"Qingji Dance" is an ancient traditional Lusheng dance of the Miao nationality in western Guizhou. It is a collective competitive dance performed by the "Xiaohua Miao" at gatherings. It is mainly distributed in Nankai Township, Jinpen Township, Qinglin Township, Douqing Township and other places in Shuicheng County. The performers of "Qingji Dance" are mainly Lusheng players from Nankai Miao and Yi Township in Shuicheng County. The township is located in the hinterland of the Yunnan-Guizhou Plateau and is located in the mountains at the southern foot of Wumeng Mountain. Shuicheng County is adjacent to Liuzhi Special District and Nayong County in the east, Weining County and Xuanwei County in Yunnan in the west, Pan County and Pu'an County in the south, and Hezhang in the north. The entire territory is 125 kilometers long from north to south and 75 kilometers wide from east to west, with a total area of 3,641.77 square kilometers. Nankai Miao and Yi Township is located in the northern part of Shuicheng County, adjacent to Qinglin Township in the east, Baohua Township in the south, Muguo Township in the west, and Jinpen Township in the north. Nankai was formerly known as "Nanpi", which means "official land" in Miao language. In 1946, the township was named Nankai for its open terrain in the southwest. Most of the terrain in Nankai Township is Chongzidi and Mawodi, with a poor ecological environment. The Bishui Highway crosses the township, and the Ale River flows through the township, with a flow of 15 kilometers. Regarding the historical origin of the "Jingji Dance", it is said that a long time ago, the Chiyou tribe was defeated, and a branch of the Miao people (Xiaohua Miao) who remained went through untold hardships and came to Heiyang Daqing in the ancient country of Yina to establish the Laopu Miao Village. There are two brothers and sisters in the Miao village. The elder brother is called Laifang Nai Chilong Lamu Rao, and the younger sister is called Laifang Nai Chilong Gu Ashi. They are lively and lovely by nature, and superhuman wisdom. Their mother often tells them about thousands of battles in the life of the Miao family. The brother and sister then played the sheng and danced according to the plot, but the combination of each set of movements was incoherent and unsatisfactory. Heiyang Daqing is full of ancient trees, beasts are everywhere, and there are countless Jingji. Every fight of the Qing chickens for the forest inspired the brother and sister, so they imitated the dance movements of the Qing chickens pecking, playing, fighting and fighting in the forest, and produced the Lusheng dances such as building bridges, building human ladders, hanging sheep to beat drums, looking up, climbing mountains and wading, stacking Arhats, monkeys moving piles, kites turning over to rolling mountain beads. At the same time, the movements in the war and the customs and habits of production and life were combined, and the "Qing Chicken Dance" was formed while dancing. After that, the brother and sister often played the sheng and danced for their own entertainment, which attracted the attention of men, women, old and young in the village and aroused their interest in the "Qing Chicken Dance". During the slack season, young men and women in the village at the corners of the fields and in the courtyards of their homes followed the brother and sister to perform, and the old passed on the young, the old passed on the young, and it was passed down from generation to generation. As time went on, people continuously adapted the "Qing Chicken Dance" and gradually formed a set of dance movements that integrated labor plots and historical stories. Its performance form was also continuously enriched and improved with the changes in the rhythm of the Lusheng. The "Jingji Dance" is used for competitions or performances. It can be performed by a single person, a pair of people, six people, eight people, twelve people, or even sixteen people in a group. Its movement characteristics are the combination of large-scale movements and graceful dances. During competitions or performances, each contestant is required to have a brisk and flexible pace. When squatting, the legs and thighs are vertical, the upper body is stable, and the posture is generous and beautiful; when jumping, the feet should be fast; when striding, the legs and feet should be strong and powerful; when rotating, a circle should be formed, and the body should rotate quickly; when standing upside down, the head should be on the ground and the feet should face the sky. The appearance and end of the Jingji Dance are mainly for praying for blessings and auspiciousness, and for competitive performances. As time goes by, those animal images are endowed with spirituality, and naturally form a set of conventional performance procedures, including the Golden Rooster Shaking Step, Dragonfly Skimming the Water, Training Soldiers, Selecting Generals, Dragon Flipping, Monkey Moving Pile, Lion Rolling Ball, Kites Flipping, Hanging Sheep Beating Drums, Galloping Horses, Fighting for Hegemony in the Mountains and Forests, Rolling Mountain Pearls, Golden Rooster Standing Alone, and other bird-like dance steps. Ru Nulengdoudao (Golden Rooster Trembling Step): The reed pipe players wearing heroic crowns with rooster feathers on their heads step on one foot and imitate the dancing steps of a rooster. They then lift their right foot to the side and shake it, opening their hips, imitating the trembling of a rooster's wings, and appear on stage one after another, while playing the reed pipe and using their upper body to imitate the movements of a rooster. The body tilts toward the direction of the gravity foot, and dances with the left foot jumping clockwise and counterclockwise with the center of the performance venue as the axis; Dugudonglin (dragonfly touching the water): move both feet forward and jump one step, touch the ground with the toe of the front side, bend the knees slightly, turn right 1/4 circle, circle and lift the back foot, sweep the legs left and right and rotate one circle; Kadongduo (training soldiers): squat and jump one step, land with the left leg straight and extended forward, heels on the ground, then rotate the left and right feet counterclockwise, move the center of gravity forward and backward, follow up with the left foot and squat fully left and right, and complete the forward and reverse circles; Shidongxiang (pointing the generals): A lowers his waist with both knees and head on the ground and sticks out his abdomen, B and C form a human ladder, and B stands on A's abdomen with both feet; Raozheng Aji (swimming dragon turning over): describes climbing slopes, going down ridges, advancing and retreating, and fighting in a roundabout way in a battle. The movements are swift like a swimming dragon turning over. The performer's head and feet are on the ground, the body is bent and suspended in the air, with the head as the axis and the feet as the outer circle, constantly turning 360 degrees. The body should remain bent, turn over once, and spin once, with the Lusheng turning from the waist without touching the ground. Face-lying Aduo (monkey carrying poles): A lowers his waist with his head and feet on the ground and his abdomen straightened, while B stands sideways on A's abdomen; Cha A Shi Geng Long (lion rolling ball): the reed pipe is the "ball", and the dancer holds the pipe with both hands, squats on the ground, tightens his abdomen, curls up his body and then rolls over. In the uninterrupted music, the body rotates and rolls, and each turn is followed by a second turn, connecting the continuous flips, and the route is to turn back to the starting point; Lai Zha Shi Di Zheng A Ji (kite flip): holding the pipe in both hands and keeping it in his mouth, start with a small jump, and do somersaults to the left and right; Keng Yao Du Da (hanging sheep beating drums): the dancer stands upside down on the left or right side, and the left thigh turns and flexes like beating a drum (the sound of the pipe continues); Neng Rao Gu Dao (galloping horse): jumps with both feet, front and back, left and right, shuttles back and forth, moves, legs form a lunge, and squats as if sprinting; Ya Duo Bi Zhi Ba Duo (fighting for hegemony in the mountains and forests) : The hands and body of the reed pipe (with a rooster feather crown on the head) rotate and turn the body. The reed pipe is used as a rooster head and the posture is ready. Party A and Party B collide and jump high, imitating the fight of roosters. They start dancing, landing with one step, jumping with a single step, and slamming into the opponent forward. They chase and dance back and forth; Zi Luo Duo (Rolling Mountain Pearl): It imitates the pangolin and other animals that are chased, which curl up their bodies into a ball and roll down the mountain, shaped like a "mountain pearl". The dancer uses the head as the axis and turns left or right clockwise or counterclockwise, using the strength of the abdominal muscles and hips to turn the body in a circle. One round is counted as returning to the starting point; Nuleng Azhi (Standing on One Leg in Golden Rooster): The ending action is that the dancers (A, B, C, D) form a human ladder and walk a small circle. The dancer standing on the shoulder puts one foot on the shoulder, raises his head, lifts his back leg, and spreads his wings to the left and right as if he is about to fly. After the end, stand on one foot, hold the right leg with the left hand and stand upright with the reed pipe in the right hand. The dance is passed down from generation to generation within the family. The main representative inheritors are: Zhang Wenyou from Haifa Village, Qinglin Township, Shuicheng County, who studied under the old folk artists such as Abu Laogui (inherited from ancestors) of the Miao nationality; Zhu Xingrong from Pianpo Village, Nankai Township, who studied under Miao artists such as Zhang Wenyou and Zhang Shaoxue; Zhu Xingzhi from Pianpo Village, Nankai Township, who studied under Miao artists such as Zhang Shaoxue; Wang Long from Pianpo Village, Nankai Township, who is an important representative of the younger generation of Miao Lusheng Dance. The "Qingji Dance" performed by the "Xiaohua Miao" branch imitates every action in the war and imitates the movements of poultry music and dance, integrating the production and living customs of the Miao family with many acrobatic gymnastics (in addition, most of the basic movements of Lusheng swing include squatting and turning dance steps), which is clean and neat, varied, rough and unrestrained, and has a unique and fierce character. Its dance posture is beautiful, with clear layers, and the unique performance of cleverly swinging the head, feet, and waist and integrating the artistic skills of dance is dazzling when the dance reaches a climax. At the same time, the "Jingji Dance" is famous for its short poles, rotation, speed, stability, lightness and accuracy. The dance develops step by step in a slow-start, gradual middle and tight end manner, with tight links and ups and downs in the climax, pushing the atmosphere to a climax and ending suddenly, forming a sharp contrast between peaks and valleys, giving the audience rich associations and a cheerful aftertaste. Its rich performance content and unique form of expression embody the essence of the traditional culture and dance art of the "Xiaohua Miao" branch in Northwest Guizhou. The influence of the "Jingji Dance" of the Nankai Miao Lusheng Skills involves the ethnic villages of the "Xiaohua Miao" branch in Zhongshan, Nayong, Hezhang and other counties (districts), and the artistic style of the traditional folk Lusheng dance of the "Xiaohua Miao" branch is preserved in its original form. At the same time, the costumes of its performances integrate brocade, embroidery, batik and inlay, with exquisite craftsmanship, and extremely exquisite patterns and colors. In addition, the wearing of the Qingji Feather Hero Crown has a certain symbolic commemorative significance, which is a metaphor for the history of migration wars of this ethnic minority. The patterns on the "flower back" have been passed down since ancient times, with very few changes, and are standardized and stable. The patterns include the universe, nature, animals, plants, production and living utensils, etc., which reflect the aesthetic consciousness and thinking consciousness of the ethnic group, contain a lot of cultural information, and are important physical materials for investigating and studying the social history and living customs of the Miao people in Northwest Guizhou. The "Jingji Dance", which carries many important historical and cultural information and original memories of the Miao people, is a living fossil for studying the Miao culture. Under the impact of economic globalization and modernization, many young men and women of the "Xiaohua Miao" branch ethnic groups have gone out to work, especially those who are good at Lusheng dance, who have gone to work in various domestic tourist areas. The traditional folk Lusheng dance art has shrunk and died out in the local area. In particular, the successive deaths of many old folk artists have made the inheritance of the "Jingji Dance" even worse. The new generation of Lusheng players believe that the Lusheng technique "Jingji Dance" is complicated and unwilling to spend energy to learn it. Traditional reed pipe playing and difficult performance skills have gradually transitioned to simplified practicality. Few people know the ancient dance vocabulary, steps, and movement techniques, and folk dance skills are gradually becoming endangered. (No pictures yet, welcome to provide.) (No pictures yet, welcome to provide.)