In the Tang Dynasty, dance was divided into soft dance and healthy dance. This difference is mainly reflected in the texture and strength of body movements, and then extended to the characteristics of dance style, which coincides with China's philosophy of "one yin and one yang".
Soft dance originated from the south, and the dance is soft and graceful.
Sword dance, with vigorous movements and lively rhythm, conforms to the open and vigorous spirit of the Tang Dynasty and presents colorful exotic customs.
Because sword dance was popular inside and outside the court of the Tang Dynasty, it was loved by dignitaries and traders. In the Tang Dynasty, its spread and influence reached the extreme, and together with Rouwu, it became the peak of music and dance in the Tang Dynasty.
"The red candle moves the peach leaves and the purple shirt moves the branches" is a classic description of Bai Juyi, a frequent dancer on the dance floor, about the dance of famous philosophers in fitness dance. Looking back at the beautiful scenery at that time, it is heart-wrenching and soul-stirring
1. Hu Fengdong biography: Healthy dance originated from Hu dance. Since the Han Dynasty, Hu Dance in the Western Regions has been introduced into the Central Plains with its cheerful rhythm, distinctive bodybuilding, charming humor and playful charm. During the Wei, Jin, Southern and Northern Dynasties, with the establishment of political power by various ethnic minorities, the mutual exchange and infiltration between the music and dance in the western regions and the music and dance in the Central Plains advocated by them increased day by day.
This situation lasted until the Tang Dynasty, when it entered the stage of large-scale introduction and digestion, which made the "hybrid advantage" of dances in the Central Plains and the Western Regions shine brilliantly.
Of the official "Ten Songs" in the Tang Dynasty, only two originated from the Central Plains, and the other eight came from other places, including five from the Western Regions, accounting for half of the national territory. It can be seen that the Tang Dynasty borrowed and integrated Hu dance to a great extent.
There were ten kinds of healthy dances in the Tang Dynasty, six of which have disappeared in the long river of history, and only four kinds of materials are left, namely, Zhezhi Dance, Sword Dance, Hu Xuan Dance and Hu Teng Dance. Among them, except "Sword Dance" with a strong flavor of the Central Plains, the other three films can be known from their names, all of which are imported from the western regions.
In the Tang Dynasty, Hu dance instruments, choreographers, dance music, songs, etc. were integrated into Han dance with the generosity of all rivers, which exuded charming exotic customs without losing traditional culture.
Many music and dances created at that time were both exotic and political, such as "Broken Array Music" praising Emperor Taizong and "Long Live the Birds Song" by Wu Zetian. Since we want to show that "all nations come to Korea and serve from four foreign countries", it is natural to integrate the elements of Hu dance.
These music and dances have widely absorbed some factors of the music and dances of the Han nationality in the Central Plains and the ethnic minorities in the surrounding western regions, and their artistic expressions are highly compatible.