Author(s)

Yilin Chen ¹

Affiliation(s)

¹ Henan Conservatory of Music, Zhengzhou University, Zhengzhou, Henan, 450052, China

Corresponding Author

Yilin Chen

ABSTRACT

Due to the variations in geographical environment and folk culture, different ethnic minority dances have evolved over time into their own specific artistic forms. It is one of them that Uyghur dance, which has its roots in the Western Regions and combines oasis labor, folk gatherings, and local aesthetics in its dance art, can be easily separated as a different ethnic minority dance in both physical actions and internal expression. Form, spirit, dynamics, and rhythm, are also the special movement aesthetics, technical principles, and concepts that are present in the performance of ethnic folk dances. This paper uses Uyghur dance as the research topic and discusses its expressive qualities in four aspects, including the external body posture and shaping, inner spiritual resonance, degrees of movement exertion, and characteristic rhythmic patterns. With the help of case studies of popular dance repertoires, including Sanam, Dolan, and Plate Dance, it will examine systematically the manifestation of the four mentioned aesthetic elements in the Uyghur dance performance with the aim of revealing the regional culture and national spirit inherent in the dance. Moreover, the conclusions made in this paper are hoped to serve as theoretical references in teaching classes and choreographing performances of Uyghur dance.

KEYWORDS

Uyghur dance; Ethnic folk dance; Performance characteristics

CITE THIS PAPER

Yilin Chen. Exploring the Expressive Characteristics of Uyghur Dance through the Framework of "Form, Spirit, Dynamics, and Rhythm". Art and Performance Letters (2026). Vol. 7, No. 2, 40-47. DOI: http://dx.doi.org/10.23977/artpl.2026.070206.

REFERENCES

[1] Jian Liu, & Longkui Sun. (1999). A glimpse at the formation of Uyghur dance. Journal of Beijing Dance Academy, 1, 50-57.
[2] Kadir Guljamila. (2005). The Ethnic Tradition of Duolong Maxrap—Muqam. Journal of Xinjiang Arts University, 3 (4): 30-33.
[3] Xiongyan Luo. (2006). Uyghur Muqam and the cultural inheritance of oasis dance. Journal of Beijing Dance Academy, 4, 75-81.
[4] Muzhen Liu. (2008). Picking Grapes. Dance, 5, 36-37.
[5] Hanikz Abuduwaili. (2009). Dance in the Dolan Mashrap. Journal of Xinjiang University of the Arts, 7 (3): 17-20.
[6] Kaier Meiha'ayi. (2010). An interpretation of Uyghur dance art in the context of Islamic culture. China Muslim, 5, 31-32.
[7] Jian Guan. (2016). An analysis of the "swaying body with trembling points" rhythm in Uyghur dance. Dance, 12, 64-66.
[8] Mamaiti Gulimina. (2017). The influence of multiculturalism on Xinjiang dance: A case study of Uyghur "Kashgar Sanam" and Uzbek "Fergana". Social Sciences in Xinjiang, 2, 113-116.

Sponsors, Associates, and Links

---

• Journal of Language Testing & Assessment
  
  
• Information and Knowledge Management
  
  
• Military and Armament Science
  
  
• Media and Communication Research
  
  
• Journal of Human Movement Science
  
  
• Lecture Notes on History
  
  
• Lecture Notes on Language and Literature
  
  
• Philosophy Journal
  
  
• Science of Law Journal
  
  
• Journal of Political Science Research
  
  
• Journal of Sociology and Ethnology
  
  
• Advances in Broadcasting