查瑪:有(you)(you)殿堂舞(wu)(wu)、米(mi)擴佛(fo)傳(chuan)舞(wu)(wu)、寺院舞(wu)(wu)、大場舞(wu)(wu)四(si)種(zhong)表(biao)演(yan)(yan)(yan)形(xing)式,獨(du)舞(wu)(wu)、雙人舞(wu)(wu)、多人舞(wu)(wu)、大群舞(wu)(wu)一應俱(ju)全,亦可穿插(cha)即興表(biao)演(yan)(yan)(yan)。表(biao)演(yan)(yan)(yan)程式化、規范化。舞(wu)(wu)蹈語匯(hui)的運用多以所表(biao)演(yan)(yan)(yan)人物的個性(xing)劃分。一般是“大查瑪”動(dong)作(zuo)沉毅堅定,莊重徐(xu)緩,“小查瑪”動(dong)作(zuo)乖巧多變,靈活(huo)敏捷。表(biao)演(yan)(yan)(yan)時(shi)二者(zhe)相映相襯,各具特(te)色。如卻(que)吉勒(閻王)舞(wu)(wu)動(dong)作(zuo)剛(gang)勁獷悍(han),舉手投足都極富雕塑性(xing);鹿神舞(wu)(wu)動(dong)作(zuo)矯健(jian)奔放而有(you)(you)氣勢,技藝性(xing)頗強(qiang),帶有(you)(you)競賽性(xing)質;好扣麥(骷髏)舞(wu)(wu)動(dong)作(zuo)靈活(huo)灑脫,時(shi)而隨鼓聲顛跑跳(tiao)躍,時(shi)而故作(zuo)威風狀進行戲謔表(biao)演(yan)(yan)(yan),身(shen)體的起伏,頭部的昂垂(chui),手的繞(rao)動(dong)舞(wu)(wu)步的踏跳(tiao)配合融洽,很(hen)有(you)(you)韻味(wei)!
于(yu)十(shi)六世紀后半(ban)葉隨同(tong)噶魯派(黃教(jiao))喇(la)嘛教(jiao)傳入,至今已有四百年的(de)歷史。“查瑪”舞(wu)流傳十(shi)分廣泛,絕大多數寺廟均(jun)于(yu)宗教(jiao)節日(ri)時表演。其舞(wu)蹈形(xing)式影(ying)響(xiang)甚廣,至今仍(reng)在蒙古族(zu)舞(wu)蹈的(de)創作、表演與教(jiao)學中發揮著一定(ding)的(de)作用。