The Embodiment of Confucian and Daoist Concept of "Circularity" in Haiyang Yangge of Shandong

Abstract

Rooted in the cultural soil of Qilu, Haiyang Yangge is deeply influenced by Confucian and Daoist traditions. From form to content,
rhythm to kinetic flow, and individual movement trajectories to collective spatial configurations, it reflects a traditional circular mode of thinking, presenting a holistic perception of the "Circular Dao." Formations and movement phrases connect seamlessly like interlocking rings,
shaping a spatial imagery of swirling, spiraling circulation and wave-like propulsion. The motion flows naturally and continuously, unfolding
an eternal consciousness of life. Haiyang Yangge not only employs circularity as a spatial aesthetic, but also pursues fullness and roundness
in movement quality. The smooth, harmonious circular rhythm embodies the emotional core of Chinese traditional aesthetics. This article is
divided into three main sections: (1) the notion of circularity in Confucian thought; (2) the manifestation of circularity in Haiyang Yangge;
and (3) the application of circular aesthetics in choreographed Yangge works. From folk purification to pedagogical systematization and stage
stylization, "circularity" persists as both a philosophical foundation and formal principle.