The basic posture required in "Ta Ge" is to close the shoulders, including chin, arm cover, back swing, knee loosening, waist twisting and hip-lifting. In the flowing movement, the dancer forms a two-dimensional or three-dimensional "three-way bending" posture by swinging left and right, twisting the waist and loosening the hips, showing the graceful girl. The posture of loosening knees and tilting hips will inevitably lower the center of gravity, and the specific steps of walking forward will make the whole trunk show a "pro-ground" posture.

This is the conclusion after analysis, but the dance "Step Song" has never seen the slightest sense of "falling" visually, and the reason for this situation is that the sleeves are not too long or too short, just right. The sleeves in "Ta Ge" play the role of "restraining and promoting, and the priorities are compatible". The choreographer combined the "warping sleeves" in Han Dynasty, "swinging sleeves" in Tang Dynasty, "beating sleeves" in Song Dynasty and "taking sleeves" in Qing Dynasty.

This eclectic and self-centered creative concept has undoubtedly achieved the duality of being clumsy, elegant, lively and modern in the classical dance "Step Song". The aesthetic concept of the trinity of poetry, music and dance is everywhere in the works. The rich style of Han and Wei dynasties shows a poetic side from the stage composition. For example, the scene of 12 women holding sleeves and shoulders obliquely is exactly "singing and dancing tactfully, just like a beautiful warbler".