The dance of ＂Subject III＂ in China Art Newspaper became popular, which gave a thought about network communication.

Recently, the dance of "Subject III" has become popular online and offline, and more and more people are attracted by it, which makes the dance quickly change from "dirty" and "questioned" to popular in many places and even attract attention abroad.

The dance of "subject three" rose in Guangxi earlier. Why is it called "subject three"? There is a network saying that every Guangxi person has to go through an exam in his life. If it is likened to driving test, then "subject one" means singing folk songs, "subject two" means talking about powder, and "subject three" means dancing, so the dance had the network name of "subject three in Guangxi" in its early days.

The author believes that the four characteristics of "Divine Comedy", minimalism, "open source" and platform have jointly contributed to the popularity of "Subject III" dance.

First, the adaptation of Divine Comedy makes dance and music complement each other. The classic BGM (background music) of "Subject III" dance is "Laughing at the Rivers and Lakes" (DJ version). The style of this song expresses a kind of heroism, optimism and self-confidence in the face of setbacks and failures, encourages everyone to face setbacks bravely and frankly, and inspires people’s courage and lofty sentiments. The DJ version of the music is lively and dynamic, and with the opera singing method, the lively and joyful atmosphere is quickly created between the music, which is easy to arouse the emotional resonance of onlookers.

Second, the minimalist action catalyzes innovation. Every movement of this dance is very simple, and ordinary people can master it after practicing several times. In addition, dancers can innovate anytime and anywhere, without special knowledge reserves and professional training, and zero-based fans can also arrange new moves. According to rough statistics, dozens of dance versions of "Subject III" have appeared on the vibrato platform at present, and they are still growing.

Third, "open source" is versatile and ever-changing. The performance threshold of "Subject III" dance is extremely relaxed, which provides a friendly "open source" environment for subsequent scene changes. As far as the number of performers is concerned, the dance can be performed by a single person or by a group of people. As far as the performance scene is concerned, the dance has low requirements for the performance location. As far as performance assistance is concerned, the dance can be adapted to a variety of costume props. As far as the performance effect is concerned, the movements are concise, smooth and large, especially with the constant change of the photographer’s angle of moving the mirror, the road show of this dance has a strong visual impact and shock. As far as the performance content is concerned, under the fierce competition of short video content and the situation of "involution", various creators have "crossed the sea" and "opened their brains wide" and rushed to release creative short videos, adding various storylines on the basis of dance, in order to win the valuable "second-level" attention of the audience.

Fourth, the short video platform enables sustainable development. The short video platform, represented by Tik Tok, integrates advanced digital technologies such as big data and virtual reality, integrates many resources such as finance, technology and culture, and opens the way for the production, dissemination and realization of Internet content. This unicorn-style head platform provides a warm soil and appropriate opportunities for the popularity and continuous popularity of the "Subject III" dance.

Of course, there are also some negative voices around the dance of "subject three" Some people think that the artistic value of this dance is low, even vulgar; Some people think that the dance is "too corny" and "spicy eyes"; Others think that such dancing movements may bring some health risks, such as spraining ankles. Such comments are not uncommon, but it is undeniable that such a dance has indeed "harvested" a considerable number of audiences, and has continued to circle in the network tide, and has continued to maintain or even increase its popularity. In the face of this cultural phenomenon, let’s take a cautious and discerning attitude towards it, and get valuable experience and methods through the analysis of removing the false from the true and discarding the bad, so as to provide experience reference and enlightenment for the creation and dissemination of other art categories.

In the current Internet era, although the online literary field presents the development trend of Qian Fan’s competition and a hundred flowers blossom, it also exposes some problems, such as the short life cycle of some literary works, and even "seeing death"; Some literary and artistic film and television works are applauded in the industry, but the market response is flat, and there is an embarrassing phenomenon of applauding and sitting upside down; Although some traditional excellent cultural works still have market competitiveness, they are limited by the lack of appropriate communication channels, which hinders their communication. In view of this, the continued popularity of "Subject III" dance may provide some solutions to the above problems.

There should be both upward intention and downward brushwork in creation. Since ancient times, excellent literary works must be upward and sublimated, which is consistent with people’s pursuit of truth, goodness and beauty. Low conception is like unstable foundation and broken roots, even with superb creative skills or gorgeous rhetoric, it can’t make it have classic characteristics. With a good idea, how to show it? This requires a downward stroke. Literary and art workers should often go deep into the lively scene, explore the first-hand materials, and carry out accurate screening, deep processing and classic empowerment to create excellent literary and artistic works with both local flavor and vitality.

In expression, we should constantly update the "thesaurus version" to adapt to the current context in time. Literary and artistic creators should first realize the necessity and importance of keeping pace with the times, then follow up in time, study moderately, master skillfully, and finally integrate, digest and absorb according to their own creative characteristics, so as to narrow the psychological distance and physical distance between their works and young people, thus increasing the audience depth of literary and artistic works.

In communication, we should constantly be compatible with new media and inject surging power into the spread of literary and artistic works. In the digital age, the digital platforms represented by Tik Tok, Aauto Quicker, Xiaohongshu, Bili Bili, etc. have shown strong advantages of being late-comer. They are extremely fast in spreading, easy to enter the threshold, and low in cost. They are rich in content, low in cost, convenient and simple, and quick to realize. They are quietly and rapidly changing our way of life and production. Faced with this trend, literary and art workers should also know the situation in time, change their development ideas, adapt to the new digital track, learn relevant successful experiences, start from imitation, accumulate in exploration, improve in resumption, become bigger and stronger in innovation, and inject strong impetus into the spread of literary and art works with the unique advantages of digital platform.