Xinjiang, a region at the heart of the ancient Silk Road, has long been a crossroad of cultures, languages, and traditions. Among its richest legacies is music — an echo of centuries-old stories and identity carried in melodies and texts. In Xinjiang, music is more than just a sound – it’s a memory and soul captured in vibrant notes, where tradition, ingenuity and reverence blend and create art. This is a journey through the soundscape of Xinjiang — one that begins with hands and ends with voices. From a quiet ethnic musical instrument village in Shufu County to a grand theatre of Muqam Art Troupe in the capital — it’s a discovery of the artistic soul of the region, and what it’s like to go there.
Where music is born
There’s something about music in Xinjiang that feels different. It’s not just what you hear — it’s where it comes from, not from fancy studios or big-name artists, but from dusty courtyards, handmade instruments, and centuries of passed-down legends and motives.
If you’ve ever wondered what it really means to hold onto tradition, there’s no better place to experience it than the Ethnic Musical Instrument Village in Shufu County, where all instruments are still made by hand.
It’s a living example of how tradition can shape a community’s future. With over 150 years of history, this village has become a centre for the preservation and production of traditional Uyghur musical instruments. About 68% of the villagers are involved in the craft, producing over 50 different kinds of instruments across 27 categories — from the dutar and chewawa to the sattar.
Each piece is handmade, often using mulberry wood and cow bone, and can take more than a week to complete. Recognised as a national intangible cultural heritage site and the first batch of productive protection demonstration bases in 2012, the village continues its legacy through a master-apprentice system, training more than 150 young artisans.
The pulse of Uyghur music begins not with a melody but with hands that carve. Stepping into the village, visitors are greeted by the scent of mulberry wood, the rhythmic tapping of chisels, and the gentle hum of strings being tightened. The instruments made here — dutar, rawab, ghijek, sunay, naghar, among many others — each one is a living artefact, shaped by generations of inherited skill and deep cultural knowledge.
Alongside the crafting process, visitors also have the chance to hear the instruments played, filling the air with the distinctive sounds of traditional Uyghur music, offering a full sensory experience of the region’s musical heritage.
In the workshop, tourists also have the opportunity to meet and talk to real artisans – masters of their craft. One of them, Imin Khushur, now in his eighties, has been making instruments since he was a kid, guided by the legacy of previous generations who passed down the craftsmanship traditions. “A deep love for music makes me continue my work for 75 years,” he says, “It’s not easy work, but it’s good work. You get to make something with your hands, and when you hear that the instrument sounds right, it feels right.”
“Sometimes it takes days just to get one part right,” he says with a smile. “But when someone plays it and it sounds good, you forget how tired you were.”
The village received the status of a National Demonstration Base for Intangible Cultural Heritage in 2012, which has brought more attention to the business. With support from local government and the growing appeal of cultural tourism, the workshops have welcomed more than 70,000 tourists, according to data collected by May 2025.
Tradition lives, breathes, and flourishes at Shufu County’s village, which is more than just a place where instruments are made. In order to respect the past while constructing a future, generations of Uyghurs managed to combine traditional skills with contemporary equipment and tourism. It stands as a powerful example of how culture, when nurtured with care and shared with others, can become both a source of pride and a path to prosperity.
Where music lives — the Xinjiang Regional Museum and the Muqam Art Troupe
Uyghur music, deeply rooted in the region’s ancient history and shaped by centuries of cultural exchange along the Silk Road, reflects the rich and complex heritage of the Uyghur people. Central to this tradition is the Muqam — a unique blend of poetry, storytelling, dance, and instrumental performance — recognised by UNESCO as an Intangible Cultural Heritage. A complex and deeply revered art form, the Twelve Muqam comprises over 300 pieces and spans more than 20 hours, offering a powerful emotional and narrative experience.
To begin understanding Muqam, tourists might visit the Xinjiang Regional Museum in Urumqi. With over 40,000 cultural relics — ranging from prehistoric mummies and Silk Road maps to musical instruments and traditional costumes — the museum provides a comprehensive overview of Xinjiang’s past and ethnic diversity. Their expositions trace the evolution of regional music while also providing an in-depth experience of the Muqam tradition. And the museum doesn’t just inform — it prepares, because next, visitors can see the real thing, at Xinjiang Art Theatre, home of the Muqam Art Troupe.
Founded in 1949, the troupe is more than just a performance group — it’s a keeper of history. Here, Uyghur artists carry forward the Twelve Muqam, a centuries-old musical tradition recognised by UNESCO in 2005 as part of the world’s Intangible Cultural Heritage. It represents a rich synthesis of music, dance, poetry, and storytelling, reflecting the history, culture, and social values of the Uyghur people.
What makes Muqam so powerful isn’t just its beauty — it’s its humanity. These songs once told stories of love, war, grief, and faith, and when you watch them performed on stage by people who have studied not just the music but the feeling behind it, you realise you’re witnessing something rare. Not just a performance, but a living link to the past.
Each Muqam suite is a journey in itself, comprising three main parts: naghma (melody), dastan (epic narrative), and meshrep (folk dance and celebration). A complete cycle can take several hours, shifting in mood and rhythm, drawing on centuries of oral poetry and musical structure.
Performers with the Muqam Art Troupe undergo rigorous training, not only mastering vocal and instrumental techniques but also absorbing the cultural and historical weight of the tradition. Their stage presence is captivating — women wear elegant, brightly colored dresses made of flowing silk or velvet, often decorated with intricate embroidery and beadwork. Outfits usually include long skirts and fitted bodices, with sheer sleeves or scarves that move gracefully as they dance. Some complete their look with traditional headpieces ornamented with beads, coins, or feathers, adding a touch of sparkle and tradition to their performance. Men wear traditional outfits made of silk or cotton, often in deep, rich colours. Their clothing typically includes long tunics or coats with embroidered patterns, paired with wide trousers and soft boots. Many also wear doppa — the square-shaped Uyghur hat — adding a distinct cultural touch to their appearance on stage.
Right now, the troupe is preparing The Soul of the Silk Road show, a two-and-a-half-hour performance that blends traditional Muqam music with modern elements like piano and electronic instruments, creating a unique, contemporary fusion. Featuring acoustic regional sounds, it showcases the rich musical heritage of Muqam art, shared by over 90 countries and rooted in Arabic and Central Asian culture. The show has already aired on local TV, and now, the troupe is preparing to take the performance abroad, with international shows planned for next year.
Even glimpsing small parts of the show reveals a Muqam performance as a deeply emotional experience, a bridge connecting past and present, rooting personal identity in collective memory that continues to unfold. When asked to describe this art in a single word, one of the performers responded without hesitation: “Significant.”
Alongside Muqam, the Uyghur musical landscape includes epic tales, folk songs, and spiritual genres. These forms, shaped by both nomadic and settled lifestyles, express themes of love and life’s hardships, carried through melodies that mirror the vast and varied landscapes of Xinjiang.
A journey through sound and spirit
The journey from Shufu to Urumqi reveals more than music. It is a journey into the heart of Xinjiang’s intangible heritage, where craft and creativity come together in remarkable harmony. In the village workshops, music is carefully born, shaped by wood, hands, and patience. On the theatre stage, it comes alive — voiced in poetry, breath, and motion.
Together, these experiences offer a rare opportunity: to witness the full life cycle of a cultural tradition, from raw material to refined performance. And along this journey, we hear people speaking across time, in rhythm, and spirit. The sounds of Xinjiang continue, not only in recordings or memory but in the living hands and voices that still carry them forward.
