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民族概况
云南满族满族有1.2万人,主要分布于昆明、保山、思茅、德宏、曲靖、临沧、红河、楚雄等地州市
村寨介绍
满族院汲取东北本溪满族民居大院构建方式,同时又注入昆明四合院建筑的大量元素,因此,当为两地民居建筑的完美组合。院中央竖立的索罗杆主要祭祀供神用的。
民居建筑
满族传统住房一般为西、中、东三间,大门朝南开,西间称西上屋,中间称堂屋,东间称东下屋。西上屋设南、西、北三面炕,西炕为贵,北炕为大,南炕为小,来客住西炕,长辈多住北炕,晚辈住南炕。室内西炕不得随意坐人和堆放杂物,满族将西墙作为供奉祖先的神圣部位,不准在此挂衣物,张贴年画;西炕俗称“佛爷炕”,供有“祖宗板子”,忌讳人们尤其是女人随便坐卧。院内有一影壁,立有供神用的“索伦杆”。
宗教信仰
满族信仰的宗教有萨满教、佛教、喇嘛教。其中萨满教最具代表性,是一种古老的原始宗教。满族崇拜的神灵很多,大致可分为自然神祗,动植物神祗,英雄祖先神祗。自然神祗有日、月、星辰、雷、雨、山、河等,以火神为首神。
礼仪习俗
过去满族人孝敬长辈,注重礼节,在路上遇见长辈,要侧身微躬,垂手致敬,等长辈走过再行;不但晚辈见了长辈要施礼,在同辈人中年轻的见了年长的也要施礼问候。亲友相见,除握手互敬问候外,有的还行抱腰接面礼。每年除夕夜还要把祖先画像(俗称“老影”)悬挂在西屋墙壁上进行祭祀。满族将家犬视为重要财产不许轻易宰杀,有忌打狗、杀狗和食狗肉的习俗。不许从锅灶、火塘的三脚架上越过,不能用脚蹬踏或者随便坐在锅灶上或火塘边;不准在锅灶口或塘上烤脚、袜子、鞋靴;禁止将吃剩下的食物、骨头、鱼刺等扔进锅灶或火塘里。
语言
满语来源于古代女真语,属阿尔泰语系,起初这种文字只是单纯模仿蒙古语音拼写满语,被称为“老满文”、“无圈点满文”或“额氏满文”,后逐渐习用汉语文。
婚俗
总的过程可归纳为:相看、送小礼、过彩礼、婚礼四门五个部分。结婚当天,由父母子女俱全的长辈妇女布置洞房,在被子四周放置枣子、花生、桂圆、栗子,取其早生贵子之意,中间放一如意或苹果。在洞房内奏乐(“响房”)。喜轿(“亮轿”)摆在院子里。新郎由长辈陪同到女方家迎亲,在女方家向岳父岳母叩头后,即可迎娶新娘返家。一路唢呐高奏把喜轿抬到洞房外。进洞房前,地下放一火盆,新娘的喜轿从火盆上经过,据称这是为了避邪。喜轿到了洞房门前,新郎手拿弓箭,向轿门连射三箭,俗称为“箭射新娘”。接着在门坎上放置马鞍,新娘从上面跨过去。当新娘在床上坐稳后,新郎可以揭去姑娘头上的盖布。新人按男左女右的位置并肩坐在新床上,举行坐帐仪式:由长辈妇女把新郎的右衣襟压在新娘的左衣襟上,然后新郎新娘喝交杯酒,吃半生不熟的面食,以含生子之意。接着还要举行拜堂仪式:新郎新娘要拜天地、祖先、父母和长辈,夫妻要对拜。晚上也有闹房的习俗。
服饰
旗袍是满族妇女传统服饰,服装喜用各种色彩和图案的丝绸、花缎、罗纱或棉麻衣料制成,特点是立领,右大襟,紧腰身,下摆开衩。妇女不缠脚,所著鞋子绣有漂亮花饰,鞋底中央垫有10公分高的木质鞋跟,走起路来可保持昂首挺胸的身姿和腰肢摇曳的步态。姑娘时代,只简单地把头发在脑后挽一下。长到快出嫁时,就要把头发梳成辫子并挽成单发髻。喜戴耳环、手镯、戒指、头簪、大绒花和鬓花等各种装饰品。男子多穿带马蹄袖的袍褂,腰束衣带,或穿长袍外罩对襟马褂。满族男女都喜爱在腰间或衣服的大襟上挂佩饰。男子有火镰、耳勺、牙签、眼镜盒、扇带。女子有香囊、荷包等。大多用绸缎缝制,花色品种繁多,制作精美。
文化
满族是一个崇尚知识,重视教育的民族。
饮食
满族的饮食品种多样,风味独特,其特点是酸、粘,原料,主要是玉米、高梁、大黄米、黄豆、小豆等。逢年过节吃饺子,农历除夕必吃手扒肉。“杀猪菜”是满族火锅的代名词。满族的具有独特风味的“萨其玛”至今仍是广大人民爱吃的点心。
歌舞
满族民歌丰富多彩,如劳动号子、山歌小调、风俗歌曲、儿童游戏歌和爱情歌。每逢佳节、喜庆、婚嫁筵、出征、凯旋、祝寿、祭祀等都要歌舞尽兴,其中“莽势舞”最具代表性。这种民间舞多在新岁和喜庆之日跳,举一袖于额,反一袖于背,盘旋作势,成双对舞,旁人拍手而歌,以击堂鼓伴奏。
节日
满族许多节日均与汉族相同。主要有春节、元宵节、二月二、端午节和中秋节。过春节时要拜两次年,年三十晚上拜一次,为辞旧岁,年初一再拜一次,叫“迎新春”。颁金节是满族”族庆“之日,节日期间一般都要举行珍珠球、跳马、跳骆驼和滑冰等传统体育活动。
Artist
          The Man people in Yunnan differ remarkably from their fellowmen in Northeast China in their ways of life and social customs. However, they have retained the enterprising spirit, the dedication to work, the modesty and courtesy which are typical of the race. And in all walks of life of Yunnan, there have been outstanding celebrities of Man ethnic group. Among them Guan Sushuang, the renowned Beijing Opera artist, is the most famous. Guan was born of a Man artist family from Jinzhou of Hubei Province. When she came to Yunnan in 1949 to give performances, she was fascinated by Yunnan and decided to stay. She developed a new school of Beijing Opera that is named after her, and put on stage stories of ethnic minorities of Yunnan, such as the story of Dainuo the Jingpo girl, and the Hani heroine Yezhi.
City Habitat Characteristics
          The Man of Yunnan are mostly city-dwellers who attach great importance to education. So there is a great proportion of the Man people in Yunnan who are intellectuals. As a random survey conducted by Yunnan Man Society in 1998 of 160 Man people suggests, most of the interviewees have academic titles, of whom 20 or 13% hold full professorship, 32 or 20% are associate professors, 42 or 26% are lecturers. Teaching assistants account 11% or 18.  The remaining 31 or 19% have no academic titles but work as administrators.
Bamboo Loving People
          In November, 1995, at the 5th National Sports Meet of Ethnic Minorities, the Man people of Yunnan presented to the games a show of “sliding on bamboo”. The performers believed that to a certain extent, bamboo can be taken as a symbol of the Man people in Yunnan. Just as birch is typical of the ethnic character of the Man people in Northeast China, bamboo represents the essential traits of the Man people of Yunnan. For both birch and bamboo grow straight and erect, and are always aspiring to the high, yet at the same time remain common and ordinary. Both are vigorous and full of vitality, and play important roles in providing for the life of the local people. Indeed, the Man people in Yunnan carry with them characteristics of the birch which they adapt well with quality of the bamboo. They are contributing their wisdom and talent to the development of  their new red-soil home.
Cheongsam
          Cheongsam is a typical Man dress that evolved from Man dress in ancient times. In Manchurian it is called “yijie”. In its ancient usage, the word refers to gowns worn by both men and women that belonged to the eight “flags” or camps of Manchurian, Mongolian and Han troops. In the early Qing Dynasty, the gown was collarless, with narrow sleeve cuffs covered with a strip of semi-circular cloth (called “hoof sleeve”) which is often tucked up, but unfolded when one goes hunting or is in battle. For the sleeve can cover up the back of hand and protect one against cold. The gown for men is often in blue or grey, and that for women mostly in white. When the Manchurians came to the inland, they altered the hoof sleeve to a broad sleeve as a result of the Han influence they came under, which favored “high collar and broad sleeve”. By the 1930s, the Manchurians, both men and women, were wearing gowns with broad fronts and big sleeves. The gowns for women could be as long as reaching the legs, with decorative embroideries. The gowns for men could be as long as reach the ankle, and were called “long robes”. Later, the female gowns switched to narrower sleeves, and more tight-fit styles, with ends touching the ankle, so that it could better set off the body lines.