Baichunjie
01 · Lineage & Regional School
Baichunjie, Female, Mongolian, from Qianguoerluosimengguzuzizhi, Jilin, is a sixth-batch national representative bearer of Bo Dance (Ⅲ-114). The tradition is documented in Qianguoerluosimengguzuzizhi, Jilin. Within the regional tradition and school record of Bo Dance in Qianguoerluosimengguzuzizhi, Jilin: Bo dance circulates mainly in the Mongol residential areas of Qianguoerluos Mongol Autonomous County, Jilin Province, built on the bos and their successors in the villages around Chagan Lake and in the area of Qianguo Town. When the bo rite is performed the chief bo dances solo the principal dance of the whole performance; the attendant bos, the accompanying participants and the apprentices rise to dance only in the trance that follows the spirit's first descent upon the bo, when all must join in praising the deity and rejoicing. Bo dance is therefore chiefly a solo, supplemented by duet and group dancing. Female bos are fewer in number; their dance structure is broadly the same as that of the male bo, but there is more soft work at the waist, and additionally travelling steps, a turn on three steps with a darting sidestep, and the foot hooked behind the other leg to strike the drum sideways in either direction. Bo dance has long circulated in the Mongol settlements of Qianguoerluos Mongol Autonomous County, Jilin Province. Its source is the early Mongol custom of venerating heaven, whereby every undertaking invoked heaven; the sacrificial rite was presided over by the bo, who offered heaven sacrifices of votive offerings. Since the Qing dynasty the bos of the Front Gorlos Banner have been trained on the grassland through the master-and-apprentice relationship, and have combined worship of heaven, driving off illness and prayers for blessing. Occasions for performing the bo rite have included the winter fishing on Chagan Lake, the seasonal transfer of livestock between pastures, and the driving off of disasters in the villages. After the 1950s sacrificial activity declined, and bo dance was gradually arranged as a performance item for festivals, surviving in the programs presented at the Chagan Lake winter fishing, the Mongol folk festivals and the Nadam fairs.
02 · Mastery & Signature Works
The bearer record for Baichunjie is anchored in the documented technical standards of Bo Dance in Qianguoerluosimengguzuzizhi, Jilin. Within the documented technical tradition of Bo Dance in Qianguoerluosimengguzuzizhi, Jilin: Bo dance is the ritual dance danced by the Mongol bo in the course of the bo rite, intended to move the spirits, to pray for blessings and to ward off disaster while praising the gods. It circulates mainly in the Mongol residential areas of Qianguoerluos Mongol Autonomous County, Jilin Province. The performance of the bo rite as transmitted in Qianguoerluos Mongol Autonomous County, Jilin Province, has a long history. The Mengda Beilu records: “Of all their customs, theirs is the one that most reveres heaven and earth; for every undertaking they invariably invoke heaven. On hearing thunder they are seized by fear and do not press on with campaigns, saying: Heaven is calling.” The History of Yuan records: “When Yuan arose in the northern desert, generation after generation performed the rite of worshipping heaven.” The related sacrificial activities are presided over by the bo, who worships heaven with offerings of food. Bo dance generally consists of ritualized movement sections: moving the spirits, the spirit taking possession, conflict between spirit and demon, delivery and rescue, sending the spirit away, and the rejoicing that follows the rescue. In the course of the bo rite the chief bo dances the principal dance of the whole performance; the attendant bos, the accompanying participants, the apprentices and other people dance only during the stage when the bo lies in the trance that follows the spirit's first descent upon him, when all must join in praising the deity and rejoicing. This determines that bo dance is chiefly a solo, supplemented by duet and group dancing. Most bo dance is centred on the male bo, though a small number of bo activities are centred on the female bo. The dance structure is broadly the same as that danced by the male bo, but the movements and the style differ markedly: there is a great deal of soft work at the waist, together with travelling steps, a turn on three steps with a darting sidestep, and, after a turn on three steps, the foot hooked behind the other leg to strike the drum sideways in either direction. Its associated objects include the spirit drum, headdress, costume, drum whip, bronze figure, silver sword and breast mirror. Representative repertoire, works and technical entries recorded for the project include: "From possession to sending off": Its sections follow the rite itself: moving the spirits, possession, conflict with demons, rescue, sending the spirit away and the rejoicing that follows. "Solo bo and attendant dancers": The chief bo dances the main body of the rite while the accompanying bo and apprentices join only in the trance and rejoicing passages, which keeps the form largely a solo. "Drum, whip and mirror": Its associated objects include the spirit drum, headdress, costume, drum whip, bronze figure, silver sword and breast mirror, the drum and whip serving as both instruments and ritual tools. "The soft waist dance of the female bo": The female bo follows the same structure but with more pliant waist work, travelling steps and turns in which the foot hooks behind the leg to strike the drum sideways.
From possession to sending off
Its sections follow the rite itself: moving the spirits, possession, conflict with demons, rescue, sending the spirit away and the rejoicing that follows.
Solo bo and attendant dancers
The chief bo dances the main body of the rite while the accompanying bo and apprentices join only in the trance and rejoicing passages, which keeps the form largely a solo.
Drum, whip and mirror
Its associated objects include the spirit drum, headdress, costume, drum whip, bronze figure, silver sword and breast mirror, the drum and whip serving as both instruments and ritual tools.
The soft waist dance of the female bo
The female bo follows the same structure but with more pliant waist work, travelling steps and turns in which the foot hooks behind the leg to strike the drum sideways.
03 · Transmission & Safeguarding Status
In 2025, Baichunjie was announced in the sixth batch of national representative bearers for Bo Dance, with Qianguoerluosimengguzuzizhi, Jilin as the declared area. Within the documented safeguarding record of Bo Dance in Qianguoerluosimengguzuzizhi, Jilin: The project was inscribed in the national inventory in 2014 (batch 4), with Qianguoerluosimengguzuzizhi, Jilin as its declared area, and Qianguoerluosi Mongolian Autonomous County Caoyuan Cultural Center as its safeguarding unit. Since the project was inscribed in the national inventory, its declared area and safeguarding unit have carried out documentation, transmission and presentation within the national safeguarding framework. Together, the inventory record and the project archive form the public documentary basis for the bearer’s transmission practice.
04 · Associated Heritage Item Dossier
Historical origin
Bo dance has long circulated in the Mongol settlements of Qianguoerluos Mongol Autonomous County, Jilin Province. Its source is the early Mongol custom of venerating heaven, whereby every undertaking invoked heaven; the sacrificial rite was presided over by the bo, who offered heaven sacrifices of votive offerings. Since the Qing dynasty the bos of the Front Gorlos Banner have been trained on the grassland through the master-and-apprentice relationship, and have combined worship of heaven, driving off illness and prayers for blessing. Occasions for performing the bo rite have included the winter fishing on Chagan Lake, the seasonal transfer of livestock between pastures, and the driving off of disasters in the villages. After the 1950s sacrificial activity declined, and bo dance was gradually arranged as a performance item for festivals, surviving in the programs presented at the Chagan Lake winter fishing, the Mongol folk festivals and the Nadam fairs.
05 · Fellow National Bearers Lineage
National representative bearers recorded under the same item code, ordered from the first to the sixth batch. Batch order is not a teacher–student relationship.
| Bearer | Declared area | Roster code | Relation |
|---|---|---|---|
| Baichunjie | Qianguoerluosimengguzuzizhi, Jilin | — | This page |
06 · Archival Sources & Bibliography
This static English edition is rendered at the edge for search engines, AI crawlers and readers without JavaScript. Compiled from official national representative bearer archival records and the associated project dossier, organized by topic and translated into English. 阅读中文版。