China's dance culture has existed since ancient times, and the ancient dance has never stopped in the long history of China. China has formed its own classical dance culture in the past dynasties. However, the so-called "China Classical Dance", which has the mainstream discourse significance in contemporary China dance circles, as a very striking dance type, was created and developed from the system of China traditional opera and martial arts after the founding of New China, and has a history of more than 50 years. In the process of more than 50 years' construction, contemporary China classical dance has initially established its own unique and independent aesthetic character in the world. With the continuous transformation of China society and its culture, the ecology of contemporary dance in China has undergone great changes in human environment, artistic level and social aesthetic concept. China classical dance, which is at the forefront of China dance, is at an unprecedented critical moment. We should re-examine ourselves and carefully consider our future direction. In today's China classical dance field, ideas are unprecedentedly active, and some new explorations have launched a strong challenge to the inherent understanding. But at the same time of positive thinking, it also brings confusion at the level of ideological understanding. Under the new historical conditions, where should the development of China classical dance go? This has become a key issue in the current dance circles in China. How to better establish and develop oneself and establish a dance form with China classical dance characteristics on the development road of China has become the starting point for dance scholars to pay attention to this issue. It is obviously an urgent need in the real world to make a rational statement on such a discussion with academic attitudes and methods. This paper consists of seven parts: introduction, five chapters and conclusion. Each chapter expounds the author's understanding of the development of China classical dance from different angles. The first chapter is a general introduction, which explains and defines the main concepts used in this paper by showing the classical dance forms in China and other countries in the world. The second chapter is to scan and discuss the establishment, development stage and main stage achievements of contemporary China classical dance, and sort out a clear development course of contemporary China classical dance since its establishment. The third chapter reviews the history and explores the historical accumulation and cultural roots of China classical dance, as well as the historical inevitability of cultural inheritance. The fourth chapter investigates the position of China classical dance in the world classical dance culture. By comparing with other classical dance systems, it is proposed that the classicalization process of China classical dance is a "classroom" process, which is the core argument and innovation of this paper. The last chapter discusses the essence of the classicalization process of China classical dance, summarizes the development trend of this process from phenomenon to theory, and makes a theoretical prospect for its future development.