What are the artistic features of folk dance in China?

Cihai defines folk dance as "a traditional dance form that is widely circulated among the people and has distinctive national style and local characteristics." Modern folk dance researchers generalize the concept of folk dance according to its emergence, development and characteristics: "In the process of the development of material civilization and spiritual civilization of a nation or region, it was created by the working people collectively and circulated among the masses, and it is still circulating today. It has distinctive regional and national characteristics, which not only shows the cultural background under certain historical and economic conditions, but also injects new elements with the development of social life. " Nowadays, among the people, people dance folk dances not for others, but for themselves. This is the basic attribute of folk dance and the basic purpose of self-entertainment. People enrich their lives and desire for life through folk dance, and its position and role in people's lives are obvious. Therefore, folk dance can always maintain its unique national life consciousness and continue to spread in modern times. Language is a symbol of the formation of a nation, so it can also fully express the spirit and characteristics of a nation. As a special artistic language form, folk dance embodies national aesthetics and will, and has strong national unity and cohesion. Let's briefly analyze two kinds of folk dances of the Han nationality, the northeast yangko and the Tibetan dance. Let's talk about the northeast yangko first. When it comes to northeast yangko, we must start with stilts in southern Liaoning. The stilts in southern Liaoning have unique style and dynamic characteristics, which artistically reflect the character of the northeast people and the aesthetic habits of the countryside. These characteristics are formed by the northeast people in their long-term life. The vast northeast plain is flat, with distinct cold and hot. Most of the Han people living here are laborers engaged in reclamation, mining and hauling, forming a tough, frank and stubborn character, and at the same time forming an aesthetic habit that the people in Northeast China like rich colors and rough lines. Over time, a set of dance movements and body characteristics that conform to the nature of the northeast ethnic group have emerged. Northeast Yangko, which was bred and developed from stilts in southern Liaoning, always keeps its posture forward, and kicks and lifts powerfully when it comes out; When it is taken back, it falls fast and steadily, which is a smooth combination of regular knee setbacks and dance somersaults, forming a unique posture dynamic law of Northeast Yangko, which is called "Golden Root". This kind of "vigor" is also consistent with the strong and unyielding character of the Northeast people, which embodies the unique life customs and personality temperament of the rural people in the Northeast Plain. From the above analysis, we can see that it is the dynamic law of this posture that fully shows the open-minded and cheerful character of the people in Northeast China and forms the artistic appeal of the violent atmosphere of Northeast Yangko. Talk about Tibetan dance again. Among the four well-known folk dances in Tibet-Duixian, Pot Sticker, Pot Zhuang and Heizi, no matter which one, its posture features are sitting on the hip, bending over and bending back. Obviously, for Tibetan dance, it is not only its existing natural environment that plays a decisive role, but the personality characteristics of the Tibetan people. In order to explore the more essential reasons for the formation of Tibetan dance posture characteristics, it is necessary to pursue Tibetan history, social system and religion more deeply. Historically, Tibetans are nomadic and agricultural people living on the alpine grassland on the roof of the world, with strong physique and perseverance. Although the natural environment of the Qinghai-Tibet Plateau has brought many difficulties to the survival and reproduction of the local people, the Tibetan people who have lived here for generations have created a unique and long-standing national culture and artistic tradition with their diligence and wisdom. In this special cultural and artistic tradition, religion constitutes a thread that runs through national life. Devout religious belief and emotional psychology, coupled with daily heavy physical labor and living habits, have formed the hunched posture in Tibetan daily life, which is further reflected in the dance, resulting in the basic posture characteristics of sitting on the hips and hunching over, and developed into a dynamic rhythm style system. The analysis of the folk dances of the above two nationalities shows that the body art culture originated from different religious beliefs and cultural traditions is the recognition of the national spiritual goals and values, and after this recognition, dance is used to emphasize and strengthen this spirit, so the nation is United and powerful under the cohesion of this power. Therefore, the folk dance culture based on a nation's profound culture is bound to be recognized and loved by the people of this nation. As a product of spirit, he not only has strong national cohesion, but also closely connects the national hearts in group dance, overcomes all difficulties and obstacles and struggles for survival. It can be seen that folk dance is not an accidental phenomenon, it is the product of the development of human culture, and it is a dance form with the purpose of self-entertainment and integration with its growing environment. Folk dance has its own development law, evolution track and performance system, which is independent of individual will. It has its own position and function in society. It is an important part of the cultural property owned by the people and should be respected and protected so that it can evolve along its own development law more healthily.