What happens when an ancient dyeing technique meets Chinese folk dance? Dance drama Dye House doesn't just answer the question – it reveals the beauty embedded in industrial labor, transforming folk heritage into a vivid symphony of color.

Produced by Shandong Song and Dance Theater, the production debuted in Beijing in mid-April. It tells the story of Chen Shouting, a beggar who rises to become a national hero.

The narrative is rooted in Shandong Province, a major hub of China's modern dyeing industry. The eastern province boasts a rich legacy of traditional textile dyeing and printing techniques, several of which are recognized as provincial- or municipal-level intangible cultural heritage.

Dyeing techniques are not only a vital part of China's industrial history, but also the core of Dye House. The process of dyeing cloth itself is a form of labor, and according to director Kong Dexin, expressing craftsmanship through labor sets the production apart from conventional dance works.

"We use a more life-based approach, combining everyday experiences with art, to create dance sequences," she said, adding that their rehearsal studio was filled with fabrics of all kinds to help them select the most suitable materials for the performance.

"Many of the dance movements are inspired by actual handcrafting steps from daily life," said Liu Jia, the dancer who plays Chen Shouting. "For example, in the men's group dance, we stand on dye vats, adjusting the temperature and mixing colors."

In terms of style, the production also draws on Guzi Yangge and Jiaozhou Yangge, two traditional folk dance forms of Shandong.

In the story, Chen builds his dyeing enterprise through intelligence and perseverance. When foreign invaders threaten his country, he stands firm to protect China's national industry, refusing to yield.

Liu believes that today's Chinese dance dramas have evolved beyond simply stringing movements together.

"On the foundation of dance technique, we incorporate dramatic performance and explore a character's inner world," he said.

With experience in screen acting, Liu noted that he adds subtle performance details to help audiences better understand the character's emotions.

"I think this reflects the progress of Chinese dance drama in our era," he said. "It allows audiences to experience a dance drama as if they were watching a film."

Kong, who also directed the acclaimed dance drama Confucius, has brought that work to international audiences. She recalled a tour in Italy where she was deeply moved by the audience's response.

"We took curtain calls for 15 minutes. If we didn't leave, they wouldn't leave," she said. "Overseas audiences especially want to see Chinese aesthetics, and that is one of our strengths."

"Whether it is ethnic folk dance or Chinese classical dance, both are rooted in our history and built on a solid foundation," Liu said. "What matters most is conveying the cultural confidence of China today."

Executive producer: Zhang Jingwen

Producer: Yang Sha

Director: Guo Meiping

Videographer: Niu Jiangchao

Graphic designer: Pei Zihan