Reviving the Hani legacy

On March 4, the fourth session of the 14th National Committee of the Chinese People's Political Consultative Conference (CPPCC) opened in Beijing.

For 30-year-old Yang Yuni, a member of the CPPCC National Committee, this marks her fourth time attending China's top political advisory body. Once again, she entered the Great Hall of the People dressed in her signature ethnic costume, intricately adorned with traditional patterns.

"These patterns represent our ancestors' deep reverence for nature," Yang explained. "I wear this to showcase the vibrancy of Hani culture while fulfilling my duties here in Beijing."

A member of the Hani ethnic group, Yang's journey from the Honghe Hani and Yi autonomous prefecture in Yunnan province to China's political stage has been one of self-discovery and cultural preservation.

"I speak not only for myself, but also for my community and the protection of our legacy," Yang said.

Her story begins in a village nestled among the iconic Hani rice terraces, where daily life has long been intertwined with cultural traditions. After a day in the fields, villagers would gather around a fire to sing Hani folk songs and perform the Lezuo dance, all without sheet music or rehearsals.

"In their movements, you could feel the echoes of nature and the ever-changing seasons of the terraces," Yang recalled. "That sense of joy and ease is part of who we are."

For Yang, singing and dancing were once simply part of village life. It wasn't until 2013, when the Honghe Hani Rice Terraces were inscribed on the UNESCO World Heritage List, that she realized these traditions held much greater significance.

"I was in high school when I saw the terraces being repeatedly featured on TV, alongside the local songs and dances. It was then that I realized what I had always taken for granted was, in fact, the heart of my hometown," Yang said.

But just as Hani culture began gaining international recognition, Yang noticed a worrying trend: fewer young people seemed able to sing Hani folk songs or perform the Lezuo dance.

"A veteran Hani artist once told me that these folk songs carry the history of our ancestors' migration. If we lose them, we can never reclaim them," she said. "At that moment, I truly felt the weight of being Hani."

Replanting a seed

Yang decided to act. In 2015, while still in college, she founded the Yuni Cultural Heritage Center, a platform dedicated to teaching local children the invaluable traditions of the Hani people.

The early days of the center were tough. "The biggest challenge was that few people understood our mission, and we lacked both teachers and resources," Yang said.

She visited nearby villages to invite senior artists to teach and even transformed her home into a classroom. Gradually, she gathered the resources needed to bring her vision to life.

"What kept me going were the expectations of the artists and the spark in the children's eyes when they mastered a dance step or sang an ancient song,"Yang said.

Today, the center has trained over 3,600 students and built a team of more than 20 teachers.

Beyond running the center, Yang has also worked to make ethnic arts more appealing to modern youth. She founded a youth dance troupe with over 100 members from diverse ethnic groups, including Hani, Yi, Bai, and Han. In rehearsals, she would combine Lezuo movements with street dance, creating a fresh and innovative performance.

"When we first practiced it, the young dancers were amazed," she recalled. "They never imagined that ancient songs and dances could be performed this way. Everyone was excited and quickly got involved."

Yang has also made significant efforts to incorporate these cultural treasures into everyday life. For example, she adapted Lezuo dance into school exercise routines, staged performances inspired by terrace farming, and used short videos to share Hani songs and dances with a wider audience.

Additionally, Yang has embraced technology to help safeguard these cultural practices. At her center, AI is used to design patterns for Hani costumes, while traditional dances and folk songs are digitally recorded. She also plans to employ embodied robots to replicate Hani dance steps.

The center also works to conserve other important art forms of Hani culture, including embroidery, bamboo weaving, silver ornaments, and pottery.

"These elements are essential to our heritage," Yang explained. "I'm committed to preserving them so they can be passed down."

A new chapter

During her field research, Yang encountered many concerns. One elderly embroiderer expressed her worry that the craft would fade if it wasn't passed on. Villagers also spoke of their struggles with terrace irrigation and the challenges of maintaining their cultural customs.

Yang brought these voices to Beijing.

At last year's two sessions, Yang's proposal for the preservation of intangible cultural heritage received significant attention.

"When I saw these issues being discussed at such a high level, I realized how important my responsibility was,"Yang said.

She began finding ways to bridge cultural preservation with economic benefits. For example, she integrated ethnic songs, dances, and embroidery with tourism. Visitors can now enjoy live performances and try their hand at embroidery, which has boosted the local hospitality and dining sectors. The cultural products developed by her team have also created opportunities for local artisans to increase their income by showcasing their craftsmanship.

"Many villagers are now able to support themselves through what we've built," Yang said.

This year, Yang's proposals will focus on merging the conservation of cultural assets with industries such as technology, agriculture, tourism, education, and rural revitalization.

"I want to continue bringing our rich heritage into schools and communities, so more young people can connect with our ethnic identity," she said. "I hope that the ancient terrace civilization will flourish not only in our time, but for generations to come."