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基本介紹

龍(long)(long)(long)(long)(long)(long)(long)舞(wu)(wu)(wu)，也稱“舞(wu)(wu)(wu)龍(long)(long)(long)(long)(long)(long)(long)”，民(min)(min)間又叫“耍龍(long)(long)(long)(long)(long)(long)(long)”、“耍龍(long)(long)(long)(long)(long)(long)(long)燈”或“舞(wu)(wu)(wu)龍(long)(long)(long)(long)(long)(long)(long)燈”，在(zai)(zai)(zai)(zai)全國各地和(he)各民(min)(min)族間廣泛分(fen)布，其(qi)(qi)形(xing)式(shi)品種的(de)(de)(de)(de)(de)(de)多樣，是(shi)(shi)任何其(qi)(qi)他民(min)(min)間舞(wu)(wu)(wu)都無法(fa)比(bi)擬(ni)的(de)(de)(de)(de)(de)(de)。早(zao)在(zai)(zai)(zai)(zai)商(shang)代(dai)(dai)的(de)(de)(de)(de)(de)(de)甲骨(gu)文(wen)中，已出(chu)現以數人(ren)集體祭龍(long)(long)(long)(long)(long)(long)(long)求雨(yu)(yu)的(de)(de)(de)(de)(de)(de)文(wen)字(zi)(zi)；漢代(dai)(dai)董仲舒《春(chun)秋繁露》的(de)(de)(de)(de)(de)(de)記(ji)(ji)錄(lu)(lu)中已有(you)明確(que)的(de)(de)(de)(de)(de)(de)各種舞(wu)(wu)(wu)龍(long)(long)(long)(long)(long)(long)(long)求雨(yu)(yu)的(de)(de)(de)(de)(de)(de)記(ji)(ji)載(zai)；此后歷朝歷代(dai)(dai)的(de)(de)(de)(de)(de)(de)詩文(wen)中記(ji)(ji)錄(lu)(lu)宮廷或民(min)(min)間舞(wu)(wu)(wu)龍(long)(long)(long)(long)(long)(long)(long)的(de)(de)(de)(de)(de)(de)文(wen)字(zi)(zi)屢(lv)見不鮮(xian)。直(zhi)至現在(zai)(zai)(zai)(zai)，龍(long)(long)(long)(long)(long)(long)(long)舞(wu)(wu)(wu)仍是(shi)(shi)民(min)(min)間喜慶節令(ling)場(chang)合普遍存在(zai)(zai)(zai)(zai)的(de)(de)(de)(de)(de)(de)舞(wu)(wu)(wu)蹈(dao)形(xing)式(shi)之一(yi)(yi)。龍(long)(long)(long)(long)(long)(long)(long)舞(wu)(wu)(wu)最基本的(de)(de)(de)(de)(de)(de)表現手段是(shi)(shi)其(qi)(qi)道(dao)具造型、構圖(tu)變化和(he)動作(zuo)套路(lu)。根據龍(long)(long)(long)(long)(long)(long)(long)形(xing)道(dao)具的(de)(de)(de)(de)(de)(de)扎制材(cai)料的(de)(de)(de)(de)(de)(de)不同，分(fen)為布龍(long)(long)(long)(long)(long)(long)(long)、紗(sha)龍(long)(long)(long)(long)(long)(long)(long)、紙龍(long)(long)(long)(long)(long)(long)(long)、草(cao)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(xie)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)等等；北方龍(long)(long)(long)(long)(long)(long)(long)舞(wu)(wu)(wu)的(de)(de)(de)(de)(de)(de)制作(zuo)一(yi)(yi)般高大粗重，風格古樸剛(gang)勁(jing)；南方龍(long)(long)(long)(long)(long)(long)(long)舞(wu)(wu)(wu)則(ze)精巧細致，活潑敏捷。龍(long)(long)(long)(long)(long)(long)(long)舞(wu)(wu)(wu)從色(se)彩上可分(fen)為黃、白、青、紅、黑(hei)等，以黃龍(long)(long)(long)(long)(long)(long)(long)最為尊貴。龍(long)(long)(long)(long)(long)(long)(long)舞(wu)(wu)(wu)的(de)(de)(de)(de)(de)(de)構圖(tu)和(he)動作(zuo)一(yi)(yi)般具有(you)“圓曲(qu)”、“翻滾”、“絞纏(chan)”、“穿插”、“竄躍”等特征。龍(long)(long)(long)(long)(long)(long)(long)舞(wu)(wu)(wu)的(de)(de)(de)(de)(de)(de)傳統表演(yan)程序(xu)一(yi)(yi)般為：“請龍(long)(long)(long)(long)(long)(long)(long)”、“出(chu)龍(long)(long)(long)(long)(long)(long)(long)”、“舞(wu)(wu)(wu)龍(long)(long)(long)(long)(long)(long)(long)”和(he)“送龍(long)(long)(long)(long)(long)(long)(long)”。民(min)(min)間有(you)“七八歲玩草(cao)龍(long)(long)(long)(long)(long)(long)(long)，十五六耍小龍(long)(long)(long)(long)(long)(long)(long)，青壯年舞(wu)(wu)(wu)大龍(long)(long)(long)(long)(long)(long)(long)”的(de)(de)(de)(de)(de)(de)說法(fa)。舞(wu)(wu)(wu)龍(long)(long)(long)(long)(long)(long)(long)人(ren)數少則(ze)一(yi)(yi)人(ren)舞(wu)(wu)(wu)雙龍(long)(long)(long)(long)(long)(long)(long)，多則(ze)百人(ren)舞(wu)(wu)(wu)一(yi)(yi)大龍(long)(long)(long)(long)(long)(long)(long)。

龍是(shi)中華民(min)族(zu)的(de)圖(tu)騰和信奉(feng)的(de)祖先；龍舞是(shi)華夏精神的(de)象征(zheng)，它(ta)體現(xian)了中華民(min)族(zu)團結合力、奮發(fa)開拓的(de)精神面貌，包含了天人和諧、造(zao)福人類的(de)文化(hua)內涵，是(shi)中國人在(zai)吉慶和祝福時節最常見的(de)娛樂方式(shi)，氣氛熱烈，催人振(zhen)奮，是(shi)中華民(min)族(zu)極為珍貴(gui)的(de)文化(hua)遺產。

舞蹈特色

龍形道具

中(zhong)國漢族民間舞蹈(dao)(dao)，因(yin)舞蹈(dao)(dao)者持(chi)傳說中(zhong)的(de)龍(long)形(xing)道具而得(de)名。龍(long)的(de)形(xing)象(xiang)源于中(zhong)國古代圖(tu)騰，被視(shi)為民族的(de)象(xiang)征。傳說中(zhong)龍(long)能行云布(bu)雨，消(xiao)災降福。于2006年列入首(shou)批《國家級非物質文(wen)化遺產名錄》，編號Ⅲ-4。流(liu)傳較為廣泛的(de)有：

1.龍燈

又稱火龍(long)、金龍(long)。用(yong)竹篾和綢布扎成龍(long)頭、龍(long)身(shen)（3～10節(jie)(jie)）和龍(long)尾，彩(cai)繪龍(long)鱗(lin)，每節(jie)(jie)龍(long)身(shen)中都裝有燭燈。起舞時(shi)，一人手持彩(cai)燈（象征寶珠）在前領舞，其他(ta)多人持龍(long)頭、龍(long)身(shen)和龍(long)尾下的(de)木柄隨舞，表(biao)演“二龍(long)戲(xi)珠”、“金龍(long)蟠(pan)玉(yu)柱”等。龍(long)燈多在節(jie)(jie)慶之夜舞弄，以鑼鼓、嗩吶伴奏，同時(shi)施放煙花爆竹，蔚為(wei)壯觀熱鬧。

2.草龍

南方(fang)農(nong)民在夏歷五(wu)、六月間(jian)(jian)，用柳條(tiao)、青藤、稻草等扎成龍(long)形(xing)。龍(long)身(shen)上插滿香(xiang)火，傍晚(wan)以后在田間(jian)(jian)場院舞(wu)(wu)(wu)弄(nong)，看起來(lai)(lai)星火點(dian)點(dian)、香(xiang)煙繚繞(rao)。過去多在鬧蟲災或干旱時的祭祀活動中(zhong)舞(wu)(wu)(wu)弄(nong)，有(you)驅蟲、祈(qi)雨(yu)之意。此(ci)外還(huan)有(you)些龍(long)身(shen)不相連結的龍(long)舞(wu)(wu)(wu)，如(ru)流行(xing)(xing)于(yu)浙江一(yi)帶的百(bai)(bai)葉龍(long)，是由幾十盞甚至上百(bai)(bai)盞荷(he)(he)花燈(deng)(deng)、荷(he)(he)葉燈(deng)(deng)、蝴蝶燈(deng)(deng)穿插串連而(er)(er)成，大荷(he)(he)花燈(deng)(deng)作龍(long)頭，蝴蝶燈(deng)(deng)當龍(long)尾，來(lai)(lai)回穿梭游(you)走。而(er)(er)江蘇流行(xing)(xing)一(yi)種段龍(long)，龍(long)頭、龍(long)身(shen)和龍(long)尾都由紅綢扎成，輕盈優美，多由婦女(nv)舞(wu)(wu)(wu)弄(nong)，魚貫走出許多隊(dui)形(xing)，猶如(ru)一(yi)條(tiao)彩(cai)虹(hong)在空中(zhong)蜿蜒。龍(long)舞(wu)(wu)(wu)是中(zhong)國傳(chuan)統(tong)節(jie)日(ri)中(zhong)流行(xing)(xing)最廣的民間(jian)(jian)舞(wu)(wu)(wu)蹈，世界上華人聚居區也以龍(long)舞(wu)(wu)(wu)來(lai)(lai)表現社區傳(chuan)統(tong)文(wen)化。

根據龍(long)形道具(ju)的扎(zha)制材料的不(bu)同，分(fen)為布龍(long)、紗龍(long)、紙龍(long)、草龍(long)、錢龍(long)、竹龍(long)、棕龍(long)、板凳龍(long)、百葉龍(long)、荷(he)花龍(long)、火龍(long)、雞毛龍(long)、肉龍(long)等(deng)等(deng)；北方龍(long)舞的制作(zuo)一般高(gao)大(da)粗(cu)重，風格古樸剛(gang)勁；南方龍(long)舞則精(jing)巧細致，活潑敏捷。龍(long)舞從色(se)彩上可(ke)分(fen)為黃(huang)、白、青、紅、黑(hei)等(deng)，以(yi)黃(huang)龍(long)最(zui)為尊(zun)貴。龍(long)舞的構圖(tu)和動作(zuo)一般具(ju)有“圓曲”、“翻滾”、“絞纏(chan)”、“穿插”、“竄躍”等(deng)特(te)征。

表演形式

龍(long)(long)(long)舞的表(biao)演場地是城鎮廣場，社區，區域(yu)較大的地方。龍(long)(long)(long)舞的傳統(tong)表(biao)演程序一般為：“請(qing)龍(long)(long)(long)”、“出(chu)龍(long)(long)(long)”、“舞龍(long)(long)(long)”和“送(song)龍(long)(long)(long)”。民間(jian)有(you)“七八歲玩草(cao)龍(long)(long)(long)，十五六(liu)耍小龍(long)(long)(long)，青壯年舞大龍(long)(long)(long)”的說法。舞龍(long)(long)(long)人數(shu)少則(ze)一人舞雙(shuang)龍(long)(long)(long)，多則(ze)百人舞一大龍(long)(long)(long)。

服飾

龍舞(wu)表演多以(yi)男性演員為主，演員的服飾(shi)是圓領白色緊(jin)身(shen)(shen)衣(yi)，上衣(yi)扣子為褐色，形狀(zhuang)似云朵(duo)狀(zhuang)。扣子兩邊有(you)龍狀(zhuang)花紋，袖口處有(you)如龍身(shen)(shen)鱗片花樣(yang)，腰間扎有(you)紅(hong)色或(huo)綠色綢帶。頭裹白色羊肚(du)毛巾，下身(shen)(shen)穿淺(qian)黃色緊(jin)腿褲，腳蹬云頭布鞋，妝(zhuang)容(rong)多以(yi)薄粉敷面。

音樂

龍(long)舞(wu)(wu)(wu)在運動(dong)過(guo)程中離不開鼓(gu)(gu)(gu)(gu)點(dian)(dian)樂(le)(le)器的(de)搭配，音(yin)樂(le)(le)在舞(wu)(wu)(wu)龍(long)過(guo)程中有著重(zhong)要(yao)的(de)地(di)位，演(yan)(yan)奏風格(ge)具有民族傳統性。其(qi)旋律、節(jie)奏與(yu)火(huo)龍(long)舞(wu)(wu)(wu)的(de)動(dong)作(zuo)、造型畫面和諧(xie)一致，主(zhu)要(yao)以打(da)擊樂(le)(le)的(de)伴奏形式(shi)為(wei)(wei)主(zhu)。在鼓(gu)(gu)(gu)(gu)點(dian)(dian)的(de)襯(chen)托(tuo)下(xia)，使龍(long)舞(wu)(wu)(wu)表現(xian)生機勃(bo)勃(bo)。伴奏樂(le)(le)器多以鑼、鼓(gu)(gu)(gu)(gu)、镲等打(da)擊樂(le)(le)為(wei)(wei)主(zhu)，樂(le)(le)隊鼓(gu)(gu)(gu)(gu)點(dian)(dian)無(wu)固定(ding)模式(shi)，以舞(wu)(wu)(wu)者舞(wu)(wu)(wu)龍(long)情(qing)緒調整節(jie)奏快慢變化，屬于即興(xing)演(yan)(yan)奏。鼓(gu)(gu)(gu)(gu)點(dian)(dian)音(yin)樂(le)(le)使火(huo)龍(long)舞(wu)(wu)(wu)表演(yan)(yan)顯得活靈(ling)活現(xian)，振奮(fen)人心。火(huo)龍(long)舞(wu)(wu)(wu)表演(yan)(yan)時，樂(le)(le)隊由四到六(liu)人組(zu)成(cheng)，每個人的(de)職能不同，其(qi)中鼓(gu)(gu)(gu)(gu)主(zhu)要(yao)敲(qiao)擊主(zhu)要(yao)節(jie)奏，鑼主(zhu)要(yao)敲(qiao)擊重(zhong)音(yin)，镲是每拍子敲(qiao)擊一次，音(yin)樂(le)(le)在基本(ben)鼓(gu)(gu)(gu)(gu)點(dian)(dian)與(yu)曲譜下(xia)反復，直(zhi)到與(yu)動(dong)作(zuo)完(wan)成(cheng)為(wei)(wei)止(zhi)。

基本動作

龍(long)(long)(long)舞中(zhong)的龍(long)(long)(long)，由龍(long)(long)(long)頭、龍(long)(long)(long)身(shen)(shen)和龍(long)(long)(long)尾構成，龍(long)(long)(long)身(shen)(shen)較長，是龍(long)(long)(long)的主(zhu)體。在制(zhi)作這種(zhong)表(biao)演的龍(long)(long)(long)時，用(yong)竹(zhu)篾或者鐵絲為架子，外面抹上紙或者是布(bu)(bu)，龍(long)(long)(long)身(shen)(shen)的節(jie)與(yu)節(jie)之(zhi)間，用(yong)布(bu)(bu)縫成筒(tong)狀連(lian)接，然后(hou)彩繪其形。龍(long)(long)(long)身(shen)(shen)、龍(long)(long)(long)頭、龍(long)(long)(long)尾制(zhi)成后(hou)，在龍(long)(long)(long)身(shen)(shen)的每節(jie)中(zhong)部插置蠟梗，下部安置木(mu)柄(bing)，供(gong)表(biao)演的人(ren)用(yong)手抓握。

龍(long)(long)舞(wu)(wu)在開始表演時(shi)，由許多(duo)人每人各舉一(yi)(yi)節(jie)木柄，左右(you)揮(hui)舞(wu)(wu)，使龍(long)(long)體在空中(zhong)悠悠蠕動。一(yi)(yi)般是一(yi)(yi)手(shou)(shou)在上，一(yi)(yi)手(shou)(shou)在下(xia)，兩手(shou)(shou)相距四十厘米(mi)。舞(wu)(wu)龍(long)(long)表演者(zhe)在舞(wu)(wu)蹈過程中(zhong)，可(ke)以(yi)隨(sui)時(shi)調動雙(shuang)手(shou)(shou)之間(jian)的距離(li)。雙(shuang)手(shou)(shou)執桿(gan)運動路(lu)線以(yi)繞八字為主(zhu)。除此(ci)以(yi)外，舞(wu)(wu)蹈過程中(zhong)常有(you)倒(dao)把(ba)動作，主(zhu)要(yao)包括上倒(dao)把(ba)和(he)下(xia)倒(dao)把(ba)。指揮(hui)演員(yuan)的執桿(gan)方法與(yu)舞(wu)(wu)龍(long)(long)。夜晚舞(wu)(wu)龍(long)(long)時(shi)，要(yao)點燃龍(long)(long)體內的蠟燭，輔以(yi)彩(cai)(cai)燈(deng)、蓮(lian)花燈(deng)等各式花燈(deng)，同時(shi)施放煙火、爆竹，造(zao)成一(yi)(yi)定的聲勢，吸引(yin)觀眾，使龍(long)(long)舞(wu)(wu)呈現(xian)出不同凡響的風(feng)彩(cai)(cai)來。

火(huo)龍(long)(long)舞的基本步(bu)法主要(yao)是跑碎(sui)步(bu)，隨著音(yin)樂的高潮以及舞龍(long)(long)的幅度控制步(bu)伐。由(you)(you)于龍(long)(long)舞是由(you)(you)多人組成的隊(dui)伍(wu)，因此要(yao)配合(he)默契，步(bu)伐統一。火(huo)龍(long)(long)舞運動量很大，不同的動作大部分(fen)都是在跑碎(sui)步(bu)中完成的。

傳承價值與現狀

對中國古典舞的影響

中國(guo)古(gu)典(dian)(dian)舞(wu)(wu)是在(zai)(zai)提煉中國(guo)戲曲舞(wu)(wu)蹈和(he)武術(shu)的(de)(de)基礎(chu)上(shang)，吸收中國(guo)傳(chuan)統文化之精髓，并(bing)(bing)融(rong)合多種藝(yi)術(shu)形(xing)式發展演變而成的(de)(de)中國(guo)舞(wu)(wu)蹈藝(yi)術(shu)的(de)(de)典(dian)(dian)菹，它是中華民族文化藝(yi)術(shu)的(de)(de)結晶(jing)。從它的(de)(de)基本動(dong)律、舞(wu)(wu)姿形(xing)態及運動(dong)軌(gui)跡來看(kan)，其體勢，總呈(cheng)現為(wei)一(yi)種回旋(xuan)狀(zhuang)態，回旋(xuan)狀(zhuang)態即(ji)“ 圓(yuan)” 一(yi)— “轉”的(de)(de)狀(zhuang)態，這種狀(zhuang)態是中國(guo)古(gu)典(dian)(dian)舞(wu)(wu)動(dong)律形(xing)態與身法最顯著(zhu)的(de)(de)特點，故中國(guo)古(gu)典(dian)(dian)舞(wu)(wu)被稱為(wei)“劃圓(yuan)的(de)(de)藝(yi)術(shu)” 。在(zai)(zai)長期(qi)的(de)(de)表(biao)演實踐中，中國(guo)古(gu)典(dian)(dian)舞(wu)(wu)始終(zhong)與“圓(yuan)” 有(you)著(zhu)密(mi)不可分的(de)(de)關(guan)系，即(ji)“ 萬(wan)變不離其圓(yuan)”，并(bing)(bing)在(zai)(zai)此基礎(chu)上(shang)形(xing)成了以"擰、傾、圓(yuan)、曲"為(wei)核心的(de)(de)動(dong)律形(xing)態。

而在(zai)“ 龍(long)(long)(long)舞” 表(biao)演中(zhong)，以(yi)單龍(long)(long)(long)為(wei)例，龍(long)(long)(long)舞開(kai)始時總(zong)是(shi)先繞場(chang)一(yi)兩周一(yi)—圓場(chang)，勾畫出一(yi)個圓形(xing)(xing)無極圖(tu)，然后(hou)開(kai)始耍(shua)龍(long)(long)(long)，舞龍(long)(long)(long)隊(dui)伍的(de)成員將龍(long)(long)(long)頭、龍(long)(long)(long)身(shen)(shen)(shen)、龍(long)(long)(long)尾依(yi)次先后(hou)從上而下劃(hua)8字，形(xing)(xing)成整個龍(long)(long)(long)體的(de)S 形(xing)(xing)游動(dong)(dong)，《百戲(xi)竹枝(zhi)詞· 龍(long)(long)(long)燈斗》詩題解(jie)說：其龍(long)(long)(long)燈” 以(yi)竹蔑為(wei)之，外(wai)覆(fu)以(yi)紗，婉(wan)蜓(ting)之勢(shi)亦復可觀。“龍(long)(long)(long)舞的(de)運動(dong)(dong)形(xing)(xing)態非常明(ming)顯地呈現為(wei)一(yi)種循環變化、婉(wan)蜓(ting)曲折的(de)形(xing)(xing)態，它(ta)的(de)形(xing)(xing)態可以(yi)用一(yi)個字來概括，就是(shi)“回” 。除(chu)此之外(wai)，在(zai)中(zhong)國古典(dian)舞袖(xiu)舞中(zhong)，身(shen)(shen)(shen)袖(xiu)不可分，水袖(xiu)借助(zhu)身(shen)(shen)(shen)休(xiu)的(de)"擰、傾、圓、曲”和住復回旋如龍(long)(long)(long)的(de)動(dong)(dong)勢(shi)，才能有“ 長袖(xiu)以(yi)隧回"，故中(zhong)國古典(dian)舞袖(xiu)舞的(de)“ 身(shen)(shen)(shen)袖(xiu)合一(yi)“ 體現著龍(long)(long)(long)舞" 回”之意象(xiang)的(de)形(xing)(xing)式美。

文化價值

“ 龍(long)舞” 作為(wei)“龍(long)文(wen)(wen)化” 藝術的(de)(de)代(dai)表(biao)．是在幾千年歷(li)史發展(zhan)過程中(zhong)(zhong)，人們所(suo)創(chuang)造出來(lai)的(de)(de)代(dai)表(biao)中(zhong)(zhong)華民(min)族、中(zhong)(zhong)國文(wen)(wen)化、華夏(xia)精神(shen)的(de)(de)象征。“龍(long)舞”是以一(yi)(yi)種(zhong)崇高的(de)(de)美和神(shen)奇的(de)(de)美傳達行(xing)人們內心的(de)(de)愿望和希冀(ji)，表(biao)現著(zhu)人們對(dui)龍(long)圖(tu)騰、對(dui)生(sheng)命、對(dui)宇宙(zhou)的(de)(de)崇拜，龍(long)文(wen)(wen)化既體(ti)現了“天人和諧”的(de)(de)文(wen)(wen)化內涵(han)，也體(ti)現了華夏(xia)人民(min)繼承與發揚(yang)的(de)(de)民(min)族精神(shen)，是中(zhong)(zhong)華民(min)族優秀傳統文(wen)(wen)化之一(yi)(yi)。

舞龍(long)(long)(long)是對龍(long)(long)(long)的(de)(de)(de)一(yi)種形(xing)(xing)象化和具體化，其表(biao)(biao)現(xian)形(xing)(xing)式(shi)受它所要表(biao)(biao)達對象的(de)(de)(de)限制，因而(er)，舞龍(long)(long)(long)表(biao)(biao)演形(xing)(xing)式(shi)是隨(sui)著龍(long)(long)(long)形(xing)(xing)態的(de)(de)(de)發展(zhan)而(er)發展(zhan)的(de)(de)(de)。如(ru)今呈現(xian)所的(de)(de)(de)“龍(long)(long)(long)”，是最(zui)完美(mei)的(de)(de)(de)中(zhong)國現(xian)代(dai)龍(long)(long)(long)的(de)(de)(de)形(xing)(xing)象，與(yu)古代(dai)龍(long)(long)(long)有(you)著巨大差(cha)異(yi)。“龍(long)(long)(long)”的(de)(de)(de)外(wai)部形(xing)(xing)態由春秋(qiu)前(qian)的(de)(de)(de)匍匐爬狀、結(jie)構粗糙、蛇身獸頭到(dao)戰國以(yi)后(hou)的(de)(de)(de)剛健有(you)力、結(jie)構復雜，再到(dao)宋(song)代(dai)以(yi)后(hou)的(de)(de)(de)蜿(wan)蜒多(duo)姿，通體華美(mei)；其氣(qi)(qi)勢(shi)上(shang)從春秋(qiu)前(qian)的(de)(de)(de)粗野(ye)與(yu)狂放、暴力與(yu)恐怖(bu)到(dao)戰國以(yi)后(hou)的(de)(de)(de)不(bu)可一(yi)世(shi)的(de)(de)(de)蓬勃(bo)之勢(shi)，再發展(zhan)到(dao)宋(song)以(yi)后(hou)其保留不(bu)可一(yi)世(shi)的(de)(de)(de)豪氣(qi)(qi)，退(tui)卻了原本的(de)(de)(de)剛猛。通過勞動人民的(de)(de)(de)聰智才慧，“龍(long)(long)(long)”的(de)(de)(de)外(wai)形(xing)(xing)與(yu)神韻不(bu)斷發展(zhan)與(yu)豐富，創造出了一(yi)條活(huo)靈(ling)活(huo)現(xian)，氣(qi)(qi)勢(shi)蓬勃(bo)的(de)(de)(de)“龍(long)(long)(long)”。

主要流派的價值與現狀

銅梁龍舞(wu)(wu)有(you)與民俗活動緊(jin)密相連(lian)、套路(lu)豐富(fu)、動律諧趣的特(te)點，伴奏音樂獨特(te)，道具(ju)構思(si)巧妙，造型夸張，服(fu)飾(shi)儉樸大方，舞(wu)(wu)者參(can)舞(wu)(wu)自由，退(tui)舞(wu)(wu)方便(bian)，有(you)群眾參(can)與性(xing)。

銅(tong)梁龍(long)舞(wu)體現(xian)了團結合力、造福人(ren)(ren)類、奮(fen)發向上、與(yu)天和(he)諧的(de)(de)精(jing)神(shen)，同時具有娛神(shen)娛人(ren)(ren)、彰顯(xian)威(wei)力等社(she)會功能。銅(tong)梁龍(long)舞(wu)聞名于世的(de)(de)僅大蠕龍(long)、火龍(long)等少數品(pin)種(zhong)，多數龍(long)舞(wu)品(pin)種(zhong)已處(chu)于瀕危境地，亟待保護(hu)和(he)拯(zheng)救(jiu)。

湛江(jiang)人龍舞(wu)逐漸失去了往(wang)日的吸(xi)引力，處于衰(shuai)落狀(zhuang)態，為保(bao)護民間文(wen)化遺產，有(you)必要對它進行盡快搶(qiang)救和整(zheng)理。

浦(pu)(pu)江板凳龍保(bao)留了中國尤其(qi)是浙中和(he)江南沿海(hai)一(yi)帶(dai)“龍信仰”的(de)民間文化(hua)傳(chuan)統，融匯了書畫、剪紙等民間藝(yi)術的(de)民間形態(tai)，傳(chuan)承(cheng)了群眾體育和(he)廣(guang)場舞蹈(dao)的(de)藝(yi)術形式，具有民俗、歷(li)史研究價值和(he)民間工藝(yi)傳(chuan)承(cheng)功能，在浦(pu)(pu)江和(he)浙中及江南沿海(hai)一(yi)帶(dai)產(chan)生了深遠而廣(guang)泛的(de)影響(xiang)。但(dan)時代變遷(qian)所造(zao)成(cheng)的(de)沖(chong)擊也不可避免地降(jiang)臨在浦(pu)(pu)江板凳龍身上，使它的(de)傳(chuan)承(cheng)陷入窘境，亟待(dai)搶救(jiu)與保(bao)護。

長(chang)興百葉龍(long)作(zuo)為(wei)中國漢民族一種獨特的(de)(de)民間舞蹈，具有極高的(de)(de)藝(yi)術價值(zhi)。時代的(de)(de)變遷給長(chang)興百葉龍(long)的(de)(de)有序傳承帶來(lai)了(le)影響，使這一寶(bao)貴的(de)(de)民間藝(yi)術形(xing)式面(mian)臨生存危機(ji)。為(wei)保(bao)護(hu)(hu)、傳承百葉龍(long)藝(yi)術，長(chang)興地方政府未雨綢(chou)繆，采取了(le)一系列有效措施，一個保(bao)護(hu)(hu)地方文化資(zi)源、共創特色文化品(pin)牌的(de)(de)良好氛圍正在形(xing)成。

奉化布(bu)(bu)龍(long)的文(wen)化價(jia)值較突出，且民間流布(bu)(bu)的生(sheng)態環境面(mian)臨潛在的危機(ji)，故地方政(zheng)府(fu)已將它率先列入(ru)保護范(fan)疇。1990年，奉化布(bu)(bu)龍(long)入(ru)選《中(zhong)國(guo)民族民間舞蹈集成（浙江(jiang)(jiang)卷）》；1996年，奉化市被(bei)文(wen)化部(bu)命名為“中(zhong)國(guo)民間藝術之鄉”；2005年，奉化布(bu)(bu)龍(long)被(bei)浙江(jiang)(jiang)省政(zheng)府(fu)列入(ru)首批非(fei)物質文(wen)化遺(yi)產代表作名錄。

瀘(lu)州(zhou)雨(yu)壇彩(cai)龍(long)的龍(long)頭造(zao)型獨(du)特，主要依據瀘(lu)縣全(quan)國重點文(wen)物保護單位龍(long)腦橋(qiao)的龍(long)頭設(she)計，額高，嘴短，雙目(mu)突出可動，下(xia)頜開(kai)合自如，形(xing)象既(ji)威(wei)武(wu)有(you)神，又憨愚可親。龍(long)身(shen)用竹(zhu)篾扎制(zhi)成骨架，分組分節，可長可短。整個龍(long)身(shen)用竹(zhu)篾扎成圈，相互串(chuan)聯，套上龍(long)衣后靈活多變。龍(long)尾(wei)(wei)也區別于(yu)一(yi)般(ban)的火炬尾(wei)(wei)、蛇形(xing)尾(wei)(wei)，呈鰱魚狀，極富情趣。時下(xia)，雨(yu)壇彩(cai)龍(long)同樣面臨新時代的挑戰，急需建立保護和傳(chuan)承機制(zhi)。

傳承保護措施

1.加強政府的主導作用

面對(dui)市場(chang)化(hua)(hua)(hua)經濟(ji)的(de)(de)(de)不斷發(fa)展, 在龍(long)舞這(zhe)(zhe)一(yi)民間傳統(tong)體育項(xiang)目(mu)的(de)(de)(de)保護過程中, 當地政(zheng)(zheng)府的(de)(de)(de)主導(dao)作用這(zhe)(zhe)一(yi)角色是不容質疑的(de)(de)(de)。政(zheng)(zheng)府方面需(xu)要用銳利的(de)(de)(de)眼(yan)光(guang)深入挖掘龍(long)舞這(zhe)(zhe)一(yi)民間傳統(tong)體育項(xiang)目(mu), 做(zuo)好(hao)(hao)龍(long)舞的(de)(de)(de)保護工作，在政(zheng)(zheng)府的(de)(de)(de)主導(dao)下，成立專業的(de)(de)(de)龍(long)舞表演和(he)比賽隊伍，將舞龍(long)工作升(sheng)級為職(zhi)業化(hua)(hua)(hua)，以舞龍(long)為生。應(ying)該(gai)注意并處(chu)理(li)好(hao)(hao)文化(hua)(hua)(hua)保護和(he)經濟(ji)開發(fa)兩(liang)方面的(de)(de)(de)關系, 避免(mian)龍(long)經濟(ji)吞食龍(long)文化(hua)(hua)(hua)的(de)(de)(de)悲劇發(fa)生。

2.提高民眾參與的積極性、融入社區活動

龍舞是發源于民間(jian)、成長于民間(jian)的傳(chuan)統體育項目, 保護和(he)發展龍舞也理(li)應充(chong)分(fen)結合(he)(he)民間(jian)特(te)色，充(chong)分(fen)與(yu)大眾生活相結合(he)(he)；也理(li)應注重調動(dong)大眾參與(yu)的積(ji)極性, 以擴大其民間(jian)影(ying)響力。

3.推動火龍燈舞走入校園

教育(yu)作為民(min)族文(wen)(wen)化(hua)(hua)傳承的重(zhong)要途徑(jing), 在培養(yang)民(min)族文(wen)(wen)化(hua)(hua)認(ren)同感中具(ju)有關鍵(jian)性的作用(yong)，當代青(qing)少(shao)年是民(min)族優秀文(wen)(wen)化(hua)(hua)的繼承者(zhe)(zhe)、傳播者(zhe)(zhe)和(he)創(chuang)造者(zhe)(zhe), 也是中國特色(se)社會(hui)主(zhu)(zhu)義的建設者(zhe)(zhe)，中華民(min)族偉大(da)復興的擔當者(zhe)(zhe)。將“龍舞”推(tui)廣進入當地(di)學校(xiao)，通(tong)過(guo)組建校(xiao)園表演隊的方式，參(can)與校(xiao)內外各種文(wen)(wen)化(hua)(hua)節日活(huo)動，借鑒以學校(xiao)為主(zhu)(zhu)體(ti)，以古鎮為中心，輻(fu)射四周地(di)域為方向的重(zhong)要載體(ti), 擴大(da)龍文(wen)(wen)化(hua)(hua)影響力。

4.做好關于火龍燈舞文化的宣傳和對外交流工作

作為(wei)民(min)(min)(min)間(jian)特(te)色的非物質文(wen)化(hua)遺產保(bao)護之(zhi)一的龍(long)舞(wu)，要以其自(zi)身的文(wen)化(hua)特(te)色不(bu)(bu)斷加強與不(bu)(bu)同(tong)地域、不(bu)(bu)同(tong)文(wen)化(hua)類型、不(bu)(bu)同(tong)民(min)(min)(min)間(jian)活(huo)動之(zhi)間(jian)的文(wen)化(hua)交流(liu)與合作,吸收(shou)借(jie)鑒不(bu)(bu)同(tong)文(wen)化(hua)的精(jing)髓，促進文(wen)化(hua)的交融與渲染同(tong)時也要擴大(da)火龍(long)燈舞(wu)的社(she)會影響和文(wen)化(hua)吸引力。深入挖掘(jue)龍(long)舞(wu)的民(min)(min)(min)間(jian)藝(yi)術文(wen)化(hua)特(te)色, 并利(li)用現(xian)代化(hua)的舞(wu)臺(tai)藝(yi)術包裝手(shou)段, 讓民(min)(min)(min)間(jian)藝(yi)術充分走上現(xian)代舞(wu)臺(tai)，走進民(min)(min)(min)眾的生活(huo)。

主要流派

銅梁龍舞

申報(bao)地區或單位：重慶(qing)市

銅梁(liang)龍(long)舞(wu)系流傳于重(zhong)(zhong)慶(qing)市(shi)銅梁(liang)縣境內的一種以龍(long)為主要(yao)道具的舞(wu)蹈藝(yi)術形式。它興起于明，鼎盛于清，在當(dang)代重(zhong)(zhong)放異彩，飲譽全球。

銅梁龍(long)(long)(long)舞(wu)(wu)(wu)包(bao)括龍(long)(long)(long)燈(deng)(deng)舞(wu)(wu)(wu)和(he)彩燈(deng)(deng)舞(wu)(wu)(wu)兩(liang)大系列。龍(long)(long)(long)燈(deng)(deng)舞(wu)(wu)(wu)主(zhu)要包(bao)括大蠕龍(long)(long)(long)、火龍(long)(long)(long)、稻草龍(long)(long)(long)、筍殼(ke)(ke)龍(long)(long)(long)、黃荊龍(long)(long)(long)、板(ban)凳龍(long)(long)(long)、正龍(long)(long)(long)、小彩龍(long)(long)(long)、竹梆(bang)龍(long)(long)(long)、荷(he)花龍(long)(long)(long)十(shi)個品種，其(qi)中(zhong)以大蠕龍(long)(long)(long)最(zui)有特色。彩燈(deng)(deng)舞(wu)(wu)(wu)主(zhu)要包(bao)括魚躍(yue)龍(long)(long)(long)門、泥鰍(qiu)吃湯圓、三條、十(shi)八(ba)學士(shi)、亮(liang)獅、開山虎、蚌殼(ke)(ke)精、犀牛(niu)望(wang)月、豬啃南(nan)瓜(gua)、高臺龍(long)(long)(long)獅舞(wu)(wu)(wu)、雁塔題名(ming)、南(nan)瓜(gua)棚十(shi)二個品種。

湛江人龍舞

申報(bao)地區或單位：廣(guang)東省(sheng)湛江市

廣東(dong)省東(dong)海(hai)島(dao)(dao)東(dong)山鎮東(dong)山圩村(cun)(cun)的人龍(long)(long)(long)舞素有“東(dong)方一(yi)絕”的美(mei)稱。表演時，幾(ji)十至(zhi)數百名青壯年和少年均穿(chuan)短褲，以人體(ti)相接，組(zu)成一(yi)條“長龍(long)(long)(long)”。在鑼鼓震天、號(hao)角齊鳴中，“長龍(long)(long)(long)”龍(long)(long)(long)頭高昂，龍(long)(long)(long)身翻騰(teng)，龍(long)(long)(long)尾勁擺，一(yi)如(ru)蛟龍(long)(long)(long)出(chu)海(hai)，排山倒(dao)海(hai)，勢不可擋，顯現出(chu)獨特(te)的海(hai)島(dao)(dao)色彩和濃厚的鄉土氣息，是東(dong)海(hai)島(dao)(dao)乃至(zhi)雷(lei)州半島(dao)(dao)經(jing)久不衰的民間風俗(su)和大型(xing)廣場(chang)娛樂活(huo)動(dong)的重(zhong)要組(zu)成部分。每(mei)逢(feng)春節、元(yuan)宵(xiao)、中秋佳節和一(yi)些重(zhong)大喜(xi)慶節日，東(dong)山圩村(cun)(cun)必連舞幾(ji)個晚上“人龍(long)(long)(long)”，東(dong)西(xi)兩街戶(hu)(hu)戶(hu)(hu)張(zhang)燈結彩，家(jia)家(jia)傾巢(chao)而出(chu)，人流如(ru)潮，熱鬧非凡。

據藝人(ren)(ren)傳說，人(ren)(ren)龍(long)(long)(long)(long)(long)舞(wu)(wu)(wu)大約始于明(ming)(ming)末，被(bei)清軍打敗的明(ming)(ming)軍撤退到雷州半島(dao)和東海島(dao)，適逢中(zhong)秋，地方百姓為鼓舞(wu)(wu)(wu)明(ming)(ming)軍士(shi)氣，編排了這(zhe)個舞(wu)(wu)(wu)蹈。此后人(ren)(ren)龍(long)(long)(long)(long)(long)舞(wu)(wu)(wu)便在(zai)這(zhe)里流(liu)(liu)傳開來，至清乾嘉時(shi)達于鼎盛(sheng)。人(ren)(ren)龍(long)(long)(long)(long)(long)舞(wu)(wu)(wu)是東海島(dao)特殊(shu)社會(hui)歷(li)史因素與地域自(zi)然條件的產物，它將(jiang)古(gu)海島(dao)群眾娛龍(long)(long)(long)(long)(long)、敬龍(long)(long)(long)(long)(long)、祭(ji)海、尊祖、奉神等(deng)多(duo)種風俗(su)融入“人(ren)(ren)龍(long)(long)(long)(long)(long)”之中(zhong)，形成了自(zi)創一(yi)體(ti)、獨具一(yi)格(ge)的龍(long)(long)(long)(long)(long)舞(wu)(wu)(wu)表演(yan)形式和“人(ren)(ren)龍(long)(long)(long)(long)(long)”精(jing)神。湛江人(ren)(ren)龍(long)(long)(long)(long)(long)舞(wu)(wu)(wu)有起龍(long)(long)(long)(long)(long)、龍(long)(long)(long)(long)(long)點頭、龍(long)(long)(long)(long)(long)穿云(yun)、龍(long)(long)(long)(long)(long)卷浪等(deng)獨具特色(se)的表演(yan)程式，表演(yan)者練就了快速(su)托(tuo)人(ren)(ren)上肩的穩健動作(zuo)和步(bu)法(fa)，隊形流(liu)(liu)暢多(duo)變，動作(zuo)一(yi)氣呵成，遠望動感十足(zu)，近觀粗獷(guang)雄壯(zhuang)，成為中(zhong)華(hua)龍(long)(long)(long)(long)(long)文化延伸(shen)與發展(zhan)的重要(yao)組成部(bu)分。

汕尾滾地金龍

申報地區或單位：廣東省汕尾(wei)市

根據(ju)廣東(dong)(dong)省汕尾(wei)市南(nan)(nan)溪村(cun)(cun)老人黃天樞藏(zang)書中的(de)記(ji)載和部分知情者的(de)敘述，“滾地金(jin)龍(long)”始創于南(nan)(nan)宋，明嘉(jia)靖年間，黃氏光昭公(gong)一支從福(fu)建漳州移居廣東(dong)(dong)陸豐南(nan)(nan)溪村(cun)(cun)，帶來《滾地金(jin)龍(long)演史(shi)傳(chuan)》的(de)傳(chuan)本。黃氏南(nan)(nan)溪“滾地金(jin)龍(long)”繁(fan)衍了十七(qi)代。后(hou)來由該(gai)村(cun)(cun)的(de)金(jin)龍(long)藝師(shi)(shi)、傳(chuan)統武(wu)術師(shi)(shi)傳(chuan)到陸豐潭西鎮深(shen)溝(gou)村(cun)(cun)，大安(an)鎮的(de)安(an)博、下(xia)安(an)聯(lian)、頂(ding)潭、安(an)塘村(cun)(cun)，西南(nan)(nan)鎮的(de)兩軍、下(xia)村(cun)(cun)，陸豐城東(dong)(dong)鎮的(de)上神山(shan)村(cun)(cun)等地。

南溪村“滾地金龍(long)(long)”表(biao)演(yan)時，由二人(ren)鉆入“龍(long)(long)身被(bei)套”，一人(ren)舞(wu)龍(long)(long)頭，一人(ren)舞(wu)龍(long)(long)尾(wei)。整個(ge)表(biao)演(yan)過程分(fen)為(wei)“開場(chang)見禮”、“打圍巡(xun)洞”、“游(you)潭戲水(shui)”、“抻筋(jin)洗(xi)鱗”、“伏蟄聞雷(lei)”、“迎雷(lei)起舞(wu)”、“駕云飛騰”、“收場(chang)還禮”八(ba)個(ge)舞(wu)段，表(biao)演(yan)中模仿的龍(long)(long)旋舞(wu)飛騰、戲水(shui)嬉耍、沉(chen)思奮(fen)醒、柔(rou)靜(jing)盤曲、勇猛奮(fen)進等動作。伴奏(zou)用(yong)威(wei)武雄(xiong)壯、嘹亮開闊的海陸豐正字戲的“牌子大(da)鑼鼓”，大(da)嗩(suo)吶(na)按(an)不(bu)同的表(biao)演(yan)情節吹奏(zou)不(bu)同的曲調，有【宮娥(e)怨】、【哭皇天】、【山坡(po)羊】、【八(ba)板頭】等曲牌。表(biao)情豐富(fu)、套路眾多、舞(wu)段精(jing)彩、技(ji)藝兼(jian)善(shan)是這個(ge)舞(wu)蹈的基本特點(dian)。

1996年，南(nan)溪村(cun)被廣(guang)東省文化廳授予“民族民間藝(yi)術之(zhi)鄉”稱號，滾地金龍被編入《中(zhong)國舞蹈志》，并在國家和省級地區的重大活動(dong)中(zhong)多次獲獎。

浦江板凳龍

申報地區或單(dan)位：浙(zhe)江(jiang)(jiang)省(sheng)浦江(jiang)(jiang)縣(xian)

浦(pu)江縣(xian)位于浙江中(zhong)部偏西，金華(hua)市北部。據浦(pu)江白(bai)馬鎮夏張村(cun)張姓族譜載，自唐朝始，“龍騰燈舞(wu)鬧(nao)元宵”便成了浦(pu)江民間的習俗，浦(pu)江縣(xian)志中(zhong)稱之為(wei)“燈節(jie)”。浦(pu)江板(ban)凳龍盛(sheng)行(xing)于浦(pu)江縣(xian)鄉村(cun)，廣泛(fan)流傳于江南沿海各(ge)地(di)。綜(zong)觀浦(pu)江板(ban)凳龍的傳承發展，唐代(dai)為(wei)其(qi)(qi)孕(yun)育期(qi)，宋、元為(wei)其(qi)(qi)成熟期(qi)，明、清為(wei)其(qi)(qi)鼎盛(sheng)期(qi)；中(zhong)華(hua)人民共和國成立(li)后，尤其(qi)(qi)是改革開放(fang)以后，為(wei)其(qi)(qi)弘揚傳承期(qi)。

從構造(zao)(zao)上看，浦(pu)江板(ban)凳龍(long)由龍(long)頭(tou)、龍(long)身（子燈(deng)(deng)(deng)）、龍(long)尾三部(bu)分(fen)組成(cheng)，俗(su)稱(cheng)長燈(deng)(deng)(deng)。根據(ju)龍(long)頭(tou)造(zao)(zao)型(xing)，可分(fen)仰天龍(long)、俯地龍(long)、大蝦龍(long)等類別。因凳板(ban)（龍(long)身）上的設置造(zao)(zao)型(xing)不(bu)同，亦有方燈(deng)(deng)(deng)、酒壇燈(deng)(deng)(deng)、字燈(deng)(deng)(deng)等十一種不(bu)同的形(xing)態。每逢節日或重大慶典興燈(deng)(deng)(deng)，以麥(mai)餅團、剪刀箍(gu)、甩(shuai)尾巴(ba)為主要表演(yan)陣式(shi)。

浦江板(ban)(ban)(ban)(ban)凳(deng)龍(long)，顧名思義就(jiu)是(shi)一(yi)(yi)條條用(yong)單個板(ban)(ban)(ban)(ban)凳(deng)串聯(lian)而(er)成的(de)(de)游動(dong)的(de)(de)龍(long)燈，它(ta)讓人們充(chong)分感(gan)受到(dao)廣(guang)場(chang)民(min)間舞(wu)(wu)蹈氣勢恢(hui)宏、剛強柔美的(de)(de)特征(zheng)，在(zai)鑼(luo)聲(sheng)、號角、銃聲(sheng)震天，喝彩聲(sheng)此起彼伏的(de)(de)氛(fen)圍中(zhong)接受和(he)(he)領悟(wu)娛己(ji)娛人的(de)(de)生(sheng)活習俗(su)和(he)(he)敬天順人的(de)(de)民(min)眾信仰。一(yi)(yi)條浦江板(ban)(ban)(ban)(ban)凳(deng)龍(long)幾乎就(jiu)是(shi)一(yi)(yi)個藝術綜(zong)合(he)體，它(ta)集書法、繪(hui)畫、剪紙(zhi)、刻花、雕塑藝術和(he)(he)扎制(zhi)編糊工藝為(wei)一(yi)(yi)體，融(rong)體育、雜技(ji)、舞(wu)(wu)蹈為(wei)一(yi)(yi)爐。游動(dong)起來的(de)(de)龍(long)舞(wu)(wu)兼(jian)有粗獷、細膩、奔放、嚴(yan)整(zheng)的(de)(de)風格，通(tong)過這(zhe)種激情與(yu)哲理、娛樂教化合(he)一(yi)(yi)的(de)(de)舞(wu)(wu)蹈，人們得到(dao)了感(gan)官和(he)(he)心靈的(de)(de)雙重滿足。浦江板(ban)(ban)(ban)(ban)凳(deng)龍(long)是(shi)地道的(de)(de)百(bai)姓文化，廣(guang)場(chang)性、廣(guang)泛性、驚(jing)險性為(wei)其(qi)主要特征(zheng)，其(qi)參加(jia)人數之多、活動(dong)場(chang)地之大，在(zai)同類(lei)形(xing)式中(zhong)實屬罕見。

長興百葉龍

申報(bao)地區(qu)或單位(wei)：浙江省長興縣

長興百(bai)葉龍發源并流傳于浙(zhe)江(jiang)省長興縣林城鎮一(yi)帶(dai)，至(zhi)21世(shi)紀(ji)10年(nian)代已有一(yi)百(bai)六十多年(nian)的歷史。

傳統百葉龍(long)(long)多在(zai)廟(miao)會及(ji)節慶時表(biao)演，先從“游四(si)門”、“圓場(chang)”等隊(dui)形開(kai)始，當荷花燈聚(ju)成(cheng)圓圈、相互連接以構(gou)成(cheng)“龍(long)(long)”形時，外圈舞隊(dui)熱烈舞蹈，以遮(zhe)引觀眾(zhong)(zhong)視線；“龍(long)(long)”一(yi)成(cheng)形，即騰(teng)空躍起，眾(zhong)(zhong)舞隊(dui)立時散開(kai)，突(tu)出百葉龍(long)(long)，形成(cheng)高潮。

百葉龍(long)的表(biao)(biao)演方式(shi)也(ye)劃分(fen)為舞(wu)臺舞(wu)、行街舞(wu)、廣場舞(wu)等(deng)(deng)(deng)不同形式(shi)，且日趨復雜，以(yi)適應不同的表(biao)(biao)演場合。其主(zhu)(zhu)要隊形有(you)長蛇陣(zhen)、接龍(long)、踩(cai)四門、剪刀陣(zhen)、走四角等(deng)(deng)(deng)，主(zhu)(zhu)要動作有(you)游龍(long)、滾龍(long)、龍(long)盤柱、騰龍(long)、臥龍(long)、睡龍(long)、龍(long)出水、龍(long)吐(tu)須等(deng)(deng)(deng)。

百(bai)葉(xie)龍舞(wu)蹈表演時(shi)，荷花在瞬間突變(bian)成龍是其(qi)最顯著的(de)特點，由此將中(zhong)國傳統的(de)舞(wu)龍轉化成龍舞(wu)，通過湖水(shui)蕩(dang)漾、荷葉(xie)擺(bai)動、荷花盛開(kai)、彩蝶撲(pu)飛、荷花變(bian)龍、蛟(jiao)龍嬉戲(xi)、龍變(bian)荷花等(deng)動作(zuo)和情節，完成一個完整的(de)舞(wu)蹈過程，展出(chu)江(jiang)南水(shui)鄉(xiang)的(de)絕(jue)美意(yi)境。

1957年(nian)，百(bai)葉龍榮(rong)獲(huo)第二屆全國民間(jian)音樂(le)舞蹈(dao)匯演特等(deng)獎，由周恩(en)來總理(li)推薦參加莫(mo)斯(si)科(ke)“第六(liu)屆世界青年(nian)大學(xue)生聯歡(huan)節”演出，榮(rong)獲(huo)金(jin)(jin)獎，2000年(nian)又獲(huo)“群星獎”舞蹈(dao)大賽金(jin)(jin)獎。

奉化布龍

申報地區或單位：浙江省(sheng)奉化市

奉(feng)化布龍(long)因起源(yuan)和流布于浙江(jiang)奉(feng)化而(er)得名，是全(quan)國頗有(you)(you)(you)影(ying)響(xiang)的(de)代表性龍(long)舞之(zhi)一。它由敬神(shen)、請神(shen)、娛(yu)神(shen)的(de)民間(jian)儀式(shi)逐漸演變成為富有(you)(you)(you)特色的(de)民間(jian)舞蹈，迄今(jin)已有(you)(you)(you)八(ba)百多年歷史。

舞(wu)(wu)(wu)(wu)得活、舞(wu)(wu)(wu)(wu)得圓、神態(tai)真、套路多、速度快是奉(feng)化布龍(long)(long)的主要藝(yi)術特(te)征。整(zheng)個(ge)舞(wu)(wu)(wu)(wu)蹈(dao)由盤、滾、游(you)(you)(you)(you)、翻(fan)、跳(tiao)、戲等基本套路和(he)小游(you)(you)(you)(you)龍(long)(long)、大(da)游(you)(you)(you)(you)龍(long)(long)、龍(long)(long)鉆尾等過渡動(dong)作(zuo)(zuo)(zuo)組成，舞(wu)(wu)(wu)(wu)者動(dong)作(zuo)(zuo)(zuo)矯健，舞(wu)(wu)(wu)(wu)姿變化多端(duan)，技(ji)藝(yi)嫻熟。所(suo)有舞(wu)(wu)(wu)(wu)蹈(dao)動(dong)作(zuo)(zuo)(zuo)都在(zai)龍(long)(long)的游(you)(you)(you)(you)動(dong)中(zhong)進行，能做到(dao)“形變龍(long)(long)不(bu)停(ting)，龍(long)(long)走套路生”，“人緊(jin)龍(long)(long)也圓，龍(long)(long)飛人亦(yi)舞(wu)(wu)(wu)(wu)”，造(zao)型(xing)生動(dong)，轉換巧(qiao)妙，動(dong)作(zuo)(zuo)(zuo)間(jian)的銜接和(he)遞進十分緊(jin)湊(cou)。由于(yu)龍(long)(long)身(shen)輕(qing)，舞(wu)(wu)(wu)(wu)動(dong)起來(lai)速度快，龍(long)(long)圈(quan)環環相扣，龍(long)(long)身(shen)緊(jin)緊(jin)纏繞(rao)。奉(feng)化布龍(long)(long)傳統套路多達四十余個(ge)，為(wei)一般龍(long)(long)舞(wu)(wu)(wu)(wu)所(suo)罕見，其(qi)中(zhong)有的已(yi)被用作(zuo)(zuo)(zuo)國(guo)家體育舞(wu)(wu)(wu)(wu)龍(long)(long)比賽的規定動(dong)作(zuo)(zuo)(zuo)，為(wei)大(da)江南北(bei)的龍(long)(long)舞(wu)(wu)(wu)(wu)所(suo)移植(zhi)。

瀘州雨壇彩龍

申報(bao)地區或單(dan)位：四川(chuan)省瀘縣

四川瀘(lu)州雨(yu)壇(tan)(tan)彩龍(long)以其悠久(jiu)的歷史和(he)浪漫(man)的龍(long)舞表演藝(yi)術被譽為“東方活龍(long)”。清光(guang)緒十八(ba)年(nian)左(zuo)右，當(dang)地(di)藝(yi)人將原有(you)的“草把龍(long)”改成彩龍(long)，到(dao)1919年(nian)，出(chu)現了第一條雨(yu)壇(tan)(tan)彩龍(long)。自此(ci)每逢年(nian)節或(huo)婚(hun)喪(sang)嫁娶，當(dang)地(di)百姓都要舞彩龍(long)。

雨壇(tan)彩(cai)龍(long)(long)(long)的(de)(de)表演重在(zai)一個(ge)“活”字，“人龍(long)(long)(long)合一”。表演時(shi)舞(wu)者“動(dong)于中(zhong)而形(xing)于外”，“心有性情(qing)(qing)，手衍神色”，“手隨眼動(dong)，眼隨心動(dong)”。在(zai)川劇打擊樂的(de)(de)伴奏下(xia)，龍(long)(long)(long)與(yu)“寶(bao)”交織纏綿，緊(jin)緊(jin)呼應，在(zai)龍(long)(long)(long)舞(wu)中(zhong)對(dui)龍(long)(long)(long)的(de)(de)個(ge)性特征、生(sheng)活情(qing)(qing)態進行生(sheng)動(dong)的(de)(de)描摹。雨壇(tan)彩(cai)龍(long)(long)(long)按連綿不斷的(de)(de)太(tai)極圖案行進表演，套(tao)路變(bian)幻莫測，表演活潑靈(ling)動(dong)，變(bian)化多端，或(huo)脫衣，或(huo)翻(fan)滾，或(huo)嘆氣，或(huo)擦癢，極顯龍(long)(long)(long)之性情(qing)(qing)。在(zai)此(ci)過程(cheng)中(zhong)，舞(wu)者與(yu)龍(long)(long)(long)的(de)(de)情(qing)(qing)感融為一體。

在漫長(chang)的(de)(de)表(biao)演實(shi)踐中(zhong)，雨壇彩(cai)龍(long)(long)的(de)(de)傳人(ren)們不(bu)斷(duan)更新(xin)、豐富表(biao)演內容(rong)，形成了(le)完整的(de)(de)表(biao)演套路和經典的(de)(de)動(dong)作(zuo)造型(xing)，如龍(long)(long)出洞、龍(long)(long)搶寶、龍(long)(long)脫衣、龍(long)(long)背劍、龍(long)(long)嘆氣、龍(long)(long)砌塔、龍(long)(long)抱柱(zhu)、黃龍(long)(long)滾(gun)、倒掛金鉤、太子騎龍(long)(long)等，最(zui)大限度地展(zhan)(zhan)示(shi)了(le)人(ren)們對龍(long)(long)的(de)(de)想象。以藝人(ren)羅(luo)銀坤等羅(luo)氏兄弟為(wei)代表(biao)，構成了(le)雨壇彩(cai)龍(long)(long)的(de)(de)傳承人(ren)系統(tong)。在當(dang)代，這個傳人(ren)系統(tong)大大拓展(zhan)(zhan)，不(bu)僅有(you)一批青年人(ren)加(jia)入，而且重(zhong)慶、銅(tong)梁(liang)、成都等地還派人(ren)來學藝，雨壇彩(cai)龍(long)(long)的(de)(de)流(liu)布(bu)區域由此得到(dao)了(le)擴(kuo)展(zhan)(zhan)。

河上板龍舞

河(he)上板龍舞(wu)是民(min)(min)間舞(wu)蹈形式, 是龍舞(wu)的(de)一(yi)種, 舞(wu)蹈形象為中華民(min)(min)族的(de)圖騰(teng)———龍, 它集中展(zhan)現了蕭山(shan)(shan)民(min)(min)間工藝的(de)精華, 是蕭山(shan)(shan)民(min)(min)間文化的(de)杰出代表(biao)。從(cong)南宋紹興二(er)十九年(nian)(nian) (1159) 開始,至2009年(nian)(nian)已有850余年(nian)(nian)歷史。

旦場人龍舞

電(dian)白旦場鎮旦場村(cun)(cun)人(ren)(ren)(ren)龍(long)(long)起源于清朝雍正年間，至今已有(you)270多年歷(li)史(shi)。據村(cun)(cun)里老人(ren)(ren)(ren)說，旦場村(cun)(cun)的(de)(de)(de)(de)人(ren)(ren)(ren)龍(long)(long)是這(zhe)樣形(xing)成(cheng)的(de)(de)(de)(de)：當時村(cun)(cun)人(ren)(ren)(ren)在池塘中游(you)泳，覺(jue)得純(chun)粹的(de)(de)(de)(de)游(you)泳已缺乏趣(qu)味，于是分成(cheng)兩隊(dui)人(ren)(ren)(ren)馬，舉行“戰斗”。戰斗的(de)(de)(de)(de)規(gui)則是：雙(shuang)方都有(you)大人(ren)(ren)(ren)和小(xiao)(xiao)(xiao)孩(hai)(hai)，大人(ren)(ren)(ren)站(zhan)在水中，將小(xiao)(xiao)(xiao)孩(hai)(hai)托在肩上，讓小(xiao)(xiao)(xiao)孩(hai)(hai)對打(da)(da)，前(qian)面(mian)的(de)(de)(de)(de)小(xiao)(xiao)(xiao)孩(hai)(hai)被打(da)(da)到水中之后(hou)，后(hou)面(mian)的(de)(de)(de)(de)小(xiao)(xiao)(xiao)孩(hai)(hai)迅速補上，繼續戰斗，直(zhi)到有(you)一(yi)(yi)隊(dui)小(xiao)(xiao)(xiao)孩(hai)(hai)被完全打(da)(da)倒為止。后(hou)來(lai)人(ren)(ren)(ren)們忽然想到現(xian)(xian)在這(zhe)種形(xing)式的(de)(de)(de)(de)人(ren)(ren)(ren)龍(long)(long)：大人(ren)(ren)(ren)抬(tai)著仰臥的(de)(de)(de)(de)小(xiao)(xiao)(xiao)孩(hai)(hai)，一(yi)(yi)個接一(yi)(yi)個，組成(cheng)龍(long)(long)身，前(qian)面(mian)一(yi)(yi)個小(xiao)(xiao)(xiao)孩(hai)(hai)坐立大人(ren)(ren)(ren)肩上宛(wan)如龍(long)(long)頭(tou)，這(zhe)便(bian)是人(ren)(ren)(ren)龍(long)(long)。在重(zhong)大節(jie)日(ri)，村(cun)(cun)民便(bian)自發組織成(cheng)人(ren)(ren)(ren)龍(long)(long)進行表演。人(ren)(ren)(ren)龍(long)(long)歷(li)經200多年演變與(yu)改進，在動作(zuo)、節(jie)奏(zou)、斗龍(long)(long)技巧等方面(mian)日(ri)益完善。如今，旦場村(cun)(cun)年年“人(ren)(ren)(ren)龍(long)(long)”飛(fei)舞，鑼鼓喧(xuan)天，萬眾歡(huan)呼(hu)，給全村(cun)(cun)人(ren)(ren)(ren)帶來(lai)了(le)歡(huan)樂(le)與(yu)喜慶(qing)，使全村(cun)(cun)呈現(xian)(xian)出一(yi)(yi)派繁榮與(yu)祥和的(de)(de)(de)(de)景(jing)象。

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