Tibetan dance has very diverse styles and aesthetic characteristics, and there are also many folk dances, such as Zhuo, Harmony, Fruit Harmony, Dui Harmony and Reba. Among them, "Duihuan" is a kind of "tap dance" with performance, which is a Tibetan dance type with the vibration of the knees as the dynamic rhythm and the feet as the main direction. Its style charm lies in "lifting up in the first half beat of remake or music, tapping in the second half beat or weak beat, and relaxing and elastic knees, which is obviously different from tap dancing in ordinary cities."
Due to the wide geographical distribution of Tibetans, Tibetan dances have different morphological characteristics, but generally speaking, "quiver" is a representative dynamic characteristic of Tibetan dances, because it conforms to a characteristic of the dynamic law of Tibetan dances, that is, "continuous or small but fast, or elastic tremor, or continuous and flexible knee flexion and extension, showing different speeds, dynamics and amplitudes." It can be seen that "quiver" is one of the important dynamic elements in Tibetan dance. Therefore, the Teaching Material for Tibetan Men of Beijing Dance Academy is based on tap dance, Reba Heizi, pastoral dance and Qinghai Zhuo, highlighting the mastery of different vibrato in knee training, from the opening below the knee to the posture characteristics of hip relaxation and hanging arms, and combining the initiative of lower limbs to drive the follow-up of upper limbs to form a training system. Then when we practice the rhythm of "trembling", we should first prepare for the natural posture, hold our chest slightly, and at the same time, our hands naturally droop to our sides. When shaking your knees, relax your knees, put down the racquet and relax your upper body, but you can't relax. Some changes can be added on the premise that the in-situ trembling knee rhythm is well trained, such as "trembling step", that is, "landing with both feet or toes, alternately landing twice, and relaxing the knees, in line with the in-situ trembling knee rhythm." ⑤ There are "quiver", "quiver", "quiver", "quiver" and so on. They all change their points, lifts, stomps, kicks and tail legs on the basis of the original twitching rhythm. It can be said that many Tibetan movements are inseparable from the composition of the knee-shaking rhythm. In the arrangement of teaching materials and combinations, or in the process of teaching students, paying attention to "trembling" is a training purpose and method, which is not only a solid foundation for many changes in legs and feet, but also an indispensable factor for us to train Tibetan combinations well. Whether the house is strong or not depends largely on how strong the foundation is; How tall a big tree can grow depends on how deep its roots can go. Only by paying attention to the posture, rhythm, rhythm, requirements and changes of "quiver" in the training of Tibetan basic rhythm can we find the basic points of Tibetan dance training in many subsequent pace combinations.