时间：2006年
Time: 2006
类别：民间舞蹈
Category: Folk Dance
地区：北京
Region: Beijing City
编号：Ⅲ-1
Ref. No.: III-1
申报地区或单位：北京市门头沟区
Nominating unit[s]: Mentougou District, Beijing City
太平鼓是老百姓自娱自乐、集体传承、集体发展的民间舞蹈，具有广泛的群众基础和深厚的历史渊源，在当地的民俗活动中发挥着重要的作用。
Taipinggu is of folk dance for self-entertainment, carried on and developed by civilians in collective efforts. With a widespread mass base and deep historical roots, it plays an important role in folk activities at its prevalent places.
太平鼓自明代起在北京流传，清初，京城内外太平鼓极为盛行。清末，太平鼓传入门头沟地区。历史上门头沟很多村落家家户户、男女老少几乎都会击打太平鼓，清代宫廷中旧历除夕也要击打太平鼓，取其"太平"之意，所以北京也称太平鼓为"迎年鼓"。太平鼓在每年的腊月和正月最为活跃，在当地的岁时民俗活动中很吸引人，百姓们击打太平鼓更是对太平盛世国泰民安的期盼。打太平鼓不仅可以烘托节日气氛，在某种程度上也可以折射出北京地区的节庆习俗。
Taipinggu had been popular in Beijing since the Ming Dynasty, and it became very popular both inside and outside of Beijing in the early Qing Dynasty. In the late Qing Dynasty, taipinggu was spread to the Mentougou area. Almost every one from many villages in Mentougou area was able to play the taipinggu historically. Taipinggu, which means "peace and tranquility", was played in the imperial palace on lunar New Year's Eve, so it was also called "yingniangu (the drums played to welcome the New Year)" in Beijing. The time to play the taipinggu most is the twelfth and the first month of the lunar year. It is very attractive in local calendric folk customs, and people play it to express their wishes for a time of peace and prosperity. Playing the taipinggu can not only enhance the festive atmosphere, but also reflect the festive customs of Beijing area in a way.
太平鼓具有一套完整的民间肢体语言，如：因过去妇女缠足形成的韵律特征"扭劲"、"颤劲"，男性舞者特有的"劲"、"艮劲"，以及你追我赶、男追女逐的情趣。在耍鼓、步伐、队形变化方面均体现出了中国传统审美理念，这些都具有鲜明的地方色彩。作为这一舞蹈品种的标志性舞具--太平鼓，从制作工艺到与舞蹈动作的有机结合，已经超脱了作为乐器音响载体的单纯功能，而成为这一地区具有强烈地域文化象征的器物，是当地老百姓文化认同的标志。
Taipinggu has a complete set of folk body language, such as, "wiggling", "quivering" (resulting form women's foot binding), "vigor", "strong vigor" (from male dancers) as well as amusement by men chasing after women and vice versa. Chinese traditional aesthetic concepts are fully embodied in playing the drums, pace, and changes of formation with distinctive local color. As the symbolic instrument of this dance, taipinggu, on its crafts and its combination with dance movements, has already been beyond its simple function as an instrumental sound carrier, becoming an artifact indicating a strong geographic culture of this area. And it is a symbol of cultural identity of local people.
太平鼓植根于民间、成长于民间、繁茂于民间，老百姓对太平鼓的喜爱、老艺人对太平鼓的执着使太平鼓得以延续，而民间太平鼓的发扬与创新将使民间艺人们的生命充满活力。
Taipinggu was originated, developed and thrived among civilians. People were and are fond of it, and old artists have devoted themselves to it. All these may account for its continuity. In return, to carry forward and to innovate the art will make folk artists' lives full of vigor.
相关传承人：
Inheritor(s):
高洪伟
Gao Hongwei
Time: 2006
类别：民间舞蹈
Category: Folk Dance
地区：北京
Region: Beijing City
编号：Ⅲ-1
Ref. No.: III-1
申报地区或单位：北京市门头沟区
Nominating unit[s]: Mentougou District, Beijing City
太平鼓是老百姓自娱自乐、集体传承、集体发展的民间舞蹈，具有广泛的群众基础和深厚的历史渊源，在当地的民俗活动中发挥着重要的作用。
Taipinggu is of folk dance for self-entertainment, carried on and developed by civilians in collective efforts. With a widespread mass base and deep historical roots, it plays an important role in folk activities at its prevalent places.
太平鼓自明代起在北京流传，清初，京城内外太平鼓极为盛行。清末，太平鼓传入门头沟地区。历史上门头沟很多村落家家户户、男女老少几乎都会击打太平鼓，清代宫廷中旧历除夕也要击打太平鼓，取其"太平"之意，所以北京也称太平鼓为"迎年鼓"。太平鼓在每年的腊月和正月最为活跃，在当地的岁时民俗活动中很吸引人，百姓们击打太平鼓更是对太平盛世国泰民安的期盼。打太平鼓不仅可以烘托节日气氛，在某种程度上也可以折射出北京地区的节庆习俗。
Taipinggu had been popular in Beijing since the Ming Dynasty, and it became very popular both inside and outside of Beijing in the early Qing Dynasty. In the late Qing Dynasty, taipinggu was spread to the Mentougou area. Almost every one from many villages in Mentougou area was able to play the taipinggu historically. Taipinggu, which means "peace and tranquility", was played in the imperial palace on lunar New Year's Eve, so it was also called "yingniangu (the drums played to welcome the New Year)" in Beijing. The time to play the taipinggu most is the twelfth and the first month of the lunar year. It is very attractive in local calendric folk customs, and people play it to express their wishes for a time of peace and prosperity. Playing the taipinggu can not only enhance the festive atmosphere, but also reflect the festive customs of Beijing area in a way.
太平鼓具有一套完整的民间肢体语言，如：因过去妇女缠足形成的韵律特征"扭劲"、"颤劲"，男性舞者特有的"劲"、"艮劲"，以及你追我赶、男追女逐的情趣。在耍鼓、步伐、队形变化方面均体现出了中国传统审美理念，这些都具有鲜明的地方色彩。作为这一舞蹈品种的标志性舞具--太平鼓，从制作工艺到与舞蹈动作的有机结合，已经超脱了作为乐器音响载体的单纯功能，而成为这一地区具有强烈地域文化象征的器物，是当地老百姓文化认同的标志。
Taipinggu has a complete set of folk body language, such as, "wiggling", "quivering" (resulting form women's foot binding), "vigor", "strong vigor" (from male dancers) as well as amusement by men chasing after women and vice versa. Chinese traditional aesthetic concepts are fully embodied in playing the drums, pace, and changes of formation with distinctive local color. As the symbolic instrument of this dance, taipinggu, on its crafts and its combination with dance movements, has already been beyond its simple function as an instrumental sound carrier, becoming an artifact indicating a strong geographic culture of this area. And it is a symbol of cultural identity of local people.
太平鼓植根于民间、成长于民间、繁茂于民间，老百姓对太平鼓的喜爱、老艺人对太平鼓的执着使太平鼓得以延续，而民间太平鼓的发扬与创新将使民间艺人们的生命充满活力。
Taipinggu was originated, developed and thrived among civilians. People were and are fond of it, and old artists have devoted themselves to it. All these may account for its continuity. In return, to carry forward and to innovate the art will make folk artists' lives full of vigor.
相关传承人：
Inheritor(s):
高洪伟
Gao Hongwei
