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醉花间·村舞
天宜居士
观村舞。
跳村舞。
边舞边歌赋。
琴趣谷人填，
乐曲田公谱。
阳春白雪古。
下里巴人土。
同台展风姿，
天下齐欢度。
题记：全国民族民间舞蹈交流展演暨 2026 贵州“村舞”活动昨晚在中国金州举行，观看演出后有感而作。
（作者简介:天宜居士，本名夏金峣，贵州人，欧洲大学工商管理博士。北京大学未名湖文学社签约作家。)
点评：
这首《醉花间·村舞》是以传统小令写当代贵州“村舞”盛事的即事词。题记交代写作缘起：全国民族民间舞蹈交流展演暨2026贵州“村舞”活动在中国金州举行，作者观看演出后有感而作。全词语言质朴，节奏明快，以“村”为眼，以“舞”为线，由观舞、跳舞写到填词谱曲，再升华为雅俗同台、天下同欢，既有民间文艺的泥土气，又有中华文化“美美与共”的宏阔气象。现逐句解析并综合鉴赏：
一、逐句解析
“观村舞。跳村舞。”
开篇三字叠句，是《醉花间》的典型起法。“观”是旁观，“跳”是参与，由看舞到起舞，形成行为递进。“村舞”二字点题，“村”标乡土底色，“舞”标艺术形态。两句短促复沓，如开场锣鼓，定下欢快、质朴、现场的基调。
“边舞边歌赋。”
“边……边……”并列结构，写载歌载舞、且舞且吟。“歌赋”可理解为歌唱与歌辞，也可视为动词性的歌咏、铺陈。此句把单纯的舞蹈提升为歌舞一体的综合民间艺术，突出村舞的生动与自发。
“琴趣谷人填，乐曲田公谱。”
此为工对。“琴趣”对“乐曲”，“谷人”对“田公”，“填”对“谱”。歌词由农人填写，乐曲由农人谱写。农民不仅是表演者，更是创作者。用“谷人”“田公”等古雅称谓代指农人，既含敬意，又使乡土题材带上文雅气息。
“阳春白雪古。下里巴人土。”
两句用宋玉《对楚王问》典故。“阳春白雪”指高雅古调，“下里巴人”指通俗民歌。“古”与“土”对举：一传统高雅，一乡土本色。作者并非扬雅抑俗，而是让二者并置，消解雅俗等级，肯定乡土文化的根脉与尊严。
“同台展风姿，天下齐欢度。”
“同台”是词眼：雅俗同台、古今同台、民族民间同台、城乡同台。“展风姿”既写舞姿，也写新时代农民的精神风貌。结句由“村”升到“天下”，由一台演出升到全民欢庆，呼应题记中“全国民族民间舞蹈交流展演”，境界开阔，收束有力。
二、综合鉴赏
其一，人民主体性鲜明。词中农人填词、谱曲、起舞、欢歌，说明“村舞”不是专业院团的单向输出，而是群众自我创造、自我表达、自我欣赏的文化实践。
其二，雅俗共赏的文化胸怀。“阳春白雪”与“下里巴人”同台，意味着高雅传统与乡土民间并非高低对立，而是可以共生互鉴。村舞之“土”，不是土气，而是接地气、有生命力；村舞之“古”，不是复古，而是接续中华美学根脉。
其三，时代感与现场感强。题记点明“全国民族民间舞蹈交流展演暨2026贵州‘村舞’活动”，使词具有纪实性。贵州“村BA”“村超”“村舞”等“村字号”文化现象，正是乡村振兴、文旅融合、民族团结的生动注脚。此词以旧体写新事，有“旧瓶装新酒”的探索意义。
其四，结构层层递进。全词由“观”到“跳”，由“舞”到“歌”，由“歌”到“创”，由“雅俗”到“同台”，由“同台”到“天下”，完成从个人观感到家国天下的升华。短章而有大格局。
三、总评
《醉花间·村舞》语言质朴明快，用典精当，声韵铿锵，既保留了传统词牌的短调风神，又注入当代乡村文化振兴的新鲜内容。它以“村”为根，以“舞”为线，以“同台”为眼，以“欢度”为境，写出了农民的文化自信、民族民间的艺术活力与天下同欢的时代气象。实属有现场感、人民性和时代感的佳作。
The Village Dance in a Drunk Flower
A paradise of paradise
Watch a village dance.
Playing a village dance.
I danced while singing.
The people of Chinju Valley fill up,
The music is written by Tian Gong.
It was a sunny spring with white snow.
The people of Lower Riba are indigenous.
Show off your looks on the same stage,
The whole world rejoiced.
Preface: The National Folk and Ethnic Dance Exchange and Performance, along with the 2026 Guizhou "Village Dance" event, was held last night in Jinzhou, China. This piece was inspired after watching the performance.
(Introduction: Tian Yisheng, real name Xia Jinji, a native of Guizhou, PhD in Business Administration at European University.) Peking University does not have a signed writer for the unnamed HKU literary society. )
Comments:
This song, "Drunk in Flowers, Village Dance," is a phrase used in traditional Chinese scripts to write about the contemporary "village dance" event in Guizhou. The preface explains the origin of the writing: The National Ethnic Folk Dance Exchange and Performance, along with the 2026 Guizhou "Village Dance" event, was held in Jinzhou, China. After attending the performance, the author was inspired to write this piece. The whole word is plain language with a clear rhythm. With "village" as an eye and "dance" as a line, from watching and dancing to writing lyrics and compositions, it is elevated to the stage of harmony and harmony across the world. It has both the earthy spirit of folk art and the grand atmosphere of Chinese culture "come together." Let me explain and appreciate it sentence by sentence:
I. Explanation by sentence
“Watch a village dance. Playing a village dance.”
The opening three-word sentence is a typical way of starting "Drunk in a Flower." "Viewing" is bystander, "dancing" is participation, from watching to dancing, forming a step-by-step behaviour. The word "village dance" means the color of the countryside, and the word "dance" indicates the form of art. Two short sentences, such as the opening gong, set the tone of a cheerful, rustic and lively scene.
"Dance while singing."
“On the side... On the side...” Parallel structures write songs and dances, and dance and sing. "Songwriting" can be understood as singing and songwriting, and it can also be considered as a verbistic chanting and exposition. This sentence elevates simple dance to a comprehensive folk art that integrates song and dance, and highlights the vividness and spontaneous nature of village dance.
"The folks of the Valley filled out their songs, and the folks of Tian Gong wrote them."
This is a good job. "Character fun" is for "music," "Valu man" is for the "field man," "Fill" is for a composition. The lyrics were written by the farmers, and the music was written by them. Farmers are not only performers but also creators. The use of ancient names such as "valley man" and "field man" to refer to farmers means both respect and brings a sense of elegance to the rural subject.
“It was a sunny spring with white snow. The people of Lower Riba are indigenous.”
The two sentences are inspired by Song Yu's "Asking the King of Chu." "Sun Spring and Snow" refers to fine old tunes, and "Lower Limbaugh" refersto popular folk songs. "Ancient" and "native" are synonymous: a traditional highness, a native identity. The author does not promote elegance and demeanour, but rather places the two together, dispelling the hierarchy of elegance, and affirming the roots and dignity of rural culture.
"Show your manners together, and the whole world rejoices."
"The same stage" is the word: the same stage of civility, the same stage between ancient and modern times, the same scene of peoples and ethnic groups, the same place between urban and rural areas. "Showing the appearance" is not only about the dancing, but also about the spiritual appearance of farmers in the new era. The end sentence rose from "village" to "world," from a performance to a national celebration, echoing the title inscription "National ethnic and folk dance exchange show," which is broad and powerful.
II. Comprehensive appreciation
First, the subjectivity of the people is distinct. In the words, farmers fill in words, write songs, dance and sing, which means that "village dance" is not a one-way export of professional college groups, but a cultural practice of self-creation, self-expression and self-appreciation by the masses.
Second, a cultural ethos of modesty and appreciation. The "sunflower and snow" shared the stage with the "Lower Limba people," which means that high-quality traditions and the local people are not opposed to each other, but can coexist and learn from each other. The "earth" of village dance is not earthy, but earthy and vital; The "ancient" of village dance is not a retro, but a continuation of the roots of Chinese aesthetics.
Third, there is a strong sense of the times and the scene. The title states "National ethnic folk dance exchange exhibition and 'village dance' event in Guizhou 2026" to make the words realistic. The cultural phenomenon of "village name" such as "village ba," "village super" and "village dance" in Guizhou is a vivid footnote of rural revitalization, integration of culture and tourism, and unity of the people. The word describes something new in old form and has the searching meaning of "new wine in old bottles."
Fourth, the structure evolves from layer to layer. The whole word goes from "seeing" to "dancing," from "dancing" to "song," from "song" to "creation," from "modesty" to "together," from "together" to "the world," completing the sublimation of feeling from the personal perspective of home and the world. Short chapters with a large format.
III. Overall review
The language of "Drunk in Flowers Village Dance" is plain and fast, beautifully written and resonant, which not only retains the charm of the traditional notation, but also injects fresh content into the revitalization of contemporary rural culture. With "village" as its roots, "dance" as its line, "the same stage" as its eyes, and "happy spending" as its context, it writes out the cultural confidence of peasants, the artistic vitality of the people of the nation and the world to rejoice. It is a great work with a sense of place, people and time.
未名湖文学社头条号组织机构
主 管：北京大学未名湖文学社
主 编：韦元龙
责任编辑：舒晓丽
投稿邮箱：3237866@163.com
来源：北京大学未名湖文学社
The organization of the unnamed Herald Tribune Headline Number
Director: Unnamed HKU Literary Society, Peking University
Editor-in-Chief: Wei Yuanlong
By: Shu Xiaoli
Posting email: 3237866@163.com
Source: Unnamed H
舌尖馥郁的中国 美味芳菲的神州
