One is the cup and bowl dance. Bowl dance is generally a female solo dance, with a classical dance style. Dancers head of porcelain bowls, holding two cups, accompanied by music, according to the rhythm of the cups clinking, two arms constantly stretching and flexing, the body or forward or backward, intended to show that the Mongolian women are dignified and quiet, soft and rigid character temperament. The dance utilizes the dance vocabulary of "soft hands", "shaking shoulders" and "broken steps", which are characteristic of Mongolian dance style, to show the elegant and subtle style of cup and bowl dance. Xing'anmeng folk bowl dance, dance simple, simple, no strict rules of action.
The second is the chopstick dance. The Chopstick Dance is characterized by shoulder movements and is usually performed by men. The dancers hold chopsticks in their right hands and hit their hands, legs, shoulders, feet and other parts of the body from time to time, and sometimes they also hit the ground (or the stage). With the flipping of the wrist, sometimes the shoulder shrugs lively, sometimes the leg jumps flexibly, sometimes the dancer turns to the left and sometimes to the right. The shoulder movements have a sense of rhythm and a special flavor, combining cheerfulness, grace and athleticism. Although the action is simple, but with skills to please the audience, so there is a certain performance nature. In Xing'anmeng folk circulating chopstick dance, both male solo dance, there are male and female group dance. In the form of performance, it develops from holding chopsticks with one hand to holding chopsticks with two hands, and the dance vocabulary of shoulders, waist and legs is also more abundant. Therefore, the dances are cheerful, bright and original, which express the warm, cheerful, swarthy and heroic national personality of the Mongolian people in the best possible way.
Third is the Andai Dance. Andai dance in the late Ming and early Qing dynasties in the southern end of the horqin grassland Kulun Banner. Initially, it was a kind of shamanic dance used to heal the sick, containing prayers to the gods to protect, get rid of the devil to eliminate the meaning of the disaster, and then slowly evolved into the expression of joyful emotions of the national folk dance. The traditional Andai dance has several procedures, including preparation, initiation, climax and closing, all of which are presided over by the "Bo". With the development of history and social progress, Xing'an area with superstitious colors of the Andai dance has ceased to exist, but as a folk song and dance passed down. In horqin area, in the New Year festivals, in the celebration of the harvest days, in the funeral and wedding and welcome the guests at the banquet, people have to dance and dance. The girl daughter-in-law waved the turban jump, the young man took off his boots barefoot jump, the children do the ghost face jump ...... dance moves have flung the towel step, around the towel step, swinging the towel step, clapping hands crossed the waist, forward running, flip jump, air kick, pengkong curled body, left and right rotation, fling silk squat step, arms swinging the silk, etc., these beautiful and elegant movement, the Integration of stable, accurate, sensitive, light, soft, healthy, beautiful, rhyme, love as one, forming a grand carnival scene, the beauty and the pursuit of beauty to the extreme.
Fourth is Chama. Chama is Tibetan Buddhism in order to promote Buddhism, spread the teachings, to stop the temptation of evil, firm beliefs and organized a kind of art activities with the nature of the celebration. Historically, in the "temple majestic, compared to the Buddha's country," the horqin area and even throughout the Inner Mongolia Autonomous Region, the vast majority of monasteries called temple has been once a year by the lamas to perform this dance. To this day, some temples still perform this dance. Chama has an important position in the Mongolian dance culture.
Khorqin Chama has three forms of performance: one is the Chama. Performers two to four people, in the hall chanting mainly through gestures on the Buddha merit salute. The second is Mira Chama. In the square in front of the temple called the stage performance. Characters are Mira, black and white old man, dog, deer (all played by people), etc., in the form of speaking, singing, dancing, music, celebrating the Mira leave home and abandon their careers, bitter practice, traveling around, spreading the Buddha's teachings, and ultimately achieve the right results of the story. Third, the square Chama. Performed in the square in front of the Maharishi Temple. Numerous characters, fixed program, standardized action, the strongest dance, more common circulation. In the Chama show, those who appear collectively referred to as the protector of the gods. Protector of the gods are divided into large Chama (the main god), small Chama (converted to God) two categories. Chama generally consists of 13-15 dance passages, mostly performed in the form of single, double or quadruple. Where the big Chama, are in the form of a single dance to perform an independent dance; there is also a god as many gods, according to the east and west, south, north and south at the same time dance. The small chamas mostly appear in the form of a four-person dance; they can also accompany the main god as attendants when he dances. Relatively speaking, the dance of the big Chama's movements calm and rugged, transcendent, hands and feet are very stylized, reflecting the strong religious connotations and the character of the ideological and emotional; the small Chama is flexible, fast-paced, unconstrained form, less God's authority, there is a very strong rhythmic nature. Some of the larger temple, in order to facilitate the inheritance, but also similar characters to standardize the action, to determine the name.
Fifth, horqin "Bo" dance. "Bo", is a shamanism in the sorcerer, researchers call "shaman". Mongolians call themselves Bo. The religious rituals performed by Bo are called Bo. Bo dance is the dance performed by Bo. Bo religion once for the Mongolian people for a long time, but since the introduction of Tibetan Buddhism is declining, now only a small number of remnants, mainly circulating in horqin grasslands. Bo dance preserved more complete is Xing'an League and Tongliao City. Bo dance as an ancient art form, due to its own rich connotation and its artistry and entertainment, not only still have a certain vitality, but also has a high research value. The line of Bo in the Horqin area is mainly used for rituals to seek blessings and exorcisms to cure diseases. Song and dance to serve the gods, curing diseases and exorcism, is its main feature.