The Buyi pole-sounding dance is mainly distributed in the towns of Dushan Benzhai Binghuai, Jichangpotou, Jialifengdong, and Dayangmozhai. In particular, the village of Binghuai in Benzhai Township still retains this traditional ancient dance form intact, and there is a village pole-sounding dance team. The pole-sounding dance is a dance passed down by the ancestors of the Tan and Mo families of the Buyi people in Dushan. It originated from the custom of hitting bamboo poles to drive away evil spirits in the funeral ceremonies of the Tan and Mo families. In ancient times, when the ancestors of the Buyi Tan family passed away, they stayed in the middle hall. In order to prevent the black cat from crossing the beam, it was necessary to hit the coffin with a bamboo pole to drive away the black cat and to give the coffin a courage. The coffin-keepers played with each other with bamboo poles for fun, and it became a habit over time, so that it was passed down from generation to generation. In the long course of history, due to the migration, cohabitation, production, life and mutual penetration and integration of economic culture of ethnic groups, the pole dance has also evolved from the initial funeral dance ritual dance to an entertaining dance for praying for peace, expressing the joy of harvest, happiness of newlyweds, and well-being of the young and old during festivals, weddings and funerals, singing and house-building, and harvest festivals. The Bouyei pole dance has gradually enriched and developed under the processing and creation of artists from generation to generation, and has become one of the representative folk dances of the Bouyei people today, which is simple and rough, warm and unrestrained, and has a strong national style. The Bouyei pole dance is danced by men and women, all in an even number. An unlimited number of young and middle-aged people hold poles (a kind of bamboo pole for calling poultry, 2 meters long and broken into strips at one end), dance to the sound of bronze drums and leather drums, and hit the bamboo poles against each other. The changes in dance movements and emotions are shown with the strength, lightness, heaviness, speed and slowness of the drum beats, which makes the human body movements produce a contrast between big and small, fast and slow, light and heavy, dynamic and static, forming a dance that is sometimes like a dragon going out to sea, sometimes like a roc spreading its wings, sometimes like a lion rolling a ball, and sometimes like a dragon roaring and a tiger roaring, with a masculine aura that makes people feel moved. The bronze drums and leather drums of the pole dance are used as percussion accompaniment. The main method is to hit the "drum heart", "drum edge", "drum clapper" and "drum stick" against each other, and "pole hitting the ground". The bamboo pole is hit synchronously with the drum sound and changes with the changes in the drum beats, forming various rhythms such as Dong Dong Da | Dong Dong Da | Da Da Da Da | Dong Da Dong Dong | Da |, and the dance movements also change accordingly, producing different dance postures and steps. The synchronization of drum beats and dance steps is the main feature of this dance. The music has eight kinds of tunes, conducted by bronze drums and accompanied by leather drums. The sounds of poles are synchronized with drum beats. The tunes include "Jilonglao" (grand and lively); "Jilonglao Er" (making sake for a living); "Jilongma" (dancing on behalf of the Mo family); "Xiguang" (the place where poles are beaten); "Lazy Wai" (ploughing the land); "Guangwai" (spinning cotton); "Hazhu" (spinning yarn to make clothes); "Jiuzhu" (wearing new clothes and dancing). The Binghuai Buyi Pole Dance is one of the representative works of the Dushan Buyi folk dance. The dance has the entertainment value and function of image, emotion and pleasure with its three aesthetic characteristics of shape beauty, emotional beauty and real beauty. It carries the good wishes of the Buyi people, permeates the overall spirit of the nation, and stimulates the aesthetic entertainment needs of the nation. It is an emotional fence formed by the ancient songs sung by the Binghuai people for generations and thousands of years of bitterness and glory. It has also become a window for studying the evolution and development of the Buyi folk dance culture. Because the Pole Dance is a dance that has been passed down to the present day by the Tan and Mo surnames of the Dushan Buyi people through oral transmission and heart-to-heart teaching, and has been practiced and passed down from generation to generation. Therefore, the family inheritance genealogy of the Tan and Mo surnames is the inheritance genealogy of the Pole Dance. Tan Maoxuan, the artist of the Tan family's pole-beating dance: Tan Maoxuan was born in 1926. He is from Binghuai, Benzhai Township, Dushan County. He is a Buyi ethnic group. Maoxuan was smart and studious since he was young. At the age of 8, he learned the pole-beating dance from the elders in the village. In less than two years, he could skillfully beat the general dance rhythm. At the age of 12, he officially joined the ranks of pole-beating. After adulthood, because he was educated and familiar with the wedding and funeral customs of his ethnic group, he not only understood the origin of the pole-beating dance in the village, but also mastered the procedures of this dance. In addition, he also mastered the way of playing bronze drums and leather drums in coordination with the rhythm of bamboo poles, and his drumming skills were outstanding. Mo Honglin, the artist of the Mo family's "Pole-beating Dance": male, Buyi ethnic group, born in Binghuai, Lamang Village, Benzhai Township, Dushan County in 1930, he has been farming at home since he was a child. Mo Honglin's ancestors originally lived in Yangfeng Township, Libo County, and were connected to the Binghuai mountains and waters of Lamang Village, Benzhai Township, Dushan County, and later moved to Binghuai to settle down. Binghuai people love to dance the pole-beating dance. Mo Honglin has been influenced by them since he was a child and has also learned to play the pole-beating dance. At the same time, Mo Honglin himself is not satisfied with the ancestral skills. He constantly explores in practice to improve and develop the drumming skills. He has innovated techniques such as "cross-legged drumming" and "turning over to drum". However, in recent years, due to the impact of rural urbanization and cultural diversity, the aging of inheritors, and the surge in the number of migrant workers, the popularity of the pole-beating dance has weakened and the scope of its dissemination has narrowed. Due to the continuous adaptation or "Westernization" of the pole-beating dance, the original ecological environment inherent in the pole-beating dance has deteriorated, and its artistic characteristics have been diluted or assimilated and alienated. In addition, due to the lack of the main accompaniment instrument, the bronze drum, and the constraints of funds, the inheritance of drumming skills has lacked carriers and inheritors. (No pictures yet, welcome to provide.) (No pictures yet, welcome to provide.)