ABSTRACT
Objective: This paper delves into the history of education and practice of Chinese performance art, through the lens of dance and music, with a special focus on the teaching and learning heritage of performance art as well as the practice of performance art education during the Han and Tang Dynasties. Methodology: Going by the evidences shown in the archeological discoveries, practicing and preaching dance as an art form existed in China over five thousand years ago, that’s the span of Chinese traditional dance history and dance education, by extension. The form was in practice among common Chinese people until the time of Han dynasty (206 B.C. – 220 A.D.) and was being taught generations after generations, to be performed in religious functions and ritualistic performance-based events. It was then, that a musical court for the entertainment of the imperial family was founded which helped the dance and music education become institutionalized, early on. Han dynasty China essentially served as a hub for collecting and improving folk songs and dances. Poetry, music, dance were taught as form of education and traditional knowledge-based practices had a supreme chance to develop under the Tang dynasty (A.D. 618–907) due to its governmental stability and economic success. In ancient China, the Tang dynasty is considered as the height of dance practices, alongside other performance art but a lesser known fact is how these practices were taught to the future generations that essentially built a culture of performance art education. Result: Comparing the archeological evidences found in relation to the cultural and philosophical prowess that Han Dynasty China and Tang Dynasty China offered alongside tracing the history of Chinese dance, and folk music, this paper connects the chord between the cultural links that shape the inherent chineseness and trace the educational institutionalization of China, from its ancient days .The Confucian tradition of education flourished across China as provincial schools were created all throughout the nation, these schools were famous for patronizing all kinds of knowledge, performance art being one of the major subjects. As Confucius once said, Books can store a thousand measures of grain, so one doesn't need to acquire material properties, epitomized by grains, to benefit one’s family. Knowledge from the book can help them earn a living more efficiently. According to the observations of Confucius, hereditary aristocracies shared the same "generational curse" as family enterprises, unless they dedicated themselves to learning. He put immense focus on knowledge and education which shaped the identity of Chinese people for generations to come. Confucius was opposed to hereditary posts and he brought focus to merits and the practice of meritocracy which helped shape China’s educational identity early on in history and teaching dance and music became one of the most prominent practices. Conclusion: This paper compares these two eras and their consequent history to understand the root of Chinese traditional performing art forms, their practices, and the manner it was institutionalized with the learning traditions of music, theatre, dance, alongside other acrobatics.
