The works "Ghee Floating Fragrance" and "Laundry Song" have the same theme, and both are works that glorify the "fish-water relationship" between the military and the people, but "Ghee Floating Fragrance" has great innovations in the image of Tibetan women, the relationship between the military and the people of the frontier ethnic minority areas, and the dance movement vocabulary arrangement. Today's Tibetan women have changed considerably in appearance and heart. Gorgeous national costumes, together with valuable headdresses, chest ornaments and waist ornaments, graceful and swaying physiques and confident, lively and bright personalities all contain fashionable elements, and a sense of modernity is forced straight through the heavy robes. In the fast part of the labor scene, the sixteen actresses go up to the stage mouth, nod their heads with their backs to the audience, crouch their backs, collapse their waists, and fling their hips, and their movements change with the rhythm to increase their strength, accelerate, and increase their magnitude, which is a further innovation than the era of "Laundry Song," which drew on the bright, cheerful, and unrestrained stylistic characteristics of the Tibetan dances.
There are two core rhythms in the work, one is the rhythmic form of leaning back and one is the rhythmic form of shyly leaning back to play ghee. These two core rhythms run through the whole dance, showing the special folklore of Tibet to the fullest, without any cliché. At the same time, the rhythm of tilting back and walking, changing the past situation of bending low and suffering, fully expresses the happy and joyful, vigorous and upward spirit of Tibetans in the new period, which is refreshing to the eyes and ears.