秧歌是中国（主要在北方地区）广泛流传的一种极具群众性和代表性的民间舞蹈的类称，不同地区有不同称谓和风格样式。在民间，对秧歌的称谓分为两种：踩跷表演的称为“高跷秧歌”，不踩跷表演的称为“地秧歌”。近代所称的“秧歌”大多指“地秧歌”。秧歌历史悠久，南宋周密在《武林旧事》中介绍的民间舞队中就有“村田乐”的记载，清代吴锡麟的《新年杂咏抄》中明文记载了现存秧歌与宋代“村田乐”的源流关系。现各地的秧歌一般以秧歌舞队为主要形态，舞队人数少则十数人，多时达上百人，既有集体舞，也有双人舞、三人舞等多种表演形式，根据角色的需要手持相应的手绢、伞、棒、鼓、钱鞭等道具，在锣鼓、唢呐等吹打乐器的伴奏下尽情舞蹈。各地秧歌的舞法、动作和风格各不相同，有的威武雄浑，有的柔美俏丽，千姿百态，美不胜收。
Yangge is the general name of a widespread and representative group-based folk dance in China (mainly in North China). It is known by different names and has different styles in various places. There are two main types of Yangge: “gaoqiao yangge (stilt yangge)”, which is performed on stilts, and “Ground Yangge”, performed without stilts. The “Yangge” we know in modern times mainly refers to the “Ground Yangge”. Yangge has a long history. It was recorded as “Cuntianle” in Memories of Wulin by Zhou Mi of the Southern Song Dynasty when introducing folk dance troupes. The relationship between what we call Yangge today and the “Cuntianle” in the Song Dynasty is recorded in Miscellaneous Odes to New Year by Wu Xilin of the Qing Dynasty. Today, Yangge is mainly performed by Yangge troupes, with each troupe consisting of dozens or even over 100 members, in the form of group dances, duo dances or trio dances, etc., and if required by the roles, performers may dance with the accompaniment of wind and percussion instruments like gongs, drums and sona, holding props like handkerchiefs, umbrellas, bars, drums or copper cash whips. Yangge in different places varies in terms of its steps, movements and styles. No matter mighty or gentle, the styles or movements are all fantastic and entertaining.

秧歌是中国北方最具代表性的民间舞种之一，既有表演性的，也有自娱性的，自娱娱人，深受老百姓的喜爱。各地均出现过一些有代表性的民间秧歌艺人，很多民间艺人对新中国舞蹈事业的建设发挥过重要作用。在农村经济快速发展，文化环境随之发生变化的今天，能够掌握传统秧歌技艺和纯正舞蹈风格的民间艺人已寥若晨星，保护和传承工作亟待进行。
As one of the most representative folk dances in North China, Yangge is either practiced as part of a performance or individually and is highly popular among the people. Representative Yangge artists have been emerging in different places, and many of them have made important contributions to the construction of dance in modern China. Today, as the cultural environment changes with the rapid development of the rural economy, few folk artists exist who can master the traditional techniques and authentic styles of Yangge. Hence conservation and inheritance efforts for Yangge are urgently required.