The dance characteristics of Qiuci music and dance are as follows:

1. Characteristics of dance content.

In terms of content, there are many types, including self-entertainment dance, performance dance, customary dance, etc.; in terms of performance form, there are single dance, double dance and multi-person dance, etc.

2. Characteristics of dance postures.

The expressions of Kucha dance are very rich, and the rhythm is fast and slow, with strong contrast. The dance movements are both hard and soft, with distinct ups and downs and endless charm. It has a strong artistic charm and the dance shape is very unique.

3. Characteristics of shape.

The basic shape is an S-shaped curve with the head, waist and legs, with the breasts included and the hips exposed, and the overall posture is graceful and elegant. The facial expressions are rich, the changes in hand shapes and the protruding hips can be seen to be influenced by Indian dance, and the props held are rich and diverse.

4. Characteristics of the band.

The band organization of "Qiuci Music" is characterized by the combination of wind music, string music and drum music. The wind instruments play the main melody and harmony, the plucked string instruments play the melody, and also play the rhythm pattern, and the percussion instruments Then hit the rhythm. Various musical instruments can be combined in various ways, and the performance method is not simply unison, but full performance, ensemble, lead or solo.

The origin of Kucha music and dance:

Qiuci music and dance refers to the comprehensive art of song and dance music in the ancient Western Region Qiuci Kingdom. Yuehe is one of the nine or ten types of music in the Tang Dynasty. Kucha, today's Kuqa and Baicheng areas.

Qiuci's singing and dancing are so beautiful that Xuanzang once gave the highest praise in "The Western Regions of the Tang Dynasty" as "orchestral music, especially good for all countries". Its true origin is that it was introduced along with Buddhism Tianzhu music is the music of Northern India. The first appearance of Tianzhu music in literature can be traced back to the Qianliang period.

According to the "Spring and Autumn Annals of the Sixteen Kingdoms" written by Cui Hong, a historian of the Northern Wei Dynasty, the state of Tianzhu re-translated Laigong, and its musical instruments include phoenix tail harp, pipa, five-stringed flute, bronze drum, Mao Yuan, and Dutan It is composed of nine types, including copper cymbals and cymbals, and has twelve workers. There are sand and stone songs and Tianqu music. The band organization and instrument configuration of this kind of Indian northern music are similar to those of Kucha music, which should be the cultural source of Kucha music.