Pumi Cuocuo
01 · Historical Records
Cuocao derives from Pumi legend. It is said that long ago a handsome Pumi young man met an immortal maiden on a night brilliant with starlight; the next morning the maiden drifted away, and the young man, wanting to commemorate the maiden in his heart, composed a set of cuocao dances. From the 1980s of the twentieth century, the cuocao organized and adapted by literary and art workers began to be performed both at home and abroad, winning provincial- and national-level awards many times.
02 · Core Techniques & Process
Cuocao means to dance in Chinese. It is a folk dance of the Pumi people, transmitted mainly among the Pumi villages of Tongdian, Hexi, Lajing, Jinding, Deng and other townships in Lanping County, Nujiang Lisu Autonomous Prefecture. Because cuocao is accompanied by the four-string biba and the beat is marked by sheep-skin drums, it is also called the four-string dance and the sheep-skin drum dance. Cuocao dancing has many forms, for instance the bowl-and-chopstick dance and the hip-bumping dance. To the accompaniment of bowls and chopsticks, men and women who are fond of each other express their love by bumping hips. Pumi cuocao preserves the ancient artistic feature in which song, dance and music form one whole; at gatherings people form one ring or several rings and dance merrily to the guidance of the music played on the four-string lute and the sheep-skin drum. In the dance the steps change richly; the dancers break into song in the gaps between tunes, one voice leading and many responding, combining tension and relaxation. Pumi cuocao is not restricted in time, place or number of participants, and those taking part may join the dance at any moment. The dancers may start off one after another; some people may dance while others walk and sing, and begin dancing when the singing is finished. When dancing, the direction of force in stamping is vertical, while the direction of force in striding is horizontal; when retreating the body leans forward, the upper and lower body moving in opposite directions, and when advancing it leans back, the upper and lower body again moving in opposite directions. The tempo is generally moderate. When the tempo is slow, the steps are light and airy, as if a breeze were rhythmically tugging at the hem of the dress. When the tempo quickens, the steps become rough and forceful. The open-form cuocao handed down to the present has twelve sets of steps; its formations include the single circle with hand-holding, the double circle and the semicircle. It is generally danced counterclockwise, but may also be danced clockwise. When forming a double circle, it may be danced in the same direction or in opposite directions. Cuocao dancing has many named sets, with rich variations of formation and step, alternating tension and relaxation, and is not restricted in the number of participants: as few as a few dozen may take part, and as many as ten thousand may dance together. It is used mainly for self-entertainment, celebration and physical exercise, expresses feelings of ethnic unity and joy, is the Pumi people's favourite dance, and has a certain artistic quality.
The bibo lute and goat-skin drum
Accompanied by the four-string bibo and marked by a goat-skin drum, it is also called the four-string or goat-skin dance.
Bowl-and-chopstick and hip-bumping dances
Among its many forms, the bowl-and-chopstick dance and the hip-bumping dance serve courtship.
Twelve routines in circles
Twelve routines survive, danced in single, double or half circles, usually counter-clockwise.
The fairy legend and staged versions
Legend credits the dance to a young man honouring a fairy; since the 1980s adapted versions have toured and won awards.
03 · Regional Records & Related Items
Pumi cuocao is divided into two types, open-form cuocao and closed-form cuocao. Open-form cuocao is a dance for self-entertainment; through long development it was continually improved and became an important form of everyday amusement for the Pumi people, and also an indispensable part of large-scale Pumi gatherings, celebrations and similar occasions.
04 · Cultural Value & Contemporary Safeguarding
At present the traditional Pumi cuocao is being struck by modern culture and has entered a survival crisis, so protection and transmission are urgently needed.
06 · Authoritative Sources & Bibliography
Sources
China Intangible Cultural Heritage Network (ihchina.cn)
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