Since the new era, we can see that large-scale Manchu dance works have undergone three evolutionary phases. In the 1980s, works like “Pearl Lake” were produced by the cultural roots movement, and these works used mythological narratives to affirm ethnic identity on stage. This can be seen as an important attempt to reconstruct cultural memory through dance performance. Then in the 1990s, because of the “poetic” trend, the focus changed from narrative to lyrical expression. It is worth noting that “Bailu E’niang” pioneered the poetic approach to dance drama, and “Mangshi Fengyun” expanded the form of song-dance poetry in different ways. The 21st century shows cultural refinement and thematic diversity, with dance dramas staging folk customs and works like “Princess of Bohai” exploring the interplay of multiple ethnic cultures, which can provide a full picture of the cultural exchange in this period. In fact, this evolution reflects the creative logic of ethnic minority dance dramas, and it transitions from symbolic construction to spiritual expression.