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基本介紹

龍(long)(long)(long)(long)(long)(long)(long)(long)舞(wu)(wu)(wu)(wu)(wu)，也稱“舞(wu)(wu)(wu)(wu)(wu)龍(long)(long)(long)(long)(long)(long)(long)(long)”，民(min)間又(you)叫“耍龍(long)(long)(long)(long)(long)(long)(long)(long)”、“耍龍(long)(long)(long)(long)(long)(long)(long)(long)燈(deng)”或“舞(wu)(wu)(wu)(wu)(wu)龍(long)(long)(long)(long)(long)(long)(long)(long)燈(deng)”，在全國各(ge)地和(he)(he)各(ge)民(min)族間廣泛分布，其(qi)(qi)形式品種(zhong)的(de)(de)(de)(de)多樣，是任何其(qi)(qi)他(ta)民(min)間舞(wu)(wu)(wu)(wu)(wu)都無法比擬(ni)的(de)(de)(de)(de)。早在商(shang)代的(de)(de)(de)(de)甲骨文(wen)(wen)(wen)中，已(yi)出現(xian)以數人(ren)集體(ti)祭龍(long)(long)(long)(long)(long)(long)(long)(long)求雨(yu)的(de)(de)(de)(de)文(wen)(wen)(wen)字；漢代董仲舒《春(chun)秋繁露》的(de)(de)(de)(de)記(ji)錄(lu)(lu)中已(yi)有明確(que)的(de)(de)(de)(de)各(ge)種(zhong)舞(wu)(wu)(wu)(wu)(wu)龍(long)(long)(long)(long)(long)(long)(long)(long)求雨(yu)的(de)(de)(de)(de)記(ji)載；此后歷朝(chao)歷代的(de)(de)(de)(de)詩文(wen)(wen)(wen)中記(ji)錄(lu)(lu)宮廷或民(min)間舞(wu)(wu)(wu)(wu)(wu)龍(long)(long)(long)(long)(long)(long)(long)(long)的(de)(de)(de)(de)文(wen)(wen)(wen)字屢見不(bu)鮮。直至(zhi)現(xian)在，龍(long)(long)(long)(long)(long)(long)(long)(long)舞(wu)(wu)(wu)(wu)(wu)仍是民(min)間喜慶節令場合普遍存(cun)在的(de)(de)(de)(de)舞(wu)(wu)(wu)(wu)(wu)蹈形式之一(yi)(yi)(yi)。龍(long)(long)(long)(long)(long)(long)(long)(long)舞(wu)(wu)(wu)(wu)(wu)最基本的(de)(de)(de)(de)表(biao)現(xian)手段是其(qi)(qi)道具造型(xing)、構(gou)圖(tu)變化和(he)(he)動作(zuo)套路(lu)。根據龍(long)(long)(long)(long)(long)(long)(long)(long)形道具的(de)(de)(de)(de)扎(zha)制材料的(de)(de)(de)(de)不(bu)同，分為(wei)布龍(long)(long)(long)(long)(long)(long)(long)(long)、紗龍(long)(long)(long)(long)(long)(long)(long)(long)、紙龍(long)(long)(long)(long)(long)(long)(long)(long)、草龍(long)(long)(long)(long)(long)(long)(long)(long)、錢(qian)龍(long)(long)(long)(long)(long)(long)(long)(long)、竹龍(long)(long)(long)(long)(long)(long)(long)(long)、棕龍(long)(long)(long)(long)(long)(long)(long)(long)、板(ban)凳龍(long)(long)(long)(long)(long)(long)(long)(long)、百葉(xie)龍(long)(long)(long)(long)(long)(long)(long)(long)、荷(he)花龍(long)(long)(long)(long)(long)(long)(long)(long)、火(huo)龍(long)(long)(long)(long)(long)(long)(long)(long)、雞毛龍(long)(long)(long)(long)(long)(long)(long)(long)、肉龍(long)(long)(long)(long)(long)(long)(long)(long)等(deng)等(deng)；北方龍(long)(long)(long)(long)(long)(long)(long)(long)舞(wu)(wu)(wu)(wu)(wu)的(de)(de)(de)(de)制作(zuo)一(yi)(yi)(yi)般(ban)高(gao)大(da)粗重，風格古樸剛(gang)勁；南方龍(long)(long)(long)(long)(long)(long)(long)(long)舞(wu)(wu)(wu)(wu)(wu)則精巧細致，活(huo)潑敏捷。龍(long)(long)(long)(long)(long)(long)(long)(long)舞(wu)(wu)(wu)(wu)(wu)從色彩上可分為(wei)黃、白(bai)、青、紅(hong)、黑等(deng)，以黃龍(long)(long)(long)(long)(long)(long)(long)(long)最為(wei)尊(zun)貴。龍(long)(long)(long)(long)(long)(long)(long)(long)舞(wu)(wu)(wu)(wu)(wu)的(de)(de)(de)(de)構(gou)圖(tu)和(he)(he)動作(zuo)一(yi)(yi)(yi)般(ban)具有“圓曲”、“翻(fan)滾”、“絞纏”、“穿插”、“竄躍”等(deng)特征。龍(long)(long)(long)(long)(long)(long)(long)(long)舞(wu)(wu)(wu)(wu)(wu)的(de)(de)(de)(de)傳統(tong)表(biao)演(yan)程序一(yi)(yi)(yi)般(ban)為(wei)：“請龍(long)(long)(long)(long)(long)(long)(long)(long)”、“出龍(long)(long)(long)(long)(long)(long)(long)(long)”、“舞(wu)(wu)(wu)(wu)(wu)龍(long)(long)(long)(long)(long)(long)(long)(long)”和(he)(he)“送(song)龍(long)(long)(long)(long)(long)(long)(long)(long)”。民(min)間有“七(qi)八歲(sui)玩(wan)草龍(long)(long)(long)(long)(long)(long)(long)(long)，十(shi)五六耍小龍(long)(long)(long)(long)(long)(long)(long)(long)，青壯年(nian)舞(wu)(wu)(wu)(wu)(wu)大(da)龍(long)(long)(long)(long)(long)(long)(long)(long)”的(de)(de)(de)(de)說法。舞(wu)(wu)(wu)(wu)(wu)龍(long)(long)(long)(long)(long)(long)(long)(long)人(ren)數少則一(yi)(yi)(yi)人(ren)舞(wu)(wu)(wu)(wu)(wu)雙龍(long)(long)(long)(long)(long)(long)(long)(long)，多則百人(ren)舞(wu)(wu)(wu)(wu)(wu)一(yi)(yi)(yi)大(da)龍(long)(long)(long)(long)(long)(long)(long)(long)。

龍(long)是(shi)中華民族的(de)圖騰和(he)信奉的(de)祖先；龍(long)舞是(shi)華夏精(jing)(jing)神的(de)象征，它體現了(le)中華民族團結(jie)合(he)力、奮(fen)發開拓的(de)精(jing)(jing)神面貌，包含了(le)天人(ren)和(he)諧、造福人(ren)類的(de)文化內涵，是(shi)中國(guo)人(ren)在吉慶(qing)和(he)祝福時節最常見(jian)的(de)娛樂方(fang)式，氣氛熱烈(lie)，催人(ren)振奮(fen)，是(shi)中華民族極為珍貴(gui)的(de)文化遺產。

舞蹈特色

龍形道具

中(zhong)國漢族民(min)間舞蹈，因舞蹈者(zhe)持傳(chuan)說中(zhong)的(de)(de)龍形道具而得名。龍的(de)(de)形象源于(yu)中(zhong)國古代圖騰，被視為(wei)民(min)族的(de)(de)象征。傳(chuan)說中(zhong)龍能行(xing)云布雨，消災降福。于(yu)2006年(nian)列入(ru)首批《國家級非物質文(wen)化遺(yi)產名錄》，編號Ⅲ-4。流傳(chuan)較為(wei)廣泛的(de)(de)有：

1.龍燈

又稱(cheng)火龍、金(jin)龍。用竹(zhu)篾(mie)和綢布(bu)扎(zha)成(cheng)龍頭(tou)、龍身（3～10節(jie)）和龍尾，彩繪龍鱗(lin)，每節(jie)龍身中都(dou)裝有燭(zhu)燈(deng)(deng)。起舞(wu)時(shi)，一(yi)人(ren)手持彩燈(deng)(deng)（象征寶珠(zhu)）在(zai)前領舞(wu)，其他多人(ren)持龍頭(tou)、龍身和龍尾下的木柄(bing)隨舞(wu)，表演“二(er)龍戲(xi)珠(zhu)”、“金(jin)龍蟠玉柱”等。龍燈(deng)(deng)多在(zai)節(jie)慶之夜舞(wu)弄，以鑼鼓(gu)、嗩吶伴(ban)奏，同時(shi)施放煙花爆竹(zhu)，蔚為壯觀熱鬧。

2.草龍

南方農民在(zai)夏歷五、六月間，用(yong)柳條、青(qing)藤、稻草等扎成龍(long)形(xing)(xing)。龍(long)身上插(cha)滿香火，傍晚以(yi)后在(zai)田間場院(yuan)舞(wu)(wu)(wu)弄，看起(qi)來(lai)星火點點、香煙(yan)繚繞。過去多在(zai)鬧(nao)蟲災或干旱時(shi)的祭祀活動中(zhong)舞(wu)(wu)(wu)弄，有驅蟲、祈雨之意。此外還有些龍(long)身不(bu)相連(lian)結的龍(long)舞(wu)(wu)(wu)，如流行于浙江一帶的百(bai)葉龍(long)，是由(you)(you)幾十盞(zhan)甚至(zhi)上百(bai)盞(zhan)荷花燈(deng)、荷葉燈(deng)、蝴蝶燈(deng)穿插(cha)串(chuan)連(lian)而成，大(da)荷花燈(deng)作龍(long)頭(tou)，蝴蝶燈(deng)當龍(long)尾，來(lai)回穿梭游(you)走。而江蘇流行一種段(duan)龍(long)，龍(long)頭(tou)、龍(long)身和龍(long)尾都由(you)(you)紅綢(chou)扎成，輕(qing)盈優美，多由(you)(you)婦女舞(wu)(wu)(wu)弄，魚(yu)貫走出許(xu)多隊形(xing)(xing)，猶(you)如一條彩虹在(zai)空中(zhong)蜿蜒(yan)。龍(long)舞(wu)(wu)(wu)是中(zhong)國傳統節(jie)日中(zhong)流行最廣的民間舞(wu)(wu)(wu)蹈，世(shi)界(jie)上華(hua)人聚居(ju)區也以(yi)龍(long)舞(wu)(wu)(wu)來(lai)表現社(she)區傳統文(wen)化(hua)。

根據龍(long)(long)(long)(long)(long)(long)形道具的(de)扎制材(cai)料(liao)的(de)不同，分(fen)為布(bu)龍(long)(long)(long)(long)(long)(long)、紗龍(long)(long)(long)(long)(long)(long)、紙龍(long)(long)(long)(long)(long)(long)、草龍(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(deng)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(deng)(deng)等(deng)(deng)；北方(fang)龍(long)(long)(long)(long)(long)(long)舞的(de)制作一(yi)般高(gao)大粗重，風格古樸剛勁；南(nan)方(fang)龍(long)(long)(long)(long)(long)(long)舞則精巧細致，活潑敏捷。龍(long)(long)(long)(long)(long)(long)舞從色(se)彩上可分(fen)為黃(huang)、白(bai)、青(qing)、紅、黑等(deng)(deng)，以黃(huang)龍(long)(long)(long)(long)(long)(long)最為尊貴。龍(long)(long)(long)(long)(long)(long)舞的(de)構圖和動(dong)作一(yi)般具有“圓曲(qu)”、“翻滾(gun)”、“絞(jiao)纏(chan)”、“穿插”、“竄躍”等(deng)(deng)特征。

表演形式

龍(long)(long)(long)(long)(long)舞(wu)的(de)表演場地是(shi)城鎮廣場，社區(qu)，區(qu)域較大(da)的(de)地方。龍(long)(long)(long)(long)(long)舞(wu)的(de)傳統(tong)表演程(cheng)序一般為：“請龍(long)(long)(long)(long)(long)”、“出龍(long)(long)(long)(long)(long)”、“舞(wu)龍(long)(long)(long)(long)(long)”和“送龍(long)(long)(long)(long)(long)”。民(min)間有“七八歲玩草龍(long)(long)(long)(long)(long)，十五六耍小(xiao)龍(long)(long)(long)(long)(long)，青壯年舞(wu)大(da)龍(long)(long)(long)(long)(long)”的(de)說法。舞(wu)龍(long)(long)(long)(long)(long)人(ren)數少則一人(ren)舞(wu)雙龍(long)(long)(long)(long)(long)，多則百人(ren)舞(wu)一大(da)龍(long)(long)(long)(long)(long)。

服飾

龍舞(wu)表演(yan)多以男性演(yan)員為主，演(yan)員的服飾是圓(yuan)領白(bai)色(se)緊身(shen)衣(yi)，上(shang)衣(yi)扣子為褐(he)色(se)，形狀似云(yun)朵狀。扣子兩(liang)邊有(you)龍狀花(hua)紋，袖口處有(you)如(ru)龍身(shen)鱗片花(hua)樣，腰間(jian)扎有(you)紅色(se)或綠色(se)綢帶。頭(tou)(tou)裹白(bai)色(se)羊(yang)肚(du)毛巾，下身(shen)穿淺(qian)黃色(se)緊腿褲，腳蹬云(yun)頭(tou)(tou)布鞋，妝容多以薄粉敷面。

音樂

龍舞在運動過(guo)(guo)程(cheng)中離(li)不開鼓點樂(le)(le)器(qi)的搭配(pei)，音(yin)樂(le)(le)在舞龍過(guo)(guo)程(cheng)中有著重要(yao)的地位，演(yan)奏(zou)(zou)風格具有民族傳統性。其旋律(lv)、節(jie)奏(zou)(zou)與火龍舞的動作(zuo)、造型畫(hua)面(mian)和諧一(yi)致(zhi)，主要(yao)以(yi)打擊(ji)樂(le)(le)的伴奏(zou)(zou)形式(shi)為主。在鼓點的襯托下，使龍舞表(biao)現(xian)生機勃勃。伴奏(zou)(zou)樂(le)(le)器(qi)多(duo)以(yi)鑼、鼓、镲(cha)等打擊(ji)樂(le)(le)為主，樂(le)(le)隊鼓點無(wu)固定模式(shi)，以(yi)舞者舞龍情緒調整節(jie)奏(zou)(zou)快慢(man)變(bian)化，屬于即興演(yan)奏(zou)(zou)。鼓點音(yin)樂(le)(le)使火龍舞表(biao)演(yan)顯(xian)得活靈活現(xian)，振奮(fen)人(ren)心。火龍舞表(biao)演(yan)時，樂(le)(le)隊由(you)四到六人(ren)組(zu)成(cheng)，每個人(ren)的職能不同(tong)，其中鼓主要(yao)敲(qiao)擊(ji)主要(yao)節(jie)奏(zou)(zou)，鑼主要(yao)敲(qiao)擊(ji)重音(yin)，镲(cha)是每拍(pai)子敲(qiao)擊(ji)一(yi)次，音(yin)樂(le)(le)在基本鼓點與曲(qu)譜下反復，直到與動作(zuo)完成(cheng)為止。

基本動作

龍(long)(long)(long)舞中(zhong)的(de)龍(long)(long)(long)，由龍(long)(long)(long)頭、龍(long)(long)(long)身(shen)和龍(long)(long)(long)尾(wei)構成(cheng)，龍(long)(long)(long)身(shen)較長，是龍(long)(long)(long)的(de)主體。在制(zhi)作這種表演(yan)的(de)龍(long)(long)(long)時，用(yong)(yong)(yong)竹(zhu)篾或者鐵(tie)絲為架子，外面抹(mo)上紙(zhi)或者是布，龍(long)(long)(long)身(shen)的(de)節與節之間，用(yong)(yong)(yong)布縫成(cheng)筒狀連接，然后彩繪(hui)其形(xing)。龍(long)(long)(long)身(shen)、龍(long)(long)(long)頭、龍(long)(long)(long)尾(wei)制(zhi)成(cheng)后，在龍(long)(long)(long)身(shen)的(de)每(mei)節中(zhong)部(bu)插置蠟梗，下(xia)部(bu)安(an)置木柄，供表演(yan)的(de)人用(yong)(yong)(yong)手抓握。

龍(long)舞(wu)(wu)在(zai)開始表(biao)演(yan)時(shi)，由(you)許多人每(mei)人各舉一(yi)節(jie)木柄(bing)，左右揮舞(wu)(wu)，使龍(long)體在(zai)空中(zhong)悠悠蠕動。一(yi)般是一(yi)手(shou)在(zai)上，一(yi)手(shou)在(zai)下，兩手(shou)相距(ju)四十厘(li)米。舞(wu)(wu)龍(long)表(biao)演(yan)者(zhe)在(zai)舞(wu)(wu)蹈(dao)過程中(zhong)，可(ke)以(yi)隨時(shi)調動雙(shuang)手(shou)之(zhi)間的(de)距(ju)離。雙(shuang)手(shou)執桿(gan)運動路線以(yi)繞(rao)八字為主(zhu)。除此以(yi)外，舞(wu)(wu)蹈(dao)過程中(zhong)常(chang)有倒(dao)把動作，主(zhu)要包括上倒(dao)把和下倒(dao)把。指揮演(yan)員的(de)執桿(gan)方(fang)法與(yu)舞(wu)(wu)龍(long)。夜晚(wan)舞(wu)(wu)龍(long)時(shi)，要點燃龍(long)體內(nei)的(de)蠟(la)燭(zhu)，輔以(yi)彩燈、蓮(lian)花(hua)燈等各式花(hua)燈，同(tong)時(shi)施(shi)放煙火、爆(bao)竹，造成一(yi)定的(de)聲勢(shi)，吸引觀(guan)眾，使龍(long)舞(wu)(wu)呈(cheng)現出不同(tong)凡響的(de)風彩來。

火(huo)龍舞的(de)基本步(bu)法(fa)主(zhu)要是(shi)跑碎步(bu)，隨著音樂(le)的(de)高潮以及舞龍的(de)幅度控制步(bu)伐(fa)(fa)。由于(yu)龍舞是(shi)由多人(ren)組成的(de)隊伍，因此(ci)要配合(he)默契，步(bu)伐(fa)(fa)統一。火(huo)龍舞運動(dong)量很大，不同(tong)的(de)動(dong)作大部(bu)分都是(shi)在跑碎步(bu)中完(wan)成的(de)。

傳承價值與現狀

對中國古典舞的影響

中國古(gu)典(dian)(dian)(dian)舞(wu)(wu)是(shi)(shi)在提(ti)煉中國戲曲舞(wu)(wu)蹈(dao)和武(wu)術的(de)基礎上，吸收中國傳統文(wen)化之精髓，并融合多種藝(yi)術形(xing)式發展演(yan)變而(er)成的(de)中國舞(wu)(wu)蹈(dao)藝(yi)術的(de)典(dian)(dian)(dian)菹，它是(shi)(shi)中華(hua)民族(zu)文(wen)化藝(yi)術的(de)結晶。從它的(de)基本動(dong)(dong)律、舞(wu)(wu)姿形(xing)態(tai)(tai)及運動(dong)(dong)軌跡來看，其(qi)體勢，總呈現為一(yi)種回旋(xuan)(xuan)狀態(tai)(tai)，回旋(xuan)(xuan)狀態(tai)(tai)即“ 圓(yuan)(yuan)(yuan)” 一(yi)— “轉(zhuan)”的(de)狀態(tai)(tai)，這種狀態(tai)(tai)是(shi)(shi)中國古(gu)典(dian)(dian)(dian)舞(wu)(wu)動(dong)(dong)律形(xing)態(tai)(tai)與身(shen)法最顯著(zhu)的(de)特(te)點，故(gu)中國古(gu)典(dian)(dian)(dian)舞(wu)(wu)被稱為“劃圓(yuan)(yuan)(yuan)的(de)藝(yi)術” 。在長(chang)期的(de)表演(yan)實踐中，中國古(gu)典(dian)(dian)(dian)舞(wu)(wu)始(shi)終(zhong)與“圓(yuan)(yuan)(yuan)” 有著(zhu)密不(bu)可分的(de)關系，即“ 萬變不(bu)離其(qi)圓(yuan)(yuan)(yuan)”，并在此(ci)基礎上形(xing)成了以"擰(ning)、傾(qing)、圓(yuan)(yuan)(yuan)、曲"為核心的(de)動(dong)(dong)律形(xing)態(tai)(tai)。

而在“ 龍(long)(long)(long)(long)舞(wu)” 表演中(zhong)，以(yi)單龍(long)(long)(long)(long)為(wei)例，龍(long)(long)(long)(long)舞(wu)開始時總是先繞場一兩周(zhou)一—圓場，勾(gou)畫出一個圓形(xing)無極圖，然(ran)后開始耍龍(long)(long)(long)(long)，舞(wu)龍(long)(long)(long)(long)隊伍的(de)(de)成員將龍(long)(long)(long)(long)頭(tou)、龍(long)(long)(long)(long)身(shen)、龍(long)(long)(long)(long)尾依次先后從上而下劃8字，形(xing)成整(zheng)個龍(long)(long)(long)(long)體的(de)(de)S 形(xing)游動，《百戲竹枝詞· 龍(long)(long)(long)(long)燈斗(dou)》詩題解(jie)說：其龍(long)(long)(long)(long)燈” 以(yi)竹蔑為(wei)之，外(wai)覆(fu)以(yi)紗，婉蜓(ting)之勢亦復可觀。“龍(long)(long)(long)(long)舞(wu)的(de)(de)運動形(xing)態非常明顯地呈現為(wei)一種循環變化、婉蜓(ting)曲折的(de)(de)形(xing)態，它的(de)(de)形(xing)態可以(yi)用一個字來概括，就是“回(hui)” 。除此之外(wai)，在中(zhong)國古典舞(wu)袖舞(wu)中(zhong)，身(shen)袖不可分，水袖借助身(shen)休的(de)(de)"擰(ning)、傾、圓、曲”和(he)住復回(hui)旋如龍(long)(long)(long)(long)的(de)(de)動勢，才能有“ 長袖以(yi)隧回(hui)"，故中(zhong)國古典舞(wu)袖舞(wu)的(de)(de)“ 身(shen)袖合一“ 體現著龍(long)(long)(long)(long)舞(wu)" 回(hui)”之意(yi)象的(de)(de)形(xing)式美。

文化價值

“ 龍舞” 作為“龍文(wen)化(hua)” 藝術的(de)(de)(de)代表．是在幾千(qian)年歷史發(fa)(fa)展(zhan)過(guo)程中，人(ren)(ren)(ren)們所創(chuang)造出來的(de)(de)(de)代表中華(hua)民(min)族(zu)、中國文(wen)化(hua)、華(hua)夏精(jing)神的(de)(de)(de)象征。“龍舞”是以一種崇(chong)高的(de)(de)(de)美和(he)神奇的(de)(de)(de)美傳(chuan)達行人(ren)(ren)(ren)們內心的(de)(de)(de)愿望和(he)希(xi)冀(ji)，表現(xian)著人(ren)(ren)(ren)們對(dui)龍圖(tu)騰、對(dui)生(sheng)命(ming)、對(dui)宇宙(zhou)的(de)(de)(de)崇(chong)拜，龍文(wen)化(hua)既體現(xian)了(le)“天人(ren)(ren)(ren)和(he)諧”的(de)(de)(de)文(wen)化(hua)內涵，也體現(xian)了(le)華(hua)夏人(ren)(ren)(ren)民(min)繼承與(yu)發(fa)(fa)揚的(de)(de)(de)民(min)族(zu)精(jing)神，是中華(hua)民(min)族(zu)優秀傳(chuan)統文(wen)化(hua)之一。

舞龍(long)是(shi)對(dui)龍(long)的(de)(de)(de)一種形象化(hua)和具(ju)體化(hua)，其表現(xian)形式(shi)受它所要表達對(dui)象的(de)(de)(de)限制，因而，舞龍(long)表演(yan)形式(shi)是(shi)隨著龍(long)形態(tai)的(de)(de)(de)發展(zhan)(zhan)而發展(zhan)(zhan)的(de)(de)(de)。如今呈(cheng)現(xian)所的(de)(de)(de)“龍(long)”，是(shi)最完美的(de)(de)(de)中國現(xian)代(dai)龍(long)的(de)(de)(de)形象，與(yu)(yu)(yu)古代(dai)龍(long)有著巨大差異。“龍(long)”的(de)(de)(de)外部(bu)形態(tai)由春秋前(qian)(qian)的(de)(de)(de)匍匐爬狀(zhuang)、結構(gou)粗(cu)糙、蛇身獸頭到戰國以后(hou)的(de)(de)(de)剛健(jian)有力、結構(gou)復雜，再(zai)到宋代(dai)以后(hou)的(de)(de)(de)蜿蜒多姿，通(tong)體華美；其氣勢(shi)(shi)上從春秋前(qian)(qian)的(de)(de)(de)粗(cu)野與(yu)(yu)(yu)狂(kuang)放、暴力與(yu)(yu)(yu)恐(kong)怖到戰國以后(hou)的(de)(de)(de)不(bu)可一世的(de)(de)(de)蓬(peng)(peng)勃之勢(shi)(shi)，再(zai)發展(zhan)(zhan)到宋以后(hou)其保留不(bu)可一世的(de)(de)(de)豪氣，退卻了原本的(de)(de)(de)剛猛。通(tong)過勞動人民(min)的(de)(de)(de)聰智才慧，“龍(long)”的(de)(de)(de)外形與(yu)(yu)(yu)神(shen)韻不(bu)斷(duan)發展(zhan)(zhan)與(yu)(yu)(yu)豐富，創造出了一條活靈活現(xian)，氣勢(shi)(shi)蓬(peng)(peng)勃的(de)(de)(de)“龍(long)”。

主要流派的價值與現狀

銅梁龍舞(wu)有與(yu)民俗(su)活(huo)動緊密相連、套路豐富(fu)、動律諧趣的(de)特(te)點，伴奏(zou)音樂獨特(te)，道具構思(si)巧妙(miao)，造型夸(kua)張，服(fu)飾儉樸大方，舞(wu)者參(can)舞(wu)自(zi)由，退舞(wu)方便，有群眾參(can)與(yu)性(xing)。

銅(tong)(tong)梁龍舞(wu)體現了團結(jie)合(he)力(li)、造福人(ren)類、奮發向上、與天(tian)和諧的精神(shen)，同時(shi)具有娛神(shen)娛人(ren)、彰顯(xian)威力(li)等社會功能。銅(tong)(tong)梁龍舞(wu)聞名(ming)于世的僅大蠕龍、火龍等少數(shu)品種(zhong)，多數(shu)龍舞(wu)品種(zhong)已處于瀕危境地，亟待保(bao)護和拯(zheng)救(jiu)。

湛江人龍舞逐(zhu)漸失去了(le)往日的吸(xi)引(yin)力(li)，處(chu)于衰落(luo)狀態(tai)，為保護民(min)間(jian)文(wen)化遺產(chan)，有必(bi)要對(dui)它進行(xing)盡快搶救和整理。

浦(pu)(pu)江(jiang)板凳龍(long)保留了(le)(le)中國尤其是浙(zhe)(zhe)中和(he)江(jiang)南(nan)沿(yan)(yan)海(hai)一帶“龍(long)信仰”的民(min)間文(wen)化傳統，融匯了(le)(le)書(shu)畫、剪紙(zhi)等民(min)間藝(yi)(yi)術(shu)的民(min)間形(xing)態(tai)，傳承(cheng)了(le)(le)群眾體育和(he)廣場舞蹈的藝(yi)(yi)術(shu)形(xing)式，具有(you)民(min)俗、歷史(shi)研究價值和(he)民(min)間工藝(yi)(yi)傳承(cheng)功能，在(zai)浦(pu)(pu)江(jiang)和(he)浙(zhe)(zhe)中及江(jiang)南(nan)沿(yan)(yan)海(hai)一帶產(chan)生了(le)(le)深遠而廣泛的影響。但時代變(bian)遷所造成的沖擊也不(bu)可避免地降(jiang)臨在(zai)浦(pu)(pu)江(jiang)板凳龍(long)身上，使(shi)它的傳承(cheng)陷入窘(jiong)境，亟待搶救與保護。

長(chang)興(xing)百葉(xie)龍作為(wei)中國漢民(min)族一(yi)種獨(du)特(te)的(de)民(min)間舞(wu)蹈，具(ju)有極高的(de)藝術價值。時(shi)代的(de)變遷給長(chang)興(xing)百葉(xie)龍的(de)有序(xu)傳(chuan)承(cheng)帶來了影響，使這一(yi)寶貴的(de)民(min)間藝術形式(shi)面臨生存危機(ji)。為(wei)保護(hu)、傳(chuan)承(cheng)百葉(xie)龍藝術，長(chang)興(xing)地方(fang)政府(fu)未雨綢繆，采(cai)取了一(yi)系列有效措施(shi)，一(yi)個(ge)保護(hu)地方(fang)文(wen)化(hua)資源、共(gong)創特(te)色(se)文(wen)化(hua)品牌的(de)良好(hao)氛圍正在(zai)形成。

奉化(hua)(hua)布龍的(de)文化(hua)(hua)價值較突出，且民(min)間流布的(de)生(sheng)態環境(jing)面(mian)臨潛在的(de)危(wei)機，故地方(fang)政(zheng)(zheng)府已將它率(lv)先(xian)列(lie)入保(bao)護范疇。1990年(nian)，奉化(hua)(hua)布龍入選《中國(guo)(guo)民(min)族民(min)間舞蹈集成（浙江(jiang)卷）》；1996年(nian)，奉化(hua)(hua)市被(bei)文化(hua)(hua)部命名為“中國(guo)(guo)民(min)間藝術之鄉”；2005年(nian)，奉化(hua)(hua)布龍被(bei)浙江(jiang)省(sheng)政(zheng)(zheng)府列(lie)入首批非物質文化(hua)(hua)遺(yi)產代表作名錄。

瀘州(zhou)雨(yu)壇彩龍的龍頭造型獨特，主(zhu)要依(yi)據瀘縣全國重點文物保(bao)護(hu)單位龍腦橋的龍頭設計，額高(gao)，嘴(zui)短，雙目(mu)突出(chu)可(ke)動，下頜開合(he)自如(ru)，形象既威武有神，又憨愚可(ke)親。龍身用(yong)竹篾扎制成骨架，分組分節，可(ke)長(chang)可(ke)短。整個龍身用(yong)竹篾扎成圈，相互串(chuan)聯，套上(shang)龍衣后靈活多變(bian)。龍尾也區別(bie)于(yu)一般的火炬尾、蛇形尾，呈鰱魚狀，極富情趣。時下，雨(yu)壇彩龍同樣面(mian)臨新時代的挑戰，急需建(jian)立保(bao)護(hu)和傳承機(ji)制。

傳承保護措施

1.加強政府的主導作用

面(mian)(mian)對市場化經(jing)濟的(de)(de)不(bu)斷發展, 在龍(long)(long)(long)舞(wu)這一民(min)間傳統體(ti)育(yu)項目的(de)(de)保(bao)護過程中, 當地政府(fu)(fu)的(de)(de)主(zhu)導作(zuo)用這一角色是不(bu)容質(zhi)疑的(de)(de)。政府(fu)(fu)方面(mian)(mian)需(xu)要用銳利(li)的(de)(de)眼(yan)光深(shen)入(ru)挖掘龍(long)(long)(long)舞(wu)這一民(min)間傳統體(ti)育(yu)項目, 做好(hao)龍(long)(long)(long)舞(wu)的(de)(de)保(bao)護工(gong)作(zuo)，在政府(fu)(fu)的(de)(de)主(zhu)導下，成立(li)專業的(de)(de)龍(long)(long)(long)舞(wu)表演和(he)比賽隊伍，將舞(wu)龍(long)(long)(long)工(gong)作(zuo)升級(ji)為職業化，以舞(wu)龍(long)(long)(long)為生(sheng)。應該注(zhu)意并處理好(hao)文(wen)化保(bao)護和(he)經(jing)濟開發兩方面(mian)(mian)的(de)(de)關系, 避免龍(long)(long)(long)經(jing)濟吞(tun)食龍(long)(long)(long)文(wen)化的(de)(de)悲劇發生(sheng)。

2.提高民眾參與的積極性、融入社區活動

龍(long)(long)舞(wu)是發(fa)源于民間、成長于民間的傳統體育項(xiang)目, 保(bao)護和(he)發(fa)展龍(long)(long)舞(wu)也(ye)理應充(chong)分結合(he)民間特色，充(chong)分與大(da)眾(zhong)生活相結合(he)；也(ye)理應注重調(diao)動大(da)眾(zhong)參與的積極性, 以(yi)擴大(da)其民間影(ying)響力。

3.推動火龍燈舞走入校園

教育作為(wei)(wei)民(min)族文(wen)(wen)化傳(chuan)承(cheng)的(de)(de)重要途徑(jing), 在培養(yang)民(min)族文(wen)(wen)化認(ren)同感(gan)中(zhong)具有關鍵性(xing)的(de)(de)作用，當(dang)代青(qing)少年是(shi)民(min)族優(you)秀(xiu)文(wen)(wen)化的(de)(de)繼承(cheng)者(zhe)、傳(chuan)播者(zhe)和創(chuang)造者(zhe), 也是(shi)中(zhong)國特色社會(hui)主(zhu)義的(de)(de)建(jian)設者(zhe)，中(zhong)華民(min)族偉大復(fu)興的(de)(de)擔當(dang)者(zhe)。將“龍舞”推廣(guang)進入當(dang)地學(xue)校，通過組(zu)建(jian)校園表演隊的(de)(de)方式，參與(yu)校內外各種(zhong)文(wen)(wen)化節日活動，借鑒以學(xue)校為(wei)(wei)主(zhu)體，以古鎮為(wei)(wei)中(zhong)心(xin)，輻射(she)四周地域為(wei)(wei)方向的(de)(de)重要載體, 擴大龍文(wen)(wen)化影(ying)響力。

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)(min)間特(te)(te)色(se)(se)的(de)非物質文(wen)(wen)化(hua)遺產(chan)保護(hu)之一的(de)龍舞(wu)，要以其自身的(de)文(wen)(wen)化(hua)特(te)(te)色(se)(se)不斷加(jia)強與不同(tong)(tong)地域、不同(tong)(tong)文(wen)(wen)化(hua)類(lei)型、不同(tong)(tong)民(min)(min)間活動之間的(de)文(wen)(wen)化(hua)交(jiao)流與合作,吸收借鑒不同(tong)(tong)文(wen)(wen)化(hua)的(de)精(jing)髓，促進文(wen)(wen)化(hua)的(de)交(jiao)融與渲染(ran)同(tong)(tong)時也要擴大火龍燈舞(wu)的(de)社會影響和(he)文(wen)(wen)化(hua)吸引力。深(shen)入挖掘龍舞(wu)的(de)民(min)(min)間藝(yi)術文(wen)(wen)化(hua)特(te)(te)色(se)(se), 并利(li)用現(xian)代化(hua)的(de)舞(wu)臺(tai)藝(yi)術包裝手(shou)段, 讓民(min)(min)間藝(yi)術充分走(zou)上(shang)現(xian)代舞(wu)臺(tai)，走(zou)進民(min)(min)眾的(de)生活。

主要流派

銅梁龍舞

申報地(di)區或單位：重慶市

銅梁(liang)龍舞系流傳于(yu)重慶市(shi)銅梁(liang)縣境內的一(yi)種以龍為主(zhu)要道(dao)具的舞蹈藝術(shu)形式。它興起于(yu)明，鼎(ding)盛于(yu)清，在當代重放異彩，飲譽(yu)全(quan)球。

銅(tong)梁龍(long)(long)(long)舞(wu)(wu)(wu)(wu)包括龍(long)(long)(long)燈舞(wu)(wu)(wu)(wu)和彩燈舞(wu)(wu)(wu)(wu)兩大系(xi)列。龍(long)(long)(long)燈舞(wu)(wu)(wu)(wu)主要包括大蠕龍(long)(long)(long)、火龍(long)(long)(long)、稻草龍(long)(long)(long)、筍殼龍(long)(long)(long)、黃荊龍(long)(long)(long)、板凳龍(long)(long)(long)、正龍(long)(long)(long)、小彩龍(long)(long)(long)、竹梆(bang)龍(long)(long)(long)、荷花龍(long)(long)(long)十(shi)個(ge)品(pin)種，其中以大蠕龍(long)(long)(long)最(zui)有特色(se)。彩燈舞(wu)(wu)(wu)(wu)主要包括魚(yu)躍龍(long)(long)(long)門、泥鰍吃湯圓(yuan)、三條、十(shi)八學士、亮獅(shi)(shi)、開山虎、蚌殼精、犀牛望月、豬啃(ken)南瓜、高臺(tai)龍(long)(long)(long)獅(shi)(shi)舞(wu)(wu)(wu)(wu)、雁塔題(ti)名、南瓜棚十(shi)二個(ge)品(pin)種。

湛江人龍舞

申報地(di)區或單位：廣東省湛(zhan)江市(shi)

廣(guang)東(dong)(dong)省(sheng)東(dong)(dong)海島東(dong)(dong)山(shan)鎮(zhen)東(dong)(dong)山(shan)圩村的(de)(de)(de)人(ren)(ren)龍舞(wu)(wu)素有“東(dong)(dong)方一(yi)絕”的(de)(de)(de)美(mei)稱(cheng)。表(biao)演時，幾十至數百名青壯(zhuang)年和(he)少年均穿短褲，以人(ren)(ren)體相接(jie)，組成(cheng)一(yi)條“長龍”。在鑼鼓震天、號(hao)角(jiao)齊鳴中(zhong)，“長龍”龍頭(tou)高(gao)昂，龍身翻騰，龍尾勁擺，一(yi)如蛟龍出海，排(pai)山(shan)倒海，勢不可擋，顯(xian)現出獨(du)特的(de)(de)(de)海島色彩和(he)濃厚的(de)(de)(de)鄉土(tu)氣息，是東(dong)(dong)海島乃(nai)至雷州半島經(jing)久不衰(shuai)的(de)(de)(de)民間風(feng)俗(su)和(he)大型廣(guang)場娛樂活動的(de)(de)(de)重要組成(cheng)部分。每逢春(chun)節(jie)、元(yuan)宵、中(zhong)秋佳節(jie)和(he)一(yi)些重大喜(xi)慶(qing)節(jie)日，東(dong)(dong)山(shan)圩村必(bi)連舞(wu)(wu)幾個(ge)晚上“人(ren)(ren)龍”，東(dong)(dong)西兩街戶戶張(zhang)燈(deng)結彩，家家傾(qing)巢而出，人(ren)(ren)流如潮，熱鬧非凡。

據藝人(ren)(ren)傳(chuan)說(shuo)，人(ren)(ren)龍(long)(long)(long)(long)(long)(long)舞(wu)(wu)大約始于(yu)(yu)明(ming)末，被清(qing)軍(jun)打敗的(de)明(ming)軍(jun)撤(che)退到雷州(zhou)半島和(he)東海(hai)島，適逢(feng)中(zhong)秋(qiu)，地(di)方(fang)百(bai)姓(xing)為鼓舞(wu)(wu)明(ming)軍(jun)士氣，編排了(le)這個舞(wu)(wu)蹈(dao)。此(ci)后人(ren)(ren)龍(long)(long)(long)(long)(long)(long)舞(wu)(wu)便在(zai)這里流傳(chuan)開來，至清(qing)乾嘉時(shi)達于(yu)(yu)鼎(ding)盛。人(ren)(ren)龍(long)(long)(long)(long)(long)(long)舞(wu)(wu)是東海(hai)島特殊社會歷(li)史因素與地(di)域自(zi)(zi)然條件的(de)產(chan)物，它將古(gu)海(hai)島群眾娛(yu)龍(long)(long)(long)(long)(long)(long)、敬龍(long)(long)(long)(long)(long)(long)、祭海(hai)、尊祖、奉神(shen)等多(duo)(duo)種風俗融入“人(ren)(ren)龍(long)(long)(long)(long)(long)(long)”之中(zhong)，形(xing)成了(le)自(zi)(zi)創一(yi)體、獨具(ju)(ju)一(yi)格的(de)龍(long)(long)(long)(long)(long)(long)舞(wu)(wu)表(biao)演形(xing)式和(he)“人(ren)(ren)龍(long)(long)(long)(long)(long)(long)”精神(shen)。湛江(jiang)人(ren)(ren)龍(long)(long)(long)(long)(long)(long)舞(wu)(wu)有(you)起龍(long)(long)(long)(long)(long)(long)、龍(long)(long)(long)(long)(long)(long)點(dian)頭、龍(long)(long)(long)(long)(long)(long)穿云、龍(long)(long)(long)(long)(long)(long)卷浪等獨具(ju)(ju)特色的(de)表(biao)演程(cheng)式，表(biao)演者練就了(le)快速托(tuo)人(ren)(ren)上肩的(de)穩健動(dong)作和(he)步法，隊形(xing)流暢多(duo)(duo)變，動(dong)作一(yi)氣呵(he)成，遠望(wang)動(dong)感十足，近觀粗獷雄壯(zhuang)，成為中(zhong)華龍(long)(long)(long)(long)(long)(long)文(wen)化延(yan)伸與發展的(de)重要組(zu)成部分。

汕尾滾地金龍

申報地區(qu)或單位：廣東省汕尾市

根(gen)據廣東(dong)(dong)省汕尾(wei)市南(nan)(nan)溪(xi)村(cun)老人黃(huang)天樞藏書中的(de)記載和部分知情者的(de)敘述(shu)，“滾地金(jin)(jin)龍(long)(long)”始(shi)創于南(nan)(nan)宋，明嘉靖(jing)年間，黃(huang)氏(shi)光昭公一支(zhi)從福建漳州移居廣東(dong)(dong)陸(lu)豐(feng)南(nan)(nan)溪(xi)村(cun)，帶來(lai)《滾地金(jin)(jin)龍(long)(long)演史傳(chuan)》的(de)傳(chuan)本。黃(huang)氏(shi)南(nan)(nan)溪(xi)“滾地金(jin)(jin)龍(long)(long)”繁衍(yan)了十七代(dai)。后來(lai)由該(gai)村(cun)的(de)金(jin)(jin)龍(long)(long)藝(yi)師(shi)、傳(chuan)統(tong)武術師(shi)傳(chuan)到(dao)陸(lu)豐(feng)潭西鎮深溝村(cun)，大安鎮的(de)安博、下(xia)安聯、頂潭、安塘村(cun)，西南(nan)(nan)鎮的(de)兩軍(jun)、下(xia)村(cun)，陸(lu)豐(feng)城東(dong)(dong)鎮的(de)上神(shen)山村(cun)等地。

南(nan)溪村“滾(gun)地金龍(long)”表(biao)演時，由二人(ren)鉆(zhan)入“龍(long)身被套(tao)”，一人(ren)舞(wu)(wu)(wu)(wu)龍(long)頭，一人(ren)舞(wu)(wu)(wu)(wu)龍(long)尾。整個(ge)表(biao)演過程(cheng)分為“開(kai)(kai)場(chang)見禮(li)(li)”、“打圍巡洞”、“游潭戲水”、“抻筋洗鱗”、“伏蟄聞雷(lei)”、“迎雷(lei)起舞(wu)(wu)(wu)(wu)”、“駕云飛(fei)騰”、“收場(chang)還禮(li)(li)”八個(ge)舞(wu)(wu)(wu)(wu)段，表(biao)演中(zhong)模仿的龍(long)旋舞(wu)(wu)(wu)(wu)飛(fei)騰、戲水嬉耍、沉思(si)奮(fen)(fen)醒、柔靜(jing)盤曲(qu)、勇猛奮(fen)(fen)進等動作。伴奏用威武雄(xiong)壯、嘹亮開(kai)(kai)闊的海陸豐(feng)正(zheng)字戲的“牌(pai)子大(da)鑼鼓(gu)”，大(da)嗩吶按不同(tong)的表(biao)演情節吹奏不同(tong)的曲(qu)調，有【宮娥怨】、【哭皇(huang)天】、【山坡羊】、【八板頭】等曲(qu)牌(pai)。表(biao)情豐(feng)富、套(tao)路眾多、舞(wu)(wu)(wu)(wu)段精彩、技藝(yi)兼善是(shi)這個(ge)舞(wu)(wu)(wu)(wu)蹈的基本特點。

1996年，南(nan)溪村被(bei)廣東省(sheng)文化廳授予“民(min)族(zu)民(min)間藝術之(zhi)鄉”稱號，滾地金龍被(bei)編入《中(zhong)國舞(wu)蹈志》，并在(zai)國家和(he)省(sheng)級地區的(de)重(zhong)大活動中(zhong)多次(ci)獲獎。

浦江板凳龍

申(shen)報地區或單位：浙江省(sheng)浦江縣

浦(pu)(pu)(pu)(pu)(pu)(pu)江縣(xian)位于浙江中部偏西，金(jin)華市北(bei)部。據浦(pu)(pu)(pu)(pu)(pu)(pu)江白馬鎮夏張村(cun)(cun)張姓族(zu)譜載，自唐朝(chao)始，“龍騰燈(deng)舞鬧(nao)元宵(xiao)”便成了浦(pu)(pu)(pu)(pu)(pu)(pu)江民(min)間的習俗，浦(pu)(pu)(pu)(pu)(pu)(pu)江縣(xian)志中稱之為“燈(deng)節”。浦(pu)(pu)(pu)(pu)(pu)(pu)江板凳龍盛行(xing)于浦(pu)(pu)(pu)(pu)(pu)(pu)江縣(xian)鄉村(cun)(cun)，廣泛流傳于江南沿海各(ge)地。綜觀浦(pu)(pu)(pu)(pu)(pu)(pu)江板凳龍的傳承發(fa)展，唐代為其孕(yun)育期，宋、元為其成熟期，明(ming)、清(qing)為其鼎盛期；中華人(ren)民(min)共和國成立(li)后(hou)，尤其是改革開(kai)放以后(hou)，為其弘揚傳承期。

從構造(zao)(zao)上(shang)看(kan)，浦江(jiang)板凳(deng)龍(long)(long)由龍(long)(long)頭(tou)、龍(long)(long)身（子燈(deng)）、龍(long)(long)尾三部分組成(cheng)，俗稱長燈(deng)。根(gen)據龍(long)(long)頭(tou)造(zao)(zao)型，可(ke)分仰天龍(long)(long)、俯地龍(long)(long)、大(da)蝦龍(long)(long)等類(lei)別(bie)。因(yin)凳(deng)板（龍(long)(long)身）上(shang)的(de)設置(zhi)造(zao)(zao)型不同(tong)，亦有方燈(deng)、酒壇燈(deng)、字燈(deng)等十一種不同(tong)的(de)形態。每逢節日(ri)或(huo)重大(da)慶典興燈(deng)，以麥餅(bing)團、剪刀箍、甩尾巴為主要表演陣式。

浦江板(ban)(ban)凳龍，顧名思義(yi)就是(shi)一(yi)條條用單個(ge)板(ban)(ban)凳串聯而成的(de)(de)(de)游動(dong)的(de)(de)(de)龍燈，它讓人們充(chong)分感受到廣場(chang)民(min)間舞蹈氣(qi)勢(shi)恢(hui)宏(hong)、剛強(qiang)柔美的(de)(de)(de)特征，在(zai)鑼(luo)聲(sheng)、號角、銃聲(sheng)震天，喝彩聲(sheng)此起彼伏的(de)(de)(de)氛圍中接受和領悟娛(yu)己娛(yu)人的(de)(de)(de)生活習(xi)俗和敬天順(shun)人的(de)(de)(de)民(min)眾信仰。一(yi)條浦江板(ban)(ban)凳龍幾(ji)乎就是(shi)一(yi)個(ge)藝術(shu)綜(zong)合(he)體(ti)，它集書法、繪畫、剪紙、刻花、雕(diao)塑藝術(shu)和扎制編糊工藝為一(yi)體(ti)，融體(ti)育、雜技、舞蹈為一(yi)爐。游動(dong)起來的(de)(de)(de)龍舞兼有粗(cu)獷(guang)、細膩(ni)、奔(ben)放、嚴(yan)整的(de)(de)(de)風格，通(tong)過這種激情與哲理(li)、娛(yu)樂教化合(he)一(yi)的(de)(de)(de)舞蹈，人們得到了(le)感官(guan)和心靈的(de)(de)(de)雙(shuang)重(zhong)滿足。浦江板(ban)(ban)凳龍是(shi)地道的(de)(de)(de)百姓(xing)文化，廣場(chang)性(xing)、廣泛性(xing)、驚險性(xing)為其主要特征，其參加人數之多、活動(dong)場(chang)地之大，在(zai)同類形式中實屬罕見。

長興百葉龍

申報地區或單位：浙江省長(chang)興縣(xian)

長興百葉龍(long)發源(yuan)并流傳(chuan)于浙江省長興縣林(lin)城鎮(zhen)一(yi)帶，至21世紀(ji)10年(nian)代(dai)已有一(yi)百六十多年(nian)的歷史。

傳統(tong)百葉龍(long)多(duo)在廟(miao)會及(ji)節慶時表演(yan)，先從“游四(si)門”、“圓場(chang)”等隊形(xing)開(kai)始，當荷花燈聚成(cheng)圓圈、相互連接(jie)以構(gou)成(cheng)“龍(long)”形(xing)時，外圈舞(wu)(wu)隊熱烈舞(wu)(wu)蹈，以遮引觀眾視(shi)線(xian)；“龍(long)”一成(cheng)形(xing)，即騰空躍(yue)起，眾舞(wu)(wu)隊立時散開(kai)，突出(chu)百葉龍(long)，形(xing)成(cheng)高潮。

百葉龍(long)的表演(yan)(yan)方式(shi)也劃分為舞(wu)(wu)臺舞(wu)(wu)、行(xing)街舞(wu)(wu)、廣場(chang)(chang)舞(wu)(wu)等不同形式(shi)，且日趨復雜，以適應(ying)不同的表演(yan)(yan)場(chang)(chang)合。其主要(yao)隊形有(you)長蛇陣、接龍(long)、踩四(si)門、剪刀陣、走四(si)角等，主要(yao)動作(zuo)有(you)游龍(long)、滾龍(long)、龍(long)盤(pan)柱、騰龍(long)、臥龍(long)、睡龍(long)、龍(long)出水、龍(long)吐須(xu)等。

百(bai)葉(xie)龍(long)(long)舞(wu)蹈表演時，荷(he)(he)(he)花在瞬間突(tu)變(bian)成龍(long)(long)是其(qi)最顯著的(de)(de)特點，由此將中國傳統的(de)(de)舞(wu)龍(long)(long)轉(zhuan)化成龍(long)(long)舞(wu)，通過湖(hu)水(shui)蕩(dang)漾、荷(he)(he)(he)葉(xie)擺(bai)動、荷(he)(he)(he)花盛開、彩(cai)蝶撲飛、荷(he)(he)(he)花變(bian)龍(long)(long)、蛟(jiao)龍(long)(long)嬉戲、龍(long)(long)變(bian)荷(he)(he)(he)花等(deng)動作(zuo)和情節，完成一(yi)個(ge)完整的(de)(de)舞(wu)蹈過程，展出江(jiang)南水(shui)鄉的(de)(de)絕美(mei)意境。

1957年(nian)，百葉(xie)龍(long)榮(rong)(rong)獲第(di)二屆全國民間音樂舞(wu)蹈匯演(yan)(yan)特等獎(jiang)(jiang)，由(you)周恩來總(zong)理推薦參加莫斯科“第(di)六屆世界(jie)青(qing)年(nian)大學生聯歡節”演(yan)(yan)出(chu)，榮(rong)(rong)獲金獎(jiang)(jiang)，2000年(nian)又(you)獲“群星獎(jiang)(jiang)”舞(wu)蹈大賽(sai)金獎(jiang)(jiang)。

奉化布龍

申(shen)報地(di)區或(huo)單(dan)位：浙江省奉化市

奉(feng)化布龍因起源和流布于(yu)浙江(jiang)奉(feng)化而得名，是全國頗有影(ying)響的代表(biao)性龍舞(wu)之一(yi)。它(ta)由敬神、請神、娛神的民間儀(yi)式逐漸(jian)演變(bian)成為(wei)富(fu)有特(te)色(se)的民間舞(wu)蹈，迄今已有八百多(duo)年歷史。

舞(wu)(wu)得活、舞(wu)(wu)得圓、神態(tai)真(zhen)、套路(lu)(lu)多、速(su)度快(kuai)是奉化(hua)布龍(long)(long)(long)(long)(long)(long)(long)的(de)主要(yao)藝術特征。整個舞(wu)(wu)蹈由(you)盤、滾、游、翻、跳、戲等(deng)基本套路(lu)(lu)和小(xiao)游龍(long)(long)(long)(long)(long)(long)(long)、大(da)游龍(long)(long)(long)(long)(long)(long)(long)、龍(long)(long)(long)(long)(long)(long)(long)鉆(zhan)尾(wei)等(deng)過渡動(dong)作(zuo)(zuo)(zuo)組成，舞(wu)(wu)者動(dong)作(zuo)(zuo)(zuo)矯(jiao)健(jian)，舞(wu)(wu)姿(zi)變化(hua)多端(duan)，技藝嫻熟(shu)。所有舞(wu)(wu)蹈動(dong)作(zuo)(zuo)(zuo)都在龍(long)(long)(long)(long)(long)(long)(long)的(de)游動(dong)中進(jin)行，能做到“形變龍(long)(long)(long)(long)(long)(long)(long)不停，龍(long)(long)(long)(long)(long)(long)(long)走套路(lu)(lu)生”，“人緊(jin)龍(long)(long)(long)(long)(long)(long)(long)也圓，龍(long)(long)(long)(long)(long)(long)(long)飛(fei)人亦舞(wu)(wu)”，造(zao)型生動(dong)，轉換巧妙，動(dong)作(zuo)(zuo)(zuo)間的(de)銜接和遞進(jin)十(shi)分緊(jin)湊。由(you)于龍(long)(long)(long)(long)(long)(long)(long)身輕，舞(wu)(wu)動(dong)起來速(su)度快(kuai)，龍(long)(long)(long)(long)(long)(long)(long)圈(quan)環環相扣(kou)，龍(long)(long)(long)(long)(long)(long)(long)身緊(jin)緊(jin)纏繞。奉化(hua)布龍(long)(long)(long)(long)(long)(long)(long)傳統套路(lu)(lu)多達四(si)十(shi)余(yu)個，為(wei)一般龍(long)(long)(long)(long)(long)(long)(long)舞(wu)(wu)所罕見，其中有的(de)已(yi)被用作(zuo)(zuo)(zuo)國家(jia)體育舞(wu)(wu)龍(long)(long)(long)(long)(long)(long)(long)比賽(sai)的(de)規定動(dong)作(zuo)(zuo)(zuo)，為(wei)大(da)江(jiang)南北(bei)的(de)龍(long)(long)(long)(long)(long)(long)(long)舞(wu)(wu)所移植(zhi)。

瀘州雨壇彩龍

申報地(di)區(qu)或單位：四川省瀘縣(xian)

四川瀘(lu)州雨(yu)壇彩(cai)(cai)龍以其悠久的歷(li)史和浪漫的龍舞表演藝術(shu)被(bei)譽為“東(dong)方活(huo)龍”。清光緒十八年(nian)左右，當地藝人將(jiang)原有的“草把龍”改(gai)成彩(cai)(cai)龍，到1919年(nian)，出現了(le)第一條雨(yu)壇彩(cai)(cai)龍。自此每(mei)逢(feng)年(nian)節或婚喪嫁娶(qu)，當地百姓都要(yao)舞彩(cai)(cai)龍。

雨壇(tan)彩(cai)龍(long)(long)(long)(long)的(de)(de)(de)表演(yan)重(zhong)在一個(ge)“活(huo)”字，“人龍(long)(long)(long)(long)合一”。表演(yan)時(shi)舞(wu)(wu)者“動(dong)(dong)(dong)于中(zhong)而形于外”，“心(xin)有性情，手(shou)衍神色”，“手(shou)隨眼動(dong)(dong)(dong)，眼隨心(xin)動(dong)(dong)(dong)”。在川劇打擊樂的(de)(de)(de)伴奏下(xia)，龍(long)(long)(long)(long)與“寶”交織纏綿，緊(jin)緊(jin)呼應，在龍(long)(long)(long)(long)舞(wu)(wu)中(zhong)對龍(long)(long)(long)(long)的(de)(de)(de)個(ge)性特征、生(sheng)活(huo)情態進行生(sheng)動(dong)(dong)(dong)的(de)(de)(de)描(miao)摹。雨壇(tan)彩(cai)龍(long)(long)(long)(long)按連綿不斷的(de)(de)(de)太極(ji)圖案(an)行進表演(yan)，套路變幻莫測(ce)，表演(yan)活(huo)潑靈動(dong)(dong)(dong)，變化多端，或(huo)脫(tuo)衣，或(huo)翻滾(gun)，或(huo)嘆氣，或(huo)擦癢(yang)，極(ji)顯龍(long)(long)(long)(long)之性情。在此過程(cheng)中(zhong)，舞(wu)(wu)者與龍(long)(long)(long)(long)的(de)(de)(de)情感融為一體。

在(zai)漫長的(de)表演(yan)實(shi)踐中(zhong)，雨(yu)壇彩龍(long)(long)(long)的(de)傳(chuan)人(ren)們不斷更新、豐富表演(yan)內容，形(xing)成了(le)(le)完整(zheng)的(de)表演(yan)套路(lu)和(he)經(jing)典的(de)動(dong)作(zuo)造型，如(ru)龍(long)(long)(long)出洞、龍(long)(long)(long)搶寶、龍(long)(long)(long)脫衣、龍(long)(long)(long)背劍、龍(long)(long)(long)嘆氣、龍(long)(long)(long)砌塔、龍(long)(long)(long)抱柱、黃龍(long)(long)(long)滾(gun)、倒掛金鉤(gou)、太子騎龍(long)(long)(long)等，最大(da)限度地展(zhan)(zhan)示了(le)(le)人(ren)們對(dui)龍(long)(long)(long)的(de)想象。以藝人(ren)羅(luo)銀坤等羅(luo)氏兄弟為(wei)代(dai)表，構成了(le)(le)雨(yu)壇彩龍(long)(long)(long)的(de)傳(chuan)承人(ren)系統。在(zai)當代(dai)，這(zhe)個(ge)傳(chuan)人(ren)系統大(da)大(da)拓展(zhan)(zhan)，不僅有一批青年(nian)人(ren)加入，而且重慶、銅梁、成都等地還派人(ren)來學(xue)藝，雨(yu)壇彩龍(long)(long)(long)的(de)流布區(qu)域由(you)此得到了(le)(le)擴展(zhan)(zhan)。

河上板龍舞

河(he)上板龍(long)舞是(shi)民(min)間舞蹈形式, 是(shi)龍(long)舞的一種(zhong), 舞蹈形象(xiang)為中(zhong)(zhong)華民(min)族的圖騰(teng)———龍(long), 它集中(zhong)(zhong)展現了(le)蕭山民(min)間工藝的精華, 是(shi)蕭山民(min)間文化(hua)的杰出(chu)代(dai)表。從(cong)南宋紹(shao)興(xing)二(er)十九年 (1159) 開始,至2009年已有850余(yu)年歷(li)史。

旦場人龍舞

電白旦(dan)場鎮旦(dan)場村(cun)(cun)人(ren)(ren)(ren)(ren)龍(long)(long)起源于清朝雍正(zheng)年(nian)(nian)間，至今(jin)已有(you)270多年(nian)(nian)歷(li)史。據村(cun)(cun)里老(lao)人(ren)(ren)(ren)(ren)說，旦(dan)場村(cun)(cun)的(de)(de)人(ren)(ren)(ren)(ren)龍(long)(long)是(shi)(shi)這樣形(xing)成(cheng)(cheng)(cheng)的(de)(de)：當(dang)時村(cun)(cun)人(ren)(ren)(ren)(ren)在(zai)池塘中游泳，覺得(de)純粹的(de)(de)游泳已缺乏趣味(wei)，于是(shi)(shi)分成(cheng)(cheng)(cheng)兩隊(dui)人(ren)(ren)(ren)(ren)馬，舉行(xing)(xing)“戰(zhan)斗(dou)”。戰(zhan)斗(dou)的(de)(de)規則是(shi)(shi)：雙(shuang)方都有(you)大(da)人(ren)(ren)(ren)(ren)和小(xiao)(xiao)孩(hai)(hai)，大(da)人(ren)(ren)(ren)(ren)站(zhan)在(zai)水中，將(jiang)小(xiao)(xiao)孩(hai)(hai)托在(zai)肩(jian)上(shang)，讓小(xiao)(xiao)孩(hai)(hai)對打(da)(da)，前(qian)(qian)面(mian)的(de)(de)小(xiao)(xiao)孩(hai)(hai)被打(da)(da)到(dao)水中之后(hou)，后(hou)面(mian)的(de)(de)小(xiao)(xiao)孩(hai)(hai)迅速補上(shang)，繼續戰(zhan)斗(dou)，直(zhi)到(dao)有(you)一(yi)隊(dui)小(xiao)(xiao)孩(hai)(hai)被完全(quan)打(da)(da)倒為止(zhi)。后(hou)來人(ren)(ren)(ren)(ren)們忽然想到(dao)現在(zai)這種形(xing)式的(de)(de)人(ren)(ren)(ren)(ren)龍(long)(long)：大(da)人(ren)(ren)(ren)(ren)抬著(zhu)仰臥(wo)的(de)(de)小(xiao)(xiao)孩(hai)(hai)，一(yi)個(ge)接一(yi)個(ge)，組成(cheng)(cheng)(cheng)龍(long)(long)身，前(qian)(qian)面(mian)一(yi)個(ge)小(xiao)(xiao)孩(hai)(hai)坐(zuo)立大(da)人(ren)(ren)(ren)(ren)肩(jian)上(shang)宛如(ru)龍(long)(long)頭，這便(bian)是(shi)(shi)人(ren)(ren)(ren)(ren)龍(long)(long)。在(zai)重大(da)節日，村(cun)(cun)民(min)便(bian)自發(fa)組織成(cheng)(cheng)(cheng)人(ren)(ren)(ren)(ren)龍(long)(long)進行(xing)(xing)表演。人(ren)(ren)(ren)(ren)龍(long)(long)歷(li)經200多年(nian)(nian)演變與(yu)改進，在(zai)動作(zuo)、節奏、斗(dou)龍(long)(long)技巧等方面(mian)日益完善(shan)。如(ru)今(jin)，旦(dan)場村(cun)(cun)年(nian)(nian)年(nian)(nian)“人(ren)(ren)(ren)(ren)龍(long)(long)”飛(fei)舞，鑼鼓(gu)喧(xuan)天，萬眾歡呼，給全(quan)村(cun)(cun)人(ren)(ren)(ren)(ren)帶來了歡樂與(yu)喜慶，使全(quan)村(cun)(cun)呈現出一(yi)派繁榮與(yu)祥(xiang)和的(de)(de)景象。

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