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基本介紹

龍(long)(long)(long)(long)(long)(long)舞(wu)(wu)，也稱“舞(wu)(wu)龍(long)(long)(long)(long)(long)(long)”，民(min)(min)間又(you)叫“耍(shua)龍(long)(long)(long)(long)(long)(long)”、“耍(shua)龍(long)(long)(long)(long)(long)(long)燈”或“舞(wu)(wu)龍(long)(long)(long)(long)(long)(long)燈”，在(zai)全國各地(di)和各民(min)(min)族間廣泛(fan)分(fen)布，其形(xing)式(shi)品種的(de)(de)(de)(de)(de)(de)多樣，是(shi)任何其他民(min)(min)間舞(wu)(wu)都無(wu)法比擬的(de)(de)(de)(de)(de)(de)。早在(zai)商代(dai)的(de)(de)(de)(de)(de)(de)甲(jia)骨文(wen)(wen)中(zhong)，已出現以(yi)數人(ren)集體(ti)祭龍(long)(long)(long)(long)(long)(long)求(qiu)雨的(de)(de)(de)(de)(de)(de)文(wen)(wen)字；漢(han)代(dai)董仲舒(shu)《春秋繁露》的(de)(de)(de)(de)(de)(de)記(ji)錄(lu)中(zhong)已有明(ming)確的(de)(de)(de)(de)(de)(de)各種舞(wu)(wu)龍(long)(long)(long)(long)(long)(long)求(qiu)雨的(de)(de)(de)(de)(de)(de)記(ji)載；此后歷(li)朝(chao)歷(li)代(dai)的(de)(de)(de)(de)(de)(de)詩文(wen)(wen)中(zhong)記(ji)錄(lu)宮廷或民(min)(min)間舞(wu)(wu)龍(long)(long)(long)(long)(long)(long)的(de)(de)(de)(de)(de)(de)文(wen)(wen)字屢見不鮮。直(zhi)至現在(zai)，龍(long)(long)(long)(long)(long)(long)舞(wu)(wu)仍是(shi)民(min)(min)間喜慶節令場合普遍存在(zai)的(de)(de)(de)(de)(de)(de)舞(wu)(wu)蹈形(xing)式(shi)之一。龍(long)(long)(long)(long)(long)(long)舞(wu)(wu)最基本的(de)(de)(de)(de)(de)(de)表(biao)(biao)現手段是(shi)其道具造型、構圖變化和動(dong)作(zuo)套路。根據龍(long)(long)(long)(long)(long)(long)形(xing)道具的(de)(de)(de)(de)(de)(de)扎制(zhi)材料的(de)(de)(de)(de)(de)(de)不同，分(fen)為(wei)布龍(long)(long)(long)(long)(long)(long)、紗龍(long)(long)(long)(long)(long)(long)、紙龍(long)(long)(long)(long)(long)(long)、草(cao)龍(long)(long)(long)(long)(long)(long)、錢龍(long)(long)(long)(long)(long)(long)、竹龍(long)(long)(long)(long)(long)(long)、棕龍(long)(long)(long)(long)(long)(long)、板凳龍(long)(long)(long)(long)(long)(long)、百葉(xie)龍(long)(long)(long)(long)(long)(long)、荷花龍(long)(long)(long)(long)(long)(long)、火龍(long)(long)(long)(long)(long)(long)、雞毛龍(long)(long)(long)(long)(long)(long)、肉龍(long)(long)(long)(long)(long)(long)等等；北方龍(long)(long)(long)(long)(long)(long)舞(wu)(wu)的(de)(de)(de)(de)(de)(de)制(zhi)作(zuo)一般(ban)高大粗重，風格古樸剛勁；南方龍(long)(long)(long)(long)(long)(long)舞(wu)(wu)則(ze)精(jing)巧細致，活潑敏捷。龍(long)(long)(long)(long)(long)(long)舞(wu)(wu)從色(se)彩上可分(fen)為(wei)黃、白、青、紅、黑等，以(yi)黃龍(long)(long)(long)(long)(long)(long)最為(wei)尊(zun)貴。龍(long)(long)(long)(long)(long)(long)舞(wu)(wu)的(de)(de)(de)(de)(de)(de)構圖和動(dong)作(zuo)一般(ban)具有“圓曲”、“翻滾”、“絞(jiao)纏”、“穿(chuan)插”、“竄躍”等特征。龍(long)(long)(long)(long)(long)(long)舞(wu)(wu)的(de)(de)(de)(de)(de)(de)傳統表(biao)(biao)演程序一般(ban)為(wei)：“請龍(long)(long)(long)(long)(long)(long)”、“出龍(long)(long)(long)(long)(long)(long)”、“舞(wu)(wu)龍(long)(long)(long)(long)(long)(long)”和“送龍(long)(long)(long)(long)(long)(long)”。民(min)(min)間有“七八(ba)歲(sui)玩草(cao)龍(long)(long)(long)(long)(long)(long)，十五(wu)六耍(shua)小龍(long)(long)(long)(long)(long)(long)，青壯年(nian)舞(wu)(wu)大龍(long)(long)(long)(long)(long)(long)”的(de)(de)(de)(de)(de)(de)說(shuo)法。舞(wu)(wu)龍(long)(long)(long)(long)(long)(long)人(ren)數少則(ze)一人(ren)舞(wu)(wu)雙龍(long)(long)(long)(long)(long)(long)，多則(ze)百人(ren)舞(wu)(wu)一大龍(long)(long)(long)(long)(long)(long)。

龍(long)是(shi)(shi)(shi)中華(hua)(hua)民族(zu)的(de)(de)(de)(de)圖騰和(he)信奉的(de)(de)(de)(de)祖先；龍(long)舞是(shi)(shi)(shi)華(hua)(hua)夏精(jing)神的(de)(de)(de)(de)象征(zheng)，它體現(xian)了中華(hua)(hua)民族(zu)團結合(he)力、奮發開拓的(de)(de)(de)(de)精(jing)神面(mian)貌，包含了天人(ren)和(he)諧、造福(fu)人(ren)類(lei)的(de)(de)(de)(de)文化(hua)內涵(han)，是(shi)(shi)(shi)中國人(ren)在吉慶和(he)祝福(fu)時節最常見的(de)(de)(de)(de)娛樂方式，氣氛熱烈(lie)，催(cui)人(ren)振奮，是(shi)(shi)(shi)中華(hua)(hua)民族(zu)極為珍貴的(de)(de)(de)(de)文化(hua)遺(yi)產(chan)。

舞蹈特色

龍形道具

中(zhong)國(guo)漢族民間舞蹈，因舞蹈者持(chi)傳說(shuo)中(zhong)的(de)龍形道具而(er)得名。龍的(de)形象源于(yu)中(zhong)國(guo)古代圖騰，被視為(wei)民族的(de)象征。傳說(shuo)中(zhong)龍能行(xing)云布雨，消災降福(fu)。于(yu)2006年列(lie)入首批(pi)《國(guo)家級(ji)非(fei)物質文化遺產名錄(lu)》，編(bian)號Ⅲ-4。流傳較為(wei)廣泛的(de)有(you)：

1.龍燈

又稱火龍(long)(long)(long)(long)、金龍(long)(long)(long)(long)。用竹篾和綢布(bu)扎成龍(long)(long)(long)(long)頭、龍(long)(long)(long)(long)身(shen)(shen)(shen)（3～10節）和龍(long)(long)(long)(long)尾，彩(cai)繪龍(long)(long)(long)(long)鱗，每節龍(long)(long)(long)(long)身(shen)(shen)(shen)中都裝有燭燈(deng)(deng)。起舞(wu)(wu)時(shi)，一人手(shou)持彩(cai)燈(deng)(deng)（象征寶(bao)珠）在前領舞(wu)(wu)，其(qi)他(ta)多人持龍(long)(long)(long)(long)頭、龍(long)(long)(long)(long)身(shen)(shen)(shen)和龍(long)(long)(long)(long)尾下的木柄隨舞(wu)(wu)，表演“二龍(long)(long)(long)(long)戲(xi)珠”、“金龍(long)(long)(long)(long)蟠玉(yu)柱(zhu)”等(deng)。龍(long)(long)(long)(long)燈(deng)(deng)多在節慶之(zhi)夜舞(wu)(wu)弄，以(yi)鑼鼓、嗩吶伴奏，同時(shi)施放煙花(hua)爆竹，蔚(yu)為(wei)壯(zhuang)觀熱鬧。

2.草龍

南(nan)方農民在(zai)夏歷五、六月間(jian)，用柳條(tiao)、青藤、稻草等扎成(cheng)龍(long)(long)(long)形(xing)。龍(long)(long)(long)身(shen)上(shang)插(cha)滿香火，傍晚(wan)以(yi)后(hou)在(zai)田間(jian)場院舞(wu)弄，看(kan)起來(lai)(lai)星火點(dian)點(dian)、香煙繚繞。過(guo)去(qu)多(duo)在(zai)鬧蟲災(zai)或干旱時(shi)的(de)(de)祭祀活動(dong)中(zhong)(zhong)(zhong)舞(wu)弄，有(you)驅蟲、祈雨之意。此外(wai)還(huan)有(you)些龍(long)(long)(long)身(shen)不(bu)相(xiang)連(lian)結(jie)的(de)(de)龍(long)(long)(long)舞(wu)，如流(liu)行(xing)于浙江一(yi)帶的(de)(de)百葉龍(long)(long)(long)，是(shi)由(you)(you)幾十盞(zhan)甚至上(shang)百盞(zhan)荷(he)花燈(deng)(deng)、荷(he)葉燈(deng)(deng)、蝴蝶(die)燈(deng)(deng)穿插(cha)串連(lian)而成(cheng)，大荷(he)花燈(deng)(deng)作龍(long)(long)(long)頭，蝴蝶(die)燈(deng)(deng)當龍(long)(long)(long)尾(wei)，來(lai)(lai)回穿梭游走(zou)。而江蘇流(liu)行(xing)一(yi)種段龍(long)(long)(long)，龍(long)(long)(long)頭、龍(long)(long)(long)身(shen)和龍(long)(long)(long)尾(wei)都(dou)由(you)(you)紅綢扎成(cheng)，輕盈(ying)優美(mei)，多(duo)由(you)(you)婦女舞(wu)弄，魚貫走(zou)出(chu)許多(duo)隊形(xing)，猶如一(yi)條(tiao)彩(cai)虹在(zai)空中(zhong)(zhong)(zhong)蜿(wan)蜒(yan)。龍(long)(long)(long)舞(wu)是(shi)中(zhong)(zhong)(zhong)國傳統節日中(zhong)(zhong)(zhong)流(liu)行(xing)最廣的(de)(de)民間(jian)舞(wu)蹈，世界上(shang)華人聚居區也以(yi)龍(long)(long)(long)舞(wu)來(lai)(lai)表現社(she)區傳統文化。

根(gen)據龍(long)(long)(long)(long)(long)(long)(long)形道具的扎(zha)制(zhi)材料的不同，分(fen)為布(bu)龍(long)(long)(long)(long)(long)(long)(long)、紗龍(long)(long)(long)(long)(long)(long)(long)、紙龍(long)(long)(long)(long)(long)(long)(long)、草龍(long)(long)(long)(long)(long)(long)(long)、錢龍(long)(long)(long)(long)(long)(long)(long)、竹龍(long)(long)(long)(long)(long)(long)(long)、棕龍(long)(long)(long)(long)(long)(long)(long)、板凳龍(long)(long)(long)(long)(long)(long)(long)、百葉龍(long)(long)(long)(long)(long)(long)(long)、荷花龍(long)(long)(long)(long)(long)(long)(long)、火龍(long)(long)(long)(long)(long)(long)(long)、雞毛龍(long)(long)(long)(long)(long)(long)(long)、肉龍(long)(long)(long)(long)(long)(long)(long)等(deng)等(deng)；北方(fang)龍(long)(long)(long)(long)(long)(long)(long)舞(wu)的制(zhi)作一般高大粗(cu)重(zhong)，風格(ge)古樸剛勁；南(nan)方(fang)龍(long)(long)(long)(long)(long)(long)(long)舞(wu)則(ze)精巧細致，活潑敏捷。龍(long)(long)(long)(long)(long)(long)(long)舞(wu)從色彩上可分(fen)為黃(huang)、白、青、紅、黑等(deng)，以(yi)黃(huang)龍(long)(long)(long)(long)(long)(long)(long)最為尊貴。龍(long)(long)(long)(long)(long)(long)(long)舞(wu)的構圖和動(dong)作一般具有“圓曲”、“翻滾”、“絞纏”、“穿插”、“竄躍”等(deng)特(te)征。

表演形式

龍(long)舞(wu)的(de)表(biao)演場(chang)地是(shi)城鎮廣場(chang)，社區(qu)，區(qu)域較大的(de)地方。龍(long)舞(wu)的(de)傳(chuan)統表(biao)演程(cheng)序一(yi)般為：“請(qing)龍(long)”、“出龍(long)”、“舞(wu)龍(long)”和“送龍(long)”。民間有“七八歲玩(wan)草龍(long)，十五六耍小龍(long)，青壯年舞(wu)大龍(long)”的(de)說法。舞(wu)龍(long)人(ren)數少則(ze)一(yi)人(ren)舞(wu)雙龍(long)，多則(ze)百人(ren)舞(wu)一(yi)大龍(long)。

服飾

龍舞(wu)表(biao)演(yan)多以(yi)男性演(yan)員為(wei)主，演(yan)員的服飾是圓領白色緊身(shen)衣(yi)(yi)，上衣(yi)(yi)扣子為(wei)褐色，形狀(zhuang)似云(yun)朵狀(zhuang)。扣子兩邊有(you)(you)龍狀(zhuang)花(hua)紋，袖口(kou)處有(you)(you)如(ru)龍身(shen)鱗(lin)片(pian)花(hua)樣，腰(yao)間扎(zha)有(you)(you)紅色或(huo)綠色綢帶(dai)。頭(tou)裹白色羊(yang)肚(du)毛(mao)巾，下身(shen)穿淺黃(huang)色緊腿褲(ku)，腳(jiao)蹬云(yun)頭(tou)布(bu)鞋，妝容多以(yi)薄粉敷面。

音樂

龍(long)(long)舞(wu)(wu)(wu)在運動(dong)過程中(zhong)離不(bu)開鼓(gu)點(dian)樂(le)(le)(le)器的(de)(de)搭配，音樂(le)(le)(le)在舞(wu)(wu)(wu)龍(long)(long)過程中(zhong)有(you)著重(zhong)要的(de)(de)地(di)位，演奏(zou)(zou)風格具有(you)民(min)族傳統性。其(qi)(qi)旋律、節(jie)奏(zou)(zou)與火龍(long)(long)舞(wu)(wu)(wu)的(de)(de)動(dong)作、造型畫(hua)面和諧一致(zhi)，主要以打(da)擊樂(le)(le)(le)的(de)(de)伴奏(zou)(zou)形式(shi)為(wei)主。在鼓(gu)點(dian)的(de)(de)襯托下(xia)，使(shi)龍(long)(long)舞(wu)(wu)(wu)表(biao)現生機勃勃。伴奏(zou)(zou)樂(le)(le)(le)器多以鑼(luo)、鼓(gu)、镲等打(da)擊樂(le)(le)(le)為(wei)主，樂(le)(le)(le)隊(dui)鼓(gu)點(dian)無固定模(mo)式(shi)，以舞(wu)(wu)(wu)者(zhe)舞(wu)(wu)(wu)龍(long)(long)情(qing)緒調整節(jie)奏(zou)(zou)快慢變化，屬于即(ji)興演奏(zou)(zou)。鼓(gu)點(dian)音樂(le)(le)(le)使(shi)火龍(long)(long)舞(wu)(wu)(wu)表(biao)演顯得活(huo)靈活(huo)現，振(zhen)奮人(ren)心(xin)。火龍(long)(long)舞(wu)(wu)(wu)表(biao)演時，樂(le)(le)(le)隊(dui)由四到六人(ren)組成(cheng)(cheng)，每(mei)個人(ren)的(de)(de)職能不(bu)同，其(qi)(qi)中(zhong)鼓(gu)主要敲(qiao)擊主要節(jie)奏(zou)(zou)，鑼(luo)主要敲(qiao)擊重(zhong)音，镲是每(mei)拍子敲(qiao)擊一次，音樂(le)(le)(le)在基(ji)本(ben)鼓(gu)點(dian)與曲譜下(xia)反復，直到與動(dong)作完成(cheng)(cheng)為(wei)止。

基本動作

龍(long)(long)(long)舞中的(de)龍(long)(long)(long)，由(you)龍(long)(long)(long)頭、龍(long)(long)(long)身(shen)和(he)龍(long)(long)(long)尾(wei)構成(cheng)，龍(long)(long)(long)身(shen)較長，是(shi)龍(long)(long)(long)的(de)主(zhu)體。在制作這種表(biao)演(yan)的(de)龍(long)(long)(long)時，用竹篾(mie)或者鐵絲為架子(zi)，外面抹(mo)上紙或者是(shi)布，龍(long)(long)(long)身(shen)的(de)節(jie)與節(jie)之(zhi)間，用布縫成(cheng)筒狀連(lian)接(jie)，然后彩繪其(qi)形。龍(long)(long)(long)身(shen)、龍(long)(long)(long)頭、龍(long)(long)(long)尾(wei)制成(cheng)后，在龍(long)(long)(long)身(shen)的(de)每(mei)節(jie)中部插置蠟梗(geng)，下部安置木柄(bing)，供表(biao)演(yan)的(de)人用手抓握。

龍(long)(long)(long)舞在(zai)(zai)開始(shi)表演(yan)時(shi)，由許多人(ren)每人(ren)各(ge)舉(ju)一(yi)節木柄，左右(you)揮(hui)舞，使(shi)龍(long)(long)(long)體在(zai)(zai)空(kong)中悠(you)悠(you)蠕動。一(yi)般是一(yi)手在(zai)(zai)上(shang)，一(yi)手在(zai)(zai)下(xia)，兩手相距(ju)四十(shi)厘米。舞龍(long)(long)(long)表演(yan)者在(zai)(zai)舞蹈過程中，可以隨時(shi)調動雙手之間(jian)的(de)距(ju)離。雙手執桿運(yun)動路線以繞八字為主(zhu)。除此以外，舞蹈過程中常有倒把動作，主(zhu)要(yao)包括(kuo)上(shang)倒把和下(xia)倒把。指揮(hui)演(yan)員的(de)執桿方法與舞龍(long)(long)(long)。夜晚(wan)舞龍(long)(long)(long)時(shi)，要(yao)點燃龍(long)(long)(long)體內的(de)蠟燭(zhu)，輔以彩燈、蓮(lian)花燈等各(ge)式花燈，同時(shi)施放煙火、爆竹(zhu)，造成一(yi)定(ding)的(de)聲勢，吸引觀(guan)眾，使(shi)龍(long)(long)(long)舞呈現出(chu)不同凡響的(de)風(feng)彩來(lai)。

火(huo)龍(long)舞的(de)(de)(de)基本步(bu)(bu)(bu)法主要是跑(pao)碎(sui)(sui)步(bu)(bu)(bu)，隨著音樂的(de)(de)(de)高(gao)潮以及(ji)舞龍(long)的(de)(de)(de)幅度控制步(bu)(bu)(bu)伐。由于(yu)龍(long)舞是由多人組(zu)成的(de)(de)(de)隊伍(wu)，因此要配合默(mo)契，步(bu)(bu)(bu)伐統一。火(huo)龍(long)舞運動(dong)量很大(da)，不同(tong)的(de)(de)(de)動(dong)作大(da)部分都(dou)是在(zai)跑(pao)碎(sui)(sui)步(bu)(bu)(bu)中完(wan)成的(de)(de)(de)。

傳承價值與現狀

對中國古典舞的影響

中(zhong)國(guo)(guo)古典(dian)(dian)舞是(shi)(shi)在(zai)提(ti)煉中(zhong)國(guo)(guo)戲曲(qu)舞蹈和武(wu)術的(de)(de)(de)(de)基礎上(shang)(shang)，吸(xi)收中(zhong)國(guo)(guo)傳統文化之精(jing)髓，并(bing)融合多種(zhong)藝術形(xing)(xing)(xing)式發展(zhan)演變(bian)而成的(de)(de)(de)(de)中(zhong)國(guo)(guo)舞蹈藝術的(de)(de)(de)(de)典(dian)(dian)菹，它是(shi)(shi)中(zhong)華民族(zu)文化藝術的(de)(de)(de)(de)結(jie)晶。從它的(de)(de)(de)(de)基本(ben)動律、舞姿形(xing)(xing)(xing)態(tai)及運動軌跡來(lai)看(kan)，其體勢，總呈現為(wei)一種(zhong)回旋狀態(tai)，回旋狀態(tai)即“ 圓(yuan)” 一— “轉”的(de)(de)(de)(de)狀態(tai)，這種(zhong)狀態(tai)是(shi)(shi)中(zhong)國(guo)(guo)古典(dian)(dian)舞動律形(xing)(xing)(xing)態(tai)與(yu)身法(fa)最顯著的(de)(de)(de)(de)特點，故中(zhong)國(guo)(guo)古典(dian)(dian)舞被稱為(wei)“劃圓(yuan)的(de)(de)(de)(de)藝術” 。在(zai)長期的(de)(de)(de)(de)表演實(shi)踐(jian)中(zhong)，中(zhong)國(guo)(guo)古典(dian)(dian)舞始終與(yu)“圓(yuan)” 有著密不可分的(de)(de)(de)(de)關系，即“ 萬變(bian)不離其圓(yuan)”，并(bing)在(zai)此基礎上(shang)(shang)形(xing)(xing)(xing)成了以"擰、傾(qing)、圓(yuan)、曲(qu)"為(wei)核心的(de)(de)(de)(de)動律形(xing)(xing)(xing)態(tai)。

而在(zai)“ 龍舞(wu)(wu)(wu)(wu)(wu)” 表演中(zhong)，以(yi)單龍為例，龍舞(wu)(wu)(wu)(wu)(wu)開(kai)始時總是先(xian)繞場一兩周一—圓(yuan)場，勾畫(hua)出一個圓(yuan)形(xing)無極圖，然后(hou)開(kai)始耍龍，舞(wu)(wu)(wu)(wu)(wu)龍隊伍的(de)(de)(de)(de)成員(yuan)將龍頭、龍身(shen)(shen)(shen)、龍尾依次先(xian)后(hou)從上(shang)而下(xia)劃8字(zi)，形(xing)成整(zheng)個龍體(ti)的(de)(de)(de)(de)S 形(xing)游動(dong)，《百戲竹枝詞· 龍燈斗》詩題(ti)解說：其龍燈” 以(yi)竹蔑(mie)為之，外(wai)覆以(yi)紗，婉蜓之勢亦(yi)復(fu)可觀。“龍舞(wu)(wu)(wu)(wu)(wu)的(de)(de)(de)(de)運動(dong)形(xing)態(tai)非常(chang)明(ming)顯地呈現為一種循環(huan)變化(hua)、婉蜓曲折的(de)(de)(de)(de)形(xing)態(tai)，它的(de)(de)(de)(de)形(xing)態(tai)可以(yi)用一個字(zi)來概括，就是“回” 。除此之外(wai)，在(zai)中(zhong)國(guo)古典(dian)(dian)舞(wu)(wu)(wu)(wu)(wu)袖(xiu)舞(wu)(wu)(wu)(wu)(wu)中(zhong)，身(shen)(shen)(shen)袖(xiu)不可分，水袖(xiu)借助(zhu)身(shen)(shen)(shen)休的(de)(de)(de)(de)"擰、傾、圓(yuan)、曲”和住復(fu)回旋如龍的(de)(de)(de)(de)動(dong)勢，才能有“ 長袖(xiu)以(yi)隧回"，故中(zhong)國(guo)古典(dian)(dian)舞(wu)(wu)(wu)(wu)(wu)袖(xiu)舞(wu)(wu)(wu)(wu)(wu)的(de)(de)(de)(de)“ 身(shen)(shen)(shen)袖(xiu)合一“ 體(ti)現著龍舞(wu)(wu)(wu)(wu)(wu)" 回”之意象的(de)(de)(de)(de)形(xing)式美。

文化價值

“ 龍舞” 作(zuo)為“龍文化” 藝術(shu)的(de)(de)(de)(de)代表．是(shi)(shi)在幾(ji)千年歷史發展過程中(zhong)，人(ren)(ren)們(men)所創造出(chu)來的(de)(de)(de)(de)代表中(zhong)華(hua)民(min)族(zu)、中(zhong)國文化、華(hua)夏精神(shen)(shen)的(de)(de)(de)(de)象征。“龍舞”是(shi)(shi)以一種崇(chong)高的(de)(de)(de)(de)美(mei)和神(shen)(shen)奇的(de)(de)(de)(de)美(mei)傳達行人(ren)(ren)們(men)內(nei)心的(de)(de)(de)(de)愿望和希(xi)冀，表現(xian)著人(ren)(ren)們(men)對龍圖騰、對生命、對宇(yu)宙(zhou)的(de)(de)(de)(de)崇(chong)拜，龍文化既(ji)體(ti)現(xian)了“天(tian)人(ren)(ren)和諧(xie)”的(de)(de)(de)(de)文化內(nei)涵，也體(ti)現(xian)了華(hua)夏人(ren)(ren)民(min)繼承與發揚(yang)的(de)(de)(de)(de)民(min)族(zu)精神(shen)(shen)，是(shi)(shi)中(zhong)華(hua)民(min)族(zu)優(you)秀傳統(tong)文化之一。

舞龍(long)(long)(long)是(shi)對龍(long)(long)(long)的(de)(de)(de)(de)(de)一種形(xing)(xing)象化和(he)具體化，其(qi)表現(xian)形(xing)(xing)式受它所要(yao)表達對象的(de)(de)(de)(de)(de)限制，因而，舞龍(long)(long)(long)表演(yan)形(xing)(xing)式是(shi)隨著龍(long)(long)(long)形(xing)(xing)態(tai)的(de)(de)(de)(de)(de)發(fa)展(zhan)(zhan)而發(fa)展(zhan)(zhan)的(de)(de)(de)(de)(de)。如(ru)今呈現(xian)所的(de)(de)(de)(de)(de)“龍(long)(long)(long)”，是(shi)最完美的(de)(de)(de)(de)(de)中國現(xian)代(dai)(dai)龍(long)(long)(long)的(de)(de)(de)(de)(de)形(xing)(xing)象，與(yu)古代(dai)(dai)龍(long)(long)(long)有著巨(ju)大(da)差(cha)異。“龍(long)(long)(long)”的(de)(de)(de)(de)(de)外部形(xing)(xing)態(tai)由(you)春秋前(qian)(qian)的(de)(de)(de)(de)(de)匍匐爬(pa)狀、結(jie)構(gou)粗糙、蛇身獸頭到戰國以(yi)后(hou)的(de)(de)(de)(de)(de)剛健有力(li)、結(jie)構(gou)復雜，再(zai)到宋代(dai)(dai)以(yi)后(hou)的(de)(de)(de)(de)(de)蜿(wan)蜒多姿，通體華美；其(qi)氣(qi)勢上從春秋前(qian)(qian)的(de)(de)(de)(de)(de)粗野(ye)與(yu)狂放、暴力(li)與(yu)恐怖到戰國以(yi)后(hou)的(de)(de)(de)(de)(de)不可一世的(de)(de)(de)(de)(de)蓬勃(bo)之(zhi)勢，再(zai)發(fa)展(zhan)(zhan)到宋以(yi)后(hou)其(qi)保留(liu)不可一世的(de)(de)(de)(de)(de)豪氣(qi)，退卻了原本(ben)的(de)(de)(de)(de)(de)剛猛。通過勞動人(ren)民的(de)(de)(de)(de)(de)聰智才慧，“龍(long)(long)(long)”的(de)(de)(de)(de)(de)外形(xing)(xing)與(yu)神韻不斷發(fa)展(zhan)(zhan)與(yu)豐富，創造出了一條活靈活現(xian)，氣(qi)勢蓬勃(bo)的(de)(de)(de)(de)(de)“龍(long)(long)(long)”。

主要流派的價值與現狀

銅(tong)梁龍舞有(you)與民(min)俗活動緊密(mi)相連(lian)、套路豐富、動律諧趣的特點(dian)，伴(ban)奏音樂獨特，道(dao)具構思巧妙，造型夸張，服飾儉樸大方，舞者參舞自由，退舞方便，有(you)群眾參與性。

銅(tong)梁龍(long)舞體現了團(tuan)結合力(li)、造(zao)福(fu)人類、奮(fen)發向上、與天和(he)諧的精神(shen)(shen)，同時(shi)具有娛(yu)神(shen)(shen)娛(yu)人、彰顯威力(li)等社會功能。銅(tong)梁龍(long)舞聞名于世(shi)的僅大蠕龍(long)、火龍(long)等少數品(pin)種，多(duo)數龍(long)舞品(pin)種已處于瀕危境地(di)，亟待保護(hu)和(he)拯(zheng)救。

湛江人龍舞逐漸失去(qu)了往日的吸引力，處于衰落狀(zhuang)態(tai)，為保護民(min)間(jian)文化遺產(chan)，有必要對它進行盡快搶救和整理。

浦江(jiang)(jiang)板凳龍保(bao)留了(le)中國尤其是浙中和(he)江(jiang)(jiang)南沿(yan)海(hai)(hai)一帶(dai)“龍信仰(yang)”的(de)(de)民間文化傳統，融匯了(le)書畫、剪紙(zhi)等民間藝(yi)術的(de)(de)民間形(xing)(xing)態，傳承(cheng)了(le)群(qun)眾體育和(he)廣場舞蹈的(de)(de)藝(yi)術形(xing)(xing)式(shi)，具有民俗、歷史研究價值和(he)民間工藝(yi)傳承(cheng)功能，在浦江(jiang)(jiang)和(he)浙中及(ji)江(jiang)(jiang)南沿(yan)海(hai)(hai)一帶(dai)產生了(le)深遠而(er)廣泛的(de)(de)影響。但時(shi)代(dai)變遷(qian)所造成的(de)(de)沖擊也不可避免地降臨在浦江(jiang)(jiang)板凳龍身上，使它的(de)(de)傳承(cheng)陷入窘境，亟待搶救與保(bao)護。

長興(xing)百(bai)葉龍作為中國漢民(min)(min)族一(yi)種獨特的民(min)(min)間(jian)舞蹈(dao)，具(ju)有(you)極(ji)高(gao)的藝術(shu)價值。時代的變遷給(gei)長興(xing)百(bai)葉龍的有(you)序傳(chuan)承(cheng)帶來了影響，使這一(yi)寶(bao)貴的民(min)(min)間(jian)藝術(shu)形式面臨生(sheng)存危(wei)機(ji)。為保護(hu)、傳(chuan)承(cheng)百(bai)葉龍藝術(shu)，長興(xing)地(di)方(fang)政府未雨綢繆，采取(qu)了一(yi)系列有(you)效措施，一(yi)個保護(hu)地(di)方(fang)文化資(zi)源、共創特色文化品牌的良好(hao)氛圍(wei)正在形成。

奉(feng)(feng)化布龍(long)的文化價(jia)值(zhi)較突出，且民(min)間流布的生(sheng)態環境面臨潛在(zai)的危機，故地(di)方政府已將(jiang)它率(lv)先(xian)列(lie)入保護范疇。1990年，奉(feng)(feng)化布龍(long)入選(xuan)《中國民(min)族民(min)間舞蹈集成（浙(zhe)江卷(juan)）》；1996年，奉(feng)(feng)化市被文化部命(ming)名(ming)為“中國民(min)間藝(yi)術之鄉”；2005年，奉(feng)(feng)化布龍(long)被浙(zhe)江省政府列(lie)入首批非(fei)物質文化遺產代表作名(ming)錄(lu)。

瀘州雨壇彩(cai)龍的龍頭(tou)造型獨特，主要依據(ju)瀘縣(xian)全國(guo)重點文物保護(hu)單(dan)位龍腦橋(qiao)的龍頭(tou)設計，額(e)高，嘴短，雙目突出可(ke)動，下(xia)頜開合自如，形(xing)象既威(wei)武有神，又(you)憨愚可(ke)親。龍身用(yong)竹(zhu)篾(mie)扎制成骨架，分組分節，可(ke)長可(ke)短。整個龍身用(yong)竹(zhu)篾(mie)扎成圈，相互串聯，套上(shang)龍衣后靈活多變。龍尾也區別于(yu)一(yi)般的火炬尾、蛇(she)形(xing)尾，呈鰱魚狀，極富情趣(qu)。時下(xia)，雨壇彩(cai)龍同樣面臨新時代的挑(tiao)戰(zhan)，急需建(jian)立保護(hu)和(he)傳承機制。

傳承保護措施

1.加強政府的主導作用

面對市場(chang)化經(jing)濟的(de)不斷發(fa)展(zhan), 在龍(long)(long)舞(wu)這一民(min)間(jian)傳(chuan)統(tong)體育項目的(de)保護過程(cheng)中, 當地政(zheng)府的(de)主導(dao)作(zuo)(zuo)用(yong)這一角色是不容(rong)質疑的(de)。政(zheng)府方(fang)面需(xu)要用(yong)銳利的(de)眼光深入挖掘龍(long)(long)舞(wu)這一民(min)間(jian)傳(chuan)統(tong)體育項目, 做好龍(long)(long)舞(wu)的(de)保護工(gong)作(zuo)(zuo)，在政(zheng)府的(de)主導(dao)下，成立專業(ye)的(de)龍(long)(long)舞(wu)表演和比賽(sai)隊伍，將舞(wu)龍(long)(long)工(gong)作(zuo)(zuo)升(sheng)級為(wei)職(zhi)業(ye)化，以舞(wu)龍(long)(long)為(wei)生。應該注意并(bing)處(chu)理好文化保護和經(jing)濟開發(fa)兩方(fang)面的(de)關系, 避免(mian)龍(long)(long)經(jing)濟吞食龍(long)(long)文化的(de)悲劇發(fa)生。

2.提高民眾參與的積極性、融入社區活動

龍(long)舞是(shi)發(fa)源(yuan)于民(min)間(jian)、成長于民(min)間(jian)的(de)傳統體育(yu)項目(mu), 保護和發(fa)展龍(long)舞也(ye)理(li)應(ying)充分(fen)結合民(min)間(jian)特色(se)，充分(fen)與大眾生活相結合；也(ye)理(li)應(ying)注重(zhong)調(diao)動大眾參與的(de)積極性, 以擴(kuo)大其(qi)民(min)間(jian)影響力。

3.推動火龍燈舞走入校園

教育(yu)作為(wei)(wei)民族(zu)(zu)(zu)文(wen)化(hua)傳承的(de)(de)(de)重(zhong)要途徑, 在培養民族(zu)(zu)(zu)文(wen)化(hua)認同(tong)感中(zhong)具有(you)關鍵性的(de)(de)(de)作用，當代(dai)青少年是(shi)民族(zu)(zu)(zu)優秀文(wen)化(hua)的(de)(de)(de)繼承者、傳播者和創造者, 也是(shi)中(zhong)國特色社會主義(yi)的(de)(de)(de)建設者，中(zhong)華民族(zu)(zu)(zu)偉大(da)復(fu)興的(de)(de)(de)擔當者。將(jiang)“龍(long)舞”推廣進入當地(di)學(xue)校(xiao)，通過組建校(xiao)園表(biao)演隊的(de)(de)(de)方(fang)式(shi)，參與(yu)校(xiao)內外(wai)各種文(wen)化(hua)節日活動，借鑒(jian)以學(xue)校(xiao)為(wei)(wei)主體，以古(gu)鎮為(wei)(wei)中(zhong)心(xin)，輻(fu)射四周地(di)域為(wei)(wei)方(fang)向(xiang)的(de)(de)(de)重(zhong)要載體, 擴(kuo)大(da)龍(long)文(wen)化(hua)影響(xiang)力。

4.做好關于火龍燈舞文化的宣傳和對外交流工作

作為民(min)間(jian)特色的(de)非(fei)物(wu)質文(wen)(wen)化(hua)遺(yi)產保護之(zhi)一的(de)龍(long)舞(wu)，要以(yi)其自身(shen)的(de)文(wen)(wen)化(hua)特色不(bu)(bu)斷(duan)加強與(yu)不(bu)(bu)同(tong)(tong)地域、不(bu)(bu)同(tong)(tong)文(wen)(wen)化(hua)類型(xing)、不(bu)(bu)同(tong)(tong)民(min)間(jian)活動之(zhi)間(jian)的(de)文(wen)(wen)化(hua)交(jiao)流與(yu)合作,吸收借鑒不(bu)(bu)同(tong)(tong)文(wen)(wen)化(hua)的(de)精髓，促進(jin)文(wen)(wen)化(hua)的(de)交(jiao)融與(yu)渲染同(tong)(tong)時也(ye)要擴大火龍(long)燈舞(wu)的(de)社會影響和(he)文(wen)(wen)化(hua)吸引力。深入挖掘龍(long)舞(wu)的(de)民(min)間(jian)藝(yi)術文(wen)(wen)化(hua)特色, 并利(li)用現(xian)代化(hua)的(de)舞(wu)臺藝(yi)術包裝手段, 讓民(min)間(jian)藝(yi)術充分走上現(xian)代舞(wu)臺，走進(jin)民(min)眾(zhong)的(de)生活。

主要流派

銅梁龍舞

申報地(di)區或單位：重慶(qing)市

銅梁龍舞系(xi)流傳(chuan)于(yu)重慶市銅梁縣境內(nei)的(de)一(yi)種以龍為主要道具(ju)的(de)舞蹈藝術形式。它興(xing)起于(yu)明，鼎盛(sheng)于(yu)清，在(zai)當代重放異彩，飲譽全球。

銅梁龍(long)(long)(long)(long)舞包括龍(long)(long)(long)(long)燈(deng)舞和彩(cai)燈(deng)舞兩大(da)系(xi)列。龍(long)(long)(long)(long)燈(deng)舞主要(yao)包括大(da)蠕(ru)龍(long)(long)(long)(long)、火龍(long)(long)(long)(long)、稻草龍(long)(long)(long)(long)、筍殼龍(long)(long)(long)(long)、黃荊龍(long)(long)(long)(long)、板凳(deng)龍(long)(long)(long)(long)、正龍(long)(long)(long)(long)、小彩(cai)龍(long)(long)(long)(long)、竹(zhu)梆龍(long)(long)(long)(long)、荷花(hua)龍(long)(long)(long)(long)十(shi)個品種，其中(zhong)以(yi)大(da)蠕(ru)龍(long)(long)(long)(long)最有(you)特色。彩(cai)燈(deng)舞主要(yao)包括魚躍龍(long)(long)(long)(long)門、泥鰍(qiu)吃湯圓、三條、十(shi)八(ba)學士、亮獅(shi)、開(kai)山虎、蚌殼精、犀(xi)牛望月、豬啃(ken)南瓜、高臺龍(long)(long)(long)(long)獅(shi)舞、雁塔題名、南瓜棚十(shi)二個品種。

湛江人龍舞

申報地區或單位：廣東省湛江市

廣(guang)東(dong)(dong)省東(dong)(dong)海島東(dong)(dong)山鎮東(dong)(dong)山圩村的人(ren)(ren)龍(long)舞素有“東(dong)(dong)方一(yi)絕”的美稱。表演(yan)時(shi)，幾十至數百名青(qing)壯年和(he)少年均(jun)穿短褲(ku)，以(yi)人(ren)(ren)體(ti)相接，組(zu)成一(yi)條“長(chang)龍(long)”。在(zai)鑼鼓震天(tian)、號角齊鳴中，“長(chang)龍(long)”龍(long)頭高昂，龍(long)身翻騰，龍(long)尾(wei)勁擺(bai)，一(yi)如蛟龍(long)出海，排山倒海，勢(shi)不(bu)可擋(dang)，顯現出獨特(te)的海島色(se)彩和(he)濃(nong)厚的鄉(xiang)土(tu)氣息，是東(dong)(dong)海島乃(nai)至雷州半島經久不(bu)衰的民間(jian)風俗和(he)大型廣(guang)場娛樂活(huo)動的重要組(zu)成部(bu)分。每逢春節、元宵、中秋佳節和(he)一(yi)些重大喜慶節日，東(dong)(dong)山圩村必(bi)連舞幾個晚上“人(ren)(ren)龍(long)”，東(dong)(dong)西(xi)兩(liang)街戶戶張燈結彩，家家傾巢(chao)而出，人(ren)(ren)流如潮，熱鬧(nao)非(fei)凡。

據(ju)藝人(ren)傳(chuan)說，人(ren)龍(long)(long)(long)(long)(long)舞(wu)(wu)大約始于明(ming)末，被(bei)清軍打敗的(de)明(ming)軍撤(che)退(tui)到(dao)雷州半島(dao)和(he)東海(hai)(hai)島(dao)，適逢(feng)中秋，地方百姓為(wei)鼓舞(wu)(wu)明(ming)軍士氣，編(bian)排了這個舞(wu)(wu)蹈。此后人(ren)龍(long)(long)(long)(long)(long)舞(wu)(wu)便在這里流(liu)傳(chuan)開來，至(zhi)清乾嘉時達于鼎(ding)盛。人(ren)龍(long)(long)(long)(long)(long)舞(wu)(wu)是(shi)東海(hai)(hai)島(dao)特殊社會歷史因(yin)素與地域(yu)自然條(tiao)件的(de)產物，它將古海(hai)(hai)島(dao)群(qun)眾娛龍(long)(long)(long)(long)(long)、敬龍(long)(long)(long)(long)(long)、祭海(hai)(hai)、尊祖、奉神等多種風俗融入“人(ren)龍(long)(long)(long)(long)(long)”之中，形成了自創一體、獨具(ju)一格的(de)龍(long)(long)(long)(long)(long)舞(wu)(wu)表演形式(shi)和(he)“人(ren)龍(long)(long)(long)(long)(long)”精神。湛江(jiang)人(ren)龍(long)(long)(long)(long)(long)舞(wu)(wu)有(you)起龍(long)(long)(long)(long)(long)、龍(long)(long)(long)(long)(long)點頭、龍(long)(long)(long)(long)(long)穿云、龍(long)(long)(long)(long)(long)卷浪等獨具(ju)特色(se)的(de)表演程式(shi)，表演者練就了快速托人(ren)上肩(jian)的(de)穩健動(dong)作和(he)步法，隊形流(liu)暢多變，動(dong)作一氣呵成，遠(yuan)望(wang)動(dong)感十足，近觀(guan)粗獷雄壯，成為(wei)中華龍(long)(long)(long)(long)(long)文化延伸與發展(zhan)的(de)重要組成部分。

汕尾滾地金龍

申報地區(qu)或單位：廣東省汕(shan)尾(wei)市(shi)

根據廣東省(sheng)汕尾(wei)市南溪村(cun)(cun)老人黃天樞藏(zang)書中的(de)(de)記(ji)載和部(bu)分知情者(zhe)的(de)(de)敘述，“滾(gun)地金(jin)龍”始創于南宋，明嘉靖年間，黃氏(shi)光昭公一支從福建漳州移(yi)居廣東陸(lu)豐(feng)南溪村(cun)(cun)，帶來《滾(gun)地金(jin)龍演史傳(chuan)》的(de)(de)傳(chuan)本(ben)。黃氏(shi)南溪“滾(gun)地金(jin)龍”繁衍了(le)十七(qi)代。后(hou)來由該村(cun)(cun)的(de)(de)金(jin)龍藝師(shi)、傳(chuan)統武術師(shi)傳(chuan)到(dao)陸(lu)豐(feng)潭西鎮深(shen)溝村(cun)(cun)，大安鎮的(de)(de)安博、下安聯(lian)、頂潭、安塘村(cun)(cun)，西南鎮的(de)(de)兩軍(jun)、下村(cun)(cun)，陸(lu)豐(feng)城東鎮的(de)(de)上神山村(cun)(cun)等地。

南溪村“滾地金龍”表演時(shi)，由二人鉆入“龍身被套”，一人舞(wu)龍頭(tou)(tou)，一人舞(wu)龍尾。整(zheng)個表演過程分為(wei)“開場見禮”、“打(da)圍巡(xun)洞(dong)”、“游潭戲水”、“抻筋(jin)洗鱗”、“伏蟄(zhe)聞雷”、“迎雷起舞(wu)”、“駕云飛(fei)(fei)騰(teng)”、“收(shou)場還禮”八(ba)個舞(wu)段，表演中模仿的(de)龍旋舞(wu)飛(fei)(fei)騰(teng)、戲水嬉(xi)耍、沉思奮醒、柔靜盤曲(qu)、勇猛奮進(jin)等(deng)動(dong)作。伴奏用(yong)威武雄壯、嘹亮開闊的(de)海陸(lu)豐正字戲的(de)“牌子大鑼(luo)鼓(gu)”，大嗩吶按不同(tong)的(de)表演情節吹奏不同(tong)的(de)曲(qu)調，有(you)【宮娥(e)怨】、【哭(ku)皇天】、【山坡羊(yang)】、【八(ba)板頭(tou)(tou)】等(deng)曲(qu)牌。表情豐富(fu)、套路眾多、舞(wu)段精彩、技藝兼善(shan)是這個舞(wu)蹈的(de)基本特點。

1996年，南溪村被廣東省文化廳授(shou)予“民族民間藝術之鄉”稱(cheng)號(hao)，滾地金龍被編(bian)入《中(zhong)國(guo)舞蹈(dao)志》，并在(zai)國(guo)家和省級地區的(de)重(zhong)大活動中(zhong)多次(ci)獲(huo)獎。

浦江板凳龍

申報(bao)地區或(huo)單位：浙江(jiang)省(sheng)浦江(jiang)縣

浦江(jiang)(jiang)(jiang)(jiang)(jiang)縣(xian)(xian)位于浙江(jiang)(jiang)(jiang)(jiang)(jiang)中(zhong)部偏西，金華市北部。據浦江(jiang)(jiang)(jiang)(jiang)(jiang)白馬鎮夏張村張姓族譜載，自(zi)唐朝(chao)始，“龍(long)騰燈舞鬧元宵(xiao)”便(bian)成(cheng)(cheng)了浦江(jiang)(jiang)(jiang)(jiang)(jiang)民間的習俗(su)，浦江(jiang)(jiang)(jiang)(jiang)(jiang)縣(xian)(xian)志(zhi)中(zhong)稱(cheng)之為“燈節”。浦江(jiang)(jiang)(jiang)(jiang)(jiang)板凳龍(long)盛行于浦江(jiang)(jiang)(jiang)(jiang)(jiang)縣(xian)(xian)鄉村，廣泛流傳于江(jiang)(jiang)(jiang)(jiang)(jiang)南(nan)沿海各地。綜觀(guan)浦江(jiang)(jiang)(jiang)(jiang)(jiang)板凳龍(long)的傳承發(fa)展，唐代為其(qi)孕育(yu)期(qi)，宋、元為其(qi)成(cheng)(cheng)熟期(qi)，明、清為其(qi)鼎盛期(qi)；中(zhong)華人民共(gong)和國(guo)成(cheng)(cheng)立后，尤其(qi)是改革開放以后，為其(qi)弘揚傳承期(qi)。

從構造上(shang)看(kan)，浦江(jiang)板凳(deng)龍(long)(long)由龍(long)(long)頭、龍(long)(long)身（子燈）、龍(long)(long)尾三部(bu)分(fen)組(zu)成，俗稱(cheng)長燈。根據龍(long)(long)頭造型，可(ke)分(fen)仰天(tian)龍(long)(long)、俯地龍(long)(long)、大蝦龍(long)(long)等類別。因凳(deng)板（龍(long)(long)身）上(shang)的設置造型不(bu)同(tong)，亦有方(fang)燈、酒壇(tan)燈、字燈等十一種不(bu)同(tong)的形態。每逢節日或重(zhong)大慶典興燈，以麥餅團、剪刀箍、甩尾巴為主要表演(yan)陣式。

浦(pu)江(jiang)板(ban)(ban)凳龍(long)(long)，顧名思義就(jiu)是一(yi)(yi)條(tiao)條(tiao)用(yong)單個板(ban)(ban)凳串聯(lian)而成的(de)(de)(de)(de)游動的(de)(de)(de)(de)龍(long)(long)燈，它(ta)讓人(ren)(ren)(ren)(ren)們(men)充分感(gan)受到廣(guang)場(chang)民(min)間舞(wu)(wu)蹈氣勢恢宏、剛(gang)強(qiang)柔美的(de)(de)(de)(de)特(te)征，在(zai)鑼聲(sheng)(sheng)、號角、銃聲(sheng)(sheng)震(zhen)天(tian)，喝(he)彩聲(sheng)(sheng)此起彼(bi)伏的(de)(de)(de)(de)氛(fen)圍中(zhong)接受和(he)領(ling)悟娛(yu)己娛(yu)人(ren)(ren)(ren)(ren)的(de)(de)(de)(de)生(sheng)活習俗和(he)敬天(tian)順人(ren)(ren)(ren)(ren)的(de)(de)(de)(de)民(min)眾信仰。一(yi)(yi)條(tiao)浦(pu)江(jiang)板(ban)(ban)凳龍(long)(long)幾乎就(jiu)是一(yi)(yi)個藝術綜合體，它(ta)集(ji)書法、繪畫、剪紙(zhi)、刻花、雕塑藝術和(he)扎制編糊(hu)工藝為(wei)一(yi)(yi)體，融體育、雜技、舞(wu)(wu)蹈為(wei)一(yi)(yi)爐(lu)。游動起來的(de)(de)(de)(de)龍(long)(long)舞(wu)(wu)兼有粗(cu)獷、細(xi)膩、奔放、嚴(yan)整的(de)(de)(de)(de)風格，通(tong)過這(zhe)種激情與哲理、娛(yu)樂(le)教化合一(yi)(yi)的(de)(de)(de)(de)舞(wu)(wu)蹈，人(ren)(ren)(ren)(ren)們(men)得到了感(gan)官(guan)和(he)心靈(ling)的(de)(de)(de)(de)雙重滿足。浦(pu)江(jiang)板(ban)(ban)凳龍(long)(long)是地道的(de)(de)(de)(de)百姓文(wen)化，廣(guang)場(chang)性(xing)、廣(guang)泛性(xing)、驚險性(xing)為(wei)其主(zhu)要特(te)征，其參加(jia)人(ren)(ren)(ren)(ren)數之(zhi)多、活動場(chang)地之(zhi)大，在(zai)同類形(xing)式中(zhong)實(shi)屬罕(han)見。

長興百葉龍

申(shen)報地區或單(dan)位：浙江(jiang)省長興縣(xian)

長興百葉龍發源并流(liu)傳于浙江省長興縣(xian)林(lin)城鎮一帶，至21世紀10年(nian)代(dai)已有一百六十多年(nian)的歷(li)史。

傳統百葉龍(long)(long)多在廟會(hui)及節(jie)慶時表演，先從(cong)“游四門”、“圓場(chang)”等隊形開(kai)始(shi)，當荷花燈聚(ju)成(cheng)圓圈(quan)、相互連接以構成(cheng)“龍(long)(long)”形時，外(wai)圈(quan)舞(wu)隊熱烈(lie)舞(wu)蹈，以遮引觀眾(zhong)視線；“龍(long)(long)”一成(cheng)形，即騰空躍起，眾(zhong)舞(wu)隊立時散開(kai)，突出百葉龍(long)(long)，形成(cheng)高潮(chao)。

百葉龍的(de)表演方(fang)式也劃分(fen)為(wei)舞(wu)臺舞(wu)、行街舞(wu)、廣場舞(wu)等(deng)不同形(xing)式，且日趨復雜，以(yi)適應不同的(de)表演場合。其(qi)主要隊(dui)形(xing)有長蛇陣(zhen)、接龍、踩四(si)門、剪刀陣(zhen)、走四(si)角等(deng)，主要動作(zuo)有游龍、滾龍、龍盤(pan)柱、騰龍、臥龍、睡龍、龍出水、龍吐須等(deng)。

百葉(xie)龍(long)(long)(long)(long)舞(wu)蹈表演時，荷(he)(he)(he)花(hua)在瞬間(jian)突變(bian)成(cheng)龍(long)(long)(long)(long)是其最顯著(zhu)的(de)(de)特點，由此(ci)將中國傳(chuan)統的(de)(de)舞(wu)龍(long)(long)(long)(long)轉化成(cheng)龍(long)(long)(long)(long)舞(wu)，通過(guo)(guo)湖水蕩漾、荷(he)(he)(he)葉(xie)擺動(dong)、荷(he)(he)(he)花(hua)盛開(kai)、彩蝶(die)撲飛、荷(he)(he)(he)花(hua)變(bian)龍(long)(long)(long)(long)、蛟龍(long)(long)(long)(long)嬉戲、龍(long)(long)(long)(long)變(bian)荷(he)(he)(he)花(hua)等動(dong)作和情(qing)節，完成(cheng)一個完整的(de)(de)舞(wu)蹈過(guo)(guo)程，展出(chu)江南(nan)水鄉的(de)(de)絕美意境。

1957年，百(bai)葉龍榮獲(huo)第二屆全國民間音樂舞蹈匯演特等獎(jiang)，由周恩(en)來總理推薦參加莫(mo)斯科“第六屆世界青年大學生聯歡(huan)節”演出，榮獲(huo)金獎(jiang)，2000年又獲(huo)“群星獎(jiang)”舞蹈大賽(sai)金獎(jiang)。

奉化布龍

申報地區或單位(wei)：浙江省奉化市

奉化布(bu)龍因起源(yuan)和(he)流布(bu)于浙江(jiang)奉化而得(de)名，是全(quan)國頗有影響的(de)代表(biao)性龍舞(wu)之一。它由敬神、請神、娛(yu)神的(de)民(min)間儀式逐漸演變成(cheng)為富有特色的(de)民(min)間舞(wu)蹈(dao)，迄(qi)今已有八百(bai)多年(nian)歷史。

舞(wu)(wu)(wu)(wu)(wu)得活、舞(wu)(wu)(wu)(wu)(wu)得圓(yuan)、神態真(zhen)、套路(lu)(lu)多(duo)、速(su)度快是奉化布龍(long)(long)(long)(long)(long)的(de)主要(yao)藝(yi)術特(te)征(zheng)。整個(ge)舞(wu)(wu)(wu)(wu)(wu)蹈(dao)由盤、滾、游(you)(you)、翻、跳、戲等基本套路(lu)(lu)和小游(you)(you)龍(long)(long)(long)(long)(long)、大游(you)(you)龍(long)(long)(long)(long)(long)、龍(long)(long)(long)(long)(long)鉆尾等過渡動(dong)(dong)作(zuo)組成，舞(wu)(wu)(wu)(wu)(wu)者動(dong)(dong)作(zuo)矯健，舞(wu)(wu)(wu)(wu)(wu)姿(zi)變化多(duo)端，技藝(yi)嫻熟。所有舞(wu)(wu)(wu)(wu)(wu)蹈(dao)動(dong)(dong)作(zuo)都(dou)在龍(long)(long)(long)(long)(long)的(de)游(you)(you)動(dong)(dong)中(zhong)進(jin)行，能做到“形變龍(long)(long)(long)(long)(long)不停(ting)，龍(long)(long)(long)(long)(long)走套路(lu)(lu)生”，“人(ren)緊(jin)龍(long)(long)(long)(long)(long)也圓(yuan)，龍(long)(long)(long)(long)(long)飛(fei)人(ren)亦舞(wu)(wu)(wu)(wu)(wu)”，造型生動(dong)(dong)，轉換巧妙，動(dong)(dong)作(zuo)間(jian)的(de)銜接(jie)和遞進(jin)十(shi)分緊(jin)湊。由于龍(long)(long)(long)(long)(long)身輕，舞(wu)(wu)(wu)(wu)(wu)動(dong)(dong)起來速(su)度快，龍(long)(long)(long)(long)(long)圈環(huan)環(huan)相扣，龍(long)(long)(long)(long)(long)身緊(jin)緊(jin)纏(chan)繞。奉化布龍(long)(long)(long)(long)(long)傳統套路(lu)(lu)多(duo)達四十(shi)余(yu)個(ge)，為一般龍(long)(long)(long)(long)(long)舞(wu)(wu)(wu)(wu)(wu)所罕見，其中(zhong)有的(de)已被(bei)用作(zuo)國家體育舞(wu)(wu)(wu)(wu)(wu)龍(long)(long)(long)(long)(long)比賽的(de)規(gui)定動(dong)(dong)作(zuo)，為大江(jiang)南北的(de)龍(long)(long)(long)(long)(long)舞(wu)(wu)(wu)(wu)(wu)所移植(zhi)。

瀘州雨壇彩龍

申報地區或單(dan)位：四川(chuan)省瀘(lu)縣

四(si)川瀘州雨(yu)壇彩龍(long)以其悠久的歷史和浪漫的龍(long)舞表演藝術被譽為“東方活龍(long)”。清光緒十(shi)八年左右，當地藝人將原有(you)的“草把龍(long)”改成(cheng)彩龍(long)，到1919年，出現(xian)了第一條雨(yu)壇彩龍(long)。自此每逢年節(jie)或(huo)婚喪嫁娶，當地百姓都要舞彩龍(long)。

雨(yu)壇(tan)彩(cai)龍(long)(long)的(de)(de)(de)表演(yan)重在一個(ge)“活”字，“人龍(long)(long)合一”。表演(yan)時舞者“動于(yu)中而(er)形于(yu)外”，“心有性(xing)情(qing)(qing)(qing)，手衍神色”，“手隨眼(yan)(yan)動，眼(yan)(yan)隨心動”。在川劇打(da)擊樂(le)的(de)(de)(de)伴奏(zou)下，龍(long)(long)與“寶”交織(zhi)纏綿，緊緊呼應(ying)，在龍(long)(long)舞中對龍(long)(long)的(de)(de)(de)個(ge)性(xing)特征、生活情(qing)(qing)(qing)態進行(xing)生動的(de)(de)(de)描(miao)摹(mo)。雨(yu)壇(tan)彩(cai)龍(long)(long)按連綿不斷的(de)(de)(de)太極圖案行(xing)進表演(yan)，套路變幻莫(mo)測，表演(yan)活潑靈動，變化多(duo)端，或脫衣，或翻滾，或嘆氣，或擦(ca)癢，極顯龍(long)(long)之性(xing)情(qing)(qing)(qing)。在此過(guo)程中，舞者與龍(long)(long)的(de)(de)(de)情(qing)(qing)(qing)感融為一體(ti)。

在漫長的(de)(de)表演(yan)實踐中(zhong)，雨壇彩龍(long)(long)(long)(long)(long)的(de)(de)傳人們(men)不斷更新、豐富表演(yan)內容，形成(cheng)了(le)完整的(de)(de)表演(yan)套路(lu)和經典的(de)(de)動作造(zao)型，如龍(long)(long)(long)(long)(long)出洞、龍(long)(long)(long)(long)(long)搶寶、龍(long)(long)(long)(long)(long)脫衣、龍(long)(long)(long)(long)(long)背(bei)劍、龍(long)(long)(long)(long)(long)嘆(tan)氣、龍(long)(long)(long)(long)(long)砌(qi)塔、龍(long)(long)(long)(long)(long)抱柱、黃龍(long)(long)(long)(long)(long)滾(gun)、倒掛金(jin)鉤、太(tai)子騎龍(long)(long)(long)(long)(long)等，最大限(xian)度地展(zhan)示(shi)了(le)人們(men)對龍(long)(long)(long)(long)(long)的(de)(de)想象。以藝(yi)人羅銀坤(kun)等羅氏兄(xiong)弟(di)為代表，構(gou)成(cheng)了(le)雨壇彩龍(long)(long)(long)(long)(long)的(de)(de)傳承人系統(tong)。在當代，這個(ge)傳人系統(tong)大大拓(tuo)展(zhan)，不僅有(you)一批青年人加入，而且重慶、銅(tong)梁、成(cheng)都等地還派人來學藝(yi)，雨壇彩龍(long)(long)(long)(long)(long)的(de)(de)流布區域由(you)此得(de)到了(le)擴(kuo)展(zhan)。

河上板龍舞

河上板(ban)龍舞(wu)是民間(jian)(jian)舞(wu)蹈形(xing)式, 是龍舞(wu)的一種, 舞(wu)蹈形(xing)象為(wei)中(zhong)華(hua)民族(zu)的圖騰———龍, 它集中(zhong)展現了蕭山民間(jian)(jian)工藝(yi)的精華(hua), 是蕭山民間(jian)(jian)文(wen)化的杰出代表。從南宋紹興二十九年 (1159) 開始(shi),至2009年已有850余年歷史。

旦場人龍舞

電白旦場(chang)鎮旦場(chang)村人(ren)(ren)(ren)(ren)龍(long)(long)起(qi)源于清朝雍正年(nian)間，至今(jin)已有(you)270多年(nian)歷史。據(ju)村里老人(ren)(ren)(ren)(ren)說，旦場(chang)村的(de)人(ren)(ren)(ren)(ren)龍(long)(long)是(shi)這樣形成的(de)：當時村人(ren)(ren)(ren)(ren)在(zai)池塘中(zhong)游泳(yong)(yong)，覺得純粹(cui)的(de)游泳(yong)(yong)已缺(que)乏(fa)趣味(wei)，于是(shi)分(fen)成兩隊人(ren)(ren)(ren)(ren)馬(ma)，舉(ju)行“戰斗”。戰斗的(de)規則是(shi)：雙方(fang)都有(you)大(da)(da)人(ren)(ren)(ren)(ren)和(he)小(xiao)(xiao)孩(hai)(hai)，大(da)(da)人(ren)(ren)(ren)(ren)站在(zai)水中(zhong)，將(jiang)小(xiao)(xiao)孩(hai)(hai)托在(zai)肩(jian)上(shang)，讓(rang)小(xiao)(xiao)孩(hai)(hai)對打(da)，前面(mian)的(de)小(xiao)(xiao)孩(hai)(hai)被打(da)到水中(zhong)之后，后面(mian)的(de)小(xiao)(xiao)孩(hai)(hai)迅速補(bu)上(shang)，繼(ji)續戰斗，直到有(you)一(yi)隊小(xiao)(xiao)孩(hai)(hai)被完全(quan)(quan)打(da)倒為止。后來(lai)人(ren)(ren)(ren)(ren)們(men)忽然想到現(xian)在(zai)這種形式的(de)人(ren)(ren)(ren)(ren)龍(long)(long)：大(da)(da)人(ren)(ren)(ren)(ren)抬著仰臥的(de)小(xiao)(xiao)孩(hai)(hai)，一(yi)個(ge)接一(yi)個(ge)，組成龍(long)(long)身(shen)，前面(mian)一(yi)個(ge)小(xiao)(xiao)孩(hai)(hai)坐立大(da)(da)人(ren)(ren)(ren)(ren)肩(jian)上(shang)宛如(ru)龍(long)(long)頭，這便(bian)是(shi)人(ren)(ren)(ren)(ren)龍(long)(long)。在(zai)重大(da)(da)節日(ri)，村民(min)便(bian)自發組織成人(ren)(ren)(ren)(ren)龍(long)(long)進行表演。人(ren)(ren)(ren)(ren)龍(long)(long)歷經200多年(nian)演變與改(gai)進，在(zai)動作、節奏、斗龍(long)(long)技巧等方(fang)面(mian)日(ri)益(yi)完善。如(ru)今(jin)，旦場(chang)村年(nian)年(nian)“人(ren)(ren)(ren)(ren)龍(long)(long)”飛舞，鑼鼓喧天(tian)，萬眾歡(huan)呼(hu)，給全(quan)(quan)村人(ren)(ren)(ren)(ren)帶來(lai)了(le)歡(huan)樂(le)與喜慶，使(shi)全(quan)(quan)村呈現(xian)出一(yi)派繁榮與祥和(he)的(de)景象(xiang)。