The 20th National Congress of the Communist Party of China put forward the idea of "promoting cultural self-confidence and self-improvement, and creating a new brilliance of socialist culture", with special emphasis on "adhering to creative transformation and innovative development", "adhering to the people centered creative orientation, and launching more excellent works to enhance the people's spiritual strength", "telling Chinese stories and spreading Chinese voice", which pointed out the direction for literary and artistic work in the new era and sounded the horn of progress. Dance is one of the oldest art forms of mankind. For a long time, there is a saying that dance is better than lyricism and shorter than narration, but it is not. In my opinion, dance is good at both lyric and narrative. Compared with other art categories, dance expression is more intuitive and direct. Dancers have and should have full confidence in using dance language to interpret our history, describe our life, express our pursuit, and make Chinese stories "dance" come into play. I have been engaged in dance creation for more than 50 years, and have created more than 150 dance (drama) works so far. The first work was "The Miner and the Sunshine", which was compiled and performed by the local singing and dancing troupe in the 1980s. It was created based on my own experience of getting along with the coal miners in the mining area, and represents the coal miners' labor and mental state of mining light in the dark. During my study in Beijing Dance Academy, the first dance I created, Mulan Gui, integrates classical dance, folk dance, opera and modern dance, and tries to explore a new way of teaching and creating contemporary Chinese classical dance. The King of Qin Dianbing is my first work to go to the international stage. It was in the 1990s, and the work was premiered in a famous foreign dance theater. When the last action was over, the scene was silent, and the audience broke into thunderous applause a few seconds later. Our dancers stood on the stage with tears in their eyes and felt the national pride brought by the dance. The Great Dream of Dunhuang is the first dance drama I created. Over the past 20 years, it has traveled all over China, and has performed in Europe, America and other countries and regions for many times, so that the world can once again appreciate the confidence and charm of Chinese dance and Chinese culture. The charm of dance is not limited to one side of the theater. Since the 1990s, I have directed the opening and closing ceremonies of the Beijing Olympic Games, the Guangzhou Asian Games, the Nanjing Youth Olympic Games, the National Games, the World Expo and other large-scale events. In these large-scale literary and artistic performances, the dance moves from the theater to the square, to the comprehensive space, and assumes an irreplaceable performance function. In 2021, I served as the general director of the grand epic "Great Journey" celebrating the 100th anniversary of the founding of the CPC. The Great Journey combines a variety of artistic genres. Among them, dance is the main force of performance, shouldering a large number of thematic performances, or participating in narrative, or rendering lyric. Dance runs through the whole epic, and describes and represents the glorious history of the Party for a hundred years. In recent years, new space, new technology and new media have brought great challenges to the development of dance. At the opening ceremony of the 2008 Beijing Olympic Games, we completed the wonderful performance of thousands of dancers on the square; At the opening ceremony of the 2010 Guangzhou Asian Games, we "stood up" the performance space and let dancers dance on sails up to 80 meters high; At the opening ceremony of the 2014 Nanjing Youth Olympic Games, hundreds of participants“