The cultural preservation efforts surrounding China’s Uyghur Muqam art form have gained renewed attention with the recent release of the documentary film “Wan Tong Shu” (The Book of Ten Thousand Paulownias), which revisits the urgent mission to safeguard this centuries-old musical tradition. Seventy-five years after the initial field recordings that helped preserve Muqam from near extinction, the film has sparked discussions in Beijing and beyond about the role of cinema in cultural heritage conservation. Premiering at the Beijing International Film Festival, the documentary has been praised for its intimate portrayal of the musicians and scholars who dedicated their lives to transcribing, recording, and transmitting Muqam — a complex suite of music, dance, and poetry recognized by UNESCO as an Intangible Cultural Heritage of Humanity.
The film draws direct inspiration from the pioneering work of Chinese ethnomusicologists in the late 1940s and early 1950s, who ventured into the oasis cities of southern Xinjiang to document Muqam before it risked being lost to social upheaval and modernization. Their efforts culminated in the creation of the first comprehensive notations and audio archives of the Twelve Muqam, a monumental achievement that laid the foundation for its revival in subsequent decades. Today, as global interest in indigenous cultural expressions grows, “Wan Tong Shu” serves not only as a historical record but similarly as a testament to the enduring power of artistic preservation in the face of cultural erosion.
According to verified reports from China Media Group, the documentary was produced over a three-year period by a team of filmmakers and cultural researchers who traveled across Kashgar, Hotan, and Aksu — regions historically central to Muqam performance. The film features rare archival footage juxtaposed with contemporary performances by master artists such as Tursunhan Tursun and Ablimit Ayup, whose families have been instrumental in maintaining the oral transmission of Muqam through generations. These artists continue to teach the intricate modal systems and poetic forms of Muqam to younger learners in community workshops and university-affiliated conservatories.
The Historical Significance of the Muqam Rescue Mission
The term “abandoned spring” referenced in the film’s promotional title alludes to the spring of 1951, when a team led by musicologist Yang Zhenxing and poet Abdurehim Ötkür began systematic fieldwork in Xinjiang under the auspices of the newly established Central Conservatory of Music in Beijing. Their mission, later dubbed the “Rescue of Muqam,” aimed to record and transcribe the diverse regional variations of the art form before they disappeared. Over several years, they collected hundreds of hours of oral performances, many of which were sung in Uyghur and Persian-influenced dialects, accompanied by traditional instruments like the dutar, tambur, and dap.
This initiative was not merely academic; it was driven by a sense of urgency. As noted in the official archives of the China National Ethnic Orchestra, many elder Muqam masters were aging, and younger generations were increasingly drawn to modern lifestyles, threatening the continuity of the tradition. The recordings made during this period became the basis for the first published notations of the Twelve Muqam in the 1960s, which were later used to revive performances in state-supported cultural troupes. Today, these archives are preserved at the Chinese National Academy of Arts and remain a critical resource for scholars and performers worldwide.
UNESCO’s recognition of the Uyghur Muqam in 2005 explicitly acknowledged the importance of these early preservation efforts, stating that the “transmission and development of the Muqam have been significantly supported by the archival work conducted in the mid-20th century.” The organization continues to monitor the status of Muqam through periodic reporting mechanisms, emphasizing the need for sustained investment in education and community-based transmission.
Cinema as a Tool for Cultural Continuity
The release of “Wan Tong Shu” represents a modern extension of the original rescue mission, using the medium of film to reach broader audiences both within China and internationally. Directed by emerging filmmaker Li Wei, the documentary avoids sensationalism in favor of a contemplative style that allows the music and the voices of the practitioners to take center stage. Scenes depicting daily life in Kashgar’s old city, interwoven with rehearsals and performances in open-air courtyards, offer viewers a nuanced understanding of how Muqam remains embedded in social rituals, weddings, and communal gatherings.
Film critics at the Beijing screening highlighted the work’s ethical approach to representation, noting that it refrains from exoticizing Uyghur culture and instead presents Muqam as a living, evolving tradition. One attendee, identified in official festival materials as Professor Chen Lihua of the Minzu University of China, remarked that the film “succeeds where many ethnographic documentaries fall short — by centering the agency of the culture-bearers themselves.” Such perspectives are vital in ensuring that preservation efforts are not perceived as external interventions but as collaborative endeavors rooted in respect and reciprocity.
The film’s production team consulted with the Xinjiang Uygur Autonomous Region Department of Culture and Tourism throughout the process to ensure accuracy and cultural sensitivity. This collaboration included access to restricted archival materials and guidance on appropriate contexts for filming sacred or ceremonial performances. Such partnerships are increasingly seen as essential in ethical documentary filmmaking, particularly when dealing with intangible heritage tied to specific ethnic communities.
Challenges and Ongoing Efforts in Muqam Preservation
Despite the successes of past preservation initiatives, challenges remain in ensuring the long-term viability of Muqam. A 2022 report by the International Council for Traditional Music noted that while formal education programs have expanded — with Muqam now taught in several conservatories across Xinjiang and internal migration, urbanization, and shifting youth interests continue to pose threats to traditional modes of transmission. In rural areas, where Muqam has historically thrived, younger generations often prioritize employment in cities over apprenticeship in traditional arts.
To address these dynamics, cultural authorities have launched initiatives aimed at integrating Muqam into contemporary cultural expressions. For example, the annual Kashgar Muqam Art Festival, which began in 2010, features not only traditional performances but also innovative fusions with jazz, electronic music, and modern dance. These adaptations, while sometimes debated among purists, are viewed by many cultural officers as necessary strategies to engage younger audiences and ensure the tradition’s relevance in the 21st century.
Support for these efforts comes from both governmental and non-governmental sources. The Chinese Ministry of Culture and Tourism allocates annual funding specifically for the protection of ethnic minority intangible heritage, with Muqam consistently ranked among the priority projects. International collaborations — such as those with the Aga Khan Music Initiative and UNESCO’s Living Human Treasures program — have facilitated exchanges between Muqam artists and practitioners of similar modal traditions in Central Asia, the Middle East, and South Asia.
Global Recognition and Educational Outreach
The global visibility of Muqam has grown significantly since its UNESCO inscription, with performances featured at major international venues including the Kennedy Center in Washington, D.C., the Salle Pleyel in Paris, and the Shanghai Grand Theatre. These tours, often organized by the China National Ethnic Orchestra, serve dual purposes: showcasing the art form’s sophistication to global audiences and providing income and recognition for the master musicians involved.
Educational outreach has also expanded, with digital archives of the original 1950s recordings now accessible through the China National Digital Museum of Ethnic Cultures. Researchers and educators worldwide can access transcribed scores, audio samples, and contextual essays that detail the historical and social dimensions of each Muqam suite. In academic circles, Muqam is increasingly studied not only as a musical phenomenon but as a window into the historical interactions along the Silk Road, where Persian, Arab, Turkic, and Indian influences converged to shape a uniquely syncretic art form.
As “Wan Tong Shu” continues its festival circuit and prepares for wider distribution through educational platforms and cultural institutions, its message remains clear: the preservation of cultural heritage is not a one-time act of rescue but an ongoing commitment to listening, learning, and transmitting. Seventy-five years after the first field recordings were made in the spring air of southern Xinjiang, the music of Muqam endures — not as a relic, but as a living voice, carried forward by those who remember, those who teach, and those who still dare to sing.
For readers interested in exploring the Uyghur Muqam further, official resources include the UNESCO Intangible Cultural Heritage website, the China National Ethnic Orchestra’s performance archive, and the digital collections of the Chinese National Academy of Arts. These platforms offer verified access to recordings, scholarly publications, and updates on current preservation initiatives.
We invite our global audience to share their thoughts on the role of film and media in safeguarding endangered traditions. How can storytelling aid bridge cultural understanding? Join the conversation in the comments below and share this article to spread awareness of the enduring legacy of Muqam.