What are the dance moves of the Japanese Noh dance?

Nogaku is a typical example of samurai dance in Japan. "Noh is an art influenced by Tanakaku and Sarugaku, and it has also received the influence of Qu-mai. It was also influenced by the song and dance. "Nengaku is a form of song and dance performance theater, which pursues the musicality and dancability of the art, and is a comprehensive art with plot, song and dance. It emphasizes the beauty of plot, modeling and painting, and highlights the word "love", which occupies a very important position in the dance of the Wu family. "Noh" was initially written, directed, composed and performed by the performers themselves, and later on there was a professional division of labor. It was organized by the "Noh" masters, Guan Aya and Sei Aya, to reach the peak of Noh performance, and it also has a specification that is more important than performance. It emphasizes the movements of the shoulders and arms, and the movements of the dancers' arms are standardized by the height of the shoulders, and the movements of the wrists are the axis of activity. The sleeves of the performers' costumes are very long, so the audience can't see the dynamics of the wrists, thus forming an appreciation method of watching the dynamics of their elbows and arms through the sleeves. In addition, there is also the action of hand-forked waist, the performer or a hand-held object with the other hand forked waist, or both hands forked waist, both thumbs, forefingers can be arbitrarily placed in the left and right waist position, the face shows a contemplative state. Nogaku also emphasizes the movement of the feet, which contains deep meaning and gives the audience a different feeling through the sound of the dancer's feet on the floor. In Japanese Nogaku, dancers can be seen jumping high and then landing on their knees. In one of the Nogaku plays, there is a program that shows the marriage of Wang Zhaojun, a courtesan of the Han Dynasty, to a Xiongnu (Hun): the king, Emperor Han Yuan Di, sees Wang Zhaojun and Xiongnu Shan Yu in a mirror, and Shan Yu, who is accompanied by a flute and a rap, comes on stage and jumps on the floor with his feet and makes a sound with his knees, which expresses Shan Yu's violent character. This skill, with its basic dynamic of "force," evokes a sense of awe.

The Japanese "Noh" master, Seiya, once expounded the theory that Japanese dance is an expression of force. He believed that beautiful forceful movements represented the gods and ugly, distorted forceful movements represented the spirits. The repetition of the jumping up and kneeling down movement shows the skill of the performer, which reflects the effect of a performance and expresses a national spirit.