What kind of dances are there in China?

The main form of the dance is about hunting and labor. On the Neolithic rock paintings in the Yinshan area of Inner Mongolia, images of hunting dances are depicted. People are dressed as flying birds, goats, foxes and other animals. Some heads are adorned with antlers and feathers, and some with tail ornaments. The creation of this dance is closely related to hunting.

Because people in primitive society did not have enough understanding of the phenomena of nature, a sense of awe arose, and gradually formed a primitive religious beliefs - totem worship. The animals, plants or natural objects were regarded as totems, and it was believed that the totems could bestow blessings or bring down disasters, and the totems were worshiped as ancestors and protection gods. From the unearthed artifacts and ancient rock paintings on the image of human face and snake body, bird body and human face, human face and animal body, is the image of the clan totem. Legend has it that Fuxi and Nuwa, with their human heads and snake bodies, are the ancestors of the Huaxia people, who used the dragon as their totem. Fuxi's dance, called "Fenglai", sings the song of "Reticulum"; Nuwa's dance, called "Charging Music", celebrates Fuxi's invention of the Reticulum, which teaches the people to catch birds and beasts, and Nuwa's performance of formulating marriages and teaching the people to get married. Legend has it that the bull-headed Yandi was the ancestor of the Qiang people, who used the sheep as their totem. Yandi's musical dance, "Supporting the Plough", and the song "Bountiful Years" celebrate Yandi's achievements in teaching the people to sow grains and inventing agriculture, and he is honored as the Shennong Clan. The dance of the Yinkang Clan is called "The Great Dance", which teaches the people to exercise in order to fight against the disease of yin and dampness. Ge Tian's dance was called "Guang Le", in which the three of them sang eight kuai (segments) with the tail of a cow, praying for a good harvest and the reproduction of birds and animals. The Yellow Emperor used "cloud" as a totem, and "Cloud Gate" was the totem dance of the Yellow Emperor's clan; the "Phoenix Bird Tian Zhai" dance was the totem dance of Emperor ?ào; "Striking the stone and patting the stone, the rate of all beasts dancing" was the totem music and dance of the clans of Emperor Yao. These ancient clans' music and dances were performed in the time of Emperor Yao. The music and dance of these ancient clans are full of the struggle for youth and power, and also reflect the primitive religious prayers, fantasies and witchcraft rituals.

Second, set the ancient dance of the great completion of the Zhou dynasty ritual music

Since Xia Yu passed the son in the Kai into the slave society. After the Xia and Shang dynasties (21st to 11th centuries BC) to the Western Zhou Dynasty, slavery reached its peak, the ruling class of the Zhou Dynasty has fully recognized the social role of music and dance for political purposes, and developed a system of rituals and music. In order to carry out the implementation of this system, the Zhou royal family organized the music and dances that had survived from the previous generations, including the Yellow Emperor's music and dance, Yunmen; Tang Yao's music and dance, Dahan; Yu Shun's music and dance, Dashao; Xia Yu's music and dance, Daxia; Shang Tang's music and dance, Daho Suh; and King Wu's music and dance, Dawu, collectively known as the Six Generations of Dances, for the purpose of rituals. A large music and dance organization called "Da Si Le" was set up, and the children of the nobles were strictly educated in the six arts (rituals, music, archery, imperialism, calligraphy, and mathematics). at the age of thirteen, the students were enrolled in the school, and gradually learned music, recitation of poems, and small dances, and at the age of fifteen they began to learn archery, driving, and the dance of the "Elephant" (which, according to the legend, is a kind of martial arts dance, but is also thought to be a kind of totem dance such as fish and shrimp). At the age of 20, they learned various rituals and the Great Dance.

When the great festival was held, the daisyaku led the children of the nobles to perform the Rokuyo Odori dance. Different music and dances were performed for different occasions, such as the Kairaku for victory, the Shidairaku and Sanraku for enjoyment of guests, and the Bow and Yagami Dance for the shooting ceremony. In all ceremonial occasions, the sanctity of being commanded by Heaven was emphasized on the one hand, and the dignity of hierarchical distinction on the other. The ritual and music system of the Western Zhou was a major creation of the political civilization of the slave society, and it was a great success of the ancient dances before the Zhou.

During the Spring and Autumn and the Warring States periods, the Zhou royal family declined, and the vassals competed for supremacy, so the system of rituals and music could no longer be maintained, and the historical edifice of the slave society was faced with the prospect of crumbling.

Three, witch dance and folk ritual dance

In the primitive society due to the worship of totems and superstitious beliefs in gods and ghosts, and gradually produced a communication between man and God "witch". The "witch" was in charge of rituals and divinations to seek God's blessing or to purify bad luck. "Witches were originally appointed by clan leaders. Legend has it that Xia Yu was not only a hero of water healing, but also a great sorcerer. He was so sick that he couldn't take a step forward because of the disease in his legs, so he could only move forward in broken steps, which was called "Yu's Steps", and became the dance steps for wizards to follow in later times, also known as "Witch's Steps". Ge Hong of the Jin Dynasty recorded two ways of dancing the "Yu Step" in his "Hug Park Zi". Cheng Tang, the founder of the Shang Dynasty, was also a great sorcerer. In the early years of the Shang Dynasty, when there was a severe drought and no rain, Cheng Tang sacrificed himself and prayed for rain in the mulberry grove, which brought down heavy rain. This kind of prayer and rain sacrifice, in the Spring and Autumn and Warring States period there are still remains. Han Dynasty spring drought for rain, stormy witch sacrifices **** work, children dance 8 zhang Qinglong. Summer drought for rain, sacrifice Chi You, the strong dance 7 feet red dragon. Autumn drought for rain, the violent witch sacrifices Shao Hao, widowers dance 9 feet white dragon. Winter drought for snow, sacrificed to the gods of XuanMei. They danced the 6-foot black dragon. When the sky is flooded with rain, the drums are attacked to stop the rain. Now the Dragon Dance has been turned into a folk dance to celebrate festivals.

The wax festival, which originated from sorcery, is said to have begun in the time of the Ikki clan as a festival held at the end of the year to pray for a good harvest and to thank the gods. There are 8 gods in the wax festival: ① First Scrooge (Shennong's); ② Si Scrooge (Houji); ③ Nong (farmer god); ④ Post, Table, Nawate (thatched hut, ground, well god); ⑤ Cat, Tiger (cat, tiger god); ⑥ Fang (embankment god); ⑦ Shuiyong (river god); ⑧ Hundred Seeds (hundred cereals god), the wax festival is performed by wearing a yellow coat and yellow crown of the witch singing the festival song, the band playing the "You Song", playing the drums and jumping in the "Soldiers' Dance". The day of the wax festival becomes a day of rest and recreation for farmers. The cat god and tiger god in the wax festival appeared in the concrete image of the god's corpse, and the image of the god was played by wizards in the song and dance for the gods of Chu, the "Nine Songs". From the verse of "Nine Songs", we can see the performance of this large-scale witch dance: the altar is decorated with flowers and grass, and gui wine and pepper syrup; the officiating priest wears a jade, and holds a long sword; the band plays five tones, and pats the drums and sings songs; and the "deities" wear colorful clothes and dance.

In the early years of the Han Dynasty, the style of witchcraft was still prevalent, and Emperor Gaozu of the Han Dynasty often sacrificed witches to the gods of heaven and earth, mountains and rivers. In the Jin Dynasty, there were famous witches such as Zhang Dan and Chen Zhu. Legend has it that they were beautiful, good at dancing, talking about ghosts and laughing, and could pull out swords and break tongues, invisible and shadow. In the Record of Ancient and Modern Music, there are 11 songs of "Divine String Songs", which are the séance songs of Wu.

The witch dance was spread in a vast area. Han Gaozu used the Qin and Jin witches in the north and the Jing and Han witches in the south to worship heaven and earth, mountains and rivers. The spread of witchcraft is to a large extent the use of songs and dances to entertain people, using the beauty of witches, acrobatics, illusions, opera, paintings and various artistic means, for people to bless, drive away evil spirits, heal the sick, and have the color of dazzle people. "Witch", "dance" homophonic, "witch, dance to the gods also". So far, the remaining witches of various ethnic groups in various places, such as: the Han's God Witch, Goddess, the Qiang's Duan Gong, the Manchu's Shaman, the Zhuang's Shih Gong, the Naxi's Dongba, the Jingpo's Dongsa, the Tibetan's Qiangmu, and the Mongolian's Chama, although the deities are different, and the customs are different, but their activities are nothing more than praying for blessings and avoiding calamities, descending to the gods to drive away the ghosts, which are directly or indirectly related to the original Wiccan religion. Emperor Gaozu of the Han Dynasty ordered the world to set up a shrine to the Spirit Star, which became a nationwide ritual activity. Lingxing is the star of the heavenly field, which is the main grain. During the festival, the Spirit Star Dance was performed. The dancers were 16 boys and men, and the dance movements were the labor process of teaching the people how to plant fields: weeding, plowing, cultivating, driving sparrows, pounding, etc. The dance was passed down to the Ming Dynasty. Lingxing dance has been passed down to the Ming Dynasty, Zhu Zaiyu's "complete book of music" still exists in the "Lingxing small dance score".

Four, common music and dance flourished in the two Han Dynasty

Qin and Han Dynasty folk dance has significant development. The Qin Dynasty has been the House of Music, Qin Ershi in Ganquan Palace, "as the corner of the haiku of the view". In the early years of the Han Dynasty, Liu Bang preferred the folk sound of Chu, Chu dance, and the popular music and dance for court rituals. Emperor Wu of Han Dynasty enlarged the organization of "Lefu", appointed Li Yannian as the governor of the Concordance, vigorously collected folk music and dance, and recorded 314 songs and poems of Wu, Chu, Yan, Dai, Qi and Zheng, and there were more than 800 musicians and dancers in the Lefu. In order to fulfill the political needs, it also performed big jokers to entertain foreign guests. The jiaolai changed from year to year and became richer and richer in content, so it was also called the Hundred Operas.

The programs included in the Hundred Operas are:

①Acrobatics--searching for the building, jumping pills, walking rope, rushing narrow and so on.

②Illusion - swallowing knives, spitting fire, easy bull and horse head.

③ Martial Arts - Stick Dance, Sword Dance, Knife Dance, Sparring and so on.

④ False form dances - phoenix dance, fish dance, dragon dance and so on.

5 Dance - Scarf Dance, Scabbard Dance, Duo Dance, Patch Dance, Long Sleeve Dance, Pan Drum Dance, The Bayu Dance, Jian Drum Dance, and Pair Dance.

6 Song and Dance Theater - Huang Gong of the East Sea, General Assembly of Immortal Advocates.

It can be seen that dance has a large proportion in the hundred operas.

The music and dance of the Han Dynasty was an era of wide acceptance and integration of many skills, dance by acrobatics, illusions, jockeying, haiku, the influence of the development of difficult, rich in the means of conveying feelings and expanding the expressive capacity of the dance, from the "Pan inspired by the drums," the program is reflected. It has both "Luo Yi from the wind, long sleeves across", elegant and wonderful dance posture, and "floating and tired kneeling, hocking and stepping and falling" sophisticated skills. The Pan Drum Dance not only focuses on the improvement of the dance form, but also seeks to express the inner poetic meaning of the external dance, and pursues the meaning of the dance. Another result of the fusion of techniques is the emergence of song and dance theater. In "Huang Gong of the East China Sea", there are characters and false forms; the sorcerer Huang Gong is tired of serving the white tiger, and the performance of man-beast fights is a typical routine of jiaoliao opera. Huang Gong's magic spells do not work and he is eventually killed by the white tiger, which is rich in satirical comedy. The other one, "The General Immortal Advocacy", has tiger and leopard in false form, as well as godmen and fairies, which is a further development of the totem dance and witch dance.

The two Han Dynasty due to the consolidation of the feudal system, economic prosperity, people's lives have improved, music and dance around the corresponding development. Famous songs and dances around the world are: "East Song", "East Dance", "Zhao Acura", "Zhao Dance", "Jing Yan", "Chu Dance", "Wu Songs", "Yue Yin", "Zheng sound", "Zheng Dance".

Fifth, the exchange of ethnic music and dance culture

The ancient music and dance culture of the Chinese nation, is in the continuous exchange and integration of ethnic music and dance culture in the formation. Such exchanges, the Xia Dynasty has been, "Bamboo Book Chronicle", "ShaoKang is on the throne, FangYi to guests, offering its music and dance". "After the hair of the throne, the first year, and then Paul Yong will be on the pool, the barbarians into the dance. The Six Dynasties Dance of the Zhou Dynasty was also the concentration and exchange of music and dance of various ethnic groups. Western music and dance of the introduction, about the time of the Qin and Han Dynasties, the beginning of the Han Dynasty Palace has "ü-Tepan music". Emperor Wu of Han sent Zhang Qian through the Western Regions, the introduction of the "Mahabharat Tule" of the song, Concordance Lieutenant Li Yannian because of the hu music more to create a new sound of twenty-eight solutions, in the acceptance of foreign music and dance under the influence of the creation and development. Ban Gu "Dongdu Fu" depicts the Han dynasty four barbarians music and dance gathered in Luoyang performance of the scene, there are East Barbarians "spear dance", Southwest Barbarians "feather dance", West Barbarians "halberd dance" and North Barbarians "dry dance". Emperor Ling of the Eastern Han Dynasty was fond of Hu music and dance, and all the nobles in Kyoto followed suit. In the Han Dynasty, there are images of Hu people performing acrobatics, illusions and drums on the Han statues. The Pan Drum Dance of the Han Dynasty blended the grace and elegance of the Central Plains with the warmth and exuberance of the Western Regions, forming the aesthetic characteristics of Han Dynasty dance. This dance was lost to obscurity during the Six Dynasties, and only in recent years has it been discovered that it is still in circulation in the folklore of Anhui and Shaanxi.

Another result of the exchange of music and dance between the Central Plains and the Western Regions arose during the conquests of the Northern Dynasties. During the Western Jin Dynasty, people from Guanzhong took refuge in Liangzhou, bringing with them the traditional music and dance of the Han and Wei dynasties. Lv Guang and the Xiongnu people frustrated the qu channel Mengxun Ping the West gained the "tortoise music" and the transmission of the old music of the Central Plains in Liangzhou, resulting in a new type of music and dance "Xiliang music", Gansu Dunhuang is the capital of Xiliang, Dunhuang Grottoes mural record of the "Xiliang music and dance" of the rhythm of the grace.

Since the Northern and Southern Dynasties, the north of the most important hu dance, sui daiye years of the nine parts of the kabuki, the western part of the possession of 6, to the tang zhenguan sixteen years (642) in the ten parts of the kabuki and add "gaochang music". Sheng Tang Jian dance "Huteng Dance" and from the Kangju of the "Hu Xuan Dance" is popular for a while. The Tsuge Odori dance from Shikoku in Central Asia was still popular in the Song Dynasty. In the Song Dynasty, the "Cudgel Dance" was fused with the great song and dance forms of the Central Plains, changing the original appearance of the Hu Dance and developing it into a new form of folk dance. The dance can be regarded as a typical product of the combination of Chinese and Western music and dance after the Pan Drum Dance of the Han Dynasty and the Xiliang Music of the Northern Dynasty, which enriched the treasure trove of Chinese traditional dance.

Sixth, the heyday of the development of the Tang Dynasty Yan music

Since the Zhou Dynasty, the court set up a special music and dance institutions, concentration and training of professional music and dance personnel, attach importance to the inheritance of traditions and the absorption of foreign influences.

To the Tang Dynasty, the music and dance institutions included the Taishang Temple, the Church Hall, the Pear Garden, and the Yichun Courtyard, which concentrated a large number of highly skilled music and dance artists and emphasized the cultivation and training of dance skills. The Tang Dynasty inherited the results of the Sui Dynasty great unification, both the southern dynasty of the Qing Shang music and dance, but also the northern dynasty of the Xiliang, Guzi, Goryeo, Tianzhu, Kangguo, Anguo, Shule, and other eastern and western music and dance, especially accepted the influence of the western regions of the various ethnic groups of the music and dance, the old music and new sounds, the Han-Hu mingling, promoting the development of music and dance in the Tang Dynasty.

From the nine parts of the play, ten parts of the play development to the sitting part of the play, the standing part of the play, to the scale of the three great dances - "broken music", "Qingxin music", "on the Yuan music" as a representative of the majestic, some An Xu elegant, some full of fantasy colors. The three major dances can be regarded as the creation of epic dances of the Tang Dynasty. The real representative of the Tang Dynasty dance art style, is a small recreational dance Jian dance and soft dance. The Jian Dance is represented by the Sword, the Cudgel, the Hu Spin and the Hu Teng. The soft dance is represented by "Green Waist", "Liangzhou", "Spring Warbler" and "Night Cries". Representing the peak of Tang Dynasty music and dance art is the Song and Dance Daqu. The Tang Daqu is a combination of vertical inheritance and horizontal borrowing. The structure of the Han dynasty dazhong has the parts of "Yan" (introduction), "Xie" (music section), "Tendency", "Chaos" (ending section) and so on. (ending section) and other parts. In the Tang Dynasty, the form of the opera was influenced by the music and dance of the Western regions, and became richer and more perfect, and in the structure, there were "loose sequence" (slow plate without dance), "in the sequence" (dance with beat, including "row all over"), "in the sequence" (a number of segments), "in the sequence" (dance with beat, including "row all over"), "in the sequence" (dance with beat, including "row all over"). (a number of segments), "into the break" (the climax of the rapid section of the complex strings; including "false urging", "real urging", "gun all over"), "break" ), "resting beat" (the slow board before the end), "brake" (the sharp end of the section) and so on, forming a complete performing art form. According to the Records of the Teachers' Workshop, there were 46 kinds of big songs in the Tang Dynasty, which had complex rhythms, rich tunes and tight structures, and had the advanced forms of large-scale songs and dances.

Some of the big songs were called "Faqu", which was rich in the elegant mood of "Qing Shangle". The Nishang Yuyi of the Faju is regarded as the crown of Tang Dynasty dances.

Song dance and its theater

Song dance has three main aspects: the court team dance, folk team dance and dance in the theater.

The Song dynasty team dance in the Tang dynasty based on the development of children's team dance and female disciples team dance.

The folk dances of the Song Dynasty were very prosperous. Every New Year's Day, Lantern Festival, Qingming Festival, Tianning Festival (the emperor's birthday), folk dance team is very active. There are 70 kinds of dance teams in the New Year's Eve recorded in "Old Story of Wulin", and many programs of these 70 kinds of dance teams are still circulating in the folklore.

Song dynasty dance in the hundred theater, often performed in the military.

Tokyo Dreaming Records" "driving on the Baotsu building of the army presented a hundred plays" article, soldiers disguised as masked and cloaked gods and ghosts, judges, etc., in the drums and flutes, smoke and fire, firecrackers, shouting, performing "hold the gong", "hard ghosts", "Dance Judge", "mime", "seven holy knife", "rest tent", "wipe the stagger", etc., performers from one or two to more than a hundred people, some of which are still folklore, and some of them are still in the Song Dynasty. The performers ranged from one or two people to more than a hundred people, some wearing masks, some with green, green, yellow and white colors on their faces, with golden eyes and different costumes, fighting and stabbing two by two, and posing in formation against each other. These played a variety of characters dance, each into a play, but also seems to have a certain link to the plot of the drama.

Theatrical elements in Chinese dance did not originate in the Song Dynasty. During the Spring and Autumn Period, the "Dawu" was the story of King Wu's conquest of the Zhou Dynasty, and in the Han Dynasty, the song-and-dance drama "Huang Gong of the East China Sea" already had the embryonic form of a drama. In the Tang Dynasty, the song and dance dramas include "King of Lanling," "Dialing the Head," and "Treading the Shaking Niang. Treading Shaking Nyonya" already has dance, music, performance, singing, speech and other performance means, by the actors dress up the characters, to express the storyline. Theatrical elements were added to the court dances and songs of the Song Dynasty. Such as the team dance in the military color, also known as bamboo sticks, as a hook team, put the team, speech, and the leader of the dialogue, not only played the role of the announcer or the role of the program is an organic member of the program to promote the development of the plot plays an important role. Song dynasty opera also increased the storytelling, such as the opera "Green Waist", Song dynasty, there are "Cui Nurse six", "Ying Ying six". The Song dynasty also added storytelling, such as the Song dynasty's "Green Waist", which featured "Cui Gu Li Mu" and "Ying Ying Li Mu". The song "Sword and Tool" includes "The King's Sword and Tool". The "Sword Dance" in the "Ancient Peak Zhenyin Daqu" includes two elements, the first half of which expresses the story of Xiang Zhuang's sword dance at the Hongmen Banquet; the second half of which expresses the story of Zhang Xu's great advancement in cursive writing as he watched Gongsun Danniang's sword dance. These great compositions have taken on a strong dramatic character.

From the beginning of the Northern Song Dynasty, after the miscellaneous plays, in the Spring and Autumn Festival three feasts in the entertainment program, is still a hundred plays, team dances, miscellaneous plays performed one after another, until the middle of the Ming Dynasty, but also maintains this combination of forms. They developed in parallel for a long time, influencing and absorbing each other. Chinese opera contains a song and dance, martial arts and acrobatics elements, and the ancient Chinese song and dance opera, military theater, song and dance theater, etc., has a lineage of connection.

Eight, the Yuan dynasty opera dance and religious dance

Yuan dynasty opera art called Yuan miscellaneous drama. The Yuan Yuan opera in the "singing", "cloud", "section" is its means of artistic performance. Among the three, "Section" is mainly work, including expression, dance and martial arts. Among them, there are inserted dances, such as the "Iron Crutch Li Degree Golden Girls", the 4th fold: "I can see my eight immortals dance a time you see (on the eight immortals, song and dance section)." In addition, "Liu Xuan De drunk up yellow crane tower" in the folk dance team dance "village field music", "chase Han Xin" in the use of running bamboo horse and so on. Other examples of such insertive dances in Yuan miscellaneous dramas include An Lushan's "Hu Spin" dance and Yang Guifei's "Neishang Yuyi" dance in "Tang Minghuang's Autumn Night Sycamore Rain. The martial arts techniques in the Yuan miscellaneous dramas also contain many dance elements, such as various instrumental dances, sparring, somersaults, and pouncing flags on stilts. Some other plays, such as "Little Yuchi" in the "do tune formation section", "Maling Road" in the "pawns pose formation section", which is a team dance. Other works in Yuan miscellaneous operas gradually evolved into programmed dance movements to express the characters' moods, such as the "Shyness Section" and the "Panic Section" in "Baying Moon Pavilion", and the "Panic Section" in "Panic Section". At the time of the miscellaneous opera artists, but also some skillful dance movements named, such as "fluttering red flag", "dragging white practice", "on stilts" and so on.

The religious dances of ancient China were mainly Wiccan, Taoist and Buddhist dances. Wicca and Taoism is China's inherent religion, since the Eastern Han Dynasty, Buddhism imported from India, to the North and South Dynasties and the Sui, Tang and Five Dynasties has not declined. Emperor Huan of the Eastern Han Dynasty, etc., ancestral temple Buddha "to do advocate music, in order to seek blessings"; Northern Wei Jingle Temple in Luoyang, set up female music, "singing around the beams, dance sleeve Xu turn"; Southern Liang Wu Di system "good", The Emperor Wu of Liang in the Southern Dynasty made "Shan Ya" and "Da Le", which were called "Zheng Le" to publicize the Buddha's teachings. Tang Dynasty, one of the ten music "Xilang music", there is "ütepe Buddha song", the Song Dynasty court team dance in the bodhisattva offering incense and flowers team, are also promoting Buddhism music and dance. Yuan dynasty to believe in shamanism (wicca) and lamaism (buddhism), in the yuan dynasty court team dance is full of religious superstitions. Yuan dynasty court team dance, *** divided into four teams, New Year's Day with the "music and sound of the king team", the birthday festival with the "birthday team", the court with the "ritual band", the preaching of Buddhism with the "saying team". Each team is divided into 10 squads. Among the 10 teams of the "King of Music Team", the lead team is the band, and there are two women's teams, one playing the song of Changchunliu and the other performing the peony dance, and in the 10th team there are also women who perform the flower bridle drum, while the rest of them are men's team dances and are dressed up as deities and ghosts. The rest are men's team dances in which they dress up as gods and ghosts. There is also a dance in which the Eight Great Vajra are dressed up in the Saying Team. In addition, there are also "Bao Gai Dance", "Sun and Moon Fan Dance", "Block Dance", "Umbrella Dance", "Golden Wing Peng Dance", all of which are dances with religious colors.

The most famous dance of the Yuan Dynasty is the "sixteen heavenly devils dance" created by Emperor Yuan Shun Di, called the praise of Buddha, in fact, for the amusement of the people, in the palace performances, only the eunuchs who have received the secret precepts are permitted to watch, and forbidden to the folk performances.

Nine, the Ming and Qing Dynasties dance

The dance of this period can be roughly divided into three categories: court team dance, opera dance and folk dance.

Ming dynasty court dance, the big rituals into a feast with the "dynasty team dance", "tasseled whip victory team dance". Halloween feast with "nine barbarians into the treasure team dance", "Shouxing team dance". The Winter Solstice Banquet used the Zan Shengxi Team Dance and the Hundred Flowers Pilgrimage Team Dance. On the first day of the feast, the "Lotus Flower Dance" and "Lotus Dance" were used for the feast.

The general name of the Qing Dynasty Palace Banquet Band Dance is "Qinglong Dance", which includes the "Yanglie Dance" and "Heiqi Dance" of the ministerial dance. Dance content is allegorical, the beginning of the band stood two wings, singers 13 people, playing "Qinglong" music, performing "Yang Lie Dance", there are wearing a yellow painted cloth cover 16 people, wearing a black sheepskin cover 16 people, each wearing masks, jumping and falling, like strange beasts. And on the bamboo horse riding 8 people, circling and chasing, like the eight banners soldiers. A person shot a beast, the beasts followed and deterred. At this point, the "happy dance" dance team on the stage, the minister of the court dress 18 people, dance to celebrate.

The Ming and Qing opera dance. It can be divided into five categories:

①Insertive dance, such as the Ming publication of the play "Meglian save mother" in the "jumping and harmony", "jumping Zhong Kui", "mute back wind".

②Programmed dance segments, such as: "up the bully", "trip horse", "walk side".

③Programmed dance movements, such as water sleeves, plumes, hair flinging, whiskers, fans, handkerchiefs, long silks and many others.

④Sword and gun handle.

5 Heel.

Opera dance is formed on the basis of ancient Chinese dance and developed according to the needs of the plot and characters. It not only has the characteristics of Chinese classical dance, but also preserves the essence of ancient Chinese dance, which has a revelatory effect on opening the treasury of Chinese classical dance and studying the development law of ancient dance.

China is a multi-ethnic country, *** there are 56 ethnic groups. Because of the different life, history, religion, culture and customs of each ethnic group, a rich and colorful ethnic folk dance has been produced. From the point of view of the folk dances of various ethnic groups that have been handed down to the present day, the vast majority of these dances were performed during the Ming and Qing Dynasties