Professional choreographic education in China was laid thanks to the educational activities of Russian dancers, teachers and choreographers. Chinese ballet art inherited the classical teaching methodology, as well as the curricula of the Russian ballet school, on the basis of which a system of educating their own national artists was developed. The purpose of the article is to find out in what cultural and historical conditions the Beijing Dance School (1954) adapted and improved the Russian pedagogical heritage of ballet. The most indicative for the study is the study of curricula on classical dance of Russian and Chinese schools of ballet art of the mid-20th century; analysis of the activities of innovative teachers and choreographers, whose approaches and techniques have formed successive lines of communication in the pedagogy of the ballet class of Russian and Chinese performers; conducting a comparative analysis of the pedagogical systems of the two schools.The scientific hypothesis is based on the fact that the pedagogical and artistic systematization of the achievements of the Russian school of ballet in the middle – end of the twentieth century. formed the most important criteria for the continuity of professional ballet art and education not only in Europe, but also in East Asian countries. This is especially important to take into account in the framework of the modern cultural, anthropological and art history study of pedagogical systems in the history of world choreographic culture in general, and academic choreographic education in particular.