维吾尔族舞蹈 Traditional Uyghur Dance
维吾尔族舞蹈：传承与欢愉
维吾尔族舞蹈是一种深具历史韵味的艺术形式，是新疆文化中不可或缺的一部分。它反映了维吾尔族人民的传统、宗教习俗和日常生活，展现出独特的民族风情。维吾尔族舞蹈大致可分为三类：自娱性舞蹈、礼俗性舞蹈和表演性舞蹈，但各类之间往往相互交融，自娱性和礼俗性舞蹈中常带有表演和宗教元素。主要的民间舞蹈形式包括赛乃姆、多朗舞、萨玛舞、夏地亚纳、纳孜尔库姆、盘子舞、手鼓舞等，各具独特的风格、节奏和伴奏乐器。
赛乃姆：自娱性与欢聚的舞蹈
赛乃姆是一种广泛流行于新疆各地的自娱性舞蹈。其节奏平稳优美，适合即兴表演，由慢转快，表演自由随性。赛乃姆源自新疆古代民间曲调，与欢快的曲调赛勒凯结合后，逐渐形成了今天的两段式结构。传统上，观众围成一圈，乐队和伴唱者聚集一处，表演者或单人、或双人或小组进入舞场。随着音乐节奏逐渐加快，表演进入高潮，观众会随之拍手并欢呼。赛乃姆的风格随地区不同而异：
南疆：以喀什为代表，风格欢快、活泼、优美。
北疆：以伊犁为代表，风格潇洒、豪放、轻快。
东疆：以哈密为代表，风格平稳、安详、风趣乐观。
这些风格通常在赛乃姆前冠以地名，如库车赛乃姆、和田赛乃姆等。
多朗舞：礼仪与竞技的结合
多朗舞是一种以双人对舞为基础的礼俗性舞蹈，流传于新疆塔里木盆地的多个地区。每逢婚礼或节日，都会有多朗舞的表演。舞者在《多朗木卡姆》的伴奏下表演，需整套完成，观众也应留场观赏。舞蹈开始时为双人对舞，随着节奏加快逐渐演变成集体圈舞，最后发展为双人旋转竞舞。表演气氛热烈，舞者稳健豪放，伴奏乐器包括卡侬、多朗热瓦甫、艾捷克等。
萨玛舞：宗教节日中的仪式性舞蹈
萨玛舞是一种风俗性舞蹈，多在伊斯兰教节日的广场上集体表演，主要流行于喀什、莎车等地。萨玛舞的节奏包括、、、等，伴奏乐器主要为铁鼓和唢呐，舞者以沉稳的步伐和跳转、空转等技巧动作传递出浓厚的宗教氛围。在肉孜节、古尔邦节时，萨玛舞常被人们作为节日活动在寺庙前的广场上表演。
夏地亚纳：盛会中的集体欢乐
夏地亚纳是一种在新疆各地广泛流行的节日或大型集会上的群众舞蹈，盛行于南疆地区。夏地亚纳意为“欢乐的”，通常作为集会开始或其他民间舞蹈表演后的压轴。表演人数不限，舞步轻松跳跃，队形灵活自由。不同地区的夏地亚纳风格也各具特色，北疆的舞蹈欢快活泼，南疆则更显华丽。
纳孜尔库姆：幽默与竞技的对舞
纳孜尔库姆是一种男子表演舞蹈，主打对舞与竞技。该舞流行于吐鲁番、鄯善等地，常见于婚礼或麦西来甫聚会。表演以诙谐的动作模仿劳动或人物形象，如绱鞋、跛脚行走等。纳孜尔库姆的高潮部分是节奏拍的竞技环节，舞者施展高难动作以互相较量，引来观众的呼喊助威。
盘子舞：技巧与优雅的结合
盘子舞是一种道具舞蹈，表演者通常为女子，双手持盘，伴着音乐舞动，同时在头顶顶一碗水以增加难度。这种舞蹈起源于库车，逐渐在全疆推广，成为一种独特的表演节目。麦盖提的盘子舞则多由男子表演，舞者口叼长柄木勺，与众不同。
手鼓舞：节奏与速度的灵动
手鼓舞起源于20世纪40年代，最初在南疆和北疆的民间流传，后来发展为舞台表演。表演者通常为女子，在手鼓的伴奏下以快速、灵活的动作舞动。手鼓舞多变的节奏和旋转技巧使之独具吸引力，是新疆民间舞蹈的代表。
多样风格与独特特征
新疆南北地区的自然环境和经济文化差异，使得维吾尔族舞蹈风格丰富多样。舞蹈中，从头、肩、腰、臂到脚都配合眼神表现情感，昂首、挺胸、直腰是维吾尔舞蹈的基本姿态。独特的节奏感和快速的旋转，常常在舞蹈高潮中呈现竞技之美。维吾尔族的舞蹈结合了肢体、音乐和情感表达，是一场视觉与心灵的盛宴，在传承中不断焕发新的生命力。
Traditional Uyghur Dance: A Cultural Mosaic of Joy and Heritage
Uyghur dance is a captivating art form with deep historical roots, celebrated throughout Xinjiang, China. The dances reflect Uyghur traditions, religious customs, and the daily lives of its people, forming a unique part of the region's cultural heritage. Uyghur dance is typically classified into three main categories: recreational, ceremonial, and performance dances. However, these categories often overlap, with recreational and ceremonial dances incorporating elements of performance and religious expression. Major folk dance forms include Sainaim, Dolan Dance, Sama Dance, Xadiyana, Nazir Qum, the Plate Dance, the Hand Drum Dance, and others, each with distinctive styles, rhythms, and instruments.
Sainaim: A Dance of Personal Expression and Community Joy
Sainaim is a recreational Uyghur dance style widely popular across Xinjiang. Its rhythm is gentle and beautiful, progressing from slow to fast with improvisational movements. Originating as a folk melody in ancient Xinjiang, Sainaim evolved into a two-part dance structure, combining slow melodies with faster tunes called Sailekai. This dance was incorporated into the classic Uyghur music suite, the Twelve Muqam. Traditionally, spectators form a circle, and musicians and singers gather to set the atmosphere. Performers may dance alone, in pairs, or in small groups of 3 to 5 people, building to a communal high point where onlookers clap and cheer in rhythm with the dance.
Sainaim styles vary across regions:
Southern Xinjiang: Known for its lively, graceful expressions, with Kashgar as a key representative.
Northern Xinjiang: Characterized by a carefree and bold style, with a lighter tone, especially popular in Ili.
Eastern Xinjiang: The Hami area showcases a calm, humorous, and optimistic variation of Sainaim.
Each style is prefixed with its regional origin, such as Kucha Sainaim, Hotan Sainaim, or Ili Sainaim.
Dolan Dance: Celebrating Unity Through a Ritual of Togetherness
Dolan Dance is a ceremonial Uyghur dance form rooted in the Tarim Basin's Dolan communities. Traditionally performed during weddings and celebratory gatherings, Dolan Dance involves an intricate structure requiring participants to dance uninterruptedly, reflecting a sense of unity and collective spirit. The dance begins with structured couple dances, transitioning into energetic group circles, and culminates in competitive, spinning performances to a fast-paced rhythm. Accompanied by Dolan Muqam music, dancers exude strength and coordination, moving with confidence and vigor.
Sama Dance: Ritualistic Movements Honoring Islam
Performed by men during Islamic festivals, Sama Dance is a ceremonious group dance with deep cultural and religious significance, mainly seen in Kashgar and Shache. Originating from an ancient Uyghur folk dance, Sama evolved with the introduction of Islam. The dance follows a steady rhythm, accompanied by iron drums and suona horns, with movements marked by grounded, steady footwork and expressive jumps. Sama Dance is often performed in front of mosques on holidays, like Eid al-Fitr and Eid al-Adha, by men symbolizing collective strength and resilience.
Xadiyana: A Dance of Festive Merriment
Xadiyana, meaning "joyful" in Uyghur, is a popular collective dance performed at festivals and large gatherings across Xinjiang. Often beginning or concluding an event, Xadiyana embodies joy and community spirit. With an adaptable, open formation, participants dance to lively hand drums and other instruments, moving with small steps and simple hand gestures. Each region’s Xadiyana style is unique; North Xinjiang is known for an upbeat feel, while South Xinjiang dances are more elaborate.
Nazir Qum: Playful Competition with Symbolic Movements
Nazir Qum, a performance dance showcasing male strength and humor, is a highlight at weddings and festivals in Turpan, Shanshan, and Toksun. The dance includes a distinctive "call and response" section where two men engage in playful mock-battles, using movements that mimic labor tasks or other symbolic imagery, such as shoemaking or mimicking a limping gait. Performed to Turpan Muqam music, Nazir Qum dancers strive to outperform each other with feats of strength and skill, spurred on by the rhythmic clapping and cheers of the crowd.
The Plate Dance: A Display of Balance and Grace
The Plate Dance is a visually stunning solo performance popular in regions like Kucha, Kashgar, and Ili. Originating from Kucha, the dancer holds plates and taps them in time with the music while balancing a water-filled bowl on their head for added difficulty. The Plate Dance combines traditional Sainaim steps with complex balancing techniques, creating a mesmerizing performance.
The Hand Drum Dance: Showcasing Quick Movements and Dexterity
Originating in the 1940s, the Hand Drum Dance gained popularity in both Northern and Southern Xinjiang, eventually becoming a prominent stage performance. This dance style, often performed by women, requires agile, precise movements. Dancers incorporate rapid spins and waist techniques to reflect the rhythmic, ever-changing beat of the hand drum.
Regional Variation and Distinctive Characteristics
The regional and environmental differences within Xinjiang contribute to the unique styles of Uyghur dance. Uyghur dances are characterized by coordinated movements of the head, shoulders, waist, and limbs, often enhanced with expressive eye movements. The dance's foundational posture includes a lifted head, straight back, and expanded chest, creating a poised yet dynamic style. The rhythm often emphasizes syncopation, with accented beats underscoring the distinct musicality and ethnic flavor of Uyghur dance. Various spins, from delicate to rapid rotations, punctuate the dances, peaking in competitive, climactic moments.
The Uyghur dances, blending body, music, and expression, continue to evolve while preserving the joy and heritage of their origins.
