Our Hands Dance Them and Our Feet Tap Them
Our Hands Dance Them and Our Feet Tap Them: How Chinese Dance, Like Chinese Poetry, Reflects the Traditional Chinese Worldview Carly O’Connell The Art of Chinese Poetry Professor Tang May 2015 O’Connell 1 “The affections (情)are stirred and take on form (形) in words. If words are inadequate, we speak them out in sighs. If sighing is inadequate, we sing them. If singing them is inadequate, unconsciously our hands dance them and our feet tap them” (Owen 41). This quote from the Major Preface of the Book of Poetry, also attributed to the lost Record of Music, hints at the close connection between poetry and dance. “Singing” one’s feelings here refers to poetry, which was often chanted or put to music. Talking, poeticizing, sighing, and dancing are presented as a progression of means to express emotions. Yet when poetry is linked to other art forms in scholarship and popular thought, it is usually to painting, calligraphy, or music. Although dance is not traditionally grouped with poetry and the other high arts in China, it still shares many of their principles and reflects the same Chinese worldview. From ancient times until the present, in ritual dance, theater dance, and modern dance performance, Chinese dance has reflected concepts from the Book of Changes, Daoism, and other mainstays of Chinese thought. Only recently has Chinese dance theory begun to incorporate the terminology used to describe poetry, but it is not surprising that these two art forms share characteristics, given their common purpose of expressing mind and feeling. To discuss Chinese dance academically, in the abstract, it is important to note that a literary body on Chinese dance theory comparable to that on poetry theory is only a recent development, for several reasons.
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