中国改革开放以来,当代舞蹈创作在与传统思想和艺术束缚的抗争与探索中,走完了从没有主体、没有个人到表达个人与主体的美学追求确立的过程。从华超《希望》的艰难崛起,到杨丽萍《雀之灵》的风靡全国,再到张继钢《献给俺爹娘》、《乡舞乡情》的黄土地情结,陈维亚《秦王点兵》的英雄主义情结,张羽军、姚勇《黄河》的爱国主义情结、王玫《也许要飞翔》、《雷和雨》的女性主义情结,以及众多当代舞蹈编导的创造与纷争,中国当代舞蹈创作经历并战胜了巨大的历史挑战,迎来了梦寐以求的 Since the reform and opening up in China, the contemporary dance creation has gone through the process of establishing and pursuing the aesthetics of the individual and the subject, from no subject to no individual, in the struggle against the shackles of traditional thoughts and art. From the arduous rise of Huashao’s “hope” to the popularity of Yang Liping’s “Spirit of the Sparrows” all over the country, to the “Yellow Earth” condolences of Zhang Jigang’s “Dedication to My Father and Daughter,” “Country Dance and Country Love” The complex of patriotism, Zhang Yujun and Yao Yong’s patriotic complex of the “Yellow River,” the feminist complex of Wang Mei, “May Fly,” and “Rain and Rain,” and the creation and struggle of many contemporary choreographers. And overcome the huge historical challenges, ushered in the dream