From these descriptions we know that "White Rice Dance" begins with a slow rhythm and the dancers start lightly.He raised his hands high as if white swans were flying, and flicked the sleeves of his robe like white clouds floating, and his white wrists were still exposed from time to time in the sleeves of his robe.Sometimes it bends down and turns around, turning low and low, swimming like a dragon.Sometimes the footsteps move lightly, as if invisible hands are gently pushing the body forward.The dancing posture is elegant, the dancing clothes are white and radiant, like the bright moon floating in the cloud river.The body is light, like the breeze blowing the waves.The dancers are also good at using their eyes, looking forward with a smile, complaining like complaining, creating a fascinating charm.

Generally speaking, the movements of "White Rice Dance" are good at hand and sleeve skills.This is the fashion of the times, and the popular "Big Hanging Hands" and "Little Hanging Hands" at that time also showed the kung fu of sleeves.At the same time, the footwork of "White Dance" is also very particular.In addition to "Xu Dong", "White Dance" also has a fast rhythm.The poets said that sometimes "the pearls and shoes are rustling and the sleeves are flying", "the emeralds are flying endlessly", and after a dance, the performers often "dyed their faces with flowing water", "sweet and slightly stained with bright red face [tuo camel] ".

"Bai Yu Dance" may have been a solo dance among the people.By the Qiliang era of the Southern Dynasties, it had developed into a five-person performance.The dance makeup of the dancers was originally only characterized by white dance clothes, whichever was light, soft and white.After entering the palace and wealthy families, the dance clothes became luxurious, with jewels and emeralds all over the body, and the dancers often "worn the atrium with fallen hairpins" after dancing. The band of "White Dance" is also Huacai.There are vocal and instrumental music.The poets said that "Qi advocates presenting and dancing Zhao's female songs", "sounds of gold and stones and reeds", "Zhu Siyu Zhu Luo Xiangyan", "Qin Zheng and Zhao Se carry Sheng Yu", "Qi eulogizes Qin and plays Lu Nuxian". "...The band is full of silk and bamboo, and there is a wonderful accompaniment.The cooperation between the band and the dancers is also very good. The dancers "look back and turn their sleeves to urge the strings", and the band adjusts the rhythm with the dancers' eyes and movements.

"Zhu Guang shines on beautiful women", "The night is long and the song is white", the feudal nobles and scholar-bureaucrats had the idea of ​​enjoying themselves in time during the turbulent years.They ate, drank and had fun all night long, and "White Rice Dance" became an indispensable dance program at the banquet. "White Rice Dance" spread from the Western Jin Dynasty to the Sui and Tang Dynasties, causing many poets to sing for it.Until the Song Dynasty, there were still people writing "Bai Yu Ci". There is another kind of "Qianxi Dance" that has the same long-lasting vitality as "Baiyu Dance".It belongs to the "Wu Sheng" of "Qing Shang Le".Since the Eastern Jin Dynasty, there was a Qianxi village in the south of the Yangtze River (in today's Deqing County, Zhejiang Province), which has become a base for training singing and dancing talents.The dance that came from Coach Qianxi also gained an authentic status.From Song, Qi, Liang, Chen in the Southern Dynasties to the Sui and Tang Dynasties, many people talked about "Qianxi Dance". "Yue Yan stops at Qianxi, and Wu Ji stops at Baifu"... It can be seen that the "Qianxi Dance" produced in ancient Yuedi is a popular dance that can be compared with "Baifu Dance".It is a pity that it is difficult to imagine its specific scene today.

During the Wei, Jin, Southern and Northern Dynasties, literati and bureaucrats mostly advertised their freedom and wildness, and dancing was also a manifestation of "Wei and Jin demeanor".Some informal scholars can often make wonderful dance performances. "Book of Jin Xie Shang Biography" records the story of Xie Shang's performance of "The Dance of the Robin [qu yu Quyu]" in the Eastern Jin Dynasty.Director Wang said to Xie Shang: "I heard that you can do the robin dance. Everyone wants to see it. Can you perform it?" Xie Shang said, "OK."Wang Dao ordered the guests to clap their hands, and Xie Shang performed to his heart's content, as if no one else was around. The common name of "robin" is "eight songs". The "robin dance" should be a lyrical dance imitating the robin bird.This kind of dance was still popular in the Tang Dynasty. Lu Zhao, a Tang Dynasty man, wrote an "Ode to the Steep Dance", which wrote about the same thing, but the description was more specific.伛, Shuyi Jie颃 [xie hang Xiehang]. It is like repairing the lapel and suddenly suspicious of the female, going to the festival and suddenly like an eagle..." It makes people imagine Xie Shang's mood when he dances.During the Wei, Jin, Southern and Northern Dynasties, literati and bureaucrats had an unusual connection with dance, so many people wrote many poems describing and commenting on dance with great interest. After the Western Jin Dynasty, the central government of the Han nationality moved to the south of the Yangtze River.Northern China has become a battlefield for various ethnic groups to compete for dominance for a long time.The Xiongnu, Jie, Di, Xianbei, Qiang, Han and other nationalities established 16 dynasties that coexisted and interlaced successively.It was not until the beginning of the 5th century AD that the Northern Wei Dynasty established by the Tuoba clan of the Xianbei tribe roughly unified northern China, forming a situation of confrontation between the Northern and Southern Dynasties.The northern nationalities brought their own music and dance to the Central Plains, and their rulers were willing to imitate the ritual and music systems of the Han and Jin Dynasties, and continuously absorbed the music and dance of other nationalities, thus greatly promoting the exchange of music and dance among various nationalities. The dances of the ethnic minorities in the north have always been called "Hu dance".During the Wei, Jin, Southern and Northern Dynasties, Hu dance became a popular art among people in the north and south, and it was on the hall of elegance. According to the "Book of Northern Qi·Zu Ting [ting Ting] Biography", Gao Zhan, Emperor Wucheng of the Northern Qi Dynasty, "played the pipa in the back garden, and danced with the scholars, and each rewarded a hundred pieces." "Book of Sui·Zhang Zhaoda Biography" contains, Zhang Zhaoda of the Chen Dynasty in the Southern Dynasties held every banquet, "must set up female prostitutes and miscellaneous music, and prepare all the sounds of Qiang and Hu. The rhythm and appearance are not perfect for a while. Wei "only appreciates Hu Rong's music, and loves it endlessly" ("Sui Shu·Music History").Xiao Yi, Emperor Liang and Yuan of the Southern Dynasties, was also fascinated by the life of "Hu dance opens the spring pavilion, and the bell plate walks out of the corridor". "Hu Wu" brings splendor to Chinese dance culture with its fresh and exotic flavor.In the great exchange of music and dance cultures of various ethnic groups, a refreshing "Xiliang Music" was born. "Xiliang Music" is mainly based on the music and dance of ethnic minorities in ancient Xiliang (now Gansu), and absorbed the music and dance of the Han nationality and the Western Regions (mainly Qiuci [qiu ci Qiuci]), forming a unique style and style dance. The scale of "Xiliang Music" is quite large.According to the "Liu Dian of Tang Dynasty", there are chime bells and chime chimes, two singers, playing zither, zither, vertical harp, pipa, five strings, sheng, flute, flute, piccolo, big zither, small harp, waist drum, Qigu and Tangu each, two cymbals, one shell, one Baiwu, and four Fangwu. In 439 A.D., Tuoba Tao, Emperor Taiwu of the Northern Wei Dynasty pacified Hexi, and brought the musical instruments of Xiliang Music and Dance, Maiko, the eminent monk Tan Yao [tan yao Tan Yao] and tens of thousands of Xiliang people back to the east. Music" entered the court of the Northern Wei Dynasty.The capital of the Northern Wei Dynasty was moved from Pingcheng (now Datong, Shanxi Province) to Luoyang, and "Xiliang Music" joined the music and dance of the Central Plains in Luoyang. Emperor Taiwu of the Northern Wei Dynasty not only brought back "Xi Liang Yue", but also brought back the music of Shule and Anguo from the Western Regions.When the Northern Wei Dynasty destroyed Beiyan, it also obtained the "Korea Music" handed down by Beiyan.Later, the Northern Wei Dynasty was divided into the Eastern Wei Dynasty and the Western Wei Dynasty. The art of music and dance of the northern nationalities not only received full attention in the courts of the Northern Dynasties, but also was widely loved by the people of the Central Plains. There was a lively scene of "every family in Luoyang learning Hu Yue".The music and dance of the various dynasties and nationalities in the north have achieved extensive exchanges and integration in more than two centuries, which directly contributed to the prosperity of open music and dance in the Sui and Tang Dynasties.