The Yuan Dynasty court music and dance organization established the Yifeng Department and the Jiaofang Department in the Ministry of Etiquette to manage the music craftsmen and control the offerings, sacrifices and banquets, etc. The Taichang Liturgy Institute managed the rituals, music, sacrifices, ancestral temples, etc. . It can be seen that the court music and dance institutions of the Yuan Dynasty had a certain scale and the system was relatively complete.

According to "Retreating from the Palace", it is written: "When the boy was fifteen or twenty, he was taught to walk in the middle palace. In the spring night, he cut embroidery posts, and danced Gao Kuili in front of the steps. ... Dance in the trapped building When you are over thirty, don't choose Mo Mei to enter the palace. "The palace dancers enter the palace when they are young, and the middle-aged people leave the palace when they grow old and lose their beauty. Their life and status are low. At that time, the imperial court ordered musicians and dancers to wear soap-colored vests and were not allowed to wear gold or silver decorations. She (they) are very discriminated against.

At that time, a few wealthy nobles seemed not to be praised for supporting their families. "Guitian Shihua" records that Yang Lianfu, a native of the Yuan Dynasty, lived in Songjiang in his later years and raised several family concubines named Zhuzhi and Liuzhi. , peach blossom, apricot blossom. They were all good at singing, dancing, playing and playing, and were favored by the wealthy and aristocratic families at that time. There is a ballad "Mocking the Honest Yang" as evidence: "Peach and apricot blossoms on bamboo branches, willow branches, playing, singing, dancing and plucking the pipa. Poor Mr. Yang, he turned into a loose musician in the south of the Yangtze River."

To sum up, we can We can see clues to the development of court dance in the Yuan Dynasty: the court "band" (i.e. team dance) inherited the foundation of the team dance in the Song Dynasty and incorporated Mongolian etiquette and music and dance elements. Although there were few innovations, the scale and layout were relatively complete. The legacy of the Tang and Song Dynasty operas still remains in the Yuan Dynasty. "White Sand Music" and "Haiqing Naiwan" also have some characteristics of the song and dance operas. In addition, the dances scattered in some materials, such as "Eight Exhibition Dance" and "Angluan Shrinking Crane Dance", only have names but no detailed descriptions. Music and dance institutions are relatively large-scale, while music and dance artists have a humble status. The "Sixteen Heavenly Demon Dance" in the palace Buddhist activities can be called the representative dance of this period.