Welcome to Scholar Publishing Group

International Journal of Art Innovation and Development, 2022, 3(1); doi: 10.38007/IJAID.2022.030101.

Lingnan Dance Choreography Based on Cultural Philosophy and Emotional Value


Wenbin Wu

Corresponding Author:
Wenbin Wu

Xi'an University, Xi'an, China


Cultural philosophy refers to the study of cultural principles. These cultural principles use the viewpoints and methods of cultural philosophy to form a theoretical system of cultural viewpoints and activities. Chinese traditional cultural philosophy promotes the choreography of Lingnan Dances. Dance choreography is a way of producing art. Its objective object comes from life, but when it finally appears on the stage, it is higher than life. The completion of his dance works can be divided into many stages. In the creative stage, there are many factors: personalization, national emotional experience and so on. In the exploration and practice of the field of national emotion, psychology has played a role in promoting the field of national emotion. The factor of national emotion has become an inevitable link in educational practice, gradually moving towards the vision of human beings and being recognized by teachers. At the end of the 1990s, people began to explore teaching and research fields in depth, based on teaching, to the direction of national emotional and cultural philosophy teaching, and the field of choreography has become a new hotspot. Whatever the form or content of its creation, it has made great progress in the development of the last century, and constantly thinking about its theoretical value, thus playing a positive and effective role in promoting the overall structure of dance creation. Based on the analysis of some original works, this paper analyses the spiritual feelings of the editor and the corresponding resonance with the audience, and verifies the leading role of national emotion in the creation of Lingnan Dance. We think about the importance of choreography in the process of creation from the perspective of "individualization". At the same time, starting from the concept of "emotional unity" in dance performance, we constantly think about whether the national emotional experience has injected fresh vitality into the choreography and creative activities. Through investigation and verification, we can conclude that national sentiment plays a leading role in Lingnan dance.


Lingnan Dance Choreography, Dance Works, Cultural Philosophy, Emotional Value

Cite This Paper

Wenbin Wu. Lingnan Dance Choreography Based on Cultural Philosophy and Emotional Value. International Journal of Art Innovation and Development (2022), Vol. 3, Issue 1: 1-14. https://doi.org/10.38007/IJAID.2022.030101.


[1] Warburton, Edward C. (2018) “The dancing goddesses: folklore, archaeology, and the origins of European dance”. Research in Dance Education, 19(3), pp. 1-4. https://doi.org/10.1080/14647893.2018.1530932

[2] Schwadron H. (2018) “Dancing Jewish: Jewish Identity in American Modern and Postmodern Dance”. Feminist Review, 118(1) , pp. 112-114. https://doi.org/10.1057/s41305-018-0106-y

[3] Paez Granados, Diego Felipe, Yamamoto, Breno A, Kamide, Hiroko, et al. (2017) “Dance Teaching by a Robot: Combining Cognitive and Physical Human–Robot Interaction for Supporting the Skill Learning Process”. IEEE Robotics & Automation Letters, 2(3) , pp. 1452-1459. https://doi.org/10.1109/LRA.2017.2671428

[4] Gong, X., Zhu, Y., Zhu, H., & Wei, H.( 2021). Chmusic: a traditional chinese music dataset for evaluation of instrument recognition. https://doi.org/10.1145/3490322.3490351

[5] Chen, Y. T., Chen, C. H., Wu, S., & Lo, C. C. (2019) “A Two-Step Approach for Classifying Music Genre on the Strength of AHP Weighted Musical Features”, Mathematics, 7(1), pp. 19. Article ID 19, January 2019. https://doi.org/10.3390/math7010019

[6] Lancaster J N, Li Y, Ehrlich L I R. (2018) “Chemokine-Mediated Choreography of Thymocyte Development and Selection”. Trends in Immunology, 39(2) , pp. 86-98. https://doi.org/10.1016/j.it.2017.10.007

[7] Miles M C, Fuxjager Matthew J. (2018) “Animal Choreography of Song and Dance: A Case Study in the Montezuma Oropendola, Psarocolius Montezuma”. Animal Behaviour, 140, pp. 99-107. https://doi.org/10.1016/j.anbehav.2018.04.006

[8] Kinoshita T, Miyamoto T. (2018) “Realizability of Choreography Given by Two Scenarios”. Ieice Transactions on Fundamentals of Electronics Communications & Computer Sciences, 101(2) , pp. 345-356. https://doi.org/10.1587/transfun.E101.A.345

[9] Lowell A, Renk, Kimberly. (2017) “Predictors of Child Maltreatment Potential in a National Sample of Mothers of Young Children”. Journal of Aggression Maltreatment & Trauma, 26(4) , pp. 335-353. https://doi.org/10.1080/10926771.2017.1299825

[10] Larsen M E, Boonstra, Tjeerd W, Batterham, Philip J, et al. (2017) “We Feel: Mapping Emotion on Twitter”. IEEE Journal of Biomedical & Health Informatics, 19(4) , pp. 1246-1252. https://doi.org/10.1109/JBHI.2015.2403839

[11] Sproles, Karyn Z. (2018) “The Emotional Balancing Act of Teaching: A Burnout Recovery Plan”. New Directions for Teaching & Learning, 2018(153) , pp. 99-107. https://doi.org/10.1002/tl.20285

[12] Sergio M L, Extremera Natalio, Rey Lourdes. (2017) “Contributions of Work-Related Stress and Emotional Intelligence to Teacher Engagement: Additive and Interactive Effects”. International Journal of Environmental Research & Public Health, 14(10) , pp. 1-16. https://doi.org/10.3390/ijerph14101156