体语与调试：贵阳苗族花棍舞文化嬗变刍议

Body Language and Debugging: Ruminations on the Cultural Transformation of Guiyang Miao Flower Stick Dance

摘要: 文章以贵阳苗族花棍舞为研究对象，结合人类学相关理论知识分析论证花棍舞本身不只是一项表演节目也不只是学生课间的体育运动，它也有自己的表达意蕴，展示着苗族与自然互动的过程。花棍舞的产生与发展与当地自然环境、社会经济、历史文化、宗教信仰等息息相关。通过阐述花棍舞的起源和发展阶段，舞蹈动作特征等分析出花棍舞的意蕴和功能。下坝花棍舞以击打为主要动作，击打部位包括肩、脚、腰等人体部位。这些击打动作反映出当地苗族生存的时代特点，花棍舞在2009年引入学校后重新焕发生机，经过十余年的发展从自娱自乐的项目登上社会舞台其动作随着时代发展而被赋予新的涵义。

Abstract: The article takes Guiyang Miao Flower Stick Dance as the research object, and analyzes and argues that the Flower Stick Dance itself is not only a performance program or a sport among students, but also has its own expression meaning, showing the process of interaction between the Miao people and nature. The emergence and development of the Flower Stick Dance is closely related to the local natural environment, social economy, history and culture, and religious beliefs. The meaning and function of the Flower Stick Dance are analyzed through the elaboration of the origin and development stages of the Flower Stick Dance, and the characteristics of the dance movements. XiaBa Flower Stick Dance takes striking as its main action, and the striking parts include shoulders, feet, waist and other parts of the human body. These striking movements reflect the characteristics of the era in which the local Hmong people live. The Flower Stick Dance was revitalized after it was introduced into the school in 2009, and after more than ten years of development, it has gone from being a self-entertainment program to a social stage, and its movements have been given a new meaning along with the development of the times.