁一(yi)步(bu)(bu)(bu)(bu),雙膝隨之頻(pin)頻(pin)顫動(dong),甚(shen)為(wei)奇特(te)。步(bu)(bu)(bu)(bu)伐(fa)大致(zhi)分為(wei)六種,即二步(bu)(bu)(bu)(bu)、三步(bu)(bu)(bu)(bu)、四步(bu)(bu)(bu)(bu)、六步(bu)(bu)(bu)(bu)、八步(bu)(bu)(bu)(bu),至(zhi)最后(hou)一(yi)拍,腳向前(qian)踢(ti)出。男女(nv)同舞(wu)(wu)(wu)時(shi)(shi),互相拉手,前(qian)后(hou)擺動(dong)。男子(zi)單獨排成長隊(dui)舞(wu)(wu)(wu)蹈(dao)時(shi)(shi),則各執折扇一(yi)把,屈伸于(yu)前(qian)側和胸前(qian)。舞(wu)(wu)(wu)蹈(dao)動(dong)作比(bi)較簡單,主要(yao)在(zai)于(yu)隊(dui)形的(de)(de)變化,節奏由慢而(er)快,至(zhi)高潮(chao)而(er)收。
銅鼓(gu)舞(wu)苗族銅鼓(gu)舞(wu)有(you)男子(zi)跳的,也有(you)男女同跳的,舞(wu)時(shi)將鼓(gu)懸(xuan)起(qi),擊鼓(gu)者一(yi)人,左(zuo)手持木棒(bang)擊鼓(gu)腰(yao),發音(yin)清(qing)脆,右手持鼓(gu)錘擊鼓(gu)面中心,發音(yin)濃重(zhong),節奏多為、拍,鼓(gu)手邊(bian)擊邊(bian)舞(wu),隨節奏踏地抬腿,眾人環繞而舞(wu),隨著變化多端的節奏,時(shi)里(li)時(shi)外,且(qie)進且(qie)退,舞(wu)至高潮時(shi),加(jia)擊掌呼喊“嗨哧哧”之聲助(zhu)興。其動(dong)作(zuo)多為狩(shou)獵生(sheng)活(huo)、農事(shi)生(sheng)活(huo)動(dong)作(zuo)以及對動(dong)物(wu)形態的模擬(ni),如騎(qi)馬趕(gan)斑鳩、捕魚、撈蝦等(deng)。苗族銅鼓(gu)舞(wu)步伐有(you)力,臂部多前后甩動(dong)或左(zuo)右擺(bai)動(dong)。
銅(tong)鼓(gu)舞伴奏用(yong)的銅(tong)鼓(gu)大(da)小各(ge)一(yi),成為(wei)一(yi)套,大(da)鼓(gu)為(wei)“雌”,小鼓(gu)為(wei)“雄”。擊鼓(gu)者右手(shou)執軟木棒,交替敲擊兩只相對的鼓(gu)面,左手(shou)執竹棍,敲擊小鼓(gu)梆(bang),擊鼓(gu)者不參加舞蹈。
銅鼓(gu)在古(gu)代(dai)曾有(you)多種用途,它既是(shi)(shi)(shi)樂器(qi)、祭器(qi)和(he)禮(li)器(qi),又曾是(shi)(shi)(shi)權力和(he)財富的(de)象征(zheng),清代(dai)以后,仍用于祈神、祭祀(si)、治(zhi)病、喪葬、娛樂等(deng)(deng)活動,并用鼓(gu)聲傳(chuan)遞信息。收藏或(huo)仍在使(shi)用的(de)銅鼓(gu),多是(shi)(shi)(shi)出土文物或(huo)傳(chuan)世古(gu)物,件件都是(shi)(shi)(shi)鑄有(you)紋(wen)飾、造型精美的(de)藝術(shu)品。如鼓(gu)面中心(xin)有(you)太陽紋(wen),周(zhou)邊有(you)青蛙、蟾蜍飾物及翔(xiang)鷺紋(wen),鼓(gu)身有(you)羽人(ren)舞(wu)蹈紋(wen),競渡紋(wen),或(huo)通體云霄紋(wen)等(deng)(deng)。銅鼓(gu)上的(de)紋(wen)飾,多給人(ren)一種撲朔迷(mi)離,神奇奧(ao)秘之(zhi)感(gan),吸引著人(ren)們對它的(de)內涵(han)進行探索。
近代出土的(de)(de)銅鼓與(yu)保存(cun)在(zai)少數(shu)民族(zu)(zu)中的(de)(de)銅鼓,其(qi)形制和紋(wen)飾各有(you)(you)不(bu)同,由此(ci)反(fan)映(ying)了當時(shi)當地(di)民族(zu)(zu)的(de)(de)社會生活(huo)、風俗習(xi)慣和宗(zong)教意識(shi),幫助我們探(tan)索銅鼓舞中古(gu)文化(hua)的(de)(de)遺存(cun)。如蛙飾:多是立體造(zao)型(xing),四只(zhi)勻稱地(di)分鑄在(zai)鼓面(mian)的(de)(de)邊(bian)沿(yan),反(fan)映(ying)出古(gu)代農耕民族(zu)(zu)對(dui)蛙的(de)(de)重(zhong)視、蛙的(de)(de)圖騰崇拜(bai)。壯族(zu)(zu)至(zhi)今還有(you)(you)祭青蛙的(de)(de)節日(ri),認為蛙是雷(lei)神的(de)(de)女(nv)兒,通過它(ta)(ta)可以祈(qi)求雷(lei)神給人們帶來風調雨(yu)順,農業(ye)豐收。又如太(tai)陽紋(wen):它(ta)(ta)與(yu)古(gu)民族(zu)(zu)的(de)(de)太(tai)陽崇拜(bai)有(you)(you)關,著(zhu)名(ming)的(de)(de)廣西寧明花山巖(yan)畫(hua)上,就畫(hua)有(you)(you)許(xu)多這(zhe)一類型(xing)的(de)(de)銅鼓與(yu)銅鼓舞的(de)(de)場(chang)面(mian)。
畫面(mian)上,銅鼓置于(yu)江邊,許多人物(wu)姿勢相同,向同一方向歡呼雀(que)躍,像(xiang)是在(zai)擊銅鼓起舞(wu),祭祀江神。再(zai)如廣西博物(wu)館存的(de)(de)(de)世界(jie)最大銅鼓:直徑166厘米,重300公斤,鼓面(mian)中心是太陽紋,銅鼓上的(de)(de)(de)翔鷺紋認為(wei)是水鶴(he)和鷺鷥,水鶴(he)能測(ce)風雨,鷺鷥善捕魚,以此紋飾(shi)寄托漁民出海平安(an)、豐收的(de)(de)(de)心愿。羽(yu)人舞(wu)蹈紋和競(jing)渡紋是當時歌舞(wu)娛樂(le)、龍舟競(jing)渡的(de)(de)(de)描(miao)繪,這(zhe)些紋飾(shi)有助于(yu)研究古代(dai)風俗和舞(wu)蹈文化的(de)(de)(de)源流。
文(wen)山壯族(zu)、彝族(zu)銅鼓舞(wu)活(huo)(huo)動示(shi)范點是開展(zhan)項目保護和傳(chuan)承工作(zuo)的(de)主陣(zhen)地,是項目實施(shi)和發展(zhan)的(de)支撐點。其中壯族(zu)活(huo)(huo)動示(shi)范點兩(liang)(liang)個(ge):廣(guang)南縣那灑鎮貴馬村、者兔鄉里玉村;彝族(zu)活(huo)(huo)動示(shi)范點兩(liang)(liang)個(ge):廣(guang)南縣八(ba)寶鎮里灑村、麻栗坡縣董(dong)干鄉新寨(zhai)(zhai)、城寨(zhai)(zhai)村(后兩(liang)(liang)村為一點)。
在(zai)授牌儀式(shi)上,里灑(sa)村村長(chang)王國文(wen)雙(shuang)手捧著(zhu)“文(wen)山壯(zhuang)族彝族銅鼓(gu)舞(wu)活動示范點”的(de)牌子和2000元傳承活動經(jing)費,激(ji)動地說:“近(jin)年來(lai)我們(men)得(de)到各級領導的(de)關心(xin),曾多次(ci)受邀到鎮上或(huo)縣上參加各種(zhong)演出活動。沒想到我們(men)的(de)銅鼓(gu)舞(wu)會(hui)得(de)到國家(jia)如此的(de)重視,現(xian)在(zai)我們(men)不(bu)但要(yao)一代一代地跳(tiao)(tiao)下去,而且(qie)還要(yao)跳(tiao)(tiao)到文(wen)山,跳(tiao)(tiao)到昆(kun)明,讓更多的(de)人都(dou)能看到。”
據文(wen)山(shan)州(zhou)文(wen)化館館長王瑛(ying)介(jie)紹,州(zhou)、縣(xian)對銅(tong)(tong)鼓(gu)(gu)舞(wu)(wu)傳(chuan)承和發展(zhan)(zhan)的相(xiang)關措施(shi)主要是:不(bu)斷充實“文(wen)山(shan)壯(zhuang)族(zu)(zu)(zu)彝族(zu)(zu)(zu)銅(tong)(tong)鼓(gu)(gu)舞(wu)(wu)”的文(wen)字、音(yin)樂(le)、音(yin)像、器具等(deng)相(xiang)關資料,建(jian)立(li)(li)傳(chuan)習活動(dong)及(ji)傳(chuan)承人檔案。成(cheng)立(li)(li)州(zhou)、縣(xian)、鄉(鎮)、村四(si)個(ge)級別的保護工(gong)作領導小(xiao)組(zu),形成(cheng)有組(zu)織、有計(ji)劃(hua)、有責任制的規(gui)范保護;以實物、圖、文(wen)、音(yin)像等(deng)藝術形式,在文(wen)山(shan)州(zhou)文(wen)化館及(ji)廣(guang)南、麻栗坡兩縣(xian)文(wen)化館分別建(jian)立(li)(li)“文(wen)山(shan)壯(zhuang)族(zu)(zu)(zu)彝族(zu)(zu)(zu)銅(tong)(tong)鼓(gu)(gu)舞(wu)(wu)”民俗展(zhan)(zhan)廳;在廣(guang)南、麻栗坡兩縣(xian)分別建(jian)立(li)(li)“文(wen)山(shan)壯(zhuang)族(zu)(zu)(zu)彝族(zu)(zu)(zu)銅(tong)(tong)鼓(gu)(gu)舞(wu)(wu)”示(shi)范點(dian)的傳(chuan)承活動(dong)場所(兼(jian)傳(chuan)習所),扶(fu)持銅(tong)(tong)鼓(gu)(gu)舞(wu)(wu)老藝人進行(xing)傳(chuan)習活動(dong),培養年輕一代(dai);以學校為示(shi)范點(dian),將銅(tong)(tong)鼓(gu)(gu)舞(wu)(wu)蹈(dao)編入學生(sheng)課間操中,使(shi)青少(shao)年學生(sheng)從小(xiao)得到銅(tong)(tong)鼓(gu)(gu)舞(wu)(wu)的優美音(yin)樂(le)旋律和舞(wu)(wu)蹈(dao)韻律的感染和熏(xun)陶。
文(wen)(wen)山銅(tong)鼓(gu)(gu)舞(wu)凝聚著壯、彝(yi)(yi)人民(min)的創造才能和聰(cong)明才智,具(ju)有鮮明的民(min)族(zu)、地域特色和重要(yao)的歷史、文(wen)(wen)化、藝術價值,是(shi)壯、彝(yi)(yi)人民(min)重要(yao)的精神支柱(zhu)之一(yi)。銅(tong)鼓(gu)(gu)舞(wu)文(wen)(wen)化折射出壯、彝(yi)(yi)人民(min)勤勞(lao)、聰(cong)慧、淳(chun)樸(pu)、善良的性格及審美觀念(nian),是(shi)研(yan)究壯族(zu)、彝(yi)(yi)族(zu)社會(hui)歷史,傳承民(min)族(zu)傳統(tong)文(wen)(wen)化的一(yi)個重要(yao)媒介,在維系(xi)民(min)族(zu)生存和發(fa)展等方面起著極其重要(yao)的作用。各級文(wen)(wen)化工作者經過近3年多的實地調(diao)查、收集(ji)整理和組織申報(bao),《文(wen)(wen)山壯族(zu)彝(yi)(yi)族(zu)銅(tong)鼓(gu)(gu)舞(wu)》于2006年5月(yue)被(bei)列入第一(yi)批國家級非(fei)物質文(wen)(wen)化遺(yi)產保護(hu)名(ming)錄(lu)。
由(you)于外來文化(hua)的沖擊,壯族、彝族年輕一代對民族傳(chuan)統歷史文化(hua)缺乏(fa)深(shen)層次的認知(zhi),導致習銅(tong)鼓舞者銳(rui)減,如不及時加以保護和傳(chuan)承,就有消亡的危險。
國家(jia)非常重視非物(wu)質(zhi)文(wen)化遺(yi)產的保(bao)護,2006年5月20日,銅鼓(gu)舞(wu)經國務院批準(zhun)列入(ru)第一批國家(jia)級非物(wu)質(zhi)文(wen)化遺(yi)產名錄。