What are the styles of Vietnamese folk dances?

Vietnam is a multi-ethnic country with a long history, with 54 ethnic groups living and reproducing in a vast area, all with their own cultural traditions and dance forms. At the same time, these ethnic groups have absorbed, integrated and influenced each other in culture and art, so they have gradually formed Vietnamese folk dances with both ****same characteristics and their own ethnic features. Vietnamese folk dances are colorful and diverse, both old and young, showing inheritance, self-entertainment, mass and ethnic regionality in the development of history. For many reasons of history and culture, there are still various primitive dances remaining in Vietnamese folk dances. For example, the song and dance activities of the pygmy people to sacrifice the rice mother is a remnant of the nature worship of all living things. Toms dance at funerals to show respect and remembrance of deceased ancestors, is a remnant of ancestor worship, and in this way to remember the performance of ancestors. Vietnam's many ethnic groups, distributed throughout Vietnam, folk dance with regional and ethnicity. For example, the dance of the Kinh ethnic group is beautiful and quiet, with implicit feelings, rich hand movements, five fingers open, forming the unique "five-fingered wheel flower" form, and sculptural dance posture. The costumes of the Kinh people reflect the characteristics of Vietnam's regional culture. The Kinh people wear various kinds of overcoats and long skirts, with the upper body girded to emphasize the body, making the women look graceful and graceful, and the hemline spreading out and opening up to the waist, making it easy for them to move around. The Kyong people wear bucket hats on their heads, reflecting the ethnical customs and seasonal customs of an ethnic group, which have formed their own style over the long years of inheritance. Thai ethnic areas more peacocks, many Vietnamese people not only in their homes to raise peacocks, and the peacock as a symbol of goodness, wisdom, beauty, good luck and happiness, people have reverence for it. toms shoes for men to bronze drums for the sacred, in case of grand festivals will jump up bronze drums, bronze drums, as the name suggests, the whole body with bronze casting, the shape of a round sitting squat, hollow bottomless, the drum waist to the inward curved shrinkage, the drum side of the four "ears" can be hoisted up to beat. The drum holds two mallets, the right hand to beat the drum center, the left hand to beat the drum edge, two hands with the beat. The ancient dance and the dancer's piety to the good of the psychology, so that the dance maintains a long and vigorous vitality and rich primitive flavor. Another example is the Jialai in the West Plains area, whose dance style is characterized by boldness and swagger. The long hunting life of the Jialai people and the influence of the geographical environment and climate conditions have formed a strong, athletic body and untamed, courageous character. Therefore, the dance of the Jialai people is passionate, robust and rhythmic, with the distinctive features of roughness, swarthy, simplicity and solemnity.

The combination of song and dance and the use of props is another characteristic of Vietnamese folk dance. The combination of song and dance is the most common form of folk dance. It is characterized by song and dance, song and dance. The "Boat Dance" and "Hundred Flowers Dance" of the Kinh people, the "Housewarming Dance" of the Khm people at the completion of a new home, the "Lan Ong Dance" and "Lan Ong Dance" of the Gelao people, and the "Lan Ong Dance" and "Lan Ong Dance" of the Gelao people are some of the most common folk dances in Vietnam. The Kemu people's "Qiaoqian dance" at the completion of a new home, and the Gelao people's "Lanweng dance" and "Lan Tun dance" all belong to the form of singing and dancing, singing and dancing together.

Prop dances have a long history in Vietnamese folk dances, and the props used and the forms of expression are extremely wide and varied, with people using props to increase the means of performance. The name of the dance depends on the props used, which can be divided into two categories: labor props and other props. Labor life props dance is to labor in the life of the items used or made in kind props for the performance of the dance form. For example, the Boat Dance and Rice Pounding Dance express the plot of life; the Fan Dance and Bucket Hat Dance use small props to match the dance to perform the image of different characters; the Bamboo Pole Dance, Lusheng Dance, Coconut Dance, and Fathom Dance are performed with props to enhance the dynamic image, beat, and acoustic effect. The more characteristic one is the money stick dance of the Mang people, in which the Mang people tie copper coins to the top of a long stick and generally dance the money stick dance in the Spring Festival, which is a strong and powerful dance showing the rough and tough character of the Mang people's men. The dances of other props, such as the offering dance and lamp dance related to religion; and the shield dance, spear dance and stick dance related to ancient weapons.

Folk dances are closely related to folk customs and festivals. The customs of the Khmer and Cham ethnic groups in the south are similar to those of the Cambodian Khmer, while the customs of the Hua ethnic group are similar to those of the Han ethnic group in the two provinces. The Spring Festival is the most important festival of the northern ethnic minorities, while other festivals, such as the "July 7" of the Miao, the Pan Wang Festival of the Yao, the Festival of Sacrificing Walled Villages of the Thai, and the Water Festival and Moon Festival of the Khmer in the south, are festivals with more ethnic characteristics. Ethnic minorities are very fond of singing and dancing, Dai Yi and Nong on many occasions to sing and dance.