Editor's note:
The United Nations has officially designated 44 Chinese traditions as world cultural heritage. This series examines how each of them defines what it means to be Chinese.
Muqam performances draw tourists every day in Aletun Village of Hami, northwest China’s Xinjiang Uygur Autonomous Region.
The 87-year-old artist Aisaiti Mohetaer taps a dap drum as his students play rawap lutes under poplar trees in Hami, northwest China's Xinjiang Uygur Autonomous Region.
The music builds as villagers clap, and some begin to dance. For Mohetaer, a third-generation Muqam artist, passing on the tradition is his duty and daily life.
The Uygur Muqam, literally means "classic music," is an elaborate combination of music, dance and poetry. It represents one of China's most treasured cultural traditions.
In 2005, the United Nations Educational, Scientific and Cultural Organization recognized it as a Masterpiece of the Oral and Intangible Heritage of Humanity. It was added to UNESCO's Representative List of the Intangible Cultural Heritage of Humanity in 2008, making it the first cultural heritage from Xinjiang to receive such honors.
Muqam developed over centuries through the cultural exchanges of the ancient Silk Road. Historical records trace its early musical forms to as far back as 123 BC, over 2,100 years ago.
The art reached its formal structure in the 16th century during the Yarkant Kingdom. Queen Amanni Shahan, consort of Abdurashit Khan, is credited with compiling and refining the melodies into what became the Twelve Muqam.
Each suite in the Twelve Muqam can last more than two hours. Together, they stretch across nearly 24 hours of performance.
The play "Muqam Love Songs" is staged at Turpan Grand Theater as part of the annual Xinjiang Culture and Arts Festival.
They combine structured instrumental preludes, sung narratives and lively group dances. Performers use instruments such as the satar (spike fiddle), chang (dulcimer) and dap.
The music shifts rhythmically, incorporating quarter tones and regional scales not often found in Western traditions.
The lyrics come from ancient Uygur poetry, love stories, spiritual teachings and folk wisdom. They express deep emotions: longing, joy, sorrow and philosophical reflection.
The Twelve Muqam from southern Xinjiang is the most recognized form, and there are other forms.
Dolan Muqam, known for its high energy and theatrical storytelling, often mimics hunting scenes through physical movement.
Hami Muqam, influenced by Han and Central Asian music, features a distinct style and unique instruments such as the Hami rawap.
Turpan Muqam, performed in Xinjiang's Turpan region, features faster tempos and mystical lyrics linked to ancient shamanism.
Despite stylistic differences, all Muqam types maintain a connection to Uygur identity. They remain important during weddings, holidays and public gatherings, such as the Nowruz spring festival.
The stage show "Muqam Highlights" delights audiences at the Xinjiang Art Theater during the Xinjiang Culture and Arts Festival.
By the mid-20th century, the Muqam tradition faced extinction. As older masters passed away, fewer people remembered the full repertoire. In the 1940s, only one known musician could perform all Twelve Muqam suites.
Recognizing the urgency, the Chinese government launched a rescue project in the 1950s. Engineers recorded the musicians' performances. These recordings became the foundation for archiving and studying the tradition.
In 2010, Xinjiang introduced the Regulations on Preserving Uygur Muqam, a rare law specifically written to safeguard an intangible cultural heritage.
The legislation ensures funding for preservation efforts, restricts commercial misuse and mandates cultural education programs.
"It enters a new epoch," Ma Yingsheng, an official from Xinjiang's intangible heritage office, told Xinhua news agency. "Protection has legal force."
Today, a number of cultural centers across Xinjiang teach Muqam. Universities offer undergraduate degrees in the art.
Primary and secondary schools introduce simplified forms of Muqam to children. The Xinjiang Muqam Art Troupe tours internationally and performs more than 100 shows each year.
Mohetaer, one of more than 200 state-recognized heritage inheritors, has trained over 400 students. He receives an annual government subsidy and teaches from a small studio built by his village.
"Young people are key," he told Xinhua. "I teach many 30-year-olds. They must keep this alive."
Performers showcase Uygur Muqam at the bustling pedestrian street of the Grand Bazaar in Urumqi.
His student Yahepu Aishan, 45, now leads performances himself. He has memorized 200 songs and learned multiple instruments.
"I want to perform like my teacher," he said. He is one of more than 1,000 young people now studying Muqam in formal programs across Xinjiang.
Muqam has also entered digital and popular media. A 2009 TV drama, "Past Events of Muqam," introduced its history to national audiences. Documentaries and educational videos continue to draw interest online.
At weddings or village gatherings, elders sing and dance with children. In Turpan and Kashgar, performances break out spontaneously in public squares.
Dutch tourist Elisabeth attended a Muqam show in Hami in 2023.
"I almost cried," she told Xinhua. "It's not a museum piece. It lives."
Despite these successes, Muqam still faces challenges. Younger audiences increasingly prefer pop music and digital entertainment. Some Muqam pieces are rarely performed because of their length and complexity.
To adapt, some educators have created shorter versions of songs. Apps and e-learning platforms now provide Muqam lessons to users far beyond Xinjiang.
Still, many in Xinjiang see Muqam as a source of pride, which connects generations and echoes with historical memory and local identity.
"This art is our soul," said inheritor Mohetaer.