This study aims to explore how the system of student performing art exhibitions inspired pioneering dancers, such as Rui-yueh Tsai, Tsai-er Lee, and so on, to learn dance. By means of collecting and analyzing academic data, the bibliographies of related pioneering dancers, and interviewing local seniors, we have learned that all of them share the same memories of dance performances from student performing art exhibitions in public schools (at elementary level). During the colonial period, elementary education was highly emphasized: education policy was established based upon "the Edict of Public Schools." The programs of the exhibition were almost the same. In order to characterize education during the colonial period, we invoke Basil Bernstein's Towards a Theory of Education Transmission (2003, 22). In addition, the classification method of Methods in the historical study of dance by June Layson (1986) (Yu-ling Chao, 2013, 69) is utilized to explore the impacts of the student performing art exhibition on the pioneering dancers, and to interpret the historical development from a broader angle. The student performing art exhibition serves as an elongation of political and social movements. Examining dance performance in the exhibition, we are able to peep into the colonial authority established by the cultural hegemony. The conclusions are drawn as follows. First, apart from the function of entertainment, the exhibition also intended to transmit the political and social atmosphere. Second, the hegemony of the exhibition shall be more fully emphasized after having explored the further study of the system of the exhibition.