The Difference Between Chinese Folk Dance and Chinese Classical Dance

The difference between Chinese folk dance and Chinese classical dance is that they have different artistic characteristics and forms of expression.

The artistic characteristics and expression of Chinese folk dance:

Singing and dancing, free and lively. One of the main features of Chinese folk dance is the close combination of dance and singing. This form of singing and dancing, free, lively, lively, can be easier than pure dance to show more life content, and easy to understand, so very much for the masses of Chinese people love. The skillful use of props and the combination of skills. Many Chinese folk dances use props skillfully, such as fans, handkerchiefs, long silks, tambourines, single drums, flower sticks, lanterns, umbrellas and so on, which greatly strengthens the artistic expression of the dance, and makes the dance movements more rich and beautiful, colorful and graceful.

Vivid plot and vivid image. Chinese folk dance is very important to the content, most of them have certain stories and legends as the basis, therefore, the characters are distinctive, outstanding character. Although some dances only express a certain mood, it is also mostly as a piece of a complete storyline. For example, Guangdong's "Ying Song" is a performance of the story of Liang Shanbo heroes and heroines attacking Da Mingfu; Fujian's "Big Drums and Cool Umbrellas" is said to be a performance of Zheng Chenggong's activities of practicing to defend himself against foreign invaders.

Self-entertainment, unity of purpose. Many Chinese folk dances are often a unity of self-entertainment and performance. Some dance activities, for the dancers, he is self-entertainment, but also to perform for the audience, so the dancers pay close attention to their own dance skills, so the Chinese folk dance has been developed to a high degree.

Impromptu play when the mood strikes. Folk dances from all regions of China have been passed down in a certain format and norms, but there is also a tradition of improvisation, especially in the case of some folk dancers. At their most emotionally charged moments, it is often the time when a dance can emerge that shimmers with a unique luster.

Chinese classical dance artistic characteristics and forms of expression:

The "body rhyme" that is, "body method" and "rhythm" of the general. "Body" belongs to the external technical category, "rhythm" belongs to the connotation of the art of grace, the organic combination of the two of them and penetration, in order to truly reflect the style of classical Chinese dance and the essence of aesthetics. In other words, "body rhythm" means "both form and spirit, body and mind, internal and external unity", which is the indispensable symbol of Chinese classical dance and the artistic soul of Chinese classical dance. Body rhyme, although the source of the style is obvious, but it can no longer be named "opera dance" name, its metamorphosis from opera to dance has been basically completed. It has been rid of the original opera dance on the role of the line of the thousands of changes, but no matter how to change, and is the same thing, this "one" and this "change" is a rare character of art, but also the aesthetics of an art of the essentials.

A mature classical dancer's movements on the stage have aesthetic value and artistic charm because they embody a high degree of integration of "form, spirit, strength, and rhythm", which is an important means of expression of the body rhyme of Chinese classical dance. As the basic movement elements of body rhythm, "form, spirit, strength and rhythm" highly summarize all the connotations of body rhythm. Shape, i.e., external movement, includes posture and the line of movement connected with its action. God, i.e., the spirit, the mind, is the dominant part of the dominant role. Jin, or force, contains the artistic treatment of the relationship between lightness, weight, slowness, strength, weakness, length, rigidity and flexibility. Law, that is, the law of movement itself. The relationship between these four elements of movement is to achieve the unity of form and spirit, inside and outside, through Jin and Ruling. The law is "harmony between heart and mind, harmony between mind and qi, harmony between qi and force, and harmony between force and form". This is a pithy generalization and distillation. And these words are highly unified and harmonized with the elemental movements, constituting an aesthetic theory of dance with Chinese characteristics.

The body rhyme follows the rules of movement such as "left first right", "up first down", "open first close" and "start from the opposite side". The movement rules of "from the opposite side", and the "three circles" route rules of "flat circle, standing circle, eight circles" are like the "grammar" of the language of body rhyme. These aspects constitute the internal structure of the language of body rhyme, coupled with the expression of body rhyme "shape, spirit, strength, rhythm", so that the Chinese dance has a Chinese cultural characteristics of dance aesthetics.