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打歌是广大彝族中分布最广、影响最大、历史最久远的一个舞种。打歌如千里彝山清新透明的空气,浸透彝家生活的每一个角落。逢年过节要打歌;赶庙会要打歌;婚丧嫁娶要打歌;成人成福百日要打歌;看电影、集会要打歌;“芦笙一响,脚板就痒。”打歌和彝家人的生活就像吃饭时的盐、男人腰间的酒葫芦,没有了它,彝山将失去动人的风采。作为鹰的传人、虎的后代、彝人的子孙,从睁开矇眬的双眼起,就在醉人的打歌舞熏陶中成长。虽自己未能成为一位出色的舞者是一种缺憾,但自己的每一根神经都潜藏着打歌舞的音符,只待有铮铮的三弦响声,便会为之痴狂,为之陶醉。作为心灵的舞者,基于对打歌舞的热爱,本文想从打歌的起源,打歌的历史变迁及形式,打歌在新时期的社会价值几方面作些粗浅的探讨。
Playing song is the majority of the Yi people in the most widely distributed, the most influential, the longest history of a dance species. Playing songs such as Trinidad Yi fresh and transparent air, soak in every corner of Yi’s life. Festivals to fight songs; temple will be playing songs; wedding funeral marriage to fight songs; adult funeral hundred days to play songs; watch movies, rallies to play songs; “Lusheng a ring, the foot itch.” Song and Yi family life is like eating salt, a man’s waist gourd wine, without it, Yi Shan will lose the touching style. As the hawkish successor, the descendants of the tiger and the descendants of the Yi people grew up in the intoxicating song and dance from the moment when they opened their eyes. Although it is a pity that he failed to be a good dancer, every nerve in his life is lurking in song and dance notes. Only three clashes of clank sound will be mad and intoxicated. As a spiritual dancer, based on the love of song and dance, this article tries to make some superficial discussions on the origin of songwriting, the historical changes and forms of songwriting and the songwriting in the social values of the new era.