Folk dance generally refers to a kind of dance form which is produced and spread among the people, restricted by folk culture, improvised but relatively stable in style, with self-entertainment as its main function. Let's take a look at the explanation of the basic movements of folk dance.

1, shape

Form refers to actions beyond form. It is manifested in various postures, ever-changing movements and their connections. All visible forms and processes can be called "shapes". Form is the most basic feature of image art, the attachment of classical dance charm and the media of classical dance beauty.

As we all know, through the analysis of the aesthetic characteristics of traditional art and various typical dances, it is concluded that the curvaceous beauty of "twisting, warping, roundness and curvature" and the temperamental beauty of "vigorous, implicit and flexible" must be solved first in "shape". China's dance emphasizes "twisting, slanting, roundness and bending", the curvaceous beauty of upturning, slanting, turning and warping, and the inherent temperament of "vigorous, straight, implicit and flexible". From the unearthed tomb figures and Dunhuang murals, it is not difficult to see that this point has been in the same strain since ancient times and has been constantly developing and evolving. For example, the figures in dance benches in Qin and Han Dynasties, Sandaowan in Tang Dynasty, meridian, yin and yang, twist twist, the rolling, twisting and toughening of Jiaozhou Yangko, a Chinese folk dance, and the stopping, exploring, twisting and waving of ocean Yangko. Mastering the curvaceous beauty of posture and modeling also requires corresponding qualities and abilities. Therefore, it is also a technology, and the "twisting, oblique, round and curved" of the human body is the overall image. Locally speaking, "head, neck, chest, waist, buttocks", "shoulders, elbows, wrists, arms, palms" and "knees, ankles, feet and steps" all have their specific requirements.

2. God

Here refers to the connotation, spirit, rhythm and temperament. Any art without charm can be said to have no soul. Charm is an extremely important concept in China's literary criticism. Whether we talk about poetry, painting, music and calligraphy, we can't do without the word verve. In the movement of human body in classical dance, verve can be recognized and felt. Moreover, only by grasping the "god" can "form" have vitality.

In the concept of mind, body rhyme emphasizes the connotation of Yun Qi, attraction and idea. Emphasize verve and inner feelings. In the relationship between form and god, god is put in the first place, and it is this concept and emotion of "leading form with god and conveying spirit with form" that creates the rhyme of body rhyme. It can be said that without rhyme, there would be no China classical dance. Without the stimulation and drive of inner feelings, the most important brilliance of China classical dance will be lost.

"Heart and mind, mind and qi, qi and force, force and shape". The so-called "heart, mind and spirit" is the embodiment of "verve". People often say that "eyes are the windows to the soul" and eyes are vivid tools. The "gathering, releasing, coagulating, closing and closing" of the eyes does not refer to the movement of the eyeball itself, but the result expressed by the connotation and psychological rhythm, which shows that verve dominates everything. "The shape has not moved, God leads first, the shape has stopped, and God has not stopped." This formula vividly and accurately explains the connection and relationship between form and god.

For a long time, people have been puzzled by the "internal rhythm" of China classical dance. Although the word "circle" has long been recognized by people, it is a long-term puzzle for people engaged in classical dance. The founders of Tiyun put forward the theory of "three-circle movement". They thought that the body movement process of China classical dance was along three circles. This is the vertical circle, the horizontal circle and the figure-eight circle. Surprisingly, this long-standing problem is so easy to be solved. And it is so accurate and concise. It immediately reminds people of Laban's theory of "spherical motion". They have very similar ideas and explain their own laws. The original reason is very simple. Science has gone through the process of "from shallow to deep" to "from simple to simple". The simple truth is the result of hard exploration, long-term accumulation and accidental acquisition.

3. Strength

"Strength" is an internal rhythm given to external actions and a distinct and contrasting strength treatment. For example, "the point in the line" or "the line in the point" in motion (that is, the movement in stillness) are all properly expressed by "strength". The running rhythm of China classical dance is often different from the conventional 2/4, 3/4 and 4/4 musical rhythms. More often, it is carried out at a regular "elastic" rhythm, loose but not slow, tight but not chaotic, static in motion, free in static, and moving in motion. "Body rhyme" means that the strength of training dancers is not uniform, but there should be contrast and difference between lightness, urgency, length, frustration, symbolic point, segmentation and extension. These rhythm symbols are all expressed by human actions, which is the application of truly mastering and understanding "strength". "Strength" not only runs through the process of action, but also is very important at the end of the action. No matter China traditional opera, ballet or martial arts routines, they all attach great importance to the instantaneous rhythm before the end of the action, and China classical dance is no exception. It has the following typical appearance strength: "inch strength"-posture, angle and orientation are all ready, and the strength between one inch is used to "make the finishing point". "Contrast"-give a strong reaction to the posture modeling that is coming to an end, so as to strengthen and contrast the final modeling. "God's power"-everything has been completed, and the sense of extension of eyes and limbs makes it "the shape has stopped but God has not stopped". In addition, there are strength differences such as "softness in rigidity", "brittleness in toughness" and "slowness in urgency".

4. Law

The word "law" contains two meanings: the rhythm of oneself in action and the law followed in movement. Generally speaking, after the action, it must be "smooth", which is the "positive law" in the law, and the action seems to have a feeling of flowing through "smooth". Anti-French is also a very important factor in the rhythm of classical dance, such as "double waving". When the arm swings to the left, the body must be pulled to the right to show the roundness and charm of the action. The "anti-law" of "if it doesn't go well" can have a surprising effect. The trend of an action and momentum is obviously to the left, suddenly to the right, or from front to back, and so on. This kind of "anti-law" is unique to classical dance, which can produce ever-changing, confusing and ever-changing movements of the human body. From every specific movement, there is also a saying that "everything starts from the opposite side", that is, "everything must be done from the left, everything must be done from the left, everything must be done from the opening, and everything must be done from the front". It is these special laws that produce the special aesthetics of classical dance. Whether it's smooth sailing at one stroke, facing fortune or "starting from the opposite side", it embodies the beauty of China classical dance, which is the essence of China's "dancing method".

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