With the prosperity of Chinese folk dance creations, especially the development of the dance performances represented by the Lotus Awards and Tao Li Cup, the technical skills of national folk dances are further promoted to a new height. Its development, however, generates two problems. First of all, the technical characteristics of styles are diminishing and tend tocome be homogeneous. Second, the pursuit of techniques with ultra-high difficulties makes the creative vocabularies hollow and devoid of content and typicality. This paper adopts the methods of investigation, observation and literature research to analyze the related technical skills in the creation of folk dances in Chinese dance circles. The purpose is to emphasize that the creation of Chinese folk dances should be traced back to their origins, and to bring forth new ideas in three aspects: stylization, emotionalization and artistry, starting from the characteristics of technical skills. In order to break through, its form should be more epitomous in culture and more typical in aesthetics. Only in this way can the technical skills of Chinese folk dances become truly prosperous.

This study, with the Nuo ceremony in Lengshuijiang, Hunan, China as the subject, discusses its cultural hybridity, shaped by dynamic interaction between elite culture of the ruling class and folk culture of the working class. The author argues that the resulting hybridity is formed through homogenizing force of the elite culture and localizing capability of the folk culture. To carry out the research, the author adopts three methodologies: fieldwork, in-depth interview and literature review. From the perspective of dual cultural framework, the author observes the dilemma faced by the Nuo ceremony in a historical and social context. Unlike the prevailing tendency of separating wu (shamanism) from dao (Taoism), by former researches this paper integrates wu and dao, thereby interpreting the hybrid nature of the Nuo ceremony. Through fieldwork, the author studies the conflict and reconciliation between the high and folk cultures as projected in the cultural hybridity of the Nuo ceremony. The analysis suggests that the Lengshuijiang Nuo ceremony is a hybrid culture stemming from the combination of orthodox religion and folk shamanism during a specific historical period. It is neither a pure high culture of the state nor a pure folk culture. Rather, it is a reconstructed “third culture”. On a macro level, the author observes China’s dual cultural framework from the perspectives of both the elite culture and folk culture. On a micro level, the authors reveals, through the integration of the wu and dao elements in the Lengshuijiang Nuo ceremony, the cultural hybridity as a result of homogenization and localization, which Abstract 298 제53호is the significance of the study.