Xueting Luo


Before studying as a doctoral student at the University of Leeds, I had been serving as a Chinese dance teacher at the UCLan Confucius Institute and the Goldsmiths Confucius successively since 2017; and I graduated with an MA in dance studies at Beijing Dance Academy (BDA), mainly focusing on studying Chinese dance history and aesthetics. 

During this process I had accomplished my master’s thesis: ‘The Dharma Connotation of the Music and Dance on Tun-huang Muralsa Case Study on the Western Pure land Illustration’.

Meanwhile, I had got an in-depth involvement in a number of research projects of BDA on Chinese dance, including:

  • “Music and Dance System Collection from Ten Books on Political Systems in Chinese History”(2017) in which I worked as one of the four editors on compiling the textural resources of historical Chinese dance, and the research result was published in 2021;
  • “Dance and Art Education in Middle and High Schools: the Vocabulary in the Cultural Aesthetics of Classical Chinese Dance ” (2019) in which I worked as the main editor and my thesis on this project was awarded the first prize by China Education Federation of The Arts(CEFA)in 2019;
  • “ The Classical Elegant and Leisurely Dance (A Chapter on Nature): Teaching Materials for the Popularization of Classical Dance among Adults” (2019), in which I worked as the leader and was responsible for the overall designing and organizing, and several workshops had been held to put the teaching materials into practice.

In my academic career until now, several articles on Chinese dance have been published, including:

  • The Significance of Classical Chinese Dance in Artistic Education in the journal Public Culture and Art, 2016, issue 19;
  • The Bodily Annotation of Traditional Chinese Philosophy in the journal Yangtze River Series, 2016, issue 348; 
  • The Application of Educational Theory in the Popularization of Dance among Adults in the journal Educational teaching research, 2017, issue 10.

Research interests

My research interests lie primarily in the dance of traditional Chinese opera, its cultural aesthetics and its development in cross-culture contextualization.

Owing to my teaching and research experience, I have been acutely aware of how dance can serve as a force for good in society, and also have been more concerned with how my future research could be applied in practice, with an in-depth exploration to develop the aesthetic value of dance for the sake of cultural inheritance and intercultural communication.