Mainly reflected in the following aspects:

1. Extensively carry out dance competitions

The form of performances in the 1950s and 1960s evolved into competition and awards activities in the 1980s. For example, the awards for the three National Dance Competitions in 1980, 1986, and 1995, the First Dance Competition of the People's Liberation Army in 1986, and the Fourth, Fifth, and Sixth All-Army Arts Performances in 1977, 1987, and 1994, are related to Dance video awards in 1996; ethnic minority dance competitions at the end of 1990, national folk music and dance competitions in 1986 and 1992; 5 national art academies competitions in 1985, 1988, 1991, 1994 and 1997. "Taoli Cup" dance competition; two national ballet competitions in 1985 and 1987, as well as mass amateur dance competitions, children's dance creation competitions, regional and industry performance awards, and 5 dance competitions held from 1987 to 1997. The China Art Festival, as well as regular, thematic, cultural and trade art activities in various regions, have provided great opportunities for the emergence of new dance creations and new talents.

2. Hold a personal dance party

After Chen Ailian was the first Chinese dancer to hold a personal party in 1980, Cui Meishan, Sun Daizhang, Zhao Qing, Dao Meilan, Zi Huajun, Yao Zhuzhu, Wang Kun and other older generation dancers, as well as young dancers such as Yang Liping, Zhou Jie, Hu Jialu, Li Xiaojun, Chen Huifen, Zhang Runhua, Zhang Ping, Song Qingji, Zhou Guixin, Li Zhongmei, Ding Jie, Ma Jiaqin, Xu Qiuping, etc. have successively launched individual dance evenings. At the same time, a commemorative event for the 50th anniversary of Jia Zuoguang's dance art was held in 1987, and a commemorative performance for Chen Qiao's 40th anniversary of dance was held in 1990. Since then, more than 30 people including Aodengerile, Shen Peiyi, Zhuoma, Yuwei, Shaxiaayi, Dilinal, and Li Yulan have held a series of personal dance parties, showing the different artistic styles of each dancer. , shows the maturity of Chinese dancers and also marks the height of the development of contemporary Chinese dance culture.

3. The rise of modern dance in China

Wu Xiaobang, Dai Ailian, and Jia Zuoguang, the pioneers of Chinese new dance, all started from the study and creation of modern dance. However, because modern dance was difficult to be recognized at the time, It is difficult for the masses to accept it and develop it. As a result, they turned to the creation of folk dances that were integrated with modern life. In the 1950s, due to the international situation and overemphasis on national characteristics, Western modern dance was regarded as heresy and was rejected. In the 1960s, Guo Mingda, who had returned from studying modern dance in the United States, found it difficult to put his talents to use. It was not until the early 1980s that he began to spread the systematic theory of modern dance, which played a role in catalyzing the rise of modern dance in China. Under these conditions, the release of Hua Chao's "Hope" attracted social attention. Later, Wang Liancheng returned from the United States and spread more concrete techniques of modern dance. Hu Jialu from Shanghai, through tenacious creative practice, has blazed his own path of Chinese modern dance and created a number of modern dance works with a distinct sense of form. At the same time, the emergence of excellent modern dances such as Ruan Shaoming and Xie Nan's "Destiny" and Wang Mei's "Tide" made modern dance more acceptable to more people. In 1987, the modern dance class of Guangdong Dance School was established. Three years later, a number of modern dance works emerged. Its graduates Qin Liming and Qiao Yang performed in the 1990 Paris International Modern Dance Competition with "Tai Chi Impression" and "Sound Transmission". ’s creation and performance won the first prize for pas de deux. This is a channel for learning from Western modern dance to develop Chinese modern dance. In fact, there is another free channel for Chinese modern dance, which is the dance creation itself that has always emphasized realistic themes in China, which is the inevitable birth of Chinese modern dance. To reflect new life and thoughts, we must create new dance concepts and new dance vocabulary, so "Waves", "Silent Song", "Soul of the Yellow River", "The Hairpin-headed Phoenix in My Heart", "Mengdong" A number of Chinese-style modern dances that are not classical, non-ethnic and non-Western modern dance styles stand out.

IV. Active military dance creation

China has three dance armies, one is a dance group from the central government to provinces, municipalities, autonomous regions and all the way to regions and counties; It is an army of social dance activities for the masses, that is, professionals and amateurs from all walks of life; the other main force is 40 professional song and dance teams and more than a thousand dancers from various headquarters and major military regions of the Chinese People's Liberation Army. Military dance creation has always been characterized by combat, sense of the times, and strong creativity. From the creative ideas, works to choreography, the quality of the actors is often at the forefront of the development of contemporary dance. Since the "March Dance", dances such as "Tibetan Cavalry", "Flying to capture the Luding Bridge", "Hard Times", "Langya Mountain", "Laundry Song", "Harvest Song" in the 1950s and 1960s have It became popular across the country; in the late 1970s, "Cut the Strings" and "Execution Ground Wedding" launched a new style of military dance; in the 1980s, military dance creations had broader themes, more diverse forms, and more outstanding talents. For example, classical dances such as "Jinshan War Drums", "Dunhuang Painted Sculptures", and "Zhaojun Leaving the Fortress"; modern dances such as "Hope", "Prison Song", "Soul of the Yellow River"; "Goodbye!" "Mother", "Eight Girls Throwing themselves into the River", "Boys and Daughters Walking in the Smoke of Gunpowder", "Little Sailor", "Soldier", "Female Soldier", "Biography", "Er Ah Er" and other military-themed military dances; Folk dances such as "Little Man Spreading Pancakes" and "Hope in the Field"; and new dance masterpieces such as "Haiyan", "Streams, Rivers, and Seas" and "Picking Mushrooms" were all choreographed by the troops.

5. The serial development of dance

In the 1980s, in compliance with the world's highly comprehensive and systematic development trend, dance naturally showed its overall development through serial creations. intensity. In addition to the collective choreography of a series of individual dances, there are four major music and dances: "Imitation of Tang Dynasty Music and Dance", "Tang Chang'an Music and Dance", "Chime Music and Dance", and "Nine Songs", and later "The Prosperity of the Qing Palace", "Han Style" and "Xiao Shao Music and Dance", "Bronze Drum Music and Dance", and "Yunmen Scroll". A series of songs and dances with local customs are also launched one after another, such as "Youjiang Customs" in Guangxi, "Five Streams Customs" in Huaihua, Hunan, "Bashu Song and Dance" in Sichuan, "Ghost Country Customs" in Fuling, etc. In addition, "Love of Love" in Yunnan Thematic songs and dances such as "Footprints" and Shanghai's "Gold Dance and Silver Ornaments" were also performed. Since the 1990s, almost all Taiwanese songs and dances have been presented in thematic series, such as Jiangxi's "Ganjiang Love", Hunan's "Sanxiang Azalea Red", Guizhou's "Mountain Dance", Ningxia's "Jiuzhou Crescent", Heilongjiang's "Black Earth", Yunnan's "Red Earth Love", Chongqing's "Our Mountain Singing" and so on. In 1987, Shanxi's "Yellow River Children's Love" and the subsequent "Yellow River Land" created and performed, and in 1992 Yunnan's carefully staged "Dancing Yunnan" more effectively pushed contemporary ethnic folk dance in the new era to the forefront. A new level.

6. The Rise of Academic Dance

In 1978, based on the Beijing Dance School founded in 1954, the Beijing Dance Academy was established, which immediately became the Chinese Contemporary Higher Education School. An important base for dance education. Its scientifically standardized various dance teaching materials and first-class school buildings often amaze colleagues from various countries who visit it. It has a strong lineup of teachers and has hired experts from various countries to teach, cultivating batches of performers. , dance professionals who work in choreography and education. Through arduous creative and performance practice, they have launched batches of academically creative and excellent dance repertoires, which have considerable influence at home and abroad. Chinese academic dance is a process of continuously integrating ancient and modern Chinese and foreign achievements, forming a system of standards, and then continuously absorbing, integrating, developing and improving based on the system of standards. Therefore, it is not rigid, but is scientific and normative, pays attention to technical methods, has solid professional basic skills, and has the passion to dare to think and create, and the spirit of seeking innovation, showing the vitality of youth, the aura of art and vitality of life. In the early stage, he created masterpieces such as "Moonlight Night on the Spring River", "Lotus Lantern", and "Fish Mermaid"; in the 1980s, "Mulan Returns", "Wedding Farewell", "River Water", "The Last Spring", " Excellent new dances such as "Mengdong" and "Yellow River".

"The Great Wall" directed by Fan Dongkai and Zhang Jianmin shocked people's hearts with its concise and orderly choreography and majestic and tragic momentum; Zhang Jigang's performances in "I Came from the Yellow River", "What a Big Wind", "Loess Yellow", " A series of dances such as "Dedicated to My Father and Mother" pioneered a new path in the development of folk dance in the 1990s; and the creation of dance dramas such as "Mountain and River Festival", "Wordless Monument" and "Qin Shi Huang" show the fourth generation of contemporary Chinese dance choreographers. A new exploration of symphony and new styles and forms of dance drama. In addition, the Music and Dance Department of the Central University for Nationalities and the Dance Department of the Chinese People's Liberation Army Art Academy have trained batches of high-level dance talents for ethnic minorities and the military. In the new era of dance creation, graduates from these two academies play an important role. Although their styles are different, their unique systems, standardized performances, and creative spirit of meticulous originality and deliberate innovation have made their contribution to improving the cultural level of contemporary dance.

7. Song and dance parties were frequently broadcast on television

From the late 1980s to the 1990s, there were fewer and fewer theater performances of song and dance parties, and commemorative celebrations and holiday parties became more and more popular. , festival parties are indispensable with singing and dancing, and they are often broadcast on television. TV station singing and dancing parties are becoming more and more colorful, activating the cultural life of the people. Every year, CCTV’s Spring Festival Gala has become a grand art festival for Chinese people around the world, and singing and dancing are an important part of it. CCTV’s Spring Festival Gala, the Ministry of Culture’s special singing and dancing gala, and the Army and the Ministry of Civil Affairs’ Spring Festival military-civilian support gala have also been held in It is a must-do every year; provinces, cities and even regions must also organize separate or joint Spring Festival galas. In addition, every year’s National Day, Army Day, Labor Day, Women’s Day, Children’s Day, etc., as well as the opening ceremonies of film and TV festivals in Beijing, Changchun, Shanghai, Sichuan and other places, each Various awards evenings, opening ceremonies of various large-scale sports games, etc. all have large-scale performance evenings, and singing and dancing are indispensable. At the same time, the role of dance in songs is growing. Even acrobatics and sketches are increasingly incorporating dance elements. Dance brings joy and beauty to people. Some evening parties are increasingly including singing and dancing as part of their performance. base selection.

8. Tourism singing and dancing are in the ascendant

Modern tourism activities have increasingly become an important part of people’s lives and have become a global social phenomenon. The tourism industry has also developed into the largest in the world today. industry. Tourism promotes social and economic development, and at the same time promotes friendly exchanges and cultural exchanges between people from all over the world. Tourism songs and dances also rise with it. First of all, in some star-rated hotels, hotels and theaters, there are song and dance performances to entertain tourists. For example, the Xi'an People's Theater often has ancient music and dance performances by the Shaanxi Provincial Song and Dance Theater or the Xi'an Song and Dance Troupe, and the Beijing Song and Dance Troupe performs Qing Palace Dance at the Beijing Hotel Theater. , the performances of "Music and Dance for Confucius" and "Music and Dance of Xiaoshao" in Qufu Confucius Temple... Secondly, since the 1990s, a number of man-made landscapes have been continuously built in various places. For example, after Shenzhen built the Splendid Chinese Miniature Landscape and Folk Culture Village, In 1994, Window of the World was built, as well as the Grand View Garden and World Park in Beijing, the Six Arts City in Qufu, the Ethnic Village in Kunming, the New Yuanming Garden in Zhuhai, etc. Most of these man-made landscapes have corresponding song and dance performances. In the 1990s, with the continuous development of tourism, tourist song and dance performances also developed vigorously in various types of tourist attractions built in various places. The parades and ethnic song and dance performances at the Shenzhen Folk Culture Village, and the large-scale song and dance performances by the Wuzhou Art Troupe of Window of the World that combined theaters and squares, have made outstanding contributions to the development of Chinese tourism song and dance.