The acrobatic art has been existent in China for more than two thousand years. As early as the Warring States Period (475-221 BC), there appeared rudiments of acrobatics. By the time of the Han Dynasty (221 BC-220 AD), the acrobatic art or "Hundred Plays" further developed both in contents and varieties. According to the poem entitled "To the Western Capital" written by Zheng Heng, a Han Dynasty scholar, and stone-engravings unearthed at Yinan County of Shandong Province in 1954, there were superb performances with music accompaniment on the acrobatic stage of two thousand years ago, such as "Pole Climbing", "Rope-Walking (the present day Tight-Wire Feats)", "Fish Turned into Dragon (the present day Conjuring)", "Five Tables (like the present Balance on Chairs)".
In the Tang Dynasty, the most thriving period in the history of Chinese ancient culture, the number of acrobats greatly increased and their performing skills much improved. The famous poets of that time, Bai Juyi and Yuan Chen wrote poems on acrobatic performances. In the Dunhuang mural painting "Lady Song Going on a Journey", there are images of acrobatic and circus performers.
In the long course of development, the Chinese acrobatic art has formed its own style. The ancient acrobatics stemmed from the people"s life and had a close link with their life and productive labour. Instruments of labour like tridents, wicker rings and articles of daily use such as tables, chairs, jars, plates and bowls were used in their performances of "Flying Trident", "Balance on Chairs", "Jar Tricks", "Hoop Diving" and "Traditional Style Conjuring", and others. Wushu, Diabolo Skill, and Lion Dance, originated from folk sports and games.
Though having a long history of development and enjouing great popularity among the people, acrobatics in old China was never performed in theatres because it was looked down upon by the feudal class. Before liberation acrobatics suffered more than before. Many fine arts were lost because of long years of negligence and the acrobats were wandering from place to place in starvation.
Since 1949 the people's government has made great efforts to foster and develop national arts and acrobatics gained a new life. All provinces, municipalities and autonomous regions have set up their own acrobatic troupes.
The veteran performers, who have won their political emancipation, and become masters of their own destiny, have better opportunities to display their skill.
The acrobatic art of New China has not only made great improvement in its contents and skill but also set up a designing and directing system, aiming at creating graceful stage images, harmonious musical accompaniment, and good supporting effects of costumes, props and lighting so as to bring about a full-fledged stage art. The present Chinese acrobatics is full of optimism and well reflects the industry, resourcefulness, courage and undauntedness of the Chinese people.
In the past forty years and more, many Chinese acrobatic troupes have toured more than one hundred countries and regions the world over and promoted friendship and cultural exchanges.
At present, there are over 120 acrobatic troupes above the county level. More than 12,000 people are involved in performing.