Appreciation of "Watching Dance"
Watching Dance
——Dedicated to the Indian dancers Kalama sisters
What should I do How to describe the dance of the Indian Kalama sisters?
If I were a poet, I would write a long poem to describe their varied whirling dance.
If I were a painter, I would use various colors to highlight their clear eyebrows and gorgeous clothes.
If I were a composer, I would use musical notes to convey their brisk dance steps and tinny bells.
If I were a sculptor, I would simulate their slim and agile figures full of vitality on jade.
However, I am nothing! I can only use my own poor words to describe this amazing dance art.
Like a baby who sees a dazzling red lotus under the morning sun or a dancing peacock in the deep forest, he wants to scream out the surprise in his heart, but he can't find it except babble. to the right language!
But, friend, can I hold back my joy and excitement and not tell you the "babble" in my heart?
I dare not pretend to be a scholar of Indian dance to explain the history and factions of Indian dance, and to explain that the Bharatanatyam dance they performed is the authentic Indian dance. I don't dare to be like a dancer and praise them expertly for how "excellent" their every move is.
I am just an appreciator, but I am willing to work hard to express the flying "beauty" I feel in my heart!
Friends, on an unforgettable night -
The curtain slowly opened, and there was a dancing statue of Shiva on a small table in the middle of the stage, with burning lights on both sides. With two tall copper lamps, the atmosphere on the stage was quiet and solemn.
Kalamar Lakshman came out. What a flash of glory! She bowed her head deeply to the audience and clasped her hands. When she raised her head, she showed off her beautiful face, her long eyebrows and her eyes that could speak thousands of words.
She stood calmly.
The flute was played, the snare drum was beaten, songs were sung, and Kalama began to dance.
She uses her long eyebrows, beautiful eyes, fingers, and waist; she uses the flowers on her bun and the pleated skirt around her waist; she uses her delicate dance steps, the ringing of bells, and the slowness of light clouds. Moving, turning like a whirlwind, dancing out the joys and sorrows in the poem.
Although we don’t know the content of the story, our emotions can roar with her movements! We see her sometimes frowning, showing infinite sadness; sometimes her smile is bright, showing boundless joy; sometimes she lowers her eyelashes sideways to show shyness; sometimes she opens her eyes in anger, showing overwhelming anger; Sometimes he gently touches his forehead and strokes his arms, draws his eyes and eyebrows, and performs delicate and appropriate grooming; sometimes he stands upright, pressing the arrows and guiding the bow, so that one can almost hear the clanking sound of the strings! Like Shiva, in the carnival of dance, she forgets both the audience and herself. She just tried her best and used her flexible limbs and five senses to tell the beautiful poetry stories of ancient India!
I have performed dances one after another (little sister Lada, sometimes dances alone, sometimes with her sister, she is a young phoenix! She is still young but her skills are deep, her future achievements are also limitless ), we find that they not only represent gods and humans, but also vegetation and animals: such as the trembling petals of a lotus flower, the running and jumping of a deer, and the strutting stride of a peacock. The most exciting thing is the "snake dance", with the slight shaking of the neck and the slight trembling of the shoulders: waves of flexible squirming, spreading from the fingertips of the right hand to the fingertips of the left hand! I really can't describe it, so I can only include it by borrowing two lines from Bai Juyi's poem: "The pearls dazzle and the stars shake, and the flower garlands fight with the dragons and snakes."
Watching the dance of the Kalama sisters, I deeply realized that India’s beautiful and time-honored culture and art, dance, music, sculptures, paintings... are all like branches on a big banyan tree. The branches droop and take root in the ground. This kind of many branches are connected with each other in the earth, absorbing the food supplies given to him by Mother Earth, and this earth is the vast people of India with a long history.
Karama and Radha are just two soft branches on this big banyan tree. Although Kalama, with her twenty-two years, has already lived seventeen years of stage life; twelve-year-old Radha has also had four years of performance experience, but we know that India’s great mother earth will continue to The earth nourishes and nurtures them.
The most melancholy thing is that they have just shown their "dragon-like" dance to the Chinese people. Due to the needs of the vast number of people in their motherland, they will be "astonished" in two or three days. The ground flew back!
In the early spring in Beijing, there are no plump and fragrant flowers like their southern Indian hometown. We can only learn from the poetic words of their great poet Rabindranath Tagore: Let us put our flowers one by one. The hearts of admiration and gratitude were woven into a bouquet like blossoming red flowers, dedicated to them and hung on their chests, and brought back to the Indian people to thank them for their friendship and enthusiasm, and to thank them for temporarily keeping the Lakshman sisters. Kind regards!
This is a beautiful prose that is as poetic as a painting.
Nearly forty years have passed, and time, like water, has long diluted the various impressions on people’s cerebral cortex. However, the writer vividly recorded the relationship between these two young people with her clear words and beautiful sentences. The dancer's grace, along with her affectionate praise, evoked our memories of that wonderful night.
Dance is originally an art that is combined with poetry and music, so describing it with soft and graceful verses is naturally the most appropriate technique.
So we can see that the author used a rather difficult question to elicit four parallel hypothetical sentences, using accurate and harmonious colors to outline the "changeable relationship" of this pair of dancers. "The graceful whirling dance", "clear brows, and gorgeous costumes", their "nimble dance steps and the tinny ringing of bells", and their "slender and agile figures full of vitality".
However, the author seems to feel that these affectionate artistic languages ??are not enough to express the surprise in her heart. She reimagines the metaphor and uses the innocent eyes of a baby to suddenly see "the morning sun." A dazzling red lotus, a dancing peacock in the deep forest", these vivid images are used to describe the overall impression in her heart and her "heart full of joy and excitement".
We know that Bing Xin has long studied the ancient culture of India. Her first poems were inspired by the Indian poet Rabindranath Tagore's "Birds" and she was able to fly; she translated Tagore's "Auspicious Birds". Tanjali", "The Gardener's Collection", "Selected Poems of Rabindranath Tagore" and other works, and translated "The Pomegranate Queen" by Indian writer Anand; at the end of 1953, he participated in the China-India Friendship Association delegation and made a report on India for more than a month. After the visit, he translated and published "Collection of Indian Fairy Tales" shortly after returning. She is naturally familiar with the history of Indian dances and their origins with religion. However, this essay is not intended to be an academic discussion. The author only expresses her feelings about the flying beauty of dance as an appreciator. However, just In her humble confession, she still pointed out to us that "the Bharatanatyam dance they performed is the authentic Indian dance." It is under this prompt that we can easily check the relevant information to understand where this dance is popular and its main features.
If we compare the first part of the article to the freehand brushwork in Chinese paintings, because its brushwork is so concise, and it dyes the artistic conception of the work so well in both form and spirit, then the content of this article The second part can be regarded as neat and meticulous meticulous painting.
You see, the author uses her wonderful pen to delicately describe the equipment on the stage and the quiet atmosphere it creates, and then depicts for us the wonderful scene when the dancers appear on stage. For a moment: She seemed to have lowered her head and clasped her hands and came to the stage. The gorgeous costume was dazzling. She slowly raised her head, with her "beautiful face and a pair of long eyebrows that can speak thousands of words." , a pair of eyes", attracting the attention of the audience. People held their breath, praising and cheering in total silence, fearing that any sound would frighten away this light of rebirth.
When the author writes about how a dancer dances to the music, he first outlines how she uses her limbs, facial features, clothing, footbells, and her slow and sometimes fast dance steps to express the complex and eternal indescribability of the human world. The joys and sorrows of separation and reunion; and then neatly described in detail, sometimes frowning, sometimes charming, sometimes drooping eyelashes, sometimes angry, sometimes docile, sometimes mighty. The snake dance that the author is so heartbroken about is described in detail, from the slight swaying of the neck, to the slight trembling of the shoulders, to how the flat arms move flexibly. From here we are not only I saw the impeccable grace and felt the exciting melody.
In the "Script" chapter of his collection of prose poems "Collection Again", Tagore once used the language of poetry to elaborate on the artistic charm of prose as follows:
Prose sometimes Jetting flames, sometimes pouring waterfalls, the world of prose includes vast plains, towering mountains, deep forests, and desolate deserts... Prose has no external surge. It uses a light and heavy approach to stimulate the inner melody.
Wouldn’t it be more helpful for us to use this to confirm Bing Xin’s prose to understand and appreciate this masterpiece?
The Kalama sisters are still young. Although their skills are outstanding, in the face of ancient Indian culture, they can only be two soft branches on the banyan tree. Appreciation of this "Watching Dance"
Watching Dance
——dedicated to the Indian dancers Kalama sisters
How should I describe Indian Kalama Sisters' dance?
If I were a poet, I would write a long poem to describe their varied whirling dance.
If I were a painter, I would use various colors to highlight their clear eyebrows and gorgeous clothes.
If I were a composer, I would use musical notes to convey their brisk dance steps and tinny bells.
If I were a sculptor, I would simulate their slim and agile figures full of vitality on jade.
However, I am nothing! I can only use my own poor words to describe this amazing dance art.
Like a baby who sees a dazzling red lotus under the morning sun or a dancing peacock in the deep forest, he wants to scream out the surprise in his heart, but he can't find it except babble. to the right language!
But, friend, can I hold back my joy and excitement and not tell you the "babble" in my heart?
I dare not pretend to be a scholar of Indian dance to explain the history and factions of Indian dance, and to explain that the Bharatanatyam dance they performed is the authentic Indian dance. I don't dare to be like a dancer and praise them expertly for how "excellent" their every move is.
I am just an appreciator, but I am willing to work hard to express the flying "beauty" I feel in my heart!
Friends, on an unforgettable night -
The curtain slowly opened, and a dancing statue of Shiva was supported on a small table in the middle of the stage, with burning lights on both sides. With two tall copper lamps, the atmosphere on the stage was quiet and solemn.
Kalamar Lakshman came out. What a flash of glory! She bowed her head deeply to the audience and clasped her hands. When she raised her head, she showed off her beautiful face, her long eyebrows and her eyes that could speak thousands of words.
She stood calmly.
The flute was played, the snare drum was beaten, songs were sung, and Kalama began to dance.
She uses her long eyebrows, beautiful eyes, fingers, and waist; she uses the flowers on her bun and the pleated skirt around her waist; she uses her delicate dance steps, the ringing of bells, and the slowness of light clouds. Moving, turning like a whirlwind, dancing out the joys and sorrows in the poem.
Although we don’t know the content of the story, our emotions can roar with her movements! We see her sometimes frowning, showing infinite sadness; sometimes her smile is bright, showing boundless joy; sometimes she lowers her eyelashes sideways to show shyness; sometimes she opens her eyes in anger, showing overwhelming anger; Sometimes he gently touches his forehead and strokes his arms, draws his eyes and eyebrows, and performs delicate and appropriate grooming; sometimes he stands upright, pressing the arrows and guiding the bow, so that one can almost hear the clanking sound of the strings! Like Shiva, in the carnival of dance, she forgets both the audience and herself. She just tried her best and used her flexible limbs and five senses to tell the beautiful poetry stories of ancient India!
I have performed dances one after another (little sister Lada, sometimes dances alone, sometimes with her sister, she is a young phoenix! She is still young but her skills are deep, her future achievements are also limitless ), we find that they not only represent gods and humans, but also vegetation and animals: such as the trembling petals of a lotus flower, the running and jumping of a deer, and the strutting stride of a peacock. The most exciting thing is the "snake dance", with the slight shaking of the neck and the slight trembling of the shoulders: waves of flexible squirming, spreading from the fingertips of the right hand to the fingertips of the left hand! I really can't describe it, so I can only include it by borrowing two lines from Bai Juyi's poem: "The pearls dazzle and the stars shake, and the flower garlands fight with the dragons and snakes."
Watching the dance of the Kalama sisters, I deeply realized that India’s beautiful and time-honored culture and art, dance, music, sculptures, paintings... are all like branches on a big banyan tree. The branches droop and take root in the ground. This kind of many branches are connected with each other in the earth, absorbing the food supplies given to him by Mother Earth, and this earth is the vast people of India with a long history.
Karama and Radha are just two soft branches on this big banyan tree. Although Kalama, with her twenty-two years, has already lived seventeen years of stage life; twelve-year-old Radha has also had four years of performance experience, but we know that India’s great mother earth will continue to The earth nourishes and nurtures them.
The most melancholy thing is that they have just shown their "dragon-like" dance to the Chinese people. Due to the needs of the vast number of people in their motherland, they will be "astonished" in two or three days. The ground flew back!
In the early spring in Beijing, there are no plump and fragrant flowers like their southern Indian hometown. We can only learn from the poetic words of their great poet Rabindranath Tagore: Let us put our flowers one by one. The hearts of admiration and gratitude were woven into a bouquet like blossoming red flowers, dedicated to them and hung on their chests, and brought back to the Indian people to thank them for their friendship and enthusiasm, and to thank them for temporarily keeping the Lakshman sisters. Kind regards!
This is a beautiful prose that is as poetic as a painting.
Nearly forty years have passed, and time, like water, has long diluted the various impressions on people’s cerebral cortex. However, the writer vividly recorded the relationship between these two young people with her clear words and beautiful sentences. The dancer's grace, along with her affectionate praise, evoked our memories of that wonderful night.
Dance is originally an art that is combined with poetry and music, so describing it with soft and graceful verses is naturally the most appropriate technique.
So we can see that the author used a rather difficult question to elicit four parallel hypothetical sentences, using accurate and harmonious colors to outline the "changeable relationship" of this pair of dancers. "The graceful whirling dance", "clear brows, and gorgeous costumes", their "nimble dance steps and the tinny ringing of bells", and their "slender and agile figures full of vitality".
However, the author seems to feel that these affectionate artistic languages ??are not enough to express the surprise in her heart. She reimagines the metaphor and uses the innocent eyes of a baby to suddenly see "the morning sun." A dazzling red lotus, a dancing peacock in the deep forest", these vivid images are used to describe the overall impression in her heart and her "heart full of joy and excitement".
We know that Bing Xin has long studied the ancient culture of India. Her first poems were inspired by the Indian poet Rabindranath Tagore's "Birds" and she was able to fly; she translated Tagore's "Auspicious Birds". Tanjali", "The Gardener's Collection", "Selected Poems of Rabindranath Tagore" and other works, and translated "The Pomegranate Queen" by Indian writer Anand; at the end of 1953, he participated in the China-India Friendship Association delegation and made a report on India for more than a month. After the visit, he translated and published "Collection of Indian Fairy Tales" shortly after returning. She is naturally familiar with the history of Indian dances and their origins with religion. However, this essay is not intended to be an academic discussion. The author only expresses her feelings about the flying beauty of dance as an appreciator. However, just In her humble confession, she still pointed out to us that "the Bharatanatyam dance they performed is the authentic Indian dance." It is under this prompt that we can easily check the relevant information to understand where this dance is popular and its main features.
If we compare the first part of the article to the freehand brushwork in Chinese paintings, because its brushwork is so concise, and it dyes the artistic conception of the work so well in both form and spirit, then the content of this article The second part can be regarded as neat and meticulous meticulous painting.
You see, the author uses her wonderful pen to delicately describe the equipment on the stage and the quiet atmosphere it creates, and then depicts for us the wonderful scene when the dancers appear on stage. For a moment: She seemed to have lowered her head and clasped her hands and came to the stage. The gorgeous costume was dazzling. She slowly raised her head, with her "beautiful face and a pair of long eyebrows that can speak thousands of words." , a pair of eyes", attracting the attention of the audience. People held their breath, praising and cheering, and were completely silent, fearing that any sound would scare away the light of rebirth.
When the author writes about how a dancer dances to the music, he first outlines how she uses her limbs, facial features, clothing, footbells, and her slow and sometimes fast dance steps to express the complex and eternal indescribability of the human world. The joys and sorrows of separation and reunion; and then neatly described in detail, sometimes frowning, sometimes charming, sometimes drooping eyelashes, sometimes angry, sometimes docile, sometimes mighty. The snake dance that the author is so heartbroken about is described in detail, from the slight swaying of the neck, to the slight trembling of the shoulders, to how the flat arms move flexibly. From here we are not only I saw the impeccable grace and felt the exciting melody.
In the "Script" chapter of his collection of prose poems "Collection Again", Tagore once used the language of poetry to elaborate on the artistic charm of prose as follows:
Prose sometimes Jetting flames, sometimes pouring waterfalls, the world of prose includes vast plains, towering mountains, deep forests, and desolate deserts... Prose has no external surge. It uses a light and heavy approach to stimulate the inner melody.
Wouldn’t it be more helpful for us to use this to confirm Bing Xin’s prose to understand and appreciate this masterpiece?
The Kalama sisters are still young. Although their skills are outstanding, in the face of ancient Indian culture, they can only be two soft branches on the banyan tree. This is the author's metaphor, and it is also the author's expectation for young dancers; praise is different from overflowing with praise, which shows the author's kindness and generosity, and gives us useful enlightenment.
It is the author's metaphor and the author's expectation for young dancers; praise is different from overflowing with praise, which shows the author's kindness and generosity and gives us useful enlightenment.