舞蹈是一種發源於生活的藝術，從文明史的角度，舞蹈應是人類文化最古老的活動，在人和黑猩猩有著共同的祖先時，可能已經開始了，所以舞蹈有「藝術之母」之稱(Sachs, 1937, P.3)。另外與其它的藝術如語言、音樂、繪畫、雕刻、建築、戲劇、電影等相同，都具有悠久的歷史，透過肢體的律動，舞動出藝術與情感的美學詮釋。實用性與表演性的舞蹈，各有各自文化的意義與價值，塑造出舞蹈的文化發展，從實用性舞蹈到表演性舞蹈，這兩者間的相互關連在文化上有變化與差異的現象，而實用性舞蹈在社會經濟誘因中邁向表演化的過程，是一種舞蹈人類學的詮釋。筆者以舞蹈人類學中有關文化演進的過程作為本研究主要的理論基礎與質性研究。另外表演性舞蹈從實用性舞蹈中獲取文化的憑藉，從而發現傳統與創新其實是一種並列互補的存在，而舞蹈所承載的文化並不只是感官現象，而是舞蹈詮釋生命，甚至是整個族群的生命意義或歷程在人類學上所顯露出的價值。

Dancing is a form of art inspired by living, and its history starts with the earliest human cultures in ancient time. Dance is the mother of the arts, which shares a long history with language, music, painting, sculpture, architecture, drama, and cinema. Through rhythmic body movements, dancing shows aesthetics interpretations of arts and emotions. Practical dance and performing dance have different cultural values and significance, but they both help shape the cultural development of dancing. Practical dance and performing dance have different cultural values and significance, but they both help shape the cultural development of dancing. From practical to performing dancing, the transition implies an interrelation and a phenomenon where both borrow from each other's culture. Under socio-economic incentives, the transformation from practical dance to performing dance is an interpretation of dance anthropology. The author uses cultural evolution in dance anthropology as theoretical basis in this qualitative research. On the other hand, the fact that the performing dance obtains cultural significance from practical dance indicates that tradition and innovation are actually coexistent. Dancing is not merely sensory stimulation. On the contrary, dancing interprets the whole population's cultural history and expresses its ideas about life: a value shown by anthropology.