"Noh" is a typical representative of samurai dance. "Neng" is an art influenced by "Tianle" and "Zaraku", and it is also influenced by "Quwu". "Noh" is a form of song and dance performance. It pursues the musicality and dance of art. It has plot, song and dance, and is a comprehensive art. It emphasizes the beauty of plot, shape and painting in art, and highlights the word "love", which occupies a very important position in martial arts dance. "Neng" was originally written, directed, composed, composed and performed by the performers themselves, and later there was a professional division of labor. It has been compiled by "Noh" masters Kanami and Zeami to reach the pinnacle of Noh performance. It also has a standard that is more important than performance. It focuses on the movements of the shoulders and arms. The movements of the dancer's arms are based on the height of the shoulders, and the movements of the wrists are the axis of activity. The sleeves of the performer's costume are very long, and the audience cannot see the movement of the wrist, so a way of appreciating the movement of the elbow and arm is formed through the sleeves. In addition, there is also the movement of hands on hips. The performer may hold something in one hand and put his hands on hips with the other, or put his hands on hips. The thumbs and index fingers of both hands can be placed on the left and right waists at will, and his face appears in a contemplative manner. Noh also pays attention to the movement of the feet, which has deep meaning and gives the audience a different feeling through the sound of the dancer's feet hitting the floor. In Japanese Noh music, dancers jump high and then land on their knees. In the Noh play, there is a program showing the marriage of Queen Zhaojun of the Han Dynasty to the Xiongnu: Emperor Han Yuan saw Wang Zhaojun and the Xiongnu Chanyu in the mirror. The Chanyu appeared on the stage to the accompaniment of flute and rap, with his feet on the ground. Jumping and landing on his knees to make a sound express Shanyu's violent character. This kind of skill with "force" as its basic dynamic arouses people's awe. Japanese "Noh" master Zeami once expounded the theory that Japanese dance is an expressive force. He believed that graceful force movements represented gods, while ugly, twisted force movements represented ghosts and gods. The repetition of jumping and kneeling movements shows the superb skills of the performer. It sets off a performance effect and expresses a national spirit.