The Chest-Slapping Dance is one of the most representative folk dances in Fujian Province. It is mainly popular in Fuqiao, Jiangnan, Quanzhou, Kinmen and other places in the southern Fujian region. The Chest-Slapping Dance is relatively simple in form and can be performed by only one or two people at any time and anywhere. The traditional dancers of the Chest-Slapping Dance are male, wearing a straw hoop on their heads, with their upper bodies exposed and barefoot. The movements are mainly based on hitting, clapping, pinching and stomping with a single rhythm, and the parts are concentrated on the chest, elbows, legs, palms, etc. The basic posture is to pull the waist and chest out, jump with the whole body, and supplemented by vigorous squatting steps and contented shaking head movements, forming a rough, simple, humorous and warm style. The basic movement of the chest-slapping dance is "beating seven times", that is, first, the hands clap together in front of the chest, then clap the left and right chests in turn, the inner side of the arms clap the left and right ribs in turn, and the hands clap the left and right legs in turn, a total of seven sounds, the time value is seven beats; at the same time, the feet jump rhythmically with the squatting steps, the body sways left and right, accompanied by the shaking head movement, to produce a unique shaking rhythm, making the dance free and natural, showing the characteristics of cleverness, lightness, humor and cheerfulness, and so on, and perform continuously. "Beating seven times" most prominently represents the basic rhythm and style characteristics of the chest-slapping dance. Today's dance workers add music to the chest-slapping dance, making the performance scene warm and cheerful, neat and orderly, and "beating seven times" becomes "beating eight times" (that is, clapping hands together twice in front of the chest), which develops the basic movements of the chest-slapping dance and forms different style characteristics. The snake-shaped headdress on the grass hoop worn by the chest-beating dance performers retains the legacy of the snake totem worship of the Minyue aborigines in the Qin and Han dynasties, and its performance form also retains the legacy of the primitive dance of the ancient Minyue people. The inner rhythm of the chest-beating dance is extremely similar to the Tujia dance "Roulantang". From the perspective of dance distribution, it has a close origin relationship with the dances of southern ethnic minorities such as the Li and Gaoshan ethnic groups. The ancient Quanzhou opera "Zheng Yuanhe" retains the "Lotus Fall" beggar chest-beating scene. Today's folk chest-beating dance uses and retains the Quanzhou Nanyin "Three Thousand Two Golds". This cultural inheritance relationship is also of great research value.