The style formation of Korean dance conforms to the aesthetic characteristics of the nation. The Korean people love the white crane very much, and love its white color and light and quiet posture. They regard the white crane as a symbol of auspiciousness and purity, and take pure white as the main color of national costumes. Similarly, this aesthetic is also reflected in the art of singing and dancing, which pays attention to "walking with the crane", that is, imitating the gait of the crane. In the gait of "walking with the crane", it shows the combination of static and dynamic, that is, moving internally, driving externally and moving with the cable.

In Korean national dance, the basic footwork with several rhythms, such as Gugeli, Zajin Gugeli, Andan, Taling and Wamoli, and the cadenza footwork are mainly selected, such as hand movements such as lifting, jumping, patting and pumping, and technical movements such as squatting, jumping and turning. The extraction of these contents is from simple to complex, from single to combination, from one ring to another.

The training of Korean folk dance has three meanings. The first is the training content of rhythm and its expressive force. Korean dances with different personalities have unique and distinct rhythm characteristics, which provide rich and meticulous internal rhythm and expressive force for dance. For example, from the emotional expression of the implicit and affectionate "Ancient Songs", the rhythm is even and slow; It is the "Andan" rhythm that shows liveliness and clarity by jumping; What is profound and powerful is the rhythm of "other orders", which provides a very rich and effective teaching material for training internal rhythm and expressive force.

The second is the training content of breathing application. The use of breathing is a major feature of Korean dance, and it is also an important link. People often regard the use of breathing as the continuous development of movements and the internal strength of grasping movements. In this way, when training Korean dance, we pay great attention to the whole movement process, which runs through all parts of the body, even to the fingers, ankles and toes. The rhythm, length, severity and rapidity of breathing reflect the characteristics of Korean national dance style, which has special training value and significance for improving students' artistic accomplishment, cultivating inner feelings and unifying form and spirit.

The third is the content of skills training. The continuous ups and downs and flexible movement characteristics of Korean dance require strict control of knees and ankles, especially the movement characteristics of lower limbs, which directly affect the upper body and arms, and are reflected in the coordination and meticulous requirements of the whole movement process. Of course, this is only about training the external skills of the body, but its training significance is to better control the internal rhythm through sound external skills, thus showing a more perfect dance artistic image.

Characteristic analysis of posture dynamic law

Basic posture: abdomen, buttocks, chest and shoulders.

Basic foot type: stretching the instep and hooking the toes.

Basic hand shape: index finger and middle finger are naturally straight, ring finger and little finger are naturally slightly flexed, and thumb is close to middle finger. Men are born with hands.

Korean dance has its own characteristics and is exquisite. The characteristics of posture, hands and feet run through the dynamic rhythm, forming a unique dance style. It uses breath to drive knee flexion and extension and footwork, which runs through the whole body and has obvious continuity. Korean dance methods should be summarized as vertical flexion and extension dynamic method and translation flexion and extension dynamic method, and the action lines are mostly upward arc throwing and downward arc surging. These two basic dynamic laws both need the control of knees and wrists, that is, there is a line in motion, a static line.

Analysis of basic footwork movements. * * * There are four points:

The dynamic law of flexion and extension and the breathing closely related to it (exhaling when flexion, inhaling when extension)

Before each step, there is a dynamic feature that one leg bends and the other leg lifts.

When the foot is lifted to the ground, there is ankle control from heel, arch, sole or sole to the whole foot.

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