Chinese Dance

The term “Chinese dance”, which tends to be broadly used to refer to dance forms that have traditional Chinese origins, actually encompasses two main forms, Chinese classical dance and Chinese ethnic dance.

Chinese Classical Dance

The origins of Chinese classical dance date back to the Zhou dynasty. During this period, only members of the royal family and nobility had the privilege of being trained in dance. Depending on the student’s age, he/she would be taught different dances for various occasions and purposes. Every dance had its own set of performance standards and training was often rigorous. These dances would often be performed at major ceremonies, diplomatic events and even during religious ceremonies.

Subsequently, the art of dance made considerable progress during the prosperous time of the Tang dynasty. While preserving traditions passed down from the previous dynasty, Tang dynasty dances also incorporated new elements and thus during this time, Chinese classical dance was considered to be at its peak. However, with the rise and fall of the Tang dynasty, the art of dance went the same way - from an art form for the privileged to something more accessible to common folk. In fact, during the Song and Ming dynasties, folk opera, a phenomenon combining dance, acrobatics and theatrical performances arose, replacing pure dance as a flourishing art form. This in turn metamorphosed into what we commonly know today as traditional opera. Despite the apparent transformation, dance was still ultimately the key means of performance, thus giving rise to the saying that “Chinese classical dance evolved from traditional oper”.

After the founding of the People’s Republic of China, proper dance education and research began with the establishment of the Beijing Dance Academy in 1954, allowing dance training to be standardized. While continually discovering and preserving the particular charm and appeal of Chinese classical dance movements, it was also constantly improving upon its techniques in order to standardize the form. Improvements in the following areas were just a few ways in which to achieve that: foundation techniques of Chinese classical dance (barre work training, centre work training, jumps, turns, somersaults and combined technique training), Chinese classical dance posture and rhythm training, tanzigong training (fighting and acrobatics/martial arts), sword-dance training, long-sleeve dance training, etc. In fact, recently, “Han Tang” classical dance training has also started to gain popularity.

Chinese Ethnic Dance

Chinese ethnic dance is a product of the historical progress of each ethnic community as well as their individual artistic creativity. The dances reflect the various regional specialties, cultural characteristics and religious beliefs of each ethnic group at different stages in history, infusing every dance with unique local flavour, thus making it widely popular with the masses. Many of the terms used in these dances are drawn from everyday life and even the props used are also day-to-day items and instruments. Ethnic dance performances are a staple at celebrations, religious ceremonies and major events, making them an integral part of every community’s identity.

China has 56 major ethnic groups, the largest being the Han people, who make up more than 90% of the population. Primarily occupying the Yellow River, Yangtze River and Pearl River Delta region as well as the Song Liao Plains, the vast expanse of land and the breathtaking natural landscape have contributed to the Han people’s ethnic dances. Hence, it comes as no surprise that the myriad dances of the Han people vary distinctly by regions.

For instance, a popular rural folk dance in northern China known as Yang Ge is a common dance, but styles differ depending on where it originated. Yang Ge performed in northern Shaanxi is different from those performed in Hebei, Shandong or even northeastern China. In addition, the flower lantern dance and flower drum dance, performed predominantly in southern China, are also not homogeneous in style. From a regional perspective, northern China’s Yang Ge and other ethnic dances are relatively strong, simple and unsophisticated, a style reminiscent of that predominant in the states of Yan and Zhao during the Warring States Period. The flower lantern dance and flower drum dance of the south, on the other hand, are notable for being elegant and graceful, a characteristic of the ancient Chu culture. The Huai River region’s geographical location (between the Yellow River and the mighty Yangtze) has also played a part in shaping dance in the region. The flower lantern dance of the area has incorporated the positive elements of dances in both northern and southern China. Hence, the dance tempers toughness with grace - male dancers are dynamic while female dancers are charming.

Even though the remaining 55 ethnic minority groups in China make up only a small percentage of the general population, they inhabit nearly 50%-60% of the country, scattered in regions across China such as northeast China, Inner Mongolia, northwest China, southwest China, central and southeast China. Some of these ethnic minorities live in the grasslands, on plateaus, in mountainous regions or even in border areas; hence, such latitudinal and scenic differences are clearly reflected in their dance.

For instance, the nomadic lifestyles of the Mongols and the Kazakhs in the grasslands of northern China have influenced their dances. The dances of these people often portray their daily nomadic activities, with strong, dynamic movements and upbeat rhythms. Similarly, the Zhuang and Li people, who can be found in southern China, have dances which reflect their agricultural roots. Tea-picking and rice-harvesting dances are common, and such dances are often graceful with slower tempos. The Dai people and ethnic Koreans (whose ancestors migrated from the Korean peninsular), who are also engaged in agricultural activities, share the graceful characteristics of their Zhuang and Li counterparts. However, their dances are unique to their people because of their environment and their personalities. While the dance of the Dai people is vivacious, the dance of ethnic Koreans is considered more graceful and elegant. As for ethnic minorities who live near China’s border, their dances are a veritable melting pot of different cultural influences. For instance, the Uighurs and the Uzbeks, who inhabit the ancient Silk Road region of northwest China, are skilled in using their heads, necks, shoulders, backs and waists in performances. Their facial expressions are also vivid and inimitable, endowing their dance with a flavour reminiscent of the style predominant in the ancient Western regions.

To conclude, even though Chinese dance may possess its own characteristics and history, it is no different from any other dance in the world in that it is essentially a cultural phenomenon. It is ultimately an art form through which artistes express themselves. Its creation is directly influenced by both nature and society; its form can be expressed through the human form or even emotionally. In addition, the artiste’s cultural and artistic upbringing also plays a significant role in determining the tone of the dance.

Contributed by Wei Wei and translated by Koh Chern Ping 30 March 2007

References:

Zhong Guo Min Jian Wu Dao Wen Hua Jiao Chen (Chinese Ethnic Dance Curriculum)

Wu Dao Jiao Yu Xue (Dance Education and Teaching Methodology)

Zhong Guo Wu Jin Xuan Jiao Cai (Selected Chinese Dance Syllabus)