When Art Becomes a Test of Freedom

Isabelle Karamooz
^{Aug 4}

When Art Becomes a Test of Freedom

當藝術成為自由的試金石

Can a dance performance become a matter of international policy? At first glance, the question seems improbable. Dance belongs to the realm of beauty, music, movement, and artistic expression. Governments negotiate treaties, impose sanctions, and debate legislation. Rarely do the worlds of choreography and geopolitics appear to intersect. Yet on Capitol Hill this summer, lawmakers, artists, journalists, and policy experts gathered around precisely that question, suggesting that culture itself has become an arena in which the boundaries of freedom are being tested.

一場舞蹈演出能成為國際政策議題嗎？乍看之下，這個問題似乎不太可能。舞蹈屬於美學、音樂、動作與藝術表達的領域。政府則負責協商條約、實施制裁，並就立法進行辯論。編舞與地緣政治的領域似乎極少有交集。然而，今年夏天在國會山莊，立法者、藝術家、記者和政策專家們正是圍繞著這個問題齊聚一堂，這顯示文化本身已成為一個測試自由邊界的舞台。

Dr. Bruno Mazali, French Quarter Magazine's correspondent in Washington, D.C., had the honor of attending an evening on Capitol Hill alongside Jan Jekielek, an award-winning journalist, author, and documentary filmmaker. As Senior Editor of The Epoch Times and host of American Thought Leaders, he is widely recognized for his in-depth interviews with world leaders, scholars, and experts on major international issues, human rights, and public affairs.

《法國區雜誌》(French Quarter Magazine) 駐華盛頓特區特派記者Bruno Mazali博士，有幸與屢獲殊榮的記者、作家暨紀錄片導演楊傑凱一同出席了在國會山莊舉辦的晚間活動。身為《大紀元時報》資深編輯暨《美國思想領袖》節目主持人，他因針對重大國際議題、人權及公共事務，對世界領袖、學者及專家進行的深度專訪而廣受認可。

He is also the author of Killed to Order: The Human Cost of Organ Harvesting in China, an investigative work examining allegations of forced organ harvesting in China. In recognition of the impact of his journalism and his contribution to the defense of human rights, French Quarter Magazine honored him with its 2026 Author of the Year Award.

他同時也是《按需殺戮》(Killed to Order: The Human Cost of Organ Harvesting in China) 一書的作者，這是一部針對中國強制摘取器官指控進行調查的著作。為表彰其新聞報導所產生的影響及其在捍衛人權方面的貢獻，《法國區雜誌》(French Quarter Magazine) 授予他2026年度「年度作家獎」。

During the evening, discussions focused on culture, artistic freedom, and the challenges facing freedom of expression in the twenty-first century. The event also provided an opportunity to reflect on the essential role of the arts in democratic societies and on the ways culture can serve as a powerful vehicle for dialogue, memory, and freedom.

當晚的討論聚焦於文化、藝術自由，以及二十一世紀言論自由所面臨的挑戰。此次活動也提供了一個契機，讓人們反思藝術在民主社會中不可或缺的角色，以及文化如何成為促進對話、傳承記憶與捍衛自由的強大媒介。

The occasion was a presentation on Transnational Repression & Cultural Expression, featuring artists from Shen Yun Performing Arts and the award-winning documentary UNBROKEN: The Untold Story of Shen Yun. Held on Capitol Hill, the program combined a reception with performers, a screening of the film, and a panel discussion examining allegations of intimidation directed at the New York-based performing arts company and the broader issue of transnational repression. The event also highlighted several bills currently before Congress addressing foreign intimidation, illicit overseas police activity, and related human rights concerns.

此次活動是一場以「跨國鎮壓與文化表達」為主題的專題講座，邀請了神韻藝術團的藝術家，並放映了屢獲殊榮的紀錄片《堅不可摧：神韻幕後的故事》。活動在國會山莊舉行，內容包含由表演者參與的招待會、紀錄片放映，以及一場專題座談會，針對這家總部位於紐約的表演藝術團體所遭受的恐嚇指控，以及更廣泛的跨國鎮壓議題進行探討。活動中亦特別提及數項目前正由國會審議的法案，這些法案旨在處理外國威嚇、海外非法執法活動，以及相關的人權問題。

The discussion extended well beyond one artistic company. It raised a broader historical question that has confronted societies for centuries: Who decides what culture may be performed, remembered, or preserved?

這場討論的範圍遠不止於某個藝術團體。它提出了一個更廣泛的歷史問題，這個問題數世紀以來一直困擾著各社會：究竟由誰來決定哪些文化可以被呈現、被銘記或被保存？

History repeatedly demonstrates that art is rarely viewed as politically neutral by authoritarian governments. Throughout the twentieth century, dictatorships sought to regulate literature, theater, cinema, music, and dance because culture possesses a remarkable ability to preserve memory and shape identity. Libraries have been burned, paintings confiscated, orchestras silenced, writers imprisoned, and performances prohibited not because art alone threatens political power, but because ideas often travel farther than armies.

歷史一再證明，威權政府極少將藝術視為政治中立。整個二十世紀以來，獨裁政權不斷試圖管控文學、戲劇、電影、音樂與舞蹈，因為文化具備非凡的能力，既能保存記憶，也能形塑認同。圖書館遭焚毀、畫作被沒收、管弦樂團被迫噤聲、作家遭監禁、演出被禁止——這並非因為藝術本身會威脅政治權力，而是因為思想的傳播往往比軍隊更遠。

In that respect, the debate surrounding Shen Yun belongs to a much older historical tradition.

從這方面來看，圍繞「神韻」的爭論源自於古老的歷史傳統。

Founded in New York in 2006, Shen Yun describes itself as a nonprofit performing arts company dedicated to reviving the traditions of "China before communism" through classical Chinese dance, music, and storytelling. Each year, the company tours internationally before audiences numbering more than one million people. Its productions combine classical Chinese dance with a live orchestra and narratives drawn from Chinese history, mythology, and contemporary stories, including performances depicting the persecution of Falun Gong practitioners inside China. The company states that this mission has made it the target of sustained efforts to disrupt its performances and activities abroad.

神韻於2006年在紐約成立，自述為一家非營利性表演藝術團體，致力於透過中國古典舞、音樂及故事敘述，復興「共產主義之前中國」的傳統。該團每年進行國際巡演，觀眾人數超過一百萬人。其演出融合中國古典舞、現場管弦樂隊，以及取材自中國歷史、神話與當代故事的敘事，其中包括描繪中國境內法輪功學員遭受迫害的表演。該團表示，正是這項使命，使其成為海外演出與活動遭持續破壞的目標。

Whether viewed primarily as a performing arts organization, a cultural institution, or a subject of political controversy, Shen Yun occupies an unusual place in contemporary cultural diplomacy. Unlike state-sponsored cultural companies representing official national narratives, it presents a vision of traditional Chinese civilization that exists outside the framework promoted by the Chinese government. That distinction explains why the discussion on Capitol Hill focused less on choreography than on artistic freedom.

無論是主要被視為表演藝術團體、文化機構，還是政治爭議的焦點，「神韻」在當代文化外交中都佔據著獨特的位置。與代表官方國家敘事的國家資助文化團體不同，它呈現的中國傳統文明觀，存在於中國政府所倡導的框架之外。正是這項區別，解釋了為何國會山的討論較少聚焦於編舞，而更多集中在藝術自由上。

The documentary UNBROKEN presents firsthand accounts from performers describing what the filmmakers characterize as efforts to intimidate artists, interfere with performances, and pressure institutions hosting the company. According to the documentary and event organizers, these experiences illustrate what policymakers increasingly refer to as transnational repression; actions by governments that seek to influence, intimidate, or silence individuals beyond their own borders.

紀錄片《堅不可摧》呈現了表演者們的第一手敘述，描述了製片方所稱的「威嚇藝術家、干預演出，以及向主辦該劇團的機構施壓」等行為。根據該紀錄片及活動主辦方的說法，這些經歷正體現了政策制定者日益常提的「跨國鎮壓」現象——即政府為影響、威嚇或壓制國境以外的個人所採取的行動。

The concept itself has attracted growing attention in democratic societies over the past decade. Legislatures, law enforcement agencies, and human rights organizations have increasingly examined allegations involving harassment, surveillance, coercion, threats against families, and other activities directed at diaspora communities, journalists, academics, artists, and political dissidents living abroad. The Capitol Hill presentation placed Shen Yun within that wider conversation, suggesting that artistic organizations may also become targets when their work challenges official narratives.

過去十年間，這個概念本身在民主社會中已日益受到關注。立法機關、執法機構及人權組織，越來越多的審視涉及騷擾、監控、脅迫、對家屬的威脅，以及針對旅居海外的僑民社群、記者、學者、藝術家和政治異見人士的其他行為指控。國會山莊的簡報將神韻置於這場更廣泛的討論之中，指出當藝術團體的作品挑戰官方敘事時，這些團體也可能成為攻擊目標。

What makes this discussion historically significant is that it shifts attention away from the traditional image of censorship. Modern censorship does not always involve banning a book or closing a theater. It may instead take more indirect forms: pressure campaigns, intimidation, disinformation, diplomatic complaints, cyber activity, or attempts to discourage venues from hosting performances. Whether such allegations are ultimately substantiated in individual cases remains a matter for investigation and public scrutiny, but the broader policy question has become increasingly relevant: Can artistic freedom be constrained beyond national borders?

這場討論之所以具有歷史意義，在於它將焦點從傳統的審查形象上轉移開來。現代的審查制度並不總是涉及禁書或關閉劇院。它可能採取更間接的形式：施壓行動、恐嚇、散佈虛假資訊、外交抗議、網路活動，或是試圖勸阻場館舉辦演出。儘管此類指控在個別案例中最終能否獲得證實，仍需經由調查與公眾檢視，但更廣泛的政策問題已日益受到重視：藝術自由能否在國界之外受到限制？

The evening concluded with a panel discussion hosted by Steve Lance, executive producer of UNBROKEN and host of NTD's Capitol Report, bringing together Congressman Marlin Stutzman (R–Indiana) and several Shen Yun Performing Arts artists, including Lucas Browde, Jesse Browde, Rachel Chen, Angela Lin, and Shen Yun master of ceremonies Leeshai Lemish. Rather than focusing solely on the documentary itself, the conversation broadened into a discussion of artistic freedom, religious liberty, and what participants described as the growing challenge of transnational repression.

當晚的活動以一場由《堅不可摧》（UNBROKEN）執行製片人暨新唐人電視台〈國會山報導〉（Capitol Report）主持人史蒂夫·蘭斯（Steve Lance）主持的小組討論作為壓軸，與會者包括國會議員馬林·斯圖茨曼（Marlin Stutzman，共和黨－印第安納州）以及多位神韻藝術團藝術家，其中包括包明宇（Lucas Browde）、包正宇（Jesse Browde）、陳丹蕾（Rachel Chen）、林安琪（Angela Lin），以及神韻主持人林理善（Leeshai Lemish）。討論不僅聚焦於紀錄片本身，更延伸至藝術自由、宗教自由，以及與會者所描述的「跨國鎮壓日益加劇的挑戰」。

Opening the discussion, Congressman Stutzman said the documentary served as a reminder of the importance of protecting freedom in democratic societies and expressed the hope that more of his colleagues in Congress would see the film. Referring to the broader issues raised during the evening, he argued that Americans should remain attentive to foreign efforts to influence or intimidate individuals and institutions within the United States.

國會議員斯圖茨曼在討論開始時表示，這部紀錄片提醒了人們在民主社會中捍衛自由的重要性，並希望更多國會同僚能觀看這部影片。針對當晚討論所涉及的更廣泛議題，他指出，美國人應持續警惕外國試圖影響或威嚇美國境內個人及機構的行為。

The Shen Yun artists then shared personal reflections on performing while, they said, facing pressure and intimidation linked to the Chinese Communist Party's campaign against the company. Violist Rachel Chen recounted meeting a woman during a European tour who revealed that they had once been imprisoned in the same labor camp in China, a moment she described as a powerful reminder of why preserving artistic and spiritual freedom remains deeply personal. Dancer Jesse Browde reflected on the documentary's title, explaining that, for him, Unbroken represents not merely a film but a commitment to stand by one's principles despite adversity. Shen Yun emcee Leeshai Lemish argued that the company's efforts to revive traditional Chinese culture have made it a target because they challenge the historical narrative promoted by the Chinese Communist Party.

隨後，神韻藝術家們分享了在演出時的個人感悟，他們表示，在演出過程中，他們面臨著與中國共產黨針對該團的打壓行動相關的壓力與恐嚇。中提琴手陳丹蕾回憶起在歐洲巡演期間遇見一位女士，對方透露她們曾被關押在中國同一個勞教所中；她形容那一刻強烈地提醒了她，為何維護藝術與精神自由對她而言依然是極其個人化的事。舞者包正宇（Jesse Browde）針對這部紀錄片的片名進行了反思，他解釋道，對他而言，《堅不可摧》（Unbroken）不僅僅是一部電影，更代表著即使面對逆境，也要堅守自身原則的承諾。神韻主持人林理善（Leeshai Lemish）指出，神韻為復興中國傳統文化所做的努力，使其成為攻擊目標，因為這些努力挑戰了中國共產黨所推崇的歷史敘事。

For those in attendance, the discussion reinforced the central theme of the evening: that cultural expression is not simply a matter of performance or entertainment. It can also become a powerful expression of identity, memory, and conscience; one that raises enduring questions about freedom, the role of the arts in democratic societies, and the extent to which governments should be able to influence artistic expression beyond their own borders.

對與會者而言，這場討論再次闡明了當晚的核心主題：文化表達不僅僅是表演或娛樂的問題。它亦能成為身分認同、記憶與良知的強有力表達；這種表達引發了關於自由、藝術在民主社會中的角色，以及政府應能在多大程度上影響其國界以外的藝術表達等持久議題。

As a historian, one cannot help but recognize familiar patterns.

身為歷史學家，人總會不由得察覺到那些熟悉的模式。

Governments have long understood that culture shapes collective memory. Opera carried the language of nationalism across nineteenth-century Europe. Literature preserved identities under foreign occupation. Ballet became an instrument of prestige during the Cold War. Jazz itself once served as an unexpected ambassador of American diplomacy. Art does more than entertain; it tells societies who they are and who they aspire to become.

各國政府早已明白，文化塑造著集體記憶。歌劇在十九世紀的歐洲傳遞了民族主義的語言；文學在異族佔領下守護了民族認同；芭蕾舞則在冷戰期間成為展現威望的工具；連爵士樂本身，也曾出人意料地擔任過美國外交的使者。藝術不僅僅是娛樂；它更向社會闡明人們的本質，以及他們渴望成為什麼樣的人。

That is why performances often acquire significance beyond the stage.

正因如此，演出往往具有超越舞台的意義。

For audiences, a dance production may simply be an evening of extraordinary choreography and music. For policymakers, however, the same performance may intersect with questions of freedom of expression, religious liberty, national security, and international relations. The Capitol Hill presentation reflected this convergence by connecting cultural expression with pending legislation addressing foreign intimidation and related concerns.

對觀眾而言，一齣舞蹈作品或許僅僅是一場融合非凡編舞與音樂的夜晚。然而，對政策制定者來說，同一場演出卻可能與言論自由、宗教自由、國家安全及國際關係等議題交織在一起。國會山莊的這場簡報會，正是透過將文化表達與針對外國威嚇及相關議題的待審議法案相連結，反映了這種交匯。

Regardless of where one stands politically, the event invited reflection on an enduring democratic principle: free societies have traditionally distinguished themselves by allowing artistic expression to flourish without government dictating what citizens may watch, perform, believe, or create. This principle is neither automatic nor permanent. Every generation must decide how vigorously it wishes to defend it.

無論個人的政治立場為何，這場活動都讓人反思一項歷久彌新的民主原則：自由社會向來以允許藝術表達蓬勃發展為特色，政府不會干預公民可以觀看、表演、信仰或創作的內容。這項原則既非理所當然，亦非恆久不變。每一代人都必須決定，自己願意以多大的決心來捍衛這項原則。

Perhaps that explains why the discussion surrounding UNBROKEN resonates beyond a single documentary or performing arts company. At its heart lies a question much older than the present moment.

這或許解釋了為何圍繞《堅不可摧》的討論，其影響力已超越單部紀錄片或單一表演藝術團體的範疇。其核心所探討的，是一個遠比當下時代更為古老的問題。

When artists step onto a stage, are they merely performing? Or are they exercising one of the oldest freedoms that open societies seek to protect?

當藝術家踏上舞台時，他們只是在表演嗎？還是說，他們正在行使開放社會致力於捍衛的、最古老的自由之一？

Sources: 

• Event materials for the Capitol Hill presentation on Transnational Repression & Cultural Expression;
• Official information from Shen Yun Performing Arts regarding UNBROKEN: The Untold Story of Shen Yun; reporting on the July 22, 2026 Capitol Hill event by NTD;
• And publicly available information concerning congressional legislation referenced during the presentation.

來源出處：

• 關於「跨國鎮壓與文化表達」的國會山莊簡報會之活動資料；
• 神韻藝術團關於《堅不可摧：神韻幕後的故事》的官方資訊；新唐人電視台（NTD）對2026年7月22日國會山莊活動的報導；
• 以及簡報中提及的、關於國會立法的公開資訊。

(中文翻譯為AI翻譯)

https://www.frenchquartermagazine.com/post/when-art-becomes-a-test-of-freedom