1、銅鼓舞(田林瑤族銅鼓舞),編號:Ⅲ-26
(1)批(pi)次(ci)/類型:2008年(nian)(第(di)二批(pi)),擴展項目
(2)申報(bao)地區(qu)或單位:廣西壯族自治區(qu)田(tian)林縣
(3)保護(hu)單位:田林縣文化館
2、銅鼓舞(南丹勤澤格拉),編號:Ⅲ-26
(1)批次/類型:2014年(第四批),擴展項目
(2)申報地區(qu)或單位:廣西壯族自治區(qu)南(nan)丹縣
(3)保(bao)護(hu)單位(wei):南(nan)丹縣非物(wu)質文(wen)化(hua)遺產保(bao)護(hu)傳(chuan)承中心
3、銅鼓舞(雷山苗族銅鼓舞),編號:Ⅲ-26
(1)批次/類型:2008年(nian)(第二批),擴展項目
(2)申報地區或單(dan)位:貴州省雷山(shan)縣
(3)保護單(dan)位:雷山(shan)縣非物質文(wen)化遺產(chan)保護中心
4、銅鼓舞(文山壯族、彝族銅鼓舞),編號:Ⅲ-26
(1)批(pi)次/類型:2006年(nian)(第一批(pi)),新增項目(mu)
(2)申報地區(qu)或單(dan)位:云南(nan)省文(wen)山(shan)壯族(zu)苗族(zu)自治(zhi)州(zhou)
(3)保護單位:文山壯族(zu)苗族(zu)自治州(zhou)非物質(zhi)文化遺(yi)產保護和藝術(shu)研究中心(xin)
于云南楚雄出(chu)土的銅(tong)鼓(gu)(gu),距今已有(you)2600多年(nian)。銅(tong)鼓(gu)(gu)可能由銅(tong)釜演化而來,原為炊具(ju)或禮器(qi)。明代(dai)《蜀中風俗記》中載,婚(hun)喪與(yu)年(nian)節時,當地都要“擊(ji)(ji)銅(tong)鼓(gu)(gu)歌舞(wu)”。同時,銅(tong)鼓(gu)(gu)舞(wu)與(yu)祭祀或巫術(驅病(bing)祈福)活動也緊密相關,如宋(song)代(dai)史籍(ji)上說:“擊(ji)(ji)銅(tong)鼓(gu)(gu)、銅(tong)沙鑼(luo)以(yi)祀神”;“病(bing)不知醫(yi),尚跳(tiao)鬼,數人為群(qun),擊(ji)(ji)鼓(gu)(gu)鳴鉦(zheng),跳(tiao)舞(wu)呼號”。
古(gu)代嶺南西(xi)部的(de)(de)廣(guang)西(xi)盛產銅(tong)(tong)(tong),《舊唐書·地理(li)志》說:銅(tong)(tong)(tong)陵(ling)縣漢(han)屬合浦郡,"界內有銅(tong)(tong)(tong)山(shan)(shan)"。《太平寰宇(yu)記》卷一(yi)五八記載(zai):"銅(tong)(tong)(tong)山(shan)(shan),昔越(yue)王趙佗于(yu)(yu)此(ci)山(shan)(shan)鑄(zhu)銅(tong)(tong)(tong)。"東漢(han)馬援(yuan)南征(zheng)時曾獲(huo)得大(da)量的(de)(de) "駱越(yue)銅(tong)(tong)(tong)鼓(gu)(gu)(gu)"。由此(ci)可(ke)見(jian),壯(zhuang)族(zu)先民是較早鑄(zhu)造和使用(yong)銅(tong)(tong)(tong)鼓(gu)(gu)(gu)的(de)(de)民族(zu)之一(yi)。壯(zhuang)族(zu)地區銅(tong)(tong)(tong)鼓(gu)(gu)(gu)的(de)(de)紋(wen)(wen)(wen)(wen)飾特征(zheng),大(da)致(zhi)可(ke)分為(wei)(wei)(wei)兩大(da)類(lei),一(yi)類(lei)是粵桂(gui)式的(de)(de)銅(tong)(tong)(tong)鼓(gu)(gu)(gu),其紋(wen)(wen)(wen)(wen)飾是中原地區商、周時代習(xi)見(jian)的(de)(de)云紋(wen)(wen)(wen)(wen)、雷紋(wen)(wen)(wen)(wen)、席紋(wen)(wen)(wen)(wen)等,另一(yi)類(lei)為(wei)(wei)(wei)滇桂(gui)式型的(de)(de)銅(tong)(tong)(tong)鼓(gu)(gu)(gu),有翔鷺紋(wen)(wen)(wen)(wen)、舞蹈(dao)(dao)紋(wen)(wen)(wen)(wen)、劃船紋(wen)(wen)(wen)(wen)等,民族(zu)特點較為(wei)(wei)(wei)濃厚。晉朝人裴淵《廣(guang)州記》(轉引自鄭師許《銅(tong)(tong)(tong)鼓(gu)(gu)(gu)考略》有:"俚僚鑄(zhu)銅(tong)(tong)(tong)為(wei)(wei)(wei)鼓(gu)(gu)(gu),鼓(gu)(gu)(gu)為(wei)(wei)(wei)高大(da)為(wei)(wei)(wei)貴,面闊丈余(yu),初成(cheng),懸于(yu)(yu)庭,克晨置酒,招致(zhi)同類(lei),來者盈門,豪富子(zi)女,以金銀為(wei)(wei)(wei)大(da)镲,執以叩敲(qiao),叩竟,留(liu)遺主(zhu)人也。"銅(tong)(tong)(tong)鼓(gu)(gu)(gu)紋(wen)(wen)(wen)(wen)飾上的(de)(de)舞蹈(dao)(dao)人象和史書上的(de)(de)記載(zai),反映(ying)了古(gu)代壯(zhuang)族(zu)先民在銅(tong)(tong)(tong)鼓(gu)(gu)(gu)鑄(zhu)成(cheng)時招致(zhi)親朋,歡(huan)樂舞蹈(dao)(dao)的(de)(de)習(xi)俗。
古代銅(tong)鼓(gu)是部(bu)落統(tong)治權力的象(xiang)征,到明(ming)、清(qing)兩代時(shi),廣西實行"改土歸流"政(zheng)策,部(bu)落首領地位衰落,銅(tong)鼓(gu)失去了(le)它原有的作用,只作為一種樂(le)器(qi)流傳于民(min)間(jian)了(le)。
史書有壯(zhuang)族"親戚宴會,即以匏笙銅(tong)鼓(gu)(gu)(gu)(gu)為(wei)樂"及"節會則鳴銅(tong)鼓(gu)(gu)(gu)(gu)"之載(清羅士琳著《晉(jin)義熙銅(tong)鼓(gu)(gu)(gu)(gu)考》)。這種(zhong)習俗至今還(huan)在(zai)壯(zhuang)族村寨(zhai)中流(liu)行(xing)著,每(mei)當喜慶豐收或歡度(du)節日,群眾便興高采(cai)烈地(di)抬(tai)出銅(tong)鼓(gu)(gu)(gu)(gu)來敲擊。每(mei)村的(de)銅(tong)鼓(gu)(gu)(gu)(gu)隊,由(you)音調高低(di)不同的(de)兩面公鼓(gu)(gu)(gu)(gu)和(he)兩面母鼓(gu)(gu)(gu)(gu)組成(cheng),公鼓(gu)(gu)(gu)(gu)的(de)體積較(jiao)(jiao)小,音調高亢,母鼓(gu)(gu)(gu)(gu)體積較(jiao)(jiao)大,音調低(di)沉。敲擊時,四個鼓(gu)(gu)(gu)(gu)手雙手持竹片,右手擊鼓(gu)(gu)(gu)(gu)心(xin),左手打(da)鼓(gu)(gu)(gu)(gu)邊,節奏多變,音調諧和(he)。
流傳于中國西南(nan)彝族(zu)(zu)(zu)(zu)(zu)、苗(miao)族(zu)(zu)(zu)(zu)(zu)、壯族(zu)(zu)(zu)(zu)(zu)、瑤族(zu)(zu)(zu)(zu)(zu)、水族(zu)(zu)(zu)(zu)(zu)、布依族(zu)(zu)(zu)(zu)(zu)等少數民(min)族(zu)(zu)(zu)(zu)(zu)中的民(min)間(jian)舞(wu)。以擊打銅鼓(gu)(gu)而(er)舞(wu)為特征。銅鼓(gu)(gu)舞(wu)是中國最(zui)古(gu)老的舞(wu)種之一。苗(miao)族(zu)(zu)(zu)(zu)(zu)銅鼓(gu)(gu)舞(wu)是一人(ren)擊鼓(gu)(gu)并兼領舞(wu),他擊出時(shi)快時(shi)慢(man)節奏有序的鼓(gu)(gu)點,自己隨(sui)之起(qi)舞(wu),眾人(ren)環繞他,時(shi)進時(shi)退,踩著鼓(gu)(gu)點舞(wu)蹈。
彝(yi)族稱為“妻麗”。是云南東部(bu)彝(yi)族人民喜(xi)愛(ai)的古老(lao)的傳統民間舞蹈。流傳在(zai)文山壯族苗族自治州(zhou)的富寧、廣(guang)南、麻栗坡、西疇等(deng)縣。由于跳(tiao)“妻麗”時,擊銅(tong)鼓伴(ban)奏,故叫銅(tong)鼓舞。
銅(tong)鼓(gu)(gu)最早用(yong)(yong)作炊具,古代南方民(min)(min)族亦(yi)作為(wei)(wei)禮器,是權力的象征。其(qi)聲洪(hong)遠,故又是傳遞信息(xi)的工具。銅(tong)鼓(gu)(gu)被視為(wei)(wei)吉祥之物,平(ping)時(shi)妥善(shan)保(bao)存(cun),遇隆(long)重(zhong)節(jie)日或婚(hun)(hun)喪禮儀才擊(ji)(ji)(ji)鼓(gu)(gu)而舞(wu)(wu)。據《唐書?南蠻列傳》載:“擊(ji)(ji)(ji)銅(tong)鼓(gu)(gu),吹木角(jiao),歌舞(wu)(wu)為(wei)(wei)樂(le)。”明代《蜀中(zhong)風俗記》載:“馬湖之夷(yi),歲暮(mu)百十為(wei)(wei)群,擊(ji)(ji)(ji)銅(tong)鼓(gu)(gu)歌舞(wu)(wu),飲酒(jiu)穹晝夜以(yi)(yi)為(wei)(wei)樂(le)。”“婚(hun)(hun)姻(yin)以(yi)(yi)牛、酒(jiu)為(wei)(wei)聘……會(hui)聚擊(ji)(ji)(ji)銅(tong)鼓(gu)(gu),吹角(jiao)。”“喪葬擊(ji)(ji)(ji)鼓(gu)(gu)唱歌,男女圍尸跳(tiao)(tiao)躍(yue),舉(ju)哀而散(san)……。”(《貴(gui)州(zhou)嘉靖(jing)通志(zhi)》)這種習(xi)俗至今仍保(bao)留在水族等少(shao)數民(min)(min)族的喪葬活動(dong)中(zhong)銅(tong)鼓(gu)(gu)舞(wu)(wu)也(ye)與祭祀、宗教(jiao)活動(dong)緊密相連, 《南州(zhou)異物志(zhi)》中(zhong)記有以(yi)(yi)擊(ji)(ji)(ji)鼓(gu)(gu)為(wei)(wei)伴奏而舞(wu)(wu)的祭祀活動(dong)。宋代以(yi)(yi)后,西南諸民(min)(min)族因生活貧困(kun),缺醫(yi)少(shao)藥,在染(ran)疾患病(bing)之時(shi),即“擊(ji)(ji)(ji)銅(tong)鼓(gu)(gu)、銅(tong)沙鑼以(yi)(yi)祀神(shen)”。“病(bing)不知醫(yi),尚跳(tiao)(tiao)鬼(gui),數人為(wei)(wei)群,擊(ji)(ji)(ji)鼓(gu)(gu)鳴征,跳(tiao)(tiao)舞(wu)(wu)呼(hu)號(hao)”(《黎歧紀(ji)聞(wen)》、《宋史?蠻夷(yi)列傳》)。中(zhong)華人民(min)(min)共(gong)和國成(cheng)立后,銅(tong)鼓(gu)(gu)舞(wu)(wu)多用(yong)(yong)于年(nian)節(jie)慶典活動(dong)中(zhong),成(cheng)為(wei)(wei)群眾自(zi)娛(yu)性的舞(wu)(wu)蹈。
銅鼓舞(wu)是以鼓手(shou)(shou)有(you)節(jie)奏(zou)(zou)地(di)擊(ji)鼓,由鼓點(dian)的(de)(de)節(jie)奏(zou)(zou)變(bian)化而引起(qi)舞(wu)蹈者的(de)(de)動(dong)作和隊形(xing)變(bian)化的(de)(de)一(yi)種舞(wu)蹈。其特(te)點(dian)動(dong)作按其形(xing)式有(you)六七種。每(mei)種動(dong)作各有(you)不(bu)同的(de)(de)舞(wu)步和節(jie)拍(pai),風格不(bu)盡(jin)相同。銅鼓舞(wu)中的(de)(de)集體(ti)舞(wu)以一(yi)種固定的(de)(de)男女青年圍(wei)成圓(yuan)圈隊形(xing)。其隊形(xing)還有(you)半圓(yuan)形(xing)、一(yi)字形(xing)、縱形(xing)、交(jiao)叉對跳(tiao)、四方形(xing)等。舞(wu)步矯健有(you)力(li),舞(wu)姿粗獷(guang)靈活,動(dong)作幅度大,情緒飽滿。跳(tiao)至(zhi)高潮(chao)時鼓手(shou)(shou)還常常伴(ban)以歡快的(de)(de)喊(han)和激動(dong)的(de)(de)呼(hu)叫,波(bo)瀾起(qi)伏的(de)(de)情緒和動(dong)人的(de)(de)場(chang)面,充分體(ti)現了(le)當地(di)人民豪放、樸實的(de)(de)民族(zu)性格,抒(shu)發了(le)他(ta)們純潔快樂的(de)(de)思(si)想感情。
苗(miao)族銅鼓(gu)(gu)(gu)(gu)舞(wu)多在(zai)盛大節(jie)日,如“吃(chi)牯臟(zang)”“苗(miao)年”“蘆笙節(jie)”活動中(zhong)(zhong)(zhong)(zhong)表(biao)(biao)演(yan)。銅鼓(gu)(gu)(gu)(gu)架設在(zai)場地中(zhong)(zhong)(zhong)(zhong)心,由(you)一(yi)名鼓(gu)(gu)(gu)(gu)手敲打(da)(da),另一(yi)人持特(te)制木桶置(zhi)于銅鼓(gu)(gu)(gu)(gu)后面,時近時遠相配合(he),以(yi)增強樂音效果。舞(wu)者(zhe)人數不限(xian),經(jing)常(chang)是(shi)越百上千(qian),圍成幾個(ge)大圓圈,合(he)著銅鼓(gu)(gu)(gu)(gu)的(de)(de)(de)敲擊變化(hua)互相呼應,表(biao)(biao)演(yan)以(yi)日常(chang)勞動生活為(wei)(wei)內容的(de)(de)(de)舞(wu)蹈(dao)(dao)。苗(miao)族銅鼓(gu)(gu)(gu)(gu)的(de)(de)(de)敲打(da)(da)方法(fa),一(yi)般(ban)都有(you)固定(ding)的(de)(de)(de)鼓(gu)(gu)(gu)(gu)點(dian)(dian)、讀法(fa)及呼喊聲(sheng),由(you)于群眾非(fei)常(chang)熟悉(xi)這些鼓(gu)(gu)(gu)(gu)點(dian)(dian)和(he)讀法(fa)所(suo)(suo)包(bao)含(han)的(de)(de)(de)內容,所(suo)(suo)以(yi)鼓(gu)(gu)(gu)(gu)聲(sheng)具有(you)"鼓(gu)(gu)(gu)(gu)語"的(de)(de)(de)特(te)點(dian)(dian)。鼓(gu)(gu)(gu)(gu)手執雙槌(chui)棒擊鼓(gu)(gu)(gu)(gu)鼓(gu)(gu)(gu)(gu)點(dian)(dian)有(you)專門的(de)(de)(de)讀法(fa):“咚”表(biao)(biao)示右手擊鼓(gu)(gu)(gu)(gu)心,“嘎”表(biao)(biao)示左手擊鼓(gu)(gu)(gu)(gu)邊(bian),“的(de)(de)(de)”表(biao)(biao)示雙槌(chui)相擊。例如“翻高豆”,意為(wei)(wei)“趕斑(ban)(ban)鳩”,舞(wu)蹈(dao)(dao)表(biao)(biao)現(xian)(xian)農民(min)聽說(shuo)飛(fei)來(lai)的(de)(de)(de)斑(ban)(ban)鳩,正(zheng)在(zai)刨出黃豆種啄食(shi),于是(shi)騎(qi)(qi)著馬來(lai)到(dao)田里驅趕斑(ban)(ban)鳩。舞(wu)蹈(dao)(dao)動作(zuo)有(you):在(zai)地邊(bian)趕斑(ban)(ban)鳩、作(zuo)抬腿趕、騎(qi)(qi)著馬趕、拍掌(zhang)轉身下蹲(dun)甩腰(yao)趕斑(ban)(ban)鳩等4個(ge)動作(zuo)。又(you)如"平冷潘拉冬高冬",苗(miao)語意為(wei)(wei)"迎客舞(wu)",表(biao)(biao)現(xian)(xian)主(zhu)人以(yi)舞(wu)蹈(dao)(dao)歡迎客人的(de)(de)(de)到(dao)來(lai)。據說(shuo)此鼓(gu)(gu)(gu)(gu)點(dian)(dian)是(shi)受山林中(zhong)(zhong)(zhong)(zhong)啄木鳥"篤(du)篤(du)"啄木聲(sheng)的(de)(de)(de)啟發而編(bian)成的(de)(de)(de)。客人到(dao)來(lai)時,主(zhu)人和(he)迎客者(zhe)在(zai)路邊(bian)兩旁,拍手歡舞(wu),迎客人進寨。其他(ta)還(huan)有(you)表(biao)(biao)現(xian)(xian)"獲獵歸(gui)來(lai)""兒(er)童放鴨""撈蝦""捉蟹",以(yi)及"吃(chi)牯臟(zang)"中(zhong)(zhong)(zhong)(zhong)表(biao)(biao)演(yan)的(de)(de)(de)祭祀(si)性"刀舞(wu)"等,都有(you)不同的(de)(de)(de)鼓(gu)(gu)(gu)(gu)點(dian)(dian)讀法(fa)和(he)苗(miao)語鼓(gu)(gu)(gu)(gu)詞。
瑤族銅鼓(gu)舞(wu)(wu)(wu)蔚為(wei)壯(zhuang)觀:逢年節,十幾(ji)面(mian)(mian)甚至(zhi)幾(ji)十面(mian)(mian)銅鼓(gu)一(yi)(yi)字排開,每(mei)面(mian)(mian)鼓(gu)一(yi)(yi)人(ren)邊擊邊舞(wu)(wu)(wu);中間(jian)還(huan)有一(yi)(yi)面(mian)(mian)直徑不小于(yu)60厘(li)米的大木鼓(gu)領(ling)奏,全場鼓(gu)聲震天,時(shi)促(cu)時(shi)緩。壯(zhuang)族銅鼓(gu)有公、母(mu)之分,跳舞(wu)(wu)(wu)時(shi),它們各(ge)分左右,中間(jian)夾一(yi)(yi)大皮(pi)鼓(gu),皮(pi)鼓(gu)主奏,公母(mu)銅鼓(gu)伴奏,別(bie)有韻味(wei)。
布(bu)依(yi)族(zu)銅(tong)(tong)鼓(gu)(gu)舞(wu)常(chang)(chang)(chang)在(zai)喪葬儀式中(zhong)進行,當村中(zhong)老人去世后,由(you)兩名舞(wu)者合著(zhu)銅(tong)(tong)鼓(gu)(gu)、皮鼓(gu)(gu)的鼓(gu)(gu)聲(sheng)(sheng)(sheng)(sheng)緩緩而舞(wu),以(yi)此哀悼故去的老人。平常(chang)(chang)(chang)跳銅(tong)(tong)鼓(gu)(gu)舞(wu)時,還常(chang)(chang)(chang)和"刷把舞(wu)"一同(tong)表(biao)演,并稱(cheng)(cheng)之為(wei)"銅(tong)(tong)鼓(gu)(gu)刷把舞(wu)"。舞(wu)蹈中(zhong)銅(tong)(tong)鼓(gu)(gu)聲(sheng)(sheng)(sheng)(sheng)、刷把聲(sheng)(sheng)(sheng)(sheng)交(jiao)織鳴響,表(biao)演別具一格(ge),增添了濃郁的民族(zu)色彩。水族(zu)有過"端(duan)(duan)節"的習俗(su),水語稱(cheng)(cheng)作(zuo)"借端(duan)(duan)",是豐(feng)收后的盛大(da)節日(ri),過去在(zai)農(nong)歷的八(ba)九月間(jian),后改(gai)為(wei)十一月的第一個(ge)"亥(hai)"日(ri)。屆時,各(ge)村寨都敲起銅(tong)(tong)鼓(gu)(gu)歡度節日(ri),并把活動的場地叫作(zuo)"端(duan)(duan)坡",人們合著(zhu)銅(tong)(tong)鼓(gu)(gu)、皮鼓(gu)(gu)、蘆笙的樂(le)聲(sheng)(sheng)(sheng)(sheng),在(zai)場地上(shang)盡情高歌歡舞(wu)。
流傳(chuan)于(yu)中(zhong)(zhong)國南方以及西南地區的(de)族(zu)、苗族(zu)、壯(zhuang)族(zu)、瑤(yao)族(zu)、水族(zu)、布(bu)依(yi)族(zu)等少數民(min)族(zu)中(zhong)(zhong),以敲(qiao)打銅鼓而(er)(er)舞(wu)為(wei)共同特征(zheng)的(de)舞(wu)蹈。銅鼓面刻花紋(wen),曲腰(yao),中(zhong)(zhong)空無(wu)底(di),側有(you)4耳用(yong)以懸掛,鼓重數十斤(jin)。銅鼓舞(wu)是(shi)中(zhong)(zhong)國古代重要的(de)文化(hua)遺產(chan)。云南楚雄出土的(de)春秋(qiu)中(zhong)(zhong)期的(de)銅鼓,距今已(yi)有(you)2600多年,是(shi)迄今世界上(shang)發現的(de)年代最久遠的(de)銅鼓,在晉寧石寨山(shan)漢(han)墓出土的(de)一個銅鼓貯貝器(qi)的(de)外暈(yun)花紋(wen)上(shang),有(you)3個男子擊銅鼓而(er)(er)舞(wu)的(de)形象,廣西花山(shan)崖(ya)畫上(shang)也(ye)繪有(you)壯(zhuang)族(zu)先民(min)圍著(zhu)銅鼓歡呼雀(que)躍(yue)的(de)舞(wu)蹈圖象。
廣(guang)西南丹縣一(yi)(yi)帶山區(qu)瑤族人民每至(zhi)春(chun)節期間(jian)都以打銅(tong)(tong)鼓(gu)(gu)(gu)(gu)活動(dong)慶賀節日。屆時將數面銅(tong)(tong)鼓(gu)(gu)(gu)(gu)一(yi)(yi)字(zi)排開(kai),懸于木(mu)架上(shang),每面銅(tong)(tong)鼓(gu)(gu)(gu)(gu)由(you)一(yi)(yi)名(ming)鼓(gu)(gu)(gu)(gu)手(shou)右手(shou)拿槌敲擊(ji)鼓(gu)(gu)(gu)(gu)面,左手(shou)拿小木(mu)棍擊(ji)鼓(gu)(gu)(gu)(gu)腰,另一(yi)(yi)人持(chi)木(mu)桶,隨鼓(gu)(gu)(gu)(gu)點節奏將木(mu)桶送(song)向(xiang)銅(tong)(tong)鼓(gu)(gu)(gu)(gu)口,取其共鳴。在銅(tong)(tong)鼓(gu)(gu)(gu)(gu)隊的伴奏下,一(yi)(yi)名(ming)舞者雙(shuang)手(shou)持(chi)鼓(gu)(gu)(gu)(gu)槌,圍繞(rao)一(yi)(yi)面大(da)木(mu)鼓(gu)(gu)(gu)(gu),邊敲邊舞。鼓(gu)(gu)(gu)(gu)的直徑約(yue)60厘米(mi),高1米(mi)左右,擊(ji)鼓(gu)(gu)(gu)(gu)節奏復雜(za),動(dong)作穩健而多變,場面壯觀。
貴州南部的水(shui)族(zu)人民,于農歷十一月過水(shui)族(zu)春節時,敲(qiao)銅鼓(gu)歌唱跳舞(wu)慶賀,舞(wu)蹈動作開放而(er)變化自如。布依族(zu)流傳(chuan)著(zhu)“銅鼓(gu)刷把舞(wu)”,每年(nian)農歷四月初八、七月十五日或(huo)春節時,青年(nian)男女相聚,手持刷把或(huo)竹竿(gan),合著(zhu)銅鼓(gu)的節奏互相敲(qiao)擊而(er)舞(wu)。
地跨(kua)云(yun)南(nan)、廣西兩省的(de)族山(shan)寨,除有(you)眾人圍(wei)繞銅鼓而舞(wu)(wu)外(wai),還有(you)男子左手抱小銅鼓,右手用拳邊敲擊邊舞(wu)(wu)動的(de)銅鼓舞(wu)(wu)。舞(wu)(wu)時(shi)以腰部及胯部的(de)扭(niu)動為主,動作古(gu)樸而健美。
廣(guang)西(xi)東(dong)蘭、馬山(shan)、都安一(yi)帶(dai)的壯族(zu)銅(tong)鼓(gu)(gu)(gu)(gu)舞于春(chun)節時表演,舞時懸掛兩(liang)面銅(tong)鼓(gu)(gu)(gu)(gu),有公鼓(gu)(gu)(gu)(gu)、母(mu)鼓(gu)(gu)(gu)(gu)之分(fen),中間一(yi)人(ren)敲擊(ji)大(da)皮鼓(gu)(gu)(gu)(gu)跳(tiao)舞,以公、母(mu)兩(liang)鼓(gu)(gu)(gu)(gu)伴奏,動作變化較多。廣(guang)西(xi)西(xi)部山(shan)區的壯族(zu)農民(min),至今在農閑之時,相聚山(shan)頭以賽(sai)銅(tong)鼓(gu)(gu)(gu)(gu)為(wei)樂,表現內容多為(wei)民(min)間傳說和(he)故事,有《瓦崗夫人(ren)守山(shan)寨(zhai)》、《趕山(shan)鞭》等,擊(ji)銅(tong)鼓(gu)(gu)(gu)(gu)以伴歌舞。
因文山壯(zhuang)族苗族自(zi)治州(zhou)緊(jin)鄰廣(guang)西(xi)壯(zhuang)族自(zi)治區,所以云南(nan)彝(yi)族的(de)(de)(de)銅(tong)鼓(gu)(gu)舞(wu)(wu)(wu)和(he)廣(guang)西(xi)彝(yi)族的(de)(de)(de)銅(tong)鼓(gu)(gu)舞(wu)(wu)(wu)同出一源,動(dong)(dong)作(zuo)(zuo)也大(da)同小(xiao)異(yi)。廣(guang)西(xi)的(de)(de)(de)銅(tong)鼓(gu)(gu)舞(wu)(wu)(wu)是在(zai)(zai)節日(ri)或喪事時(shi)(shi)跳的(de)(de)(de)。舞(wu)(wu)(wu)時(shi)(shi)一人打鼓(gu)(gu),男在(zai)(zai)外圈(quan),女在(zai)(zai)里圈(quan),圍(wei)著(zhu)銅(tong)鼓(gu)(gu),隨(sui)著(zhu)鼓(gu)(gu)的(de)(de)(de)節奏起(qi)舞(wu)(wu)(wu)。舞(wu)(wu)(wu)步(bu)(bu)象攀登山路(lu)的(de)(de)(de)樣子(zi),每邁一步(bu)(bu),雙膝隨(sui)之(zhi)頻頻顫(zhan)動(dong)(dong),甚為奇特。步(bu)(bu)伐大(da)致分為六種,即二步(bu)(bu)、三步(bu)(bu)、四(si)步(bu)(bu)、六步(bu)(bu)、八(ba)步(bu)(bu),至最(zui)后(hou)(hou)一拍,腳向前(qian)踢出。男女同舞(wu)(wu)(wu)時(shi)(shi),互(hu)相拉(la)手,前(qian)后(hou)(hou)擺動(dong)(dong)。男子(zi)單獨排成長隊(dui)舞(wu)(wu)(wu)蹈時(shi)(shi),則(ze)各(ge)執折(zhe)扇一把(ba),屈伸(shen)于(yu)前(qian)側和(he)胸前(qian)。舞(wu)(wu)(wu)蹈動(dong)(dong)作(zuo)(zuo)比較簡單,主要在(zai)(zai)于(yu)隊(dui)形的(de)(de)(de)變(bian)化,節奏由慢(man)而快,至高潮而收。廣(guang)南(nan)那灑鎮馬貴村壯(zhuang)族的(de)(de)(de)銅(tong)鼓(gu)(gu)舞(wu)(wu)(wu)完整保留了(le)十(shi)(shi)二套舞(wu)(wu)(wu)蹈動(dong)(dong)作(zuo)(zuo),反(fan)映著(zhu)一年四(si)季(ji)十(shi)(shi)二個月不同的(de)(de)(de)生產內容(rong)。
文山壯(zhuang)(zhuang)族(zu)春節期間的(de)(de)賽(sai)銅(tong)(tong)鼓(gu),場(chang)面壯(zhuang)(zhuang)觀(guan),激(ji)動人心。銅(tong)(tong)鼓(gu)比賽(sai)以紅(hong)水河(he)為(wei)界,各村的(de)(de)銅(tong)(tong)鼓(gu)隊(dui),把(ba)自(zi)己的(de)(de)銅(tong)(tong)鼓(gu)扛上河(he)岸旁的(de)(de)山頂(ding)上,雙方(fang)隔(ge)河(he)遙遙相對。比賽(sai)開始,各擊(ji)(ji)鼓(gu)的(de)(de)健兒(er),精(jing)神(shen)抖(dou)擻(sou),奮力敲擊(ji)(ji),鼓(gu)聲震撼山川(chuan)。助(zhu)戰的(de)(de)伙伴(ban)拿(na)著(zhu)草笠,為(wei)擊(ji)(ji)鼓(gu)者扇(shan)涼(liang)鼓(gu)勁,吶喊(han)助(zhu)興。圍(wei)觀(guan)的(de)(de)群(qun)眾,滿山遍野,夜間,火把(ba)串串川(chuan)流不(bu)息,場(chang)面異常雄(xiong)偉(wei)壯(zhuang)(zhuang)觀(guan)。比賽(sai)是以銅(tong)(tong)鼓(gu)聲最(zui)響亮,打(da)鼓(gu)時間最(zui)長(chang)者為(wei)勝(sheng),雙方(fang)往往直打(da)到銅(tong)(tong)鼓(gu)聲啞,有一(yi)方(fang)認輸為(wei)止(zhi)。然后群(qun)眾便心滿意足的(de)(de)唱著(zhu)山歌,排(pai)著(zhu)長(chang)隊(dui),歡(huan)天喜(xi)地的(de)(de)返回(hui)寨子。
如(ru)今(jin)流傳在壯族地區(qu)的銅(tong)鼓(gu)舞,表演(yan)時,一(yi)般是將四面(mian)銅(tong)鼓(gu)掛在村(cun)前的大(da)榕樹上,由四個(ge)(ge)小(xiao)伙(huo)子(zi)敲(qiao)(qiao)擊,作為伴奏;前面(mian)置一(yi)大(da)皮鼓(gu),由一(yi)老鼓(gu)手(shou)(shou)(shou)雙手(shou)(shou)(shou)持棍敲(qiao)(qiao)擊,他(ta)(ta)是舞蹈的主要表演(yan)者。他(ta)(ta)邊敲(qiao)(qiao)鼓(gu),邊舞蹈,有(you)正面(mian)打(da)(da)、抬腿打(da)(da)、轉身打(da)(da)、翻身打(da)(da)等各種(zhong)擊鼓(gu)動作,節奏由慢到(dao)快,反復變化,舞姿靈活敏捷。另(ling)有(you)兩個(ge)(ge)小(xiao)伙(huo),一(yi)個(ge)(ge)左(zuo)肩扛竹筒,右(you)手(shou)(shou)(shou)持竹棍邊敲(qiao)(qiao)竹筒邊舞,另(ling)一(yi)個(ge)(ge)拿雨帽(mao)為擊鼓(gu)者扇(shan)涼,邊扇(shan)邊舞,三人彼此穿插跳(tiao)躍,配合自然協(xie)調(diao),場(chang)面(mian)熱烈(lie),情緒(xu)歡(huan)騰。
銅鼓(gu)(gu)舞(wu)屬(shu)族(zu)群性(xing)的集體(ti)舞(wu)蹈。舞(wu)者圍(wei)成(cheng)圓圈,踏著鼓(gu)(gu)聲節奏(zou)(zou)沿逆(ni)時針方向起舞(wu),跳完一(yi)組(zu)舞(wu)蹈動作(zuo)再跳另一(yi)組(zu),內容都是壯族(zu)、彝(yi)族(zu)農耕生(sheng)產生(sheng)活的反映麻栗坡、富(fu)寧等幾個村寨(zhai)中(zhong)的銅鼓(gu)(gu)舞(wu),主要用于祈雨、求豐收和(he)老(lao)人(ren)喪葬等民俗活動。壯族(zu)、彝(yi)族(zu)的銅鼓(gu)(gu)舞(wu)流傳普(pu)遍,動作(zuo)古樸(pu),舞(wu)蹈語匯非常豐富(fu)。壯族(zu)銅鼓(gu)(gu)舞(wu)表(biao)演(yan)時,一(yi)人(ren)敲銅鼓(gu)(gu),另一(yi)人(ren)以木盒輔助形成(cheng)共鳴滑音,這在其他音樂演(yan)奏(zou)(zou)中(zhong)是找不(bu)到的。
彝(yi)族的(de)(de)(de)銅鼓演奏則(ze)是一種專門技巧,一人用(yong)公、母兩面銅鼓可演奏十二種音調組合(he),簡(jian)稱十二調。據稱公鼓代表(biao)太陽,母鼓代表(biao)月亮,十二調代表(biao)一年十二個月,因此彝(yi)族的(de)(de)(de)銅鼓舞還包含(han)著(zhu)(zhu)本地(di)(di)民(min)族的(de)(de)(de)歷(li)法文化內容,積(ji)淀著(zhu)(zhu)壯、彝(yi)先民(min)自然(ran)崇拜、祖(zu)先崇拜,維(wei)系民(min)族生(sheng)存發展等(deng)多方面的(de)(de)(de)歷(li)史文化內涵,具(ju)有鮮明(ming)的(de)(de)(de)民(min)族、地(di)(di)域特色和重要(yao)的(de)(de)(de)歷(li)史、文化、藝術價值。
銅(tong)(tong)(tong)鼓(gu)(gu)(gu)(gu)舞(wu)(wu)——銅(tong)(tong)(tong)鼓(gu)(gu)(gu)(gu)和銅(tong)(tong)(tong)鼓(gu)(gu)(gu)(gu)舞(wu)(wu)是青(qing)銅(tong)(tong)(tong)器時代(dai)的(de)文(wen)化(hua)遺存與發展,銅(tong)(tong)(tong)鼓(gu)(gu)(gu)(gu)上積(ji)淀著古(gu)代(dai)農耕民族(zu)、沿(yan)海漁(yu)民的(de)文(wen)化(hua)創造,也(ye)可以探尋在今日民間舞(wu)(wu)蹈(dao)中的(de)遺存。主(zhu)要在壯、苗、彝、瑤、水、布(bu)依等(deng)民族(zu)中流傳(chuan),是今日比較偏僻的(de)山區村寨。銅(tong)(tong)(tong)鼓(gu)(gu)(gu)(gu)舞(wu)(wu)的(de)表演形式(shi),主(zhu)要是以銅(tong)(tong)(tong)鼓(gu)(gu)(gu)(gu)為主(zhu),還配合蘆笙、大(da)鼓(gu)(gu)(gu)(gu)等(deng)樂(le)器作為伴奏,一般都(dou)在節日中進行。各(ge)民族(zu)有自己的(de)特定(ding)節日和活動方式(shi),舞(wu)(wu)蹈(dao)的(de)跳法與風格各(ge)有特色,他(ta)們從不同方面(mian)繼承(cheng)了古(gu)代(dai)銅(tong)(tong)(tong)鼓(gu)(gu)(gu)(gu)、銅(tong)(tong)(tong)鼓(gu)(gu)(gu)(gu)舞(wu)(wu)的(de)功能與樂(le)舞(wu)(wu)習俗,并不斷匯入新的(de)文(wen)化(hua)創造。
每年“打(da)公(gong)節”,即農(nong)歷六(liu)月十(shi)五日這一天,彝族人民百十(shi)人為(wei)一群,跳“妻麗”,擊(ji)銅鼓為(wei)樂,連跳三天三夜盡(jin)興而散。
銅鼓(gu)舞(wu)(wu)是載(zai)(zai)歌載(zai)(zai)舞(wu)(wu)的(de)(de)群眾性自娛舞(wu)(wu)蹈(dao)(dao),男(nan)(nan)女均可參加(jia),人(ren)數不(bu)限。舞(wu)(wu)蹈(dao)(dao)的(de)(de)風(feng)格和律動別具一格。它(ta)以胸(xiong)、腰及胯部(bu)的(de)(de)大幅度扭擺(bai)為基調,舞(wu)(wu)風(feng)清新(xin)、純樸。步伐(fa)不(bu)復雜,基本是一步一并腳,向前進或橫走,膝部(bu)隨扭擺(bai)而(er)屈伸。有時(shi)(shi)拉(la)手(shou),有時(shi)(shi)左、右(you)手(shou)交(jiao)替上(shang)下(xia)甩動。男(nan)(nan)子左手(shou)抱銅鼓(gu),右(you)手(shou)敲(qiao)擊,腳步男(nan)(nan)女相同。舞(wu)(wu)蹈(dao)(dao)時(shi)(shi)歌唱,跳(tiao)到高(gao)潮(chao)時(shi)(shi)呼叫,情緒(xu)激越。
因文山(shan)壯(zhuang)族苗族自治(zhi)州緊鄰(lin)廣(guang)西(xi)壯(zhuang)族自治(zhi)區(qu),所以云南彝(yi)族的(de)銅(tong)(tong)鼓(gu)舞(wu)(wu)(wu)和廣(guang)西(xi)彝(yi)族的(de)銅(tong)(tong)鼓(gu)舞(wu)(wu)(wu)同出一(yi)源(yuan),動作(zuo)也大同小異。廣(guang)西(xi)的(de)銅(tong)(tong)鼓(gu)舞(wu)(wu)(wu)是在節(jie)日或喪(sang)事時跳的(de)。舞(wu)(wu)(wu)時一(yi)人(ren)打鼓(gu),男(nan)(nan)在外圈(quan),女在里圈(quan),圍(wei)著銅(tong)(tong)鼓(gu),隨(sui)著鼓(gu)的(de)節(jie)奏起(qi)舞(wu)(wu)(wu)。舞(wu)(wu)(wu)步象(xiang)攀(pan)登(deng)山(shan)路的(de)樣(yang)子,每(mei)邁一(yi)步,雙膝隨(sui)之頻(pin)頻(pin)顫動,甚(shen)為(wei)奇(qi)特(te)。步伐大致分為(wei)六種,即二(er)步、三步、四步、六步、八步,至最后一(yi)拍,腳向前(qian)(qian)踢(ti)出。男(nan)(nan)女同舞(wu)(wu)(wu)時,互相(xiang)拉手,前(qian)(qian)后擺動。男(nan)(nan)子單獨排成長隊舞(wu)(wu)(wu)蹈時,則各執折扇一(yi)把(ba),屈伸于前(qian)(qian)側和胸前(qian)(qian)。舞(wu)(wu)(wu)蹈動作(zuo)比較簡單,主要在于隊形的(de)變化(hua),節(jie)奏由慢而(er)(er)快,至高潮(chao)而(er)(er)收。
銅鼓(gu)(gu)舞(wu)苗族(zu)(zu)銅鼓(gu)(gu)舞(wu)有(you)(you)男(nan)子跳(tiao)的,也有(you)(you)男(nan)女同跳(tiao)的,舞(wu)時(shi)(shi)將(jiang)鼓(gu)(gu)懸起,擊(ji)(ji)鼓(gu)(gu)者(zhe)一人,左手持木棒擊(ji)(ji)鼓(gu)(gu)腰,發音清脆,右手持鼓(gu)(gu)錘擊(ji)(ji)鼓(gu)(gu)面中心,發音濃重,節奏(zou)(zou)多為(wei)、拍,鼓(gu)(gu)手邊擊(ji)(ji)邊舞(wu),隨節奏(zou)(zou)踏(ta)地抬(tai)腿(tui),眾人環(huan)繞而舞(wu),隨著(zhu)變化多端(duan)的節奏(zou)(zou),時(shi)(shi)里時(shi)(shi)外,且進(jin)且退,舞(wu)至高潮(chao)時(shi)(shi),加擊(ji)(ji)掌呼喊“嗨哧(chi)哧(chi)”之聲助興。其動(dong)(dong)作(zuo)多為(wei)狩獵(lie)生活、農(nong)事生活動(dong)(dong)作(zuo)以及對動(dong)(dong)物形態的模擬,如騎馬趕(gan)斑鳩、捕(bu)魚、撈蝦(xia)等。苗族(zu)(zu)銅鼓(gu)(gu)舞(wu)步伐有(you)(you)力(li),臂部多前后甩動(dong)(dong)或左右擺動(dong)(dong)。
銅(tong)鼓(gu)舞伴(ban)奏用的銅(tong)鼓(gu)大(da)(da)小(xiao)(xiao)各一(yi),成為一(yi)套,大(da)(da)鼓(gu)為“雌”,小(xiao)(xiao)鼓(gu)為“雄”。擊(ji)鼓(gu)者右手執(zhi)(zhi)軟木棒,交(jiao)替敲擊(ji)兩(liang)只相對的鼓(gu)面,左手執(zhi)(zhi)竹棍,敲擊(ji)小(xiao)(xiao)鼓(gu)梆,擊(ji)鼓(gu)者不參加舞蹈。
銅鼓(gu)(gu)在(zai)古代(dai)曾有多種(zhong)用(yong)(yong)途(tu),它既是樂(le)器、祭器和(he)禮器,又曾是權力和(he)財富的象征(zheng),清代(dai)以后,仍(reng)用(yong)(yong)于祈神(shen)、祭祀、治病(bing)、喪葬、娛樂(le)等活動,并(bing)用(yong)(yong)鼓(gu)(gu)聲傳遞信(xin)息。收(shou)藏或(huo)(huo)仍(reng)在(zai)使(shi)用(yong)(yong)的銅鼓(gu)(gu),多是出土文(wen)物或(huo)(huo)傳世古物,件件都是鑄有紋飾(shi)、造型精美的藝術品。如鼓(gu)(gu)面(mian)中心有太陽紋,周邊有青蛙、蟾(chan)蜍飾(shi)物及翔鷺紋,鼓(gu)(gu)身(shen)有羽人舞蹈紋,競渡(du)紋,或(huo)(huo)通體云霄紋等。銅鼓(gu)(gu)上的紋飾(shi),多給人一種(zhong)撲朔迷離,神(shen)奇奧秘(mi)之感,吸(xi)引著人們(men)對(dui)它的內涵進行(xing)探索(suo)。
近代出土的(de)(de)銅鼓(gu)與(yu)(yu)(yu)保存(cun)在少數(shu)民族(zu)(zu)中的(de)(de)銅鼓(gu),其形制(zhi)和(he)紋飾(shi)各有(you)不(bu)同(tong),由此反映(ying)了當時當地民族(zu)(zu)的(de)(de)社(she)會生活、風俗(su)習(xi)慣(guan)和(he)宗教意識,幫助我們探索銅鼓(gu)舞(wu)中古(gu)文化的(de)(de)遺存(cun)。如(ru)蛙(wa)飾(shi):多是(shi)立體造型(xing),四只勻(yun)稱(cheng)地分鑄(zhu)在鼓(gu)面(mian)的(de)(de)邊沿,反映(ying)出古(gu)代農耕民族(zu)(zu)對蛙(wa)的(de)(de)重視(shi)、蛙(wa)的(de)(de)圖騰崇拜(bai)(bai)。壯(zhuang)族(zu)(zu)至今還有(you)祭青蛙(wa)的(de)(de)節(jie)日(ri),認(ren)為蛙(wa)是(shi)雷(lei)神(shen)的(de)(de)女(nv)兒,通過它(ta)可以(yi)祈求雷(lei)神(shen)給人們帶來風調(diao)雨順(shun),農業豐收。又(you)如(ru)太陽紋:它(ta)與(yu)(yu)(yu)古(gu)民族(zu)(zu)的(de)(de)太陽崇拜(bai)(bai)有(you)關,著(zhu)名的(de)(de)廣西(xi)寧明花山巖畫上,就畫有(you)許多這一(yi)類型(xing)的(de)(de)銅鼓(gu)與(yu)(yu)(yu)銅鼓(gu)舞(wu)的(de)(de)場面(mian)。
畫面上(shang),銅(tong)鼓(gu)置于江邊(bian),許(xu)多人(ren)物姿(zi)勢相同(tong),向(xiang)同(tong)一方(fang)向(xiang)歡呼雀(que)躍,像是(shi)(shi)在擊銅(tong)鼓(gu)起舞(wu)(wu)(wu),祭祀(si)江神。再如廣西博物館存(cun)的世界最大銅(tong)鼓(gu):直徑(jing)166厘米,重300公斤,鼓(gu)面中心是(shi)(shi)太陽(yang)紋,銅(tong)鼓(gu)上(shang)的翔(xiang)鷺(lu)紋認為是(shi)(shi)水鶴(he)(he)和鷺(lu)鷥,水鶴(he)(he)能測風(feng)雨(yu),鷺(lu)鷥善捕魚,以此紋飾(shi)寄托漁民出海平安(an)、豐收的心愿。羽人(ren)舞(wu)(wu)(wu)蹈紋和競(jing)渡紋是(shi)(shi)當時歌(ge)舞(wu)(wu)(wu)娛樂(le)、龍舟競(jing)渡的描繪,這些紋飾(shi)有(you)助于研究古代風(feng)俗和舞(wu)(wu)(wu)蹈文(wen)化的源流。
文(wen)山壯(zhuang)族(zu)、彝族(zu)銅鼓(gu)舞活動示范點是開(kai)展項(xiang)目保護和(he)傳承工(gong)作的(de)主(zhu)陣地,是項(xiang)目實施和(he)發展的(de)支撐點。其中壯(zhuang)族(zu)活動示范點兩(liang)個(ge):廣南(nan)縣那灑鎮貴馬村(cun)、者兔鄉里(li)玉村(cun);彝族(zu)活動示范點兩(liang)個(ge):廣南(nan)縣八(ba)寶鎮里(li)灑村(cun)、麻栗(li)坡(po)縣董干鄉新寨、城寨村(cun)(后兩(liang)村(cun)為一(yi)點)。
在授牌儀式上(shang)(shang),里灑村村長王(wang)國文雙(shuang)手捧著“文山(shan)壯族(zu)彝族(zu)銅鼓舞(wu)活(huo)動(dong)示范(fan)點”的(de)(de)牌子(zi)和2000元(yuan)傳承(cheng)活(huo)動(dong)經費(fei),激動(dong)地說:“近年來我(wo)們得(de)到(dao)(dao)(dao)各級領導(dao)的(de)(de)關心(xin),曾(ceng)多(duo)次(ci)受邀到(dao)(dao)(dao)鎮上(shang)(shang)或縣上(shang)(shang)參加各種演(yan)出活(huo)動(dong)。沒(mei)想到(dao)(dao)(dao)我(wo)們的(de)(de)銅鼓舞(wu)會(hui)得(de)到(dao)(dao)(dao)國家如此的(de)(de)重視,現在我(wo)們不但要(yao)一(yi)代一(yi)代地跳(tiao)下去,而且還要(yao)跳(tiao)到(dao)(dao)(dao)文山(shan),跳(tiao)到(dao)(dao)(dao)昆明,讓更多(duo)的(de)(de)人都(dou)能(neng)看(kan)到(dao)(dao)(dao)。”
據文(wen)(wen)山(shan)州文(wen)(wen)化館館長王瑛(ying)介紹(shao),州、縣(xian)對銅鼓(gu)(gu)舞(wu)(wu)(wu)傳(chuan)承和發展(zhan)的(de)(de)(de)相關(guan)措施主(zhu)要是(shi):不斷(duan)充實“文(wen)(wen)山(shan)壯族(zu)(zu)彝族(zu)(zu)銅鼓(gu)(gu)舞(wu)(wu)(wu)”的(de)(de)(de)文(wen)(wen)字、音(yin)樂、音(yin)像、器具等(deng)相關(guan)資料,建(jian)立傳(chuan)習(xi)活動及(ji)傳(chuan)承人檔(dang)案。成立州、縣(xian)、鄉(鎮)、村四個(ge)級別(bie)的(de)(de)(de)保護(hu)工(gong)作領導(dao)小(xiao)(xiao)組(zu),形(xing)成有(you)組(zu)織(zhi)、有(you)計劃、有(you)責任制的(de)(de)(de)規(gui)范(fan)(fan)保護(hu);以(yi)實物、圖、文(wen)(wen)、音(yin)像等(deng)藝(yi)術形(xing)式,在(zai)文(wen)(wen)山(shan)州文(wen)(wen)化館及(ji)廣(guang)南、麻栗坡(po)兩(liang)縣(xian)文(wen)(wen)化館分別(bie)建(jian)立“文(wen)(wen)山(shan)壯族(zu)(zu)彝族(zu)(zu)銅鼓(gu)(gu)舞(wu)(wu)(wu)”民俗展(zhan)廳;在(zai)廣(guang)南、麻栗坡(po)兩(liang)縣(xian)分別(bie)建(jian)立“文(wen)(wen)山(shan)壯族(zu)(zu)彝族(zu)(zu)銅鼓(gu)(gu)舞(wu)(wu)(wu)”示范(fan)(fan)點的(de)(de)(de)傳(chuan)承活動場所(兼傳(chuan)習(xi)所),扶持銅鼓(gu)(gu)舞(wu)(wu)(wu)老藝(yi)人進(jin)行傳(chuan)習(xi)活動,培養年輕(qing)一代(dai);以(yi)學(xue)校為示范(fan)(fan)點,將銅鼓(gu)(gu)舞(wu)(wu)(wu)蹈編入學(xue)生課間操中(zhong),使青(qing)少(shao)年學(xue)生從小(xiao)(xiao)得到銅鼓(gu)(gu)舞(wu)(wu)(wu)的(de)(de)(de)優美(mei)音(yin)樂旋律和舞(wu)(wu)(wu)蹈韻律的(de)(de)(de)感染和熏(xun)陶。
文山銅(tong)鼓舞(wu)凝聚著(zhu)壯(zhuang)(zhuang)、彝人民(min)(min)的創造(zao)才(cai)能和聰(cong)明才(cai)智,具有鮮(xian)明的民(min)(min)族(zu)(zu)、地域特色和重(zhong)要的歷史、文化(hua)、藝(yi)術價值(zhi),是(shi)壯(zhuang)(zhuang)、彝人民(min)(min)重(zhong)要的精神支柱(zhu)之一(yi)。銅(tong)鼓舞(wu)文化(hua)折射出(chu)壯(zhuang)(zhuang)、彝人民(min)(min)勤(qin)勞、聰(cong)慧、淳樸(pu)、善(shan)良的性格及審美觀(guan)念,是(shi)研究壯(zhuang)(zhuang)族(zu)(zu)、彝族(zu)(zu)社會歷史,傳(chuan)承民(min)(min)族(zu)(zu)傳(chuan)統文化(hua)的一(yi)個重(zhong)要媒介,在維系民(min)(min)族(zu)(zu)生存和發(fa)展等方面起著(zhu)極其重(zhong)要的作用。各級文化(hua)工作者經過近(jin)3年(nian)多的實地調查、收集(ji)整理和組織申報(bao),《文山壯(zhuang)(zhuang)族(zu)(zu)彝族(zu)(zu)銅(tong)鼓舞(wu)》于(yu)2006年(nian)5月被列入第一(yi)批國家(jia)級非(fei)物質文化(hua)遺(yi)產保(bao)護(hu)名錄。
由于(yu)外來(lai)文(wen)化(hua)的(de)沖擊,壯族、彝(yi)族年輕一代對民族傳統歷史文(wen)化(hua)缺(que)乏深層(ceng)次的(de)認知,導致習銅鼓舞者(zhe)銳(rui)減,如(ru)不及時加以保(bao)護和(he)傳承,就(jiu)有(you)消亡(wang)的(de)危險。
國家非常重(zhong)視非物(wu)質文化遺(yi)(yi)產的保護(hu),2006年5月20日,銅鼓(gu)舞(wu)經國務院批準列入(ru)第一批國家級非物(wu)質文化遺(yi)(yi)產名錄。