Qinqiang Opera in Shaanxi

秦腔 (Qinqiang Opera), also known as “梆子腔” (Bangzi Qiang) or “陕西梆子” (Shaanxi Bangzi), is a traditional Chinese opera form that originated in the Guanzhong region during the Yuan and Ming dynasties. It combines local folk music, dialects, and religious influences into a distinct operatic style. Qinqiang is primarily popular in the northwestern regions of China, including Shaanxi, Gansu, Ningxia, Qinghai, and Xinjiang. During the Ming and Qing dynasties, it spread to central China, East China, and South China, becoming one of the most influential opera forms in the country by the early Qing dynasty. It is now recognized as a National Intangible Cultural Heritage of China.

The name “Qinqiang” originates from the ancient Qin state (modern-day Shaanxi and Gansu), and it is also called “梆子腔” (Bangzi Qiang) due to its distinctive use of jujube wood clappers (梆子) in the performance. As the performance style matured, Qinqiang became known for its bold, expressive techniques, strong life-oriented themes, and rich vocal techniques.

On May 20, 2006, Qinqiang Opera was officially recognized as a National Intangible Cultural Heritage by the State Council.

  • Chinese Name: 秦腔

  • Also Known As: 梆子腔, 陕西梆子

  • Approval Date: May 20, 2006

  • Heritage Level: National

  • Declared Region: Shaanxi Province

  • Heritage Category: Traditional Theatre

  • Heritage Number: IV-16

History and Development

Qinqiang Opera’s origins are deeply intertwined with the cultural and political backdrop of ancient China. It is rooted in the folk music traditions of the Han people in Shaanxi and Gansu, and it flourished in Chang’an, the political and economic center of ancient China. The development of Qinqiang was influenced by the social and historical contexts of each period.

Qinqiang’s name is derived from the Qin state (秦), and its initial form involved the clapping of jujube wood clappers (梆子), giving it the name “Bangzi Qiang.” Over time, Qinqiang evolved into a complete and structured form of opera that influenced many regional opera styles.

In the Qing dynasty, it achieved significant recognition. Qinqiang was said to have been refined by notable figures such as Li Gui-nian, an artist from Shaanxi, who played a key role in shaping early Qinqiang music. His composition, “秦王破阵乐” (Qin Wang Po Zhen Yue), is considered one of the earliest Qinqiang pieces.

A famous quote from Qing dynasty scholar Li Diao Yuan in his work Yucun Juhua mentions the distinct style of Qinqiang: “It is said that the Qian family gathered a large collection of Qinqiang. It started in Shaanxi, where the clapper marked the rhythm, and the moon lute responded. The rhythm varies between fast and slow, and it is commonly called ‘Bangzi Qiang.'”

Qinqiang’s history can be traced back to various theories regarding its origin, including theories placing its roots in the Qin dynasty, the Tang dynasty, or the Ming dynasty. During the Ming dynasty, Qinqiang spread to Jiangnan and became a significant part of southern Chinese opera. The work Bo Zhong Lian (钵中莲) from the Ming period mentions “Western Qinqiang two variations,” indicating its widespread influence during this time.

According to some sources, the earliest Qinqiang performance groups were founded during the Ming dynasty. For example, the Hua Qing Ban, founded by Zhou Zhi people, became famous in the Gansu and Shaanxi regions. Over time, Qinqiang developed into four distinct regional styles: the Donglu (Eastern Route), Xilu (Western Route), Zhonglu (Central Route), and Nanlu (Southern Route).

The Four Routes of Qinqiang

Qinqiang’s distribution across Shaanxi led to the formation of four main routes:

  • Donglu (Eastern Route): Originated in Tongzhou (now Dali) and is known as “Tongzhou Bangzi.”

  • Xilu (Western Route): Originated in the western region of Shaanxi, known as “Xi’an Luan Tan.”

  • Zhonglu (Central Route): Popular in Xi’an, known as “Xi’an Luan Tan.”

  • Nanlu (Southern Route): Originated in the southern regions such as Hanzhong, known as “Han-diao Bangzi.”

These routes contributed to the regional variations of Qinqiang, which became influential across the country, including in Beijing, Tianjin, Hebei, Shandong, Henan, and even Taiwan.

The Golden Age of Qinqiang

The Qing dynasty marked the height of Qinqiang’s popularity. During the Qianlong period (1736–1795), Qinqiang had a massive influence across China, with 36 major Qinqiang troupes in Xi’an alone. Famous Qinqiang scholars, including Zhang Dingwang and Wei Changsheng, made significant contributions to the art form.

In the late Qing dynasty, Qinqiang’s theatrical performances became an integral part of Beijing’s cultural scene. It also became a significant influence on other Chinese operatic forms such as Peking Opera, particularly in the vocal and instrumental elements.

Qinqiang’s reach expanded beyond China’s borders. By the 20th century, it was performed in Taiwan and even in distant places such as Kyrgyzstan.

Modern Qinqiang and Its Influence

After the establishment of the People’s Republic of China, Qinqiang Opera continued to flourish, especially in the northwest regions of Shaanxi, Gansu, Ningxia, Qinghai, and Xinjiang. Specialized Qinqiang troupes were established in many counties and cities. During the 1980s, over 300 Qinqiang troupes were formed, contributing to the ongoing development of Qinqiang music, acting, and stage design.

During the Anti-Japanese War (1937-1945), Qinqiang artists in the Shaanxi-Gansu-Ningxia Border Region created new revolutionary works, reflecting the struggles of ordinary people and soldiers. A famous Qinqiang performance during this time was Blood Tears Revenge (血泪仇), which was supported by figures such as General Peng Dehuai.

Since 1912, when the Shaanxi Yisu Society was established, Qinqiang has undergone reforms in music, acting, and stagecraft, leading to the creation of many modern works that reflect democratic and revolutionary ideals. This modern period of Qinqiang continues to maintain its relevance and popularity in the 21st century.

ultural Characteristics

Qinqiang (秦腔) can be divided into two main styles: the Western style, which is called “Bangzi” (梆子) in Sichuan, and the Eastern style, which influences dramas in Shanxi, Henan, and Hebei. In Shanxi, it is called Jinju (晋剧), in Henan, it is called Yuju (豫剧), and in Hebei, it is called Hebei Bangzi (河北梆子). Qinqiang is often referred to as the “ancestor of a hundred operas” (百戏之祖).

As a regional cultural form, one of the primary features of Qinqiang is that its singing and recitation are based on the local dialect of the Guanzhong region of Shaanxi (陕西关中). It also incorporates elements from the poetry, lyrics, and music of the Han and Tang dynasties. These linguistic characteristics blend with the musical features, creating a unique vocal style for Qinqiang—characterized by high-pitched, intense, and staccato tones.

Qinqiang’s lyrics are also rhythmically rich. The structure of the lyrics follows the “Yongyan” (永言) form, where sentences vary in length to suit the expression of the underlying thoughts, with the typical sentence forms including ten-character phrases, seven-character phrases, five-character phrases, and free verse. The most common forms are the ten-character and seven-character phrases, which align the lyrics like unrhymed poetry.

Singing Style 

Qinqiang’s singing is a form of “patterned variation,” meaning that it uses a base melody, which is altered by variations in rhythm, tempo, melody, and speed to create different patterns. The singing is divided into “Banlu” (板路) and “Caichang” (彩腔). Banlu refers to the six basic patterns: Erlu (二六板), Manban (慢板), Jianban (箭板), Erdaoban (二倒板), Daiban (带板), and Gunban (滚板). Caichang, commonly known as the “second tone” (二音), uses an octave pitch variation and is often employed during emotionally intense moments or dramatic shifts in the storyline.

Qinqiang’s singing, particularly the “false voice” (假嗓) technique, brings out an expressive richness, with long-held notes that end with the “An” tone (安韵), giving a satisfying and resonant feel. This unique style differentiates Qinqiang from other regional operas.

Within both Banlu and Caichang, there are both “happy” (欢音腔) and “sad” (苦音腔) tones. The sad tone is deep, melancholic, and impassioned, suitable for expressing sorrow, nostalgia, and emotional intensity. The happy tone is bright, forceful, and often used to convey joy and optimism. Qinqiang also features a wide vocal range, switching between grand, profound, heroic tones, and delicate, soft, and agile sounds.

Qinqiang’s performance is rich and varied, with a blend of exaggerated movements and nuanced expressions. The performances reflect a profound sense of everyday life and are presented in a highly stylized, rhythmically structured manner.

Music 

Qinqiang’s music includes six types of tunes: string music (弦乐), suona (唢呐), haidi (海笛), Shengguan (笙管), Kunqu (昆曲), and suites (套曲), with string music and suona being the primary forms used. In Qinqiang orchestras, the two-stringed instrument (二弦) is the leading instrument and is known as the “guts of Qinqiang” (秦腔之胆). The musician, often sitting at the center of the stage, plays traditional tunes, mostly in a “three-eye” (三眼调) scale, which was replaced with “out-of-key” playing (出调) in the 1930s.

The orchestra is divided into two sections: the literary section (文场) and the martial section (武场). The literary section includes instruments such as the banhu (板胡), erxian (二弦子), erhu (二胡), flute (笛), sanxian (三弦), pipa (琵琶), yangqin (扬琴), suona (唢呐), haidi (海笛), and shengguan (笙管). The martial section uses percussion instruments such as the bǎogu (暴鼓), gāngu (干鼓), tánggǔ (堂鼓), jùluó (句锣), xiǎo luó (小锣), mǎ luó (马锣), nàobā (铙钹), jiǎozi (铰子), and bāngzi (梆子).

Roles 

In Qinqiang, roles are divided into “thirteen categories and twenty-eight subcategories” (十三门二十八类). These roles are classified into four main types: Sheng (生), Dan (旦), Jing (净), and Chou (丑). Each of these is further subdivided into specific character types, and the roles have their own distinct characteristics. These roles can be performed in a “chaotic” style, where multiple roles are performed by one actor, often involving grand variations in singing.

In particular, the “loud singing” (大板乱弹) style, which features long passages of up to fifty lines, is crucial in portraying specific characters such as the Emperor in “The White Palace” (白逼宫). These performances are known for their elegance and natural delivery. The warrior characters (武净), portrayed with martial skills and strong postures, add to the dynamic and heroic feel of the performance.

Unique Skills 

Qinqiang performances are full of rich and diverse skills, including movements like horse-riding stances (趟马), prop handling (拉架子), fire-breathing (吐火), falling stunts (扑跌), sweeping light (扫灯花), fire stick and gun play (耍火棍枪背), top balancing (顶灯), chair spinning (咬牙转椅), and more. In mythological plays such as “The Yellow River Battle” (黄河阵), there are dramatic uses of props like celestial measuring rods and magical seals, with visual effects such as fireworks and butterflies.

These techniques enhance the theatrical atmosphere and intensify the dramatic impact, with the overall performance revolving around singing, sitting, recitation, and movement, all while following a highly structured and rhythmic approach.

Instruments

The most essential instrument in Qinqiang is the banhu (板胡), which produces a sharp, clear, and rhythmic sound. Other instruments in the literary section include the erxian, erhu, flute, sanxian, pipa, yangqin, suona, haidi, shengguan, and bass instruments like the dǎo (大号). In the martial section, the percussion instruments, including the bǎogu, gāngu, and tánggǔ, play a central role.

Costumes

Qinqiang’s costumes are characterized by their classical and distinctive style. The costumes have specific meanings attached to their size, material, color, and decorations. For instance, wide, long, and straight garments symbolize culture and wealth, while shorter, narrower, and curved garments suggest martial power and poverty. Colors also have symbolic meanings: white represents justice and purity; red symbolizes greatness, passion, and danger; yellow signifies nobility, age, and weakness; black conveys seriousness and grief; and green reflects recklessness and betrayal.

Stage Props 

Qinqiang stage setups can range from simple, such as a bamboo stage in a village, to luxurious, with bright lights in a grand theater. Props are creatively designed and used for dramatic effects—ranging from simple tables and chairs to intricate designs, with items like bundles, sticks, and hats serving as versatile props for a variety of objects. In modern productions, props may include paper-crafted trees or even imaginative representations like trains and planes.

Representative Repertoire 

Qinqiang (秦腔) Opera is a traditional Chinese opera with a rich repertoire based on myths, folk stories, and various historical dramas. It boasts a diverse selection of traditional plays, with 2,748 scripts preserved. Some of the most beloved performances include “Spring and Autumn Pen” (春秋笔), “Eight Righteousness Map” (八义图), “Purple Cloud Palace” (紫霞宫), “He Shi Bi” (和氏璧), “Hui Feng Fan” (惠凤扇), “Jade Tiger Falling” (玉虎坠), “Linn Bone Bed” (麟骨床), “Mandarin Duck Quilt” (鸳鸯被), “Shooting Nine Suns” (射九阳), “Crying the Great Wall” (哭长城), “Slaying Dong Zhuo” (伐董卓), “Legend of the White Snake” (白蛇传), “Brahma King Palace” (梵王宫), “Famen Temple” (法门寺), “Iron Rooster” (铁公鸡), “Changban Slope” (长坂坡), “Selling Huashan” (卖华山), “Lingtong Mountain” (临潼山), “Slaying Single Child” (斩单童), “Taking Luoyang” (取洛阳), “Three Mothers Teach Son” (三娘教子), “Cabinet Connection” (柜中缘), “Counter Attack Yan’an” (反延安), “Breaking Hongzhou” (破洪州), “Three Visits to the Palace” (三上殿), “Offering to Xichuan” (献西川), and “Wang Gui and Li Xiangxiang” (王贵与李香香).

Distribution Area

Qinqiang Opera is distributed across various regions, each known for its specific style. The East Route Qinqiang (东路秦腔) is popular in the central eastern regions of Shaanxi, including Weinan, Dali, and Pucheng. The West Route Qinqiang (西路秦腔) is prevalent in the western parts of Shaanxi, including Baoji and Tianshui. The South Route Qinqiang (南路秦腔) is found in the Hanzhong area, while the Central Route Qinqiang (中路秦腔) is popular in the Xi’an region.

In Gansu Province, Qinqiang Opera is mainly distributed throughout the province, as well as surrounding regions including Ningxia, Qinghai, and Xinjiang. In the Jiuquan region, Qinqiang can be found in cities like Suzhou, Jinta, Guazhou, Yumen, and Dunhuang.

Inheritance and Protection 

In November 2019, the list of “National Intangible Cultural Heritage Representative Project Protection Units” was released, and the Gansu Qinqiang Art Theater Co., Ningxia Performing Arts Group Qinqiang Theater Co., Shaanxi Opera Research Institute, and Xinjiang Production and Construction Corps Mengjin Qinqiang Troupe were recognized as “Qinqiang” protection units.

In December 2024, Qinqiang Opera was included in the fifth batch of provincial-level intangible cultural heritage representative projects in Gansu Province.

Inheritance Value

Qinqiang Opera, primarily based on Han Chinese culture, also integrates elements from other ethnic cultures. It can be considered a product of musical cultural exchange along the ancient Silk Road and a unique gem in the cultural treasure trove of the Chinese nation.

As a cultural treasure of the Han Chinese, Qinqiang Opera plays a crucial role in the development of Chinese traditional opera music and culture. It profoundly reflects the growth of Han culture and has become an integral part of the spiritual wealth of the Chinese nation.

Qinqiang Opera is a living fossil of ethnic culture, providing valuable clues for studying Han culture and tracking ancient art forms.

As a spiritual bond for the people of the Western region, Qinqiang Opera serves as a medium for emotional exchange and embodies its historical significance and practical function.

Current Inheritance Status 

Since the 1980s, Qinqiang Opera has been greatly impacted by modern culture. Professional performance troupes have struggled to survive, and there has been a lack of talented performers. Traditional performing arts are facing the risk of extinction.

Inheritors 

  • Ma Youxian (马友仙): A female artist born in April 1944 in Heyang County, Weinan City, Shaanxi Province, and raised in Xianyang City, Shaanxi. In June 2009, Ma Youxian was selected as a representative inheritor of the third batch of national intangible cultural heritage projects, nominated by Shaanxi Province. She is the founder of the “Ma School” (马派) of Qinqiang Opera and a first-class actor. She was awarded a certificate as an “Art Expert with Special Contributions” by the State Council.

  • Yuan Zonghan (贠宗翰): A male artist born in January 1940 in Xianyang City, Shaanxi Province. In June 2009, Yuan Zonghan was selected as a representative inheritor of the third batch of national intangible cultural heritage projects, nominated by Shaanxi Province. He is a first-class actor.

  • Li Aiqin (李爱琴): A female artist born in April 1939 in Xi’an City, Shaanxi Province. In June 2009, Li Aiqin was selected as a representative inheritor of the third batch of national intangible cultural heritage projects, nominated by Shaanxi Province. She is a first-class actor.

  • Xiao Yuling (肖玉玲): A female artist born in December 1939 in Xi’an City, Shaanxi Province. In June 2009, Xiao Yuling was selected as a representative inheritor of the third batch of national intangible cultural heritage projects, nominated by Shaanxi Province. She is the founder of the “Xiao School” (肖派) of Qinqiang Opera and a first-class actor.

  • Kang Shaoyi (康少易): A male artist born in May 1941 in Xi’an City, Shaanxi Province. In June 2009, Kang Shaoyi was selected as a representative inheritor of the third batch of national intangible cultural heritage projects, nominated by Shaanxi Province. He is the only inheritor of Qinqiang Opera’s martial roles and a first-class actor.

  • Lu Mingfa (吕明发): A male artist born in March 1923 in Baoji City, Shaanxi Province. In June 2009, Lu Mingfa was selected as a representative inheritor of the third batch of national intangible cultural heritage projects, nominated by Shaanxi Province. He specializes in the Xusheng (须生) role and is a first-class actor.

  • Yu Qiaoyun (余巧云): Originally named Yu Baozhen (余宝珍) and Yu Baizhen (余宝珍), a female artist of the Manchu ethnicity born in March 1932 in Xi’an City, Shaanxi Province. In June 2009, Yu Qiaoyun was selected as a representative inheritor of the third batch of national intangible cultural heritage projects, nominated by Shaanxi Province. She is the founder of the “Yu School” (余派) of Qinqiang Opera and a first-class actor.

  • Guo Mingxia (郭明霞): A renowned Qinqiang artist from Gaoling, Shaanxi, Guo Mingxia is a first-class actor and the founder of the Qinqiang opera “Guo School” (郭派) in the Danjiao (旦角) category.

Protection Measures 

Theater Organizations 

In the entire Northwestern region, various institutions have contributed to the protection and promotion of Qinqiang Opera. These include the Gansu Province Qinqiang Troupe (甘肃省秦剧团), Ningxia Yinchuan Qinqiang Troupe (宁夏银川市秦剧团), Xinjiang Mengjin Qinqiang Troupe (新疆猛进秦剧团), Urumqi Qinqiang Troupe (乌鲁木齐市秦剧团), Tianshui Qinqiang Troupe (天水市秦剧团), and the Shaanxi Provincial Drama Research Institute (陕西省戏曲研究院). These organizations, along with Xi’an Yisu Society (西安易俗社), San Yi Society (三意社), Shang You Society (尚友社), and the Xi’an May First Troupe (西安市五一剧团), were merged to form the Xi’an Qinqiang Theatre Limited Liability Company (西安秦腔剧院有限责任公司). Similarly, Lanzhou merged the Lanzhou Qinqiang Troupe (兰州市秦剧团) and Lanzhou Henan Opera Troupe (兰州市豫剧团) into the Lanzhou Arts Theatre Limited Liability Company (兰州市艺术剧院有限责任公司).

Research Institutions

On October 8, 2007, the Baoji-Tianshui “Western Qinqiang” Research Society (宝鸡·天水“西秦腔”研究会) was established in Baoji (宝鸡), organized by the Shaanxi Province Drama Association (陕西省戏剧家协会), with support from the Baoji City Drama Association (宝鸡市剧协) and Tianshui City Drama Association (天水市剧协). This research society aims to better preserve traditional opera culture, protect intangible cultural heritage, and promote the study and safeguarding of “Western Qinqiang.” In 2018, the Ministry of Education officially listed the Qinqiang project at Xi’an Jiaotong University (西安交通大学) as part of the first batch of national traditional Chinese culture transmission bases.

On October 31, 2023, the list of “National-Level Intangible Cultural Heritage Representative Project Protection Units” was published, with organizations like the Shaanxi Provincial Drama Research Institute, Gansu Qinqiang Art Theatre Limited Liability Company, Xinjiang Production and Construction Corps Mengjin Qinqiang Troupe, and Ningxia Performing Arts Group Qinqiang Theatre Company all recognized for their efforts in safeguarding Qinqiang.

Festivals and Events

In the early 1980s, the Shaanxi Provincial Party Committee and Provincial Government raised the slogan of “Revitalizing Qinqiang” and established the Shaanxi Provincial Qinqiang Revitalization Guiding Committee. This initiative led to a series of support policies and events aimed at revitalizing Qinqiang, reaching the goal of “producing people and plays, passing on and developing traditions.” In recent years, Shaanxi has launched a variety of activities, such as the provincial young and middle-aged actors’ singing competition, the inheritors’ exchange and performance exhibition, the first Shaanxi “Wenhua Award” Qinqiang TV competition, and the “Shaanxi Cultural Week.” In September and October 2014, Shaanxi hosted the first Silk Road International Arts Festival and the seventh Shaanxi Provincial Arts Festival, which produced a series of outstanding artistic works and discovered many talented artists.

External Exhibitions 

On August 23, 2007, Lanzhou began planning the Qinqiang Museum. Lanzhou is known as the birthplace of Qinqiang, and in 2005, the city was named by the China Drama Association (中国戏剧家协会) as the “Development Base for Qinqiang in China.” The Qinqiang Museum will focus on showcasing the profound and extensive nature of Qinqiang culture. With twelve core sections, the museum will display the art of Qinqiang and its historical significance, covering topics such as Qinqiang’s music, artistic features, famous personalities, and the development of Qinqiang during its peak periods. Lanzhou is also home to the unique Gengjia Mask (耿家脸谱), which has attracted significant attention within the Qinqiang community.

On September 26, 2009, the Shaanxi Qinqiang Museum (陕西秦腔博物馆) officially opened at Xi’an Jiaotong University (西安交通大学). The museum exhibits over 500 items, divided into 13 sections to comprehensively present the history and cultural significance of Qinqiang.

Talent Cultivation 

April 8, 2012, marked a milestone in the history of the Shaanxi Provincial Drama Research Institute (陕西省戏曲研究院). The “Xi’an Jiaotong University School of Drama” (西安交通大学戏剧学院) was established in collaboration with the Shaanxi Provincial Drama Research Institute. This initiative aims to train professionals in all aspects of drama, from performance and direction to stage design and research. The establishment of the “Qinqiang Academy” (秦腔学府) is poised to become a major hub for the development of Qinqiang and drama in China.

Social Impact

Honors and Recognition

In 1998, the modern Qinqiang play “The Late Blooming Rose” (迟开的玫瑰), created by the Shaanxi Provincial Drama Research Institute, won numerous prestigious national awards, including the “Wenhua Award” (文华奖), the “China Art Festival Grand Prize” (中国艺术节大奖), the “Five-One Project Award” (五个一工程奖), and the “Cao Yu Drama Literature Award” (曹禺戏剧文学奖). The play was also recognized as one of the “Top Ten Fine Works” in the National Stage Art Fine Works Project for 2005-2006.

In May 2009, the Qinqiang play “The Great Tree’s Westward Migration” (大树西迁) won the “China Drama Award: Excellent Performance Award” (中国戏剧奖·优秀剧目奖). In 2005, the Tianshui Qinqiang Troupe’s large modern Qinqiang play “Mountain Red” (山里红) won a gold medal at the third China Qinqiang Art Festival (中国秦腔艺术节).

Significant Events

On November 3, 2000, the first China Qinqiang Art Festival (首届中国秦腔艺术节) was held at the Xi’an People’s Theatre (西安人民剧院). The event featured a variety of activities, including an opera mask exhibition, a Qinqiang art education exhibition, and a photography exhibition highlighting famous Qinqiang artists. The festival also hosted a seminar on drama and Qinqiang art theory and awarded the 2000 Cao Yu Drama Literature Script Award (曹禺戏剧文学剧本奖).

Key Performances 

On October 2, 2019, Qinqiang performances participated in the 2019 Chinese Opera Culture Week (2019中国戏曲文化周), held at the Beijing Garden Expo Park (北京园博园), hosted by the Ministry of Culture and Tourism and the Beijing Municipal People’s Government.

In May 2009, the Qinqiang play “The Great Tree’s Westward Migration” (大树西迁) performed in Beijing as a tribute to the 60th anniversary of the founding of the People’s Republic of China, participating in the 11th China Shanghai International Arts Festival (第十一届中国上海国际艺术节) and the 11th China Drama Festival in Xiamen (第十一届中国戏剧节).

In 2000, the Ningxia Hui Autonomous Region Qinqiang Troupe (宁夏回族自治区秦剧团) performed “The Lying Cat and the Prince” (狸猫换太子) at the first China Qinqiang Art Festival.

In 2025, Qinqiang performances will be featured on CCTV’s “2025 Intangible Cultural Heritage Gala” (2025年非遗晚会) during the third and fourth days of the Spring Festival.