时间：2006年
Time: 2006
类别：民间舞蹈
Category: Folk Dance
地区：云南，西藏，青海
Regions: Yunnan, Tibet, and Qinghai Provinces
编号：Ⅲ-20
Ref. No.: III-20
锅庄舞，又称为“果卓”、“歌庄”、“卓”等，藏语意为圆圈歌舞，是藏族三大民间舞蹈之一，分布于西藏昌都、那曲，四川阿坝、甘孜，云南迪庆及青海、甘肃的藏族聚居区。锅庄分为用于大型宗教祭祀活动的“大锅庄”、用于民间传统节日的“中锅庄”和用于亲朋聚会的“小锅庄”等几种，规模和功能各有不同。也有将之区分成“群众锅庄”和“喇嘛锅庄”、城镇锅庄和农牧区锅庄的。舞蹈时，一般男女各排半圆拉手成圈，有一人领头，分男女一问一答，反复对唱，无乐器伴奏。整个舞蹈由先慢后快的两段舞组成，基本动作有“悠颤跨腿”、“趋步辗转”、“跨腿踏步蹲”等，舞者手臂以撩、甩、晃为主变换舞姿，队形按顺时针行进，圆圈有大有小，偶尔变换“龙摆尾”图案。
Guozhuangwu, also called “Guozhuo”, “Gezhuang” and “Zhuo” (means “singing and dancing in a circle” in Tibetan), is one of the three major Tibetan folk dances, and is popular in Qamdo and Nagqu in Tibet, Aba and Ganzi in Sichuan, Diqing in Yunnan, and Tibetan-inhabited areas of Qinghai and Gansu. Guozhuangwu can be divided into various types with different scales and functions. For example, “Great Guozhuangwu” is performed for grand religious rites; “Medium Guozhuangwu” is performed in traditional folk festivals; and “Small Guozhuangwu” is performed in reunio and gathering of families and friends. The performance can also be divided into public Guozhuangwu, Lama Guozhuangwu, urban Guozhuangwu, and agro-pastoral Guozhuangwu. In the performance, men and women, grouped on opposite sides, hold hands to form a circle. One person will take the lead to start the performance, and men and women will ask and answer questions in turns. They sing to each other without accompaniment. The entire performance consists of two parts: the earlier part is featured by a slower tempo and the later a faster tempo. Basic movements include “you chan kua tui”, “qu bu zhan zhuan” and “kua tui ta bu dun”. Dancers lift, swing and shake their arms in the dance, and everyone moves in a clockwise rotation. The circle's sizes vary, and occasionally, the circle will transform into the shape of “dragon wagging tail”.
锅庄舞•迪庆锅庄舞
Guozhuangwu - Diqing Guozhuangwu
申报地区或单位：云南省迪庆藏族自治州
Nominating unit[s]: Diqing Tibetan Autonomous Prefecture, Yunnan Province
迪庆藏族锅庄舞，广泛分布在云南迪庆藏族自治州，根据从丽江石鼓轿子村出土的唐代藏文画像碑中的舞蹈形象推测，锅庄舞已有上千年的历史。
Diqing Tibetan nationality Guozhuangwu is popular in the Diqing Tibetan Autonomous Prefecture, Yunnan Province. According to images of dance on Tang Dynasty tablets with Tibetan script and images unearthed from Shigujiaozi Village, Lijiang City, Guozhuangwu should already have a history of over a thousand years.
迪庆藏族锅庄舞以德钦县奔子栏镇和香格里拉市沾塘镇、小中旬镇的最有代表性。奔子栏在待客时以锅庄歌舞形式表现系列礼仪程序，有“祝福锅庄”、“逐客锅庄”、“赞颂锅庄”、“相会锅庄”、“辞别锅庄”、“挽留锅庄”、“送别锅庄”、“祈福锅庄”等种类，在全国各藏区十分罕见。其曲调分“吆”、“卓金”、“霞卓”、“卓草”四个部分。香格里拉锅庄分古、新两种，“擦尼”是古锅庄，歌词内容、舞步形式都较古老，具有浓厚的祭祀性质，有专门的动作和歌词，多为宗教界和老年人喜爱；“擦司”是新舞，系随着不同时代而新编的歌舞。迪庆藏族锅庄的歌、舞、词都很丰富，唱词以三句为一段。凡遇喜庆佳节、新居落成、婚嫁喜事，人们不分男女老幼都要聚集在一起跳个通宵，表示欢庆和祈福。
The most representative Diqing Tibetan nationality Guozhuangwu is performed in Benzilan Town, Deqin County, and Zhantang Town and Xiaozhongxun Town, Shangri-La City. In Benzilan Town, Guozhuangwu is performed as a ritual to entertain guests. There are various types of Guozhuangwu, including those for “blessing”, “showing guests the door”, “praise”, “meeting” “farewell from visitors”, “detaining guests,” “farewell to visitors,” and “prayer.” However, they are extremely rare even in the Tibetan-inhabited areas across the nation. The tunes have four parts: “yao”, “zhuojin”, “xiazhuo”, and “zhuocao”. The Shangri-La Guozhuang is divided into the old and new forms. The old form is called “cani”. The song lyrics and dance forms are relatively old, and it features by strongly sacrificial characteristics, in particular, some movements and song lyrics are specially designed for the sacrifice offering. It is especially preferred by the religious circle and the aged. The new form is called “casi”. It is choreographed accordingly in different eras. Diqing Tibetan nationality Guozhuangwu has a wealth of songs, dances and song lyrics, and the lyrics are divided into stanzas of three lines. During festivals, house warming, weddings and celebrations, people of all ages will come together, dancing through the night for celebration and prayer.
迪庆藏族锅庄包含着丰富的藏族文化内涵，形式完整多样，地域特色鲜明，民族风格浓郁，有深厚的群众基础，其中蕴含着友爱、团结等传统的人文精神，有较高的艺术和社会价值。
Diqing Tibetan nationality Guozhuangwu reflects profound cultural connotation of the Tibetan nationality. The performance has diversified forms, and is featured by distinctive regional characteristics, strong flavor of the Tibetan nationality, and profound mass basis. It also implies traditional humanistic spirits such as brotherliness and solidarity, and is of great artistic and social values.
锅庄舞•昌都锅庄舞
Guozhuangwu - QamdoGuozhuangwu
申报地区或单位：西藏自治区
Nominating unit[s]: Tibet Autonomous Region
昌都县位于西藏自治区东部川、藏、滇三省交汇处，这里是康巴文化的中心，也是著名的“锅庄”发祥地。根据昌都县锅庄的歌词和民间传说来分析，昌都锅庄早在吐蕃时期就存在了。
Qamdo County is located in the eastern side of the Tibet Autonomous Region, wher Tibet, Sichuan and Yunnan border each other. It is the center of Khampa culture as well as the cradle of the famous “Guozhuangwu”. The folklore of Qamdo County and the song lyrics of Guozhuangwu, Qamdo Guozhuangwu can be dated back to as early as the Tubo period.
在西藏，昌都锅庄广为流传。每逢节日、庆典、婚嫁喜庆之时，广场上、庭院里男女相聚，围成圆圈，按顺时针方向边歌边舞。男性穿着肥大筒裤，女子脱开右臂袍袖披于身后，男女各站一边，拉手成圈，分班唱和。通常由男性带头起唱，女性随后唱和，歌声嘹亮，穿透力很强，舞者和着歌曲“甩手颤踏步”沿圈走动。当唱词告一段落后，众人一齐“呀”（拟声）地一声呼叫，顿时加快速度，撒开双臂侧身拧腰大蹉步跳起，挥舞双袖载歌载舞，奔跑跳跃变换动作。男性动作幅度很大，伸展双臂犹如雄鹰盘旋奋飞；女性动作幅度较小，点步转圈有如凤凰摇翅飞舞，显现出健美、明快、活泼的特点。舞圈中央通常置青稞酒、哈达，舞毕由长者或组织者敬献美酒、哈达，兄弟姐妹情谊藉此得到升华。昌都锅庄可分为农区锅庄（包括城镇）、牧区锅庄、寺庙锅庄三大类，动作大体可分两类，一类节奏缓慢，舞姿舒展优美；另一类节奏急促，舞蹈热烈奔放。昌都锅庄的动作多有模拟动物形态的，如“猛虎下山”、“雄鹰盘旋”、“孔雀开屏”、“野兽戏耍”等，其表演注重姿态的情绪变化和表现。昌都锅庄的节奏在表演中前后有三次变化，序舞时只要舞蹈者站好自己的位置，脚步缓慢地交替迈步即可，步伐很轻，力度也不强；序舞过后逐渐进入慢板舞蹈，最后进入最能体现卓舞粗犷奔放特征的快板舞蹈阶段，这时，舞蹈者的情绪达到高潮，场面极为热烈。
Qamdo Guozhuang is very popular in Tibet. In every festival, celebration, and wedding, men and women will gather in a public square or private yard, form a circle, singing and dancing as they move in a clockwise direction. Men wear loose, straight-legged trousers; women remove the right sleeves of their robes, let them swing behind their backs. Men stand on one side, women on the other. Holding hands, they sing in their respective groups. It is men who usually lead the singing, and then women join in the chorus. They all sing loud and clear, and “swing hands and make flutter steps” as they walk around in a circle. When the song lyrics come to an end, the crowd cries together “ya” (sound), and then suddenly the dancers cast out their arms to the sides rapidly, twist at the waist, make large stumbling steps, and leap. They wave both sleeves, singing and dancing, running and leaping as they make different movements. Men’s movements are featured by large movement range: both arms stretch out wide, like eagles circling and soaring. Women’s movements are featured by smaller movement range: they make small steps as they turn in circles, like a phoenix, wings trembling in flight. The dance reveals strong and handsome, lively and spirited features. Generally, barley wine and hada, a ceremonial scarf, are placed in the center of dance circle. At the end of the performance, the elder or the organizer will respectfully present the wine and hada to enhance the friendship and brotherhood/sisterhood. Qamdo Guozhuangwu can be divided into three categories, namely, those performed in farming areas (including urban areas), pasture, and temples. The dance movements can broadly be divided into two types: the first type is featured by slow tempo, as well as smooth, unrestrained and beautiful motions; and the other type is featured by fast tempo and impassion. Many of the dance movements of Qamdo Guozhuangwu are modeled after animals. These include “tigers dashing down a mountain”, “eagles circling”, “a peacock flaunting its tail” and “play of the wild beast”. These movements highlight expression of and changes in emotions. The tempo of a Qamdo Guozhuangwu performance will change for three times. At the beginning of the dance, dancers only need to stand in their proper position, and make gentle steps alternatively. After that, they will perform slow-tempo dance. And in the end, they will perform fast-tempo dance that can fully present the power and wildness of Guozhuangwu. At this moment, dancers are in high spirits and the performance is exciting.
昌都锅庄艺术充分表现了藏族人民热爱生活、热爱劳动、热情豪迈的民族特性，显示出一种力量的美和民族自豪感。2001年，昌都县被西藏自治区人民政府命名为“锅庄艺术之乡”。
The art of Qamdo Guozhuangwu fully demonstrates Tibetans’ passion in life, hardwork, and their bold and unconstrained character. It presents the aesthetics of power and the national pride. In 2001, the People’s Government of the Tibet Autonomous Region named Qamdo County the “Hometown of Guozhuangwu art”.
锅庄舞•玉树卓舞
Guozhuangwu: Yushu Zhuowu
申报地区或单位：青海省玉树藏族自治州
Nominating unit[s]: Yushu Tibetan Autonomous Prefecture, Qinghai Province
玉树卓舞流传于青藏高原腹地青海省西南部的玉树藏族自治州一带。卓舞的历史渊源可以追溯到原始社会，玉树卓舞中至今还保留着很多远古时代的痕迹，随着藏族六大氏族的形成，玉树卓舞逐渐以部落、部族和区域文化的形态发展起来。
Yushu Zhuowu is popular in Yushu Tibetan Autonomous Prefecture, southwest of Qinghai Province, the hinterland of Qinghai-Tibet Plateau. Zhuowu can be dated back to the primitive society, and the dance today still retains traces of its ancient past. Furthermore, the formation of the six great Tibetan clans has led to the development of Yushu Zhuowu based on tribal, clan and regional culture.
玉树卓舞种类繁多，其内容以对家乡、自然风光等的歌颂为主，同时广泛反映社会生活的各个方面。完整的演出分祭奉神佛的序舞、表现广泛内容的正部、祝福吉祥的尾声三个部分。玉树卓舞按功能可分世俗性较强的普通卓舞和宗教色彩很浓的“法”卓（藏语称“曲”卓）两类，整体结构由从慢到快两部分组成，以载歌载舞的形式进行表演。玉树卓舞的动作主要围绕甩袖来进行，表演时常常有几十人、上百人共同参与。舞者的袖子很长，全都拖在地上，男子舞蹈甩袖幅度大，动作优美潇洒，手臂旋转自如，运动路线变化多样。
Yushu Zhuowu has a variety of forms, and most of them acclaim the hometown and natural sceneries, and also reflect all aspects of social life. A complete performance consists of three parts. The first part is about offering sacrifices to gods/Buddha. The second part (the main section of performance) presents a wide range of topics. The last part (the ending) is about greetings and prayer. If classified by functions, Zhuowu has two categories, namely the secular, ordinary Zhuowu, and the extremely religious “Fa” Zhuo (known as “Qu” Zhuo in Tibetan). The whole performance, featured by the transformation from slow tempo to fast tempo, involves both singing and dancing. Yushu Zhuowu, with the basic movement being swinging sleeves (shuaixiu), is often performed by tens or hundreds of dancers together. The dancers' sleeves are so long that they drag on the floor. Men will present large movement range when they swing sleeves, reflecting aesthetic and unrestrained motion. They move arms freely and follow diversified lines.
腿部的动作幅度也很大，需要配合着手臂的甩袖作抬腿、撩腿、转身等大幅度的跳跃、移动，动作路线以弧线为主，周身协调配合。整个舞蹈节奏鲜明，气势磅礴，将男性舞蹈阳刚、帅气之美充分展现出来。女子舞蹈动作柔美流畅，甩袖和脚下动作基本与男子舞蹈相近，但幅度较小，展现出女性柔美秀丽和温柔端庄的特性。
In the dance, the feet movements also present large movement range. Dancers will make big leaps and movements in coordination with sleeves swinging, such as lifting legs, raising legs, and turning. The movements are made around arcs, with the coordination of the whole body. The entire performance is both rhythmic and full of power, which is a perfect expression of masculine beauty. Women’s dance movements are soft and smooth. The sleeves swinging and feet movements are similar to men’s, though their movement range is comparatively small, allowing them to display a feminine beauty, gentleness and modesty.
卓舞具有广泛的民众和社会基础，其丰富的表现形式、独特的风貌、精湛的技艺、强烈的个性为广大群众所称誉，在藏族歌舞艺术中具有广泛的代表性和显著的典型性，显示出很高的艺术价值。同时卓舞蕴有古老而深邃的文化内涵，在人类学、民族学、民俗学等的研究中都有重要的价值。它所具备的凝聚力和激发力，在现代精神文明的建设中能发挥积极作用。
Zhuowu has a broad mass and social foundation, and is widely acclaimed for its diversified forms, unique style, sophisticated techniques, and distinctive features. Its high artistic value lies in its role as a broadly representative and notable typical member of the Tibetan song and dance arts. Meanwhile, Zhuowu’s ancient and profound cultural connotations give it significant values in anthropology, ethnology, folklore and other studies. With its cohesive and inspirational force, it is able to play an active role in developing socialist culture and ethics.
相关传承人：
Inheritor(s):
达珍区批 徐桂莲 松吉扎西 洛松江村 昂加措 才哇 白马尼麦 阿德 布扎西
Dazhen Qupi, Xu Guilian, Sumgyi Tashi, Luosong Jiangcun, Ang Gyatso, Caiwa, Padma Nimai, Ade, and Bu Tashi
Time: 2006
类别：民间舞蹈
Category: Folk Dance
地区：云南，西藏，青海
Regions: Yunnan, Tibet, and Qinghai Provinces
编号：Ⅲ-20
Ref. No.: III-20
锅庄舞，又称为“果卓”、“歌庄”、“卓”等，藏语意为圆圈歌舞，是藏族三大民间舞蹈之一，分布于西藏昌都、那曲，四川阿坝、甘孜，云南迪庆及青海、甘肃的藏族聚居区。锅庄分为用于大型宗教祭祀活动的“大锅庄”、用于民间传统节日的“中锅庄”和用于亲朋聚会的“小锅庄”等几种，规模和功能各有不同。也有将之区分成“群众锅庄”和“喇嘛锅庄”、城镇锅庄和农牧区锅庄的。舞蹈时，一般男女各排半圆拉手成圈，有一人领头，分男女一问一答，反复对唱，无乐器伴奏。整个舞蹈由先慢后快的两段舞组成，基本动作有“悠颤跨腿”、“趋步辗转”、“跨腿踏步蹲”等，舞者手臂以撩、甩、晃为主变换舞姿，队形按顺时针行进，圆圈有大有小，偶尔变换“龙摆尾”图案。
Guozhuangwu, also called “Guozhuo”, “Gezhuang” and “Zhuo” (means “singing and dancing in a circle” in Tibetan), is one of the three major Tibetan folk dances, and is popular in Qamdo and Nagqu in Tibet, Aba and Ganzi in Sichuan, Diqing in Yunnan, and Tibetan-inhabited areas of Qinghai and Gansu. Guozhuangwu can be divided into various types with different scales and functions. For example, “Great Guozhuangwu” is performed for grand religious rites; “Medium Guozhuangwu” is performed in traditional folk festivals; and “Small Guozhuangwu” is performed in reunio and gathering of families and friends. The performance can also be divided into public Guozhuangwu, Lama Guozhuangwu, urban Guozhuangwu, and agro-pastoral Guozhuangwu. In the performance, men and women, grouped on opposite sides, hold hands to form a circle. One person will take the lead to start the performance, and men and women will ask and answer questions in turns. They sing to each other without accompaniment. The entire performance consists of two parts: the earlier part is featured by a slower tempo and the later a faster tempo. Basic movements include “you chan kua tui”, “qu bu zhan zhuan” and “kua tui ta bu dun”. Dancers lift, swing and shake their arms in the dance, and everyone moves in a clockwise rotation. The circle's sizes vary, and occasionally, the circle will transform into the shape of “dragon wagging tail”.
锅庄舞•迪庆锅庄舞
Guozhuangwu - Diqing Guozhuangwu
申报地区或单位：云南省迪庆藏族自治州
Nominating unit[s]: Diqing Tibetan Autonomous Prefecture, Yunnan Province
迪庆藏族锅庄舞，广泛分布在云南迪庆藏族自治州，根据从丽江石鼓轿子村出土的唐代藏文画像碑中的舞蹈形象推测，锅庄舞已有上千年的历史。
Diqing Tibetan nationality Guozhuangwu is popular in the Diqing Tibetan Autonomous Prefecture, Yunnan Province. According to images of dance on Tang Dynasty tablets with Tibetan script and images unearthed from Shigujiaozi Village, Lijiang City, Guozhuangwu should already have a history of over a thousand years.
迪庆藏族锅庄舞以德钦县奔子栏镇和香格里拉市沾塘镇、小中旬镇的最有代表性。奔子栏在待客时以锅庄歌舞形式表现系列礼仪程序，有“祝福锅庄”、“逐客锅庄”、“赞颂锅庄”、“相会锅庄”、“辞别锅庄”、“挽留锅庄”、“送别锅庄”、“祈福锅庄”等种类，在全国各藏区十分罕见。其曲调分“吆”、“卓金”、“霞卓”、“卓草”四个部分。香格里拉锅庄分古、新两种，“擦尼”是古锅庄，歌词内容、舞步形式都较古老，具有浓厚的祭祀性质，有专门的动作和歌词，多为宗教界和老年人喜爱；“擦司”是新舞，系随着不同时代而新编的歌舞。迪庆藏族锅庄的歌、舞、词都很丰富，唱词以三句为一段。凡遇喜庆佳节、新居落成、婚嫁喜事，人们不分男女老幼都要聚集在一起跳个通宵，表示欢庆和祈福。
The most representative Diqing Tibetan nationality Guozhuangwu is performed in Benzilan Town, Deqin County, and Zhantang Town and Xiaozhongxun Town, Shangri-La City. In Benzilan Town, Guozhuangwu is performed as a ritual to entertain guests. There are various types of Guozhuangwu, including those for “blessing”, “showing guests the door”, “praise”, “meeting” “farewell from visitors”, “detaining guests,” “farewell to visitors,” and “prayer.” However, they are extremely rare even in the Tibetan-inhabited areas across the nation. The tunes have four parts: “yao”, “zhuojin”, “xiazhuo”, and “zhuocao”. The Shangri-La Guozhuang is divided into the old and new forms. The old form is called “cani”. The song lyrics and dance forms are relatively old, and it features by strongly sacrificial characteristics, in particular, some movements and song lyrics are specially designed for the sacrifice offering. It is especially preferred by the religious circle and the aged. The new form is called “casi”. It is choreographed accordingly in different eras. Diqing Tibetan nationality Guozhuangwu has a wealth of songs, dances and song lyrics, and the lyrics are divided into stanzas of three lines. During festivals, house warming, weddings and celebrations, people of all ages will come together, dancing through the night for celebration and prayer.
迪庆藏族锅庄包含着丰富的藏族文化内涵，形式完整多样，地域特色鲜明，民族风格浓郁，有深厚的群众基础，其中蕴含着友爱、团结等传统的人文精神，有较高的艺术和社会价值。
Diqing Tibetan nationality Guozhuangwu reflects profound cultural connotation of the Tibetan nationality. The performance has diversified forms, and is featured by distinctive regional characteristics, strong flavor of the Tibetan nationality, and profound mass basis. It also implies traditional humanistic spirits such as brotherliness and solidarity, and is of great artistic and social values.
锅庄舞•昌都锅庄舞
Guozhuangwu - QamdoGuozhuangwu
申报地区或单位：西藏自治区
Nominating unit[s]: Tibet Autonomous Region
昌都县位于西藏自治区东部川、藏、滇三省交汇处，这里是康巴文化的中心，也是著名的“锅庄”发祥地。根据昌都县锅庄的歌词和民间传说来分析，昌都锅庄早在吐蕃时期就存在了。
Qamdo County is located in the eastern side of the Tibet Autonomous Region, wher Tibet, Sichuan and Yunnan border each other. It is the center of Khampa culture as well as the cradle of the famous “Guozhuangwu”. The folklore of Qamdo County and the song lyrics of Guozhuangwu, Qamdo Guozhuangwu can be dated back to as early as the Tubo period.
在西藏，昌都锅庄广为流传。每逢节日、庆典、婚嫁喜庆之时，广场上、庭院里男女相聚，围成圆圈，按顺时针方向边歌边舞。男性穿着肥大筒裤，女子脱开右臂袍袖披于身后，男女各站一边，拉手成圈，分班唱和。通常由男性带头起唱，女性随后唱和，歌声嘹亮，穿透力很强，舞者和着歌曲“甩手颤踏步”沿圈走动。当唱词告一段落后，众人一齐“呀”（拟声）地一声呼叫，顿时加快速度，撒开双臂侧身拧腰大蹉步跳起，挥舞双袖载歌载舞，奔跑跳跃变换动作。男性动作幅度很大，伸展双臂犹如雄鹰盘旋奋飞；女性动作幅度较小，点步转圈有如凤凰摇翅飞舞，显现出健美、明快、活泼的特点。舞圈中央通常置青稞酒、哈达，舞毕由长者或组织者敬献美酒、哈达，兄弟姐妹情谊藉此得到升华。昌都锅庄可分为农区锅庄（包括城镇）、牧区锅庄、寺庙锅庄三大类，动作大体可分两类，一类节奏缓慢，舞姿舒展优美；另一类节奏急促，舞蹈热烈奔放。昌都锅庄的动作多有模拟动物形态的，如“猛虎下山”、“雄鹰盘旋”、“孔雀开屏”、“野兽戏耍”等，其表演注重姿态的情绪变化和表现。昌都锅庄的节奏在表演中前后有三次变化，序舞时只要舞蹈者站好自己的位置，脚步缓慢地交替迈步即可，步伐很轻，力度也不强；序舞过后逐渐进入慢板舞蹈，最后进入最能体现卓舞粗犷奔放特征的快板舞蹈阶段，这时，舞蹈者的情绪达到高潮，场面极为热烈。
Qamdo Guozhuang is very popular in Tibet. In every festival, celebration, and wedding, men and women will gather in a public square or private yard, form a circle, singing and dancing as they move in a clockwise direction. Men wear loose, straight-legged trousers; women remove the right sleeves of their robes, let them swing behind their backs. Men stand on one side, women on the other. Holding hands, they sing in their respective groups. It is men who usually lead the singing, and then women join in the chorus. They all sing loud and clear, and “swing hands and make flutter steps” as they walk around in a circle. When the song lyrics come to an end, the crowd cries together “ya” (sound), and then suddenly the dancers cast out their arms to the sides rapidly, twist at the waist, make large stumbling steps, and leap. They wave both sleeves, singing and dancing, running and leaping as they make different movements. Men’s movements are featured by large movement range: both arms stretch out wide, like eagles circling and soaring. Women’s movements are featured by smaller movement range: they make small steps as they turn in circles, like a phoenix, wings trembling in flight. The dance reveals strong and handsome, lively and spirited features. Generally, barley wine and hada, a ceremonial scarf, are placed in the center of dance circle. At the end of the performance, the elder or the organizer will respectfully present the wine and hada to enhance the friendship and brotherhood/sisterhood. Qamdo Guozhuangwu can be divided into three categories, namely, those performed in farming areas (including urban areas), pasture, and temples. The dance movements can broadly be divided into two types: the first type is featured by slow tempo, as well as smooth, unrestrained and beautiful motions; and the other type is featured by fast tempo and impassion. Many of the dance movements of Qamdo Guozhuangwu are modeled after animals. These include “tigers dashing down a mountain”, “eagles circling”, “a peacock flaunting its tail” and “play of the wild beast”. These movements highlight expression of and changes in emotions. The tempo of a Qamdo Guozhuangwu performance will change for three times. At the beginning of the dance, dancers only need to stand in their proper position, and make gentle steps alternatively. After that, they will perform slow-tempo dance. And in the end, they will perform fast-tempo dance that can fully present the power and wildness of Guozhuangwu. At this moment, dancers are in high spirits and the performance is exciting.
昌都锅庄艺术充分表现了藏族人民热爱生活、热爱劳动、热情豪迈的民族特性，显示出一种力量的美和民族自豪感。2001年，昌都县被西藏自治区人民政府命名为“锅庄艺术之乡”。
The art of Qamdo Guozhuangwu fully demonstrates Tibetans’ passion in life, hardwork, and their bold and unconstrained character. It presents the aesthetics of power and the national pride. In 2001, the People’s Government of the Tibet Autonomous Region named Qamdo County the “Hometown of Guozhuangwu art”.
锅庄舞•玉树卓舞
Guozhuangwu: Yushu Zhuowu
申报地区或单位：青海省玉树藏族自治州
Nominating unit[s]: Yushu Tibetan Autonomous Prefecture, Qinghai Province
玉树卓舞流传于青藏高原腹地青海省西南部的玉树藏族自治州一带。卓舞的历史渊源可以追溯到原始社会，玉树卓舞中至今还保留着很多远古时代的痕迹，随着藏族六大氏族的形成，玉树卓舞逐渐以部落、部族和区域文化的形态发展起来。
Yushu Zhuowu is popular in Yushu Tibetan Autonomous Prefecture, southwest of Qinghai Province, the hinterland of Qinghai-Tibet Plateau. Zhuowu can be dated back to the primitive society, and the dance today still retains traces of its ancient past. Furthermore, the formation of the six great Tibetan clans has led to the development of Yushu Zhuowu based on tribal, clan and regional culture.
玉树卓舞种类繁多，其内容以对家乡、自然风光等的歌颂为主，同时广泛反映社会生活的各个方面。完整的演出分祭奉神佛的序舞、表现广泛内容的正部、祝福吉祥的尾声三个部分。玉树卓舞按功能可分世俗性较强的普通卓舞和宗教色彩很浓的“法”卓（藏语称“曲”卓）两类，整体结构由从慢到快两部分组成，以载歌载舞的形式进行表演。玉树卓舞的动作主要围绕甩袖来进行，表演时常常有几十人、上百人共同参与。舞者的袖子很长，全都拖在地上，男子舞蹈甩袖幅度大，动作优美潇洒，手臂旋转自如，运动路线变化多样。
Yushu Zhuowu has a variety of forms, and most of them acclaim the hometown and natural sceneries, and also reflect all aspects of social life. A complete performance consists of three parts. The first part is about offering sacrifices to gods/Buddha. The second part (the main section of performance) presents a wide range of topics. The last part (the ending) is about greetings and prayer. If classified by functions, Zhuowu has two categories, namely the secular, ordinary Zhuowu, and the extremely religious “Fa” Zhuo (known as “Qu” Zhuo in Tibetan). The whole performance, featured by the transformation from slow tempo to fast tempo, involves both singing and dancing. Yushu Zhuowu, with the basic movement being swinging sleeves (shuaixiu), is often performed by tens or hundreds of dancers together. The dancers' sleeves are so long that they drag on the floor. Men will present large movement range when they swing sleeves, reflecting aesthetic and unrestrained motion. They move arms freely and follow diversified lines.
腿部的动作幅度也很大，需要配合着手臂的甩袖作抬腿、撩腿、转身等大幅度的跳跃、移动，动作路线以弧线为主，周身协调配合。整个舞蹈节奏鲜明，气势磅礴，将男性舞蹈阳刚、帅气之美充分展现出来。女子舞蹈动作柔美流畅，甩袖和脚下动作基本与男子舞蹈相近，但幅度较小，展现出女性柔美秀丽和温柔端庄的特性。
In the dance, the feet movements also present large movement range. Dancers will make big leaps and movements in coordination with sleeves swinging, such as lifting legs, raising legs, and turning. The movements are made around arcs, with the coordination of the whole body. The entire performance is both rhythmic and full of power, which is a perfect expression of masculine beauty. Women’s dance movements are soft and smooth. The sleeves swinging and feet movements are similar to men’s, though their movement range is comparatively small, allowing them to display a feminine beauty, gentleness and modesty.
卓舞具有广泛的民众和社会基础，其丰富的表现形式、独特的风貌、精湛的技艺、强烈的个性为广大群众所称誉，在藏族歌舞艺术中具有广泛的代表性和显著的典型性，显示出很高的艺术价值。同时卓舞蕴有古老而深邃的文化内涵，在人类学、民族学、民俗学等的研究中都有重要的价值。它所具备的凝聚力和激发力，在现代精神文明的建设中能发挥积极作用。
Zhuowu has a broad mass and social foundation, and is widely acclaimed for its diversified forms, unique style, sophisticated techniques, and distinctive features. Its high artistic value lies in its role as a broadly representative and notable typical member of the Tibetan song and dance arts. Meanwhile, Zhuowu’s ancient and profound cultural connotations give it significant values in anthropology, ethnology, folklore and other studies. With its cohesive and inspirational force, it is able to play an active role in developing socialist culture and ethics.
相关传承人：
Inheritor(s):
达珍区批 徐桂莲 松吉扎西 洛松江村 昂加措 才哇 白马尼麦 阿德 布扎西
Dazhen Qupi, Xu Guilian, Sumgyi Tashi, Luosong Jiangcun, Ang Gyatso, Caiwa, Padma Nimai, Ade, and Bu Tashi
