Although I am not a dance practitioner or a dance critic, I was invited by Beijing Federation of Literary and Art Circles to participate in the compilation of "60 Years of New Beijing Literature and Art". The work of the dance volume is a profound spiritual and emotional baptism for me. Especially today, when material enjoyment is the ultimate pursuit of many people, I deeply feel that once in China, a group of artists dedicated their youth and enthusiasm to the dance cause of the motherland without regrets by interviewing the personal experiences of old artists and dancers decades ago, and their artistic pulse was beating with that of China. I also learned that once in China, dance, as a mainstream art, was deeply rooted in people's hearts.

I remember in Sixty Years of New Beijing Literature and Art? The first chapter of the Dance Volume records that the dancers of New China welcomed the founding of New China through the first song and dance of New China, The Song of People's Victory. In the whole process of editing the manuscript, I learned the background of the establishment of the first professional dance troupe. The care of the older generation of revolutionaries was devoted to the establishment of the first dance school. The performance of the first China dance drama inspired many people who love the motherland and art. The establishment of the first student dance club condensed the enthusiasm of dance lovers ... I also saw the dancing images marching in the parade celebrating May 1 and 11. It's refreshing to see the opening ceremony of the first large-scale sports meeting with dancers as the general director, and to see how much folk dance art power the Longtan Flower Festival of the first folk dance art festival has integrated ... Looking back on the literature and art of New China in the past 60 years, we know that dance art, once the most important part of new China art, not only bears the artistic responsibility, but also once occupied the artistic stage of the capital as a means of cultural diplomacy and an expression of ideology, and constituted an important part of the superstructure. It can be said that with the founding of New China, the capital dance circle has experienced every important artistic, cultural and social activity. As the mainstream art, dance not only plays its own artistic role well, but also shoulders the mission of cultural guidance.

However, I want to say that in today's development of cultural and creative industries, there is no dance among the cultural and entertainment consumer products that bring rich economic output to the country. Music, television, movies, animation, exhibitions, the Internet, little theatre drama, Quyi and cross talk can all achieve impressive results, and can even be said to be the pillars of the cultural industry. However, among these pillars, there is no dancing figure.

According to the Survey Report on Beijing Performance Market in 2008 published by Beijing Municipal Bureau of Culture, musicals in Beijing had the most performances in 2008, with 592 plays, accounting for 37% of all performances, followed by dramas, with 269 plays, accounting for 16.8% of all performances. Song and dance performances account for 10.8% of the total number of performances. Among the performances, there were 2664 performances of drama * * *, which was the most among all performances, accounting for 19.2% of the total performances.

In 2009, this set of figures changed again. There were 740 music performances, accounting for 33.9% of the total number of regular performances, followed by 447 drama performances, accounting for 2 1.89% of the total number of regular performances. Song and dance performances only accounted for 7.9% of the total number of regular performances, down from the previous year. A set of performance data shows that the number of drama performances is 3536, accounting for 48.6% of the total performance. Followed by music and children's drama, singing and dancing accounted for 5.6% of the total number of regular performances. Lower than Beijing Opera, higher than local operas and Quyi. Through data analysis, it is concluded that drama, children's classes and acrobatics have the highest frequency.

Such a set of statistics of the theater can make the dance community understand that there is no place for dance in the Center Stage of performing arts today. How did the former mainstream art dance reproduce its former glory? Belief is an unavoidable problem for every dancer with self-awareness and social responsibility. I think of two people here. A year ago, the media in China were excited by the sudden death of a German dancer. When the dancer arrived in Zhou Nianji, China media colleagues who had always been indifferent to dance became enthusiastic again. Thanks to the German dance thinker Pi Na? Bosch, because of her sad thinking, let dance enter the public view of China through the media. Compared with the extensive media attention after Pi Na's death, this reminds me of a China dancer who died four years ago. Although there are reports in the media, we can feel the loneliness behind her, just like the China dance now. If Pi Na represents the melancholy, strength and beauty of German thought after World War II, then this China dancer should represent the responsibility and consciousness of China artists in the turbulent modern history of China. This is Mr Dai, and the world behind her respectfully calls her "the mother of China dance".

Pi Na is not only remembered by the public, art history and cultural history as a simple dancer, but also discusses the uniqueness and courage of Pi Na's thought. The present significance of Pi Na's dance in China should be based on her thoughts. As she said, "I am interested in why people move, not how." Most dancers in China are struggling to get out. When they don't know how to move, Pi Na is concerned about how to control their limbs under the control of thoughts. Dance speaks with the body, but speaking is dominated by the brain and thoughts. "How to say" is the form, "What to say" is the soul. Pi Na's dance is based on personal thinking and her symbolic artistic interpretation-"I dance because I am sad." -I deeply intertwined the pain of my childhood with Germany's post-war frustration, thus creating a secret and desperate dance scene after the war.

Dai threw herself into the embrace of the motherland at the most intense time in War of Resistance against Japanese Aggression, China. Her most ideological expression in the war was to sacrifice the nation and strive for self-improvement. Two women, also because of the war, one in the war and the other after the war, stepped onto the stage of dance and life. Compared with Dai's contribution to modern and contemporary dance in China, he is more like a destroyer of dance. Before Pi Na, dance was just the ever-changing beauty of the body. Even the modern dance in the early 20th century liberated the freedom of the body. Pi Na is subverting and destroying. On the stage, actors can walk around in high heels or furs as they do in life, and even let dancers talk on the stage ... Dai almost dominated and experienced an extremely important event in contemporary dance in China, and founded a "cradle of dancers" called Beijing Dance School, which is today's Beijing Dance Academy. Established a central ballet ... she also collected, arranged and artistically reproduced Chinese folk dances. In the era when Dai returned to China, the national dance in China was still a desert. Because of her oasis, this desert became an oasis and a living water for contemporary dance in China. Perhaps the comparability of the two dancers lies in ―― Should dancers be cultural thinkers?

Should dancers undertake the mission of cultural consciousness? And Dai's answers are all yes. The thinkers of China dance are first and foremost builders. New China dance has grown from scratch in their hands. The dance culture of New China took root and sprouted under their ideals and ambitions. Dai Zai's will solemnly wrote: "I am a national ... I returned to China to take part in the revolution ..." People's respect arises spontaneously. More reverence because of understanding. Ignoring and obliterating the past history is a blasphemy against the present. When Southern Weekend reported Pi Na's death, the headline was Pi Na? Bosch does not belong to China, which is mainly based on Wu and Wenhui's different expressions of "Contemporary China Dance Desert Theory". Wen Hui's regret is that a large number of dance students in professional colleges have finally become great dancers for TV parties or business celebrations. After entering the society, their transformation speed is even more like a torrent. Wen Hui posed a question to contemporary young dancers: "If you don't spend money in the fashion consumption area every day, do you need so much money in your daily life?"

Artists in the past seem to have told us the answer through their life experiences: China dancers must calm down, get rid of impetuousness and think seriously. Why dancing is far more meaningful than how to dance. So, how can dancers in China take this fire and pass on this glorious tradition? When an art product is related to every consumer's spiritual pleasure and sadness, emotional desire and expression, they will buy tickets to enter the cinema. When a dance confuses everyone after watching it, it is when the artist abandons the audience and deviates from the market. With the prosperity of cultural and creative industries, effect marketing has become a "prominent study", and we seem to have entered another misunderstanding, that is, we think that no matter how bad the products we sell are, as long as we can shout them out. In fact, the lack of dance artistic marketing management is not the crux of the marginalization of the dance market-although it is an important factor-and its fundamental problem is the lack of good works.

Therefore, we answer the question raised in the title, how can dance, once the mainstream art, reproduce its former glory? This is to ask the new generation of dancers to cherish the excellent tradition established by the older generation of dancers. China has a tradition, which is the responsibility and reflection of China dancers on life, home country and society. Used to be, and should be now.