As an ethnic dance drama based on the life of the Eastern Han talent Cai Wenji, Eighteen Songs of a Nomad Flute, created and performed by the Ulan Muqi of Ordos City, follows the historical event of "Wenji's Return to Han" and highlights the cultural charm of the northern frontier. It continues the cultural heritage of the Chinese nation and provides a new expressive paradigm for historical themes. The production was performed on March 1 and 2 at the National Centre for the Performing Arts (NCPA), where the intertwining of multi-ethnic cultural symbols and stage technology showcased the technical and aesthetic explorations in Chinese dance dramas, while striving to reconstruct the grand narrative of ethnic integration through the language of dance.
Ordos has long been a region where various ethnic groups have interacted, exchanged, and integrated. The dance drama Eighteen Songs of a Nomad Flute, as an original work by the Ulan Muqi of Ordos, is adapted from a true historical story and delves deeply into the local history, elevating the regional culture as a vehicle for the awareness of the Chinese national community. According to historical research, Cai Wenji lived in the Southern Xiongnu's Meiji City (modern-day Ordos) for twelve years and had two sons with the Left Xian King. Cai Wenji was not only a musical genius but also infused her tumultuous life experiences into her literary works, composing the immortal Eighteen Songs of a Nomad Flute. The Hu Jia (nomad flute) was a wind instrument popular in the northern frontier and Western regions during the Han Dynasty, known for its mournful tone. "Eighteen Songs" represents the eighteen emotional segments of the piece. When the audience listens to this piece, it is as though they are witnessing Cai Wenji playing and singing herself, wandering through the river of her complex emotions.
In terms of choreography, the drama skillfully integrates ethnic dance with classical dance, creating a strong cultural contrast and vividly depicting the multicultural atmosphere of the late Eastern Han Dynasty. For example, the group dance of the Xiongnu section uses Mongolian dance's bold body language, such as shoulder shudders and leaps, to restore the wild vitality of the nomadic peoples. Meanwhile, the Han palace scenes employ the smooth lines and composed steps of Han and Tang classical dance, displaying the restraint and order of Central Plains rituals. This differentiated arrangement not only enhances the dramatic tension but also provides an aesthetic foundation for the eventual integration of cultures.
The stage design is a creative fusion of abstract and realistic styles, incorporating push-pull rotating screens and CNC lighting technology. The Han palace is outlined with minimalist lines to evoke grandeur, while the prairie scenes use curved backdrops to simulate the vastness of the land, enhanced by projections of ethnic symbols like the Hamuer pattern, creating a visual space that blends historical depth and modernity. The music composition uses different instruments to depict historical figures and events, reflecting Cai Wenji's fate and complex inner world. Particularly, the duet between Cai Wenji and the Left Xian King, with the mournful Hu Jia and the gentle guqin creating an emotional resonance, echoes both the historical context and lends a contemporary aesthetic dimension to the music.
However, as a historical-themed dance drama, the production does face some narrative challenges. The storyline requires textual explanations for the audience to more clearly understand the plot's development. The portrayal of Cai Wenji's character lacks depth, particularly in her internal struggles with the complex emotions of living in the northern frontier and her cultural identity crisis, which are mostly conveyed through external actions and lack more profound psychological depth. A deeper challenge lies in balancing "mainstream narrative" with "humanistic depth." What makes Cai Wenji's legend moving is the conflict between her individual fate and the tides of history. Future productions could possibly draw on "polyphony" techniques from literature to embed the confusion and awakening of the individual within the grand narrative of the group dances, bringing history truly to life in the flesh and blood of the characters.
Nevertheless, as a significant experiment in Chinese ethnic dance drama, Eighteen Songs of a Nomad Flute's value lies not only in its artistic achievement but also in its demonstration of the cultural consciousness of frontier art troupes. The Ulan Muqi of Ordos City, with the resources of a municipal troupe, has completed the leap from regional narrative to national discourse through strong cooperative partnerships. As the closing line of the production states—"Though the eighteen songs end, the sound lingers, and the thoughts are endless"—this work is not only a reflection of the modernization process of ethnic dance dramas but also leaves space for future creative exploration.
Translator: FENG Haoxuan
Reviewer: BAI Jing
