First of all, stretching movements and graceful dancing are inseparable from the expressive force of opening the chest and waist. Every use of the chest and waist can express different emotions, either happy or angry, or sad or happy. Whether it is ballet, folk dance or China dance, it is inseparable from the use of chest and waist, laying a good physical foundation for more students who choose to study professional dance.
Secondly, the purpose of learning dance is to cultivate temperament. Compared with people who have never been exposed to dance, the biggest difference lies in the chest and waist, not only the rigidity of gymnasts, but the freedom to let go and take, stretch and stretch. The aesthetic concept of "three long and one short" in ballet is deeply rooted in people's hearts, and many people will attribute the part of dancers showing their unique temperament to their long necks.
Actually, it's not. If there is no vertical lifting of the chest and waist to match it, the neck will easily lead to the external form of "obstruction". The neck will be pulled forward instead of upward, and the vertical aesthetic feeling of upward extension will not be achieved. It can be seen that the temperament that people often say comes from the mutual cooperation of chest, waist, shoulders and neck, thus showing a self-confident and upward external form.