台湾教育部门先后于2001年和2018年颁布了“九年一贯”与“十二年一贯”的中小学课程纲要，而舞蹈课程包含在表演艺术课程之下，自2001年起正式进入了中小学课堂并仍在不断改革发展之中。由于台湾“十二年一贯基本教育之艺术领域”的课程纲要是最新出台的教育政策，目前并没有文献资料做过多的整理分析，因此本论文将在台湾“九年一贯基本教育之艺术与人文”课程纲要的基础上，对最新的课程纲要进行初步探究，从台湾对于艺术教育方面课程大纲的改革变化中，分析并探究台湾舞蹈艺术教育课程的发展过程与未来前景。本文将从台湾舞蹈艺术教育的发展历史出发，通过查阅资料、与台湾舞蹈界专家学者的访谈，对台湾舞蹈艺术教育在学校中的转变到地位的确立进行梳理，并探讨台湾教育热门的课程之统整的意义与具体实施情况，再结合笔者在台北地区对部分学校的实地调研状况，以台北三所中学为例，以典型案例分析不同学校舞蹈课的开展情况和实际问题，并对三所中学舞蹈课程的开设特点，分别进行总结性的探讨。最后，针对台湾舞蹈艺术教育的发展引申出个人思考，探究其舞蹈课程发展之阻力以及未来的改革取向。

In 2001 and 2018, Taiwan's education authorities promulgated the "nine-year consistent curriculum" and "twelve-year consistent curriculum" for primary and secondary schools, and the dance curriculum was included in the performing arts curriculum. Since 2001, dance curriculum has been officially introduced into primary and secondary schools and is still in the process of reform and development. Due to "twelve years Taiwan has always been the basic education of art" is the latest education course outline policy, so there is no literature to do too much, so this paper will be in Taiwan, "the basic education of the arts and humanities" nine year joint curriculum outline, on the basis of the latest syllabus, conduct a preliminary inquiry from Taiwan for the reform of the art education syllabus changes, analysis and explore Taiwan dance art education curriculum development process and future prospects. This article starting from the development history of Taiwan's dance art education, through consulting data, interviews with dance experts and scholars in Taiwan, the Taiwan dance art education on the establishment of the position of the transition to the school, and discusses Taiwan's education of popular course summarize the significance and the concrete implementation, combined with the author in the field research status of some schools in Taipei area, three high school in Taipei, for example, in a typical case analysis of different school dance class to carry out the situation and practical problems, and the characteristics of three high school dance, summary discussed respectively. In the end, this paper explores the resistance to the development of dance curriculum and the orientation of future reform.