When it comes to ethnic dance, people often use the phrase 'ethnic dance is an archive of history' to describe it, because the dance records many pieces of information about various ethnic groups in the long process of historical development, such as labor scenes, living customs, legends, etc., preserving the genes of history. In fact, ethnic dance is not simply a representation of historical memory, but rather a cultural narrative carrier that connects tradition and modernity through the dynamic expression of body language and emotional connotations. This dance art form, originating from specific regional cultural soil and rooted in daily life practice, not only carries the collective memory of the nation, but also reflects contemporary social experience. Dance originated from sacrificial ceremonies, presenting the ancestors' reverence for natural forces and exploration of the value of life, which is still reflected in today's ethnic dance works. The Wa ethnic dance 'Rain Festival' depicts the scene of men in the Wa mountain village begging for rain from the rain god. The well-known Tujia ethnic dance "Waving Hands at Daughter's Home" uses the body language of "swinging arms and turning smoothly" to preserve the original rhythm of mountain ethnic sacrificial dances. This hand and foot movement is an artistic expression of the adaptation of mountainous ethnic groups to their living environment, and it is also a vivid display of ethnic dance's cultural memory. However, the historical feature of ethnic dance is not a static and frozen presentation, but rather a continuously generated cultural momentum, which creatively interprets ethnic culture through body language, and this creation changes with the times. In other words, the body language of dancers constitutes a means of dialogue between the present and history, and the language of form also carries the contemporary transformation of cultural genes. Ethnic dance transforms static historical heritage into dynamic aesthetic experiences, allowing cultural memory to break through the limitations of textual narration and integrate into the spiritual world of modern people through physical rhythm and emotional expression. This artistic practice not only preserves the collective memory of national culture, but also nourishes the spirit of contemporary society through aesthetic creation, demonstrating strong vitality. The strong vitality of ethnic dance comes from meticulous observation and careful refinement of real life, and its essence is to achieve artistic expression of life experience through body language. For example, the Mongolian dance "War Horse" successfully creates an aesthetic image of "unity of man and horse" through the dynamic and dynamic movements of dancers, elevating strength and loyalty into universal emotional symbols. The artistic value of the work is not reflected in the speed display at the technical level, but in the aesthetic sublimation from concrete life to abstract spirit through the image of "spiritual rider". In the creative process of the Tibetan dance "Aga Ren", the director artistically deconstructed and reconstructed the traditional labor movement "Da Aga", relying on the rhythmic movements of the group dancers to preserve the rhythmic characteristics of labor itself while endowing it with new aesthetic connotations. This creative technique is not simply a reproduction of folk customs, but a poetic reshaping of the dignity of labor. The Korean dance "Grain Rain" provides a new visual interpretation of the traditional Korean culture during the "Grain Rain" season, based on contemporary aesthetic concepts. It innovates the presentation of folk small drum dance, using the imagery of small drums and drumsticks as labor tools and seedlings to depict a beautiful and moving folk painting. The graceful and agile dance movements of the girls present the poetic essence of agricultural life, while also embodying the enduring vitality. In the process of elevating life experience into artistic aesthetics, ethnic dance not only pursues the beauty of form, but also emphasizes the extension of spiritual connotation. Dancers use the rhythm of body language to reconstruct and shape the order of life, giving new aesthetic dignity to life through the control of breathing rhythm. In the Korean women's double knife dance "Winter", the dancers artistically present the theme of "perseverance in silence" with highly tense breathing control in a minimalist stage space. The double-edged sword in the hands of actors weaves through light and shadow, creating a visual effect of time stagnation in the blue and white stage lighting. Its artistic interest is not limited to simple depictions of seasonal features, but rather uses calm and introverted body language to explore the depths of the spiritual world. For example, the Uyghur dance "Pomegranate Blossoms" takes the "spirit of pomegranate seeds" as its creative core. The crisp sound of the bell drum in the work artistically presents a harmonious scene of resonance between the hearts of various ethnic groups. The female dancers' soft and powerful body expressions embody "unity" as an infectious body language. The artistic form of current ethnic dance is no longer limited to a single cultural representation, and the aesthetic paradigm is shifting from "national representation" to "contemporary expression". Its dance vocabulary transcends the boundaries of form and style, becoming a symbolic system of cultural spirit. Ethnic dance no longer simply relies on tradition, but uses movement and rhythm to stimulate emotional resonance, giving new life to traditional culture in the current context. It can be said that the current ethnic dance has already constructed a complete narrative system in three dimensions: historical inheritance, realistic observation, and spiritual expression. This art form achieves aesthetic response to social reality through creative transformation of ethnic cultural memory, reflecting the value orientation of the times. (New Society)