In the period of modernization transformation, China dancers are also faced with conflicts and anxieties between tradition and modernity, nationalization and westernization, localization and globalization. In this regard, Rosin made a concentrated discussion in Thinking at the Beginning of the Century-China Dance in the Social Transformation Period. He reviewed the development of China opera, China painting and China dance since the May 4th Movement from the perspective of comparative aesthetics and comparative art, and thought that China dance should not be archaized under the slogan of "original flavor". Although he opposed the theory of "European and American cultural center", he emphasized the theory of "the combination of Chinese and western cultures" in terms of aesthetic convergence and the transformation from traditional form to modern form. The views of Han Jin and Qian Zhengxi are different from rosin, and they emphasize China tradition more. Han Jin's "The Best Choice of China Classical Dance Creation-Combination Class" holds that it is an urgent requirement of the times to construct and revive China classical dance according to the aesthetic principles of traditional culture. Qian Zhengxi, on the other hand, holds a more self-rotating view, and thinks that the traditional Chinese opera dance, which embodies our nation's aesthetic view of time and space, is the most direct source and nourishment of China's "China Classical Dance". Weng also believes that China classical dance is an independent category based on artistic ontology, and "pure dance" is its essential connotation. However, the traditional opera color deposited in China's classical dance hinders the dynamic logical expression of China's classical dance. The appearance of "Body Rhyme" changed the dilemma of language expression of China classical dance, thus emphasizing the "neutral" trend of dynamic language of China classical dance.

The aesthetic discussion of national folk dance is a highlight this year. This reflects that in the process of economic globalization, dance aestheticians insist on the rational consciousness of "nationality" in the contradiction between nationality and world. In the integration and regression of the original ecology and current context of folk dance, Zhang Zhongli thinks that the development of "element teaching" has innovated the aesthetic arrangement of the original ecology of folk dance and promoted the formation of "academic school" of Chinese folk dance. However, the development of "element teaching" has obvious signs of "dismembering" and "weakening" the original state of folk dance. Qiangba Qujie, Li Qian, Mojiema, Wei Wu, Li Binying, etc. The folk dances in various dance cultural areas are discussed aesthetically, and it seems that they have a strong love for their own national dances and a sense of mission in arranging their own national dances in the intoxication of Qin and Han Dynasties or Wei and Jin Dynasties. Qiang Ba Qu Jie discussed the aesthetic characteristics of Tibetan dance in the article "A Preliminary Study on the Aesthetic Characteristics of Tibetan Dance", in order to better grasp the aesthetic ideal of ancient people in inheriting and developing innovative Tibetan dance. The Origin of Nomadic Dance Culture by Modegma describes and analyzes the petrochemical dance image in Inner Mongolia. The dance forms in these fossilized images vividly reflect the aesthetic fashion of Inner Mongolia ethnic groups, and are precious historical pictures of the mother of Inner Mongolia ethnic dances. The author believes that no matter how the society changes, such a dance culture can hardly be divorced from the dance characteristics of the nation. This seemingly national standard view should reflect a rare national self-confidence. Li Qian's "From entertaining gods to entertaining people, from being happy to being happy —— the artistic characteristics and historical evolution of Chu music and dance" analyzes the basic types, unique functions, aesthetic characteristics, innovative consciousness and far-reaching influence of Han and Tang music and dance, and points out that Chu people are enterprising and open, tirelessly pursuing new and different creations, making Chu music and dance unique in ancient and modern times. Xiang and Yan Deshan's Tai Chi Charm and Korean Dance Rhythm explains that the performance of Korean dance rhythm is similar to that of China Tai Chi Charm, which embodies the aesthetic characteristics of harmony, ups and downs, modesty and implication.