"Haiqing takes the swan" is a piece of music and song and dance that reflects the ancient custom of the Mongolian people to let the hawk (a kind of eagle) take the swan. Haiqing was once the totem of the Genghis Khan tribe. This dance, which reflects the traditional customs of the Mongolian people, is described in the poems of the Yuan people. Yang Yunfu's "Miscellaneous Odes of Luanjing": "For the sake of love, the pipa tune is sentimental, and when the moon is high, I put the wine glass and stop. I translated the song "Liangzhou" in a new tune, and the swans were played to avoid the sea." Naixian's "Song on the Sea": "The song is over. "Drunk in the camp at night, pressing the sea green with the sound of whips and drums." These words remind us that the music played by the pipa depicts the image of swans and sea blue, and there are traces of this folk dance in the sound of whips and drums in front of the tent. The hunting dance "Haiqing Takes the Swan" recorded by Zamusu in Inner Mongolia at the southern foot of the Xing'an Mountains features two people playing the roles of Little Swan and Haiqing respectively. The Little Swan begs Haiqing to let her return to the blue sky, but Haiqing wants the Little Swan to sing and dance. Hou Haiqing let the little swan go. It is said that the shunhuai and small running steps in Mongolian dance are all imitating Haiqing's movements.
The Yuan Dynasty was a relatively prosperous period for Tibetan Buddhism in my country, and Buddhist music and dance were even more impressive. The music painted on the corridor of Sakya Monastery in Tibet is a good proof.