Literary and artistic works themed on the Chinese People's War of Resistance against Japanese Aggression (1931-45), be they classic works created during the war or works looking back on history, all carry historical memories and the national spirit. Through artistic forms, they cross the long river of time, allowing us to deeply feel the fearlessness and perseverance of the Chinese people during the War of Resistance against Japanese Aggression, while inspiring people's patriotic feelings.
The Global Times launched this special series of Indelible Memories about literary and artistic works themed on the war to draw strength and perseverance from the people.
Beneath a silvery moon, the Guangzhou Cantonese Opera Theatre's stage simmers with smoke and battle fervor. "Martial arts may be divided into North and South, but our nation remains one!" one Cantonese Opera actor cuts through the chaos with a thunderous cry. More than 40 performers playing Chinese soldiers coalesce into a human shield, where the fluid spins of traditional opera intertwine with the furious strikes of Southern Fist, or Nanquan, a Chinese martial art.
This is the performance of opera Southern Fist - a groundbreaking production that merges Cantonese Opera with Nanquan, two forms of intangible cultural heritage, to tell the heroic true story of Guangdong soldiers in the 1932 Battle of Shanghai.
The storyline follows protagonist Jiang Yilong's journey from an ambitious Nanquan martial artist to a true hero who overcomes rivalry and pride to unite the southern styles and lead his followers into battle.
The core of Southern Fist's innovation lies in the deep integration of the freehand aesthetics of Cantonese Opera martial arts and the practical moves of Southern Fist.
To create such a unique opera aesthetic, director Weng Guosheng, winner of China's top opera award, the Plum Blossom Award, told the Global Times he implemented cross-training between opera artists and martial athletes. Opera performers trained in practical kung fu, while fighters learned the sculpted poses of traditional theater. This cross-training has sparked an artistic chemical reaction, revitalizing the traditional martial drama genre.
"When the kung fu practitioners master the poise of opera, and the opera actors grasp the power of real fighting, it becomes hard to tell them apart on stage. They become the very embodiment of the 'Nanquan spirit,'" said Weng.
The play's emotional core comes from its historical truth: the sacrifice of the nearly all-Cantonese 19th Route Army, which held back Japanese forces for 33 days against overwhelming odds. A climactic scene showing the Cantonese soldiers forming a human shield to protect their Nanquan master consistently brings audiences to tears and ignites applause.
"I can't help but be moved to tears when seeing the war part… This innovative use of classic opera movement to portray the brutality of modern warfare feels both fresh and deeply resonant," Liang Haoxi, a postgraduate student in Jinan University, told the Global Times.
Sun Hongxia, a research fellow at the Chinese National Academy of Arts, recalled that on opening night, local spectators rose in a passionate standing ovation.
Sun told the Global Times that the production closes with a tribute to the 1,983 known soldiers commemorated in the 19th Route Army Martyr Cemetery in Guangzhou, making Southern Fist not just a show, but a shared act of remembrance in which history, art, and regional pride become one.
"Nightly, audiences stand, cheering. Southern Fist doesn't just recall history, it revives it, proving some spirits never fade," Sun said.
Through the lens
In addition to the innovative exploration of traditional art forms, the expression of the War against Japanese Aggression in the field of film and television has also presented a new face, especially when it comes to micro-dramas, which have become a hit on Chinese social media.
Meng Tianyi, a student director at Hebei Normal University, produced a micro-drama for a micro-drama competition themed on the War against Japanese Aggression among colleges in North China's Hebei Province.
Her micro-drama revolves around a young couple's choice of going to the rural areas of Northwest China to be volunteer teachers. Through the emotional bond of a small round mirror scarred by war, it shows the resonance between personal choices and the sense of national dedication, as well as the inheritance of the spirit of resistance in different eras.
Meng told the Global Times that she hopes to convey to the audience the resonance between personal choices and a sense of devotion to one's country through this short drama.
"The protagonist's decision to be a volunteer teacher in Northwest China and the martyr's defense of the homeland are, in essence, the same spirit carried forward across different eras, which is the fusion of personal ideals with the needs of the nation. It also reflects how today's youth should draw strength from history and find their own 'battlefield' in a time of peace," Meng noted.
Meng said that the key to creating a cultural work that truly moves today's young generations lies in telling the stories of today in the words of youth, and weaving a sense of devotion to the nation into the real-life challenges that young people must face today.
"We chose a small round mirror that has traveled through the flames of war as an emotional vessel, aiming to transform the grand theme of love for one's country into a story about personal choices.
Among the War against Japanese Aggression themed cultural works, Meng was impressed with the documentary Twenty Two, which features the tale of 22 "comfort women," a euphemism used for girls and women forced into sexual slavery by the Japanese soldiers during WWII, and the stage play The Yellow Storm.
What is most striking in these works is not the grand narrative, but the faint light of ordinary people in the depths of darkness. When fragile individuals still choose to guard dignity, kindness, and hope in the face of despair, that is the true, unquenchable beacon of humanity, she said.
Shi Wenxue, a veteran Beijing-based culture critic, told the Global Times that with its technological attributes as a bridge, new media has reshaped the way contemporary society connects with the history of the war.
Whether through virtual reality, augmented reality, or mixed reality technologies, new media has innovated the forms of carrying forward the spirit of resistance. Multi-sensory storytelling opens emotional channels, creating a more immersive experience that deepens memory and understanding, making the inheritance of this spirit more tangible, Shi said.
Moreover, the use of new technologies has enabled more episodes of wartime history to be brought back to life. The content passing on the spirit of resistance has become increasingly rich, while in terms of systems and depth, a comprehensive and all-encompassing framework has taken shape, Shi noted.
Rise of new forms
From traditional opera to the emergence of micro-dramas, more innovative art forms like immersive theater and script role-playing games have emerged as powerful vehicles for preserving the spirit of the War against Japanese Aggression. By blending history with interactive storytelling, these formats are reaching younger audiences.
In Tongshukeng village, Taizhou, East China's Zhejiang Province, the immersive drama The Battle Fortress on the High Mountain premiered.
Based on the village's own revolutionary history, when the Red Army led by Communist Party of China forces held firm for 11 grueling years, the performance vividly recreates the resilience of Taizhou's residents.
Meanwhile, scripted role-playing games set during the war have also begun flourishing. Players assume roles, including soldiers, spies and civilians, and make life-and-death choices in simulated historical scenarios, giving the players an immersive experience as a different kind of witness to history during the game.
"These forms are entertaining and social for young people," said cultural critic Yu Jinlong.
Yu told the Global Times that unlike static textbooks or museum exhibits, these activities turn history into a "living experience," lowering barriers to engagement. In role-play scenarios, youth grapple with historical cause and effect, fostering critical thinking about the complexities of the past.
But innovation brings responsibility. Zheng Changling, a research fellow at the Chinese National Academy of Arts, emphasizes that while artistic imagination has its place, historical integrity must remain paramount.
"Creators must collaborate with professional historians to avoid factual errors or distortion," he urges.
He suggests clear disclaimers distinguishing fact from fiction, post-performance discussions led by experts, and industry-wide content guidelines to ensure respectful and educational treatments of the subject.
Zheng also cautions against excessive commercialization or trivialization of painful history.
"The War of Resistance was a struggle against ethnic annihilation, it defined who we are as a nation. While art need not graphically depict every atrocity, it must convey the gravity of loss and the dignity of resistance," Zheng told the Global Times.
Yet both experts agree: The public's growing appetite for meaningful content is a promising sign.
As Zheng concludes, "This isn't just about remembering the past; it's about strengthening our cultural soul. When people engage emotionally with history, they carry its lessons forward."
https://www.globaltimes.cn/page/202508/1341349.shtml
Source: Global Times:
Company: Global Times
Contact Person: Anna Li
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City: Beijing
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