The breast-beating dance is one of the most representative folk dances in Fujian Province, which is mainly popular in Minnan pontoon bridge, Jiangnan area, Quanzhou, Jinmen and other places. The form of breast dancing is relatively simple, and only one or two people can dance at will anytime and anywhere. Traditional breast-flapping dancers are all male, wearing straw hoop, bare upper body and bare feet. Their movements are dominated by a single rhythm of hitting, patting, clamping and stamping, and their parts are concentrated in the chest, elbows, legs and palms. Their basic posture is like pulling out the waist and chest, jumping all over, supplemented by strong squatting and complacent shaking their heads, forming a rough, simple, humorous and warm style. The basic action of breast-beating dance is to "hit the seven rings", that is, first hit a palm on the chest with both hands, then beat the left and right chest in turn, pinch the left and right ribs in turn on the inside of the arm, and then beat the left and right legs in turn with both hands, and * * * gets seven rings, which is equivalent to seven beats; At the same time, with the feet squatting and jumping rhythmically, the body shakes left and right, and with the action of shaking the head, it produces a unique shaking rhythm, which makes the dance appear free and easy, showing the characteristics of cleverness, lightness and humor. "Playing the Seven Rings" most prominently represents the basic rhythm and style characteristics of breast-beating dance. Nowadays, dancers provide music for breast dancing, which makes the performance scene warm and cheerful, neat and orderly. "Playing the seventh ring" changed to "playing the eighth ring" (that is, clapping your hands on your chest twice), which developed the basic movements of chest-clapping dance and formed different style characteristics.

The snake-shaped headdress on the grass hoop worn by the chest-beating dancers retains the legacy of snake totem worship of the indigenous people of Fujian and Vietnam in Qin and Han dynasties, and its performance form also retains the legacy of the original dance of ancient Fujian and Vietnam. The internal rhythm of the breast-beating dance is very similar to the Tujia dance "The Sound of Meat". From the distribution of dance species, it is closely related to the dances of southern minorities such as Li nationality and Gaoshan nationality. Zheng Yuanhe, an ancient opera in Quanzhou Liyuan, was 10% off when beggars beat their chests. Today, the folk breast-beating dance continues and retains the "3,200 gold" of Quanzhou Nanyin, which is also of great research value.

Breast-beating dance has a long history and is widely spread. Dancers from different regions, different environments and different identities often form their own unique dance styles. For example, the "breast-beating dance" danced by beggars in the old days was generally small, stiff and contracted, and often consciously or unconsciously blended with typical life body movements such as expressing pity, begging, praying and hope, forming the characteristics of "beggars patting their chests"; Most of the "chest dancers" are almost naked, and they often need to borrow wine to drive away the cold when it is cold. The dance between drunkenness and ear fever is exaggerated and full, and you can even jump and lie on the ground. The footwork is bumpy, the movements are strong and weak, and the rhythm is complex and changeable. Over time, a unique dance style of "drunken beating the chest" was formed.