Abstract
From the late Qing Dynasty to the early Republic of China to the 1950s, Lotus Dance experienced the development process from sacrificial dance to stage art. The three generations of Lotus Dance were born in different social backgrounds, and the cultural forms behind the work are constantly changing. With the help of Bakhtin's revelry theory, "Diyunzi", the rudiment of lotus dance in the Qing Dynasty, used cloud plates with religious beliefs as props and performed in squares that could reflect the identity of ordinary people, which could be summed up as "revelry" of folk culture. Lotus Lamp composed by Liu Zhiren during the New Yangko movement shows the "elitism" in dance form and content, both props and performers themselves. It belongs to the "discipline" of official culture on folk culture. In 1953's Lotus Dance, choreographed by Dai Ailian, the choreographer integrates the official diplomatic concept with the local national spirit through color contrast and multiple aesthetics, showing the "empathy" between folk culture and official culture. In the cultural evolution of Lotus Dance, we can not only see the individual dancers' attitude towards the transformation of folk dance, but also find the interactive relationship between dance and political ideology in the stage transformation of Chinese original folk dance.
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How to cite this paper
Carnival, Discipline and Empathy: Cultural Change of Three Generations of Lotus Dance from Bakhtin's Revelry Theory
How to cite this paper: Wei Xie. (2023) Carnival, Discipline and Empathy: Cultural Change of Three Generations of Lotus Dance from Bakhtin's Revelry Theory. Journal of Humanities, Arts and Social Science, 7(8), 1655-1661.
DOI: http://dx.doi.org/10.26855/jhass.2023.08.032