阿富汗喀布尔自杀爆炸至少26人死(1)

This dance is inspired by murals of the Northern Dynasties. I wish to breathe life into these murals through dance, so that the audiences can feel the freedom and vitality of a millennium ago.

Photo of Huang Jiayuan, choreographer of the dance production "Flying-Bird Bun," during an exclusive interview with Guangming Online.

During the early stages of creation, I immersed myself in the history of the Wei, Jin, and Northern and Southern Dynasties, delving into murals rarely known by the public. I was fascinated by the “flying-bird” bun hairstyle from the murals of Xu Xianxiu’s tomb in Shanxi for its elegance and vitality, which goes far beyond a hairstyle and embodies the era’s aesthetics and character. Upon seeing the scene of dancers’ procession, my immediate response was: such exquisite beauty deserves a broader audience — it belongs to the stage.

The Northern Dynasties were marked by social upheaval and frequent wars. Yet, these murals radiate a unique strength — a spirit of yearning for freedom and individuality amid adversity, which cemented my determination to create “Flying-Bird Bun.” Through dance, I wish to portray a maidservant’s inner longing – her desire for space, for the world, and for freedom – the uplifting spirit that breaks free from constraints.

While choreographing the piece, I constantly sought to converse with the artifacts. The maidservant in the mural, with her head bowed in quiet contemplation, exudes serenity and focus. Hence, I instructed Huang Huihui, our dancer, to immerse herself in a state of meditation during rehearsals — shutting out external distractions and attuning to the sensations of her body. Only through this could she truly connect with the soul of history and resonate with its timeless essence.

Photo of Huang Huihui, dancer in the dance production "Flying-Bird Bun." (Photo provided by Beijing Dance Drama & Opera)

Dance movements transcend physical language; they serve as vessels of emotion. When I instructed the dancers to incorporate S- and Z-shaped angles into their movements, I was inspired by the Buddhist sculptures of the Wei, Jin, and Northern and Southern Dynasties. These fluid lines and graceful curves embody profound introspection and a tranquil strength. Every detail must be meticulously precise — even the slightest tilt of the cheek can vividly animate and breathe life into the character.

Our costume design reflects the same meticulous attention to detail. Drawing inspiration from the high-waisted robes of the Wei, Jin, and Northern and Southern Dynasties, we reimagined them as jumpsuits to spotlight the dancers’ body curves and movements, hence retaining the grace of traditional attire while allowing for fluid, natural leg movements on stage.

I often say that dance is more than movement — it is a language. When dancers spin or extend their legs, it transcends technique and is a medium for conveying the essence of flight, freedom, and vitality. As the curtain rises, every detail must be flawless. Yet, the stage ultimately belongs to the audience. It is essential to leave space for their interpretation, inviting them into their own dialogue with the dance, history, and the vitality it embodies.

To me, artifacts are no longer mere lines, and dance is no longer mere motion. They embody a silent yet profound dialogue between people and history. This is the message of “Flying-Bird Bun”: transcending time and space, embracing freedom, and feeling the essence of life.

Contributed by Huang Jiayuan, choreographer of the dance production "Flying-Bird Bun."