This study uses a qualitative method and the theory of cultural ecology. The objective was to study the history and development of intangible dance in the Grand Canal section of Henan, China. through text collection, interview, observation, and field investigation. This study's groups were divided into four groups. The first group had 8 people. The second group is made up of 4 people. The third group is made up of 7 people and the fourth group is made up of 8 people. The study's results show that the openness of the social space is reflected in the fact that the canal space is an integrated and interactive linear cultural space. The sustenance of the spiritual space is reflected in the belief in the Fire God and the long-established performance spirit, namely mutual respect, mutual love, and mutual concession, which reflect the way of life of Chinese villagers for thousands of years. Intangible cultural heritage dance music in Henan Province is primarily blowing and beating music. The commonly used instruments are suona, sheng, bangzi, cymbals, big gongs, small gongs, big drums, big drums, small cymbals, war drums, water cymbals, horse gongs, Dou, side drums, soprano drums, three gongs, tenor gongs, tiger gongs, etc. The music's rhythm is strong, powerful, majestic, and powerful. From the standpoint of music form, it is primarily divided into two categories: accompaniment and rap. The accompaniment music is mainly blowing and beating, while the content of rap music is mainly narrative, telling folk stories, or leading the lead singer.