蔡依林【PLEASURE（愉悅主義）巡迴演唱會】即將前往大陸開唱，近期因舞台設計引發爭議，部分網友指稱演出中的舞台裝置帶有宗教隱喻，爭議內容包括大型機械蛇、巨型公牛與懸空劍陣等舞台設計，招致「吸取氣運」、「怪誕詭異」、「陰間美學」等聳動評價，最近又傳出上百封檢舉信已寄到大陸各地文旅單位，事件持續熱搜持續引發關注。本文從多維度深入剖析蔡依林此次巡演的文化震盪與潛在風險。深入剖析這些爭議，我們需要先理解流行文化在公共空間中運作的潛在原則。

Jolin Cai's "PLEASURE" Tour is about to launch across the Chinese mainland, and the recent stage design has sparked controversy. Some netizens have claimed that the stage installations in the performance contain religious allusions. The controversial aspects include stage designs such as a large mechanical snake, a giant bull, and a suspended sword array, which have elicited sensational critiques such as "absorbing luck," "bizarre and eerie," and "ghostly aesthetics." Recently, it has been reported that hundreds of complaint letters have been sent to cultural and tourism departments across the Chinese mainland, and the incident remains a trending topic, sustaining widespread attention. This article will analyze the cultural shock and potential risks of Jolin Cai's tour from multiple perspectives. To analyze these controversies deeply, we need to first understand the underlying principles of how popular culture operates in the public sphere .

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保持「謹慎」是為了維持公共空間的平衡

​"Caution" as a Strategy for Public Sphere Equilibrium
 

要探討這些因舞台設計引發的文化震盪，我們必須先理解：在多元社會中，保持「謹慎」往往是為了維持公共空間的平衡。在多元社會中，這種謹慎是維護和諧的必要策略。抛開對於蔡依林演唱會是否涉及宗教隱喻的判斷。先來探討——爲什麽忌諱觸碰宗教話題？因爲宗教話題高度整合了個人信仰、族群政治、文化遺產與權力結構。它是一個複雜的、充滿情感且具備政治爆炸力的能量場。

To explore the cultural shocks triggered by stage design, we must first understand that in a pluralistic society, caution is often exercised to maintain balance in the public sphere, serving as a necessary strategy for maintaining harmony. Setting aside the judgment of whether Jolin Cai's concert involved religious allusions, let's first discuss: why the aversion to touching upon religious topics? Because religious topics interweave personal beliefs, ethnic politics, cultural heritage, and power structures. It is a complex, emotionally charged, and politically explosive domain.

在世界歷史上，政教合一的「神權政治」是一種普遍存在的政治體制。現代化進程中，大多數已開發國家和許多開發中國家非常普遍的推行「政教分離」——雖然已經進行結構性的剝離，但宗教的影響力依然存在——現代化進程並沒有也無法消滅宗教，只能改變宗教影響力發揮的方式，轉變調整為更爲內在的、社會性的影響——向「軟實力」轉化。尤其在主流文化傳播與公共娛樂空間中，對於宗教符號的運用需要極度審慎，因為任何不當的觸碰都可能挑戰到社會的規範與共識，這正是當前全球宗教話題依然敏感的核心原因。也有國家在維持現代化和經濟發展的同時，依然能夠維持某種形式的宗教影響力，甚至是國教體制。因此，現代化國家不管是否「政教分離」，仍是宗教影響力的存在領域。這也是為什麼在當代大眾文化中，一旦涉及宗教符號，往往會觸發不同陣營的敏感神經，並有可能引發跨階層、跨地域的連鎖反應——因為那不僅是藝術表達，更是對那個「強大能量場」的觸碰。

Throughout world history, theocracy, where state and religion are unified, has been a prevalent political system. During modernization, most developed countries and many developing countries have widely implemented the separation of church and state. Although this structural separation has occurred, religious influence persists. Modernization has not, and cannot, eliminate religion; it can only alter how that influence manifests, transforming it into a more intrinsic, social form—a conversion to soft power. Especially in mainstream cultural dissemination and public entertainment spaces, the use of religious symbols requires extreme caution, as any injudicious engagement could challenge social norms and consensus. This is the core reason why religious topics remain sensitive globally. Some countries, while maintaining modernization and economic development, still manage to preserve some form of religious influence, or even a state religion system. Therefore, regardless of whether a modern state separates church and state, it remains a domain where religious influence exists. This is why, in contemporary popular culture, the utilization of religious symbols often triggers sensitivities across different camps and can potentially lead to cross-class and cross-regional chain reactions. This is because it is not merely artistic expression, but a touch upon that powerful energy field.

守住「底線」是為了規避跨文化的衝突

Observing "Bottom Lines" to Mitigate Cross-Cultural Conflict
 

這個原則同樣適用於歐美流行女歌手，融合流行文化與古典美學，能夠增加表演的戲劇張力，但不恰当的觸碰宗教内容，也必然引发轩然大波，在世界各地都有可能引发群體质疑与声讨。凱蒂·佩芮（Katy Perry）2013年的熱單〈Dark Horse〉就曾引發過爭議。這首歌曲及MV里融合孟菲斯嘻哈音樂与古埃及相关的視覺符号，例如荷魯斯之眼等元素植入，引发了一些基督教饒舌歌手的指控，稱其爲「反基督教巫術、異教主義、黑魔法和光明會意象」。更嚴重的是，在MV影片中，有一幕佩戴阿拉伯文「阿拉」吊墜的求婚者被燒成灰燼的場景，引發了超6万穆斯林群體的强烈不滿，包括穆斯林群體裏的包容派也忍無可忍，發言稱「包容也是有限度的！這是不尊重的表現！」。最终凱蒂·佩芮方面迫于巨大压力在MV发行的七天内，强制抹除画面中涉及教派指向性的「阿拉」吊墜。

This principle also applies to female pop singers in Europe and America. Blending pop culture with classical aesthetics can increase the dramatic tension of a performance, but inappropriate engagement with religious content will inevitably cause a huge uproar, potentially sparking widespread criticism and denunciation around the world. Katy Perry's 2013 hit single "Dark Horse" sparked controversy. The song and music video incorporated Memphis hip-hop alongside ancient Egyptian visual symbols, such as the Eye of Horus, leading to accusations from some Christian rappers who branded it as "anti-Christian witchcraft, paganism, black magic, and Illuminati imagery." More seriously, a scene in the music video where a suitor wearing an Arabic "Allah" pendant is burned to ashes triggered strong dissatisfaction from over 60,000 Muslims, including moderates within the community who expressed outrage, stating, "There are limits to tolerance! This is an act of disrespect!" Ultimately, under immense pressure, Katy Perry's team forcibly edited out the religiously explicit "Allah" pendant from the video within seven days of its release .

解析其中的門道——并非所有宗教元素都能夠進行流行化的呈現，其中大有講究與禁忌，有些底綫是不能觸碰的！對於埃及方面而言，他們可能會歡迎在全球級的流行作品中使用古埃及元素，以此來增加埃及的知名度和話題熱度，帶動埃及的文化旅游，且古埃及宗教是多神论，信仰體系非常複雜，沒有單一的神明能像亞伯拉罕宗教中的上帝一樣涵蓋整個歷史——埃及符號更多是文化遺產而非現存的「神聖不可侵犯」的信仰對象。因此，對古埃及元素進行流行化改編是相對低風險的，也往往只是涉及金字塔建築、埃及妝容與服飾風格等外在表象。但「阿拉」是伊斯蘭教的核心信仰，是伊斯蘭世界極其嚴肅、不容任何調侃的存在！凱蒂·佩芮及團隊將其進行娛樂化的改編，在擡手之間將「阿拉」的虔誠教徒灰飛烟滅——往嚴重來説，不僅是對「阿拉」真神的羞辱，更是對全球20億以上的伊斯蘭教徒行「挑釁」之舉。

To analyze the dynamics at play: Not all religious elements lend themselves to pop-culture presentation. There are intricate rules and inviolable taboos; some bottom lines simply cannot be crossed! From Egypt's perspective, they might welcome the use of ancient Egyptian elements in globally popular works to increase Egypt's visibility and generate buzz, boosting cultural tourism. Ancient Egyptian religion was polytheistic, with a very complex belief system. No single deity could encompass the entirety of history like the singular God of the Abrahamic faiths. Egyptian symbols are more of a cultural heritage than existing sacred and inviolable objects of contemporary worship. Therefore, adapting ancient Egyptian elements for popular use is relatively low-risk and often only involves external superficialities such as pyramid architecture, Egyptian makeup, and clothing styles. However, "Allah" is the core belief of Islam, a highly serious and inviolable entity in the Islamic world! Katy Perry and her team adapted the story for entertainment, depicting the annihilation of a devout follower of "Allah" with a mere wave of the hand—a move that, taken seriously, constitutes not only an insult to the true God "Allah" but also an act of provocation against the more than 2 billion Muslims worldwide .

綜上所述，無論是歐美，還是亞太，在一個全球化的傳播環境中，涉及宗教元素的内容與影像一旦釋出至公有領域，其意義便由「作者」與「受眾」共同完成。藝人及其團隊必須承擔在一些群體中被解讀、被批評的可能，並承擔相應的負面後果——這是藝人及其企劃團隊應有的行业認知。

In conclusion, whether in Europe and America or the Asia-Pacific region, in a globalized communication environment, once content and images involving religious elements are released into the public sphere, their meaning is jointly determined by the producers and the audience. Artists and their teams must anticipate the possibility of being interpreted and criticized by certain groups, and bear the corresponding negative consequences; this is an industry understanding that artists and their planning teams should possess .

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明確「邊界」是為了切斷負面的聯想

Defining "Boundaries" to Sever Negative Associations
 

回到【PLEASURE（愉悅主義）臺北演唱會】，臺北場演唱會共設置六個章節，目前最具爭議的就是<第一章：花園裡的女孩【出走】>。這一開場影片畫面顯示，蔡依林站在被巨蛇纏繞的天平兩端，與黑人祭司對望，隨後從天空下墜，落入毫無生機的皸裂大地，直面困苦絕境。雖然沒有資料直接指向篇章名以及開場影片涉及的「花園」以伊甸園為原型，但英文標題「Exodus」卻是可追溯到希伯來文聖經的古希臘文譯本《七十士譯本》，是全球廣汎認同的西方宗教事件的專有名稱，特指《聖經·出埃及記》，17世紀后發展成為一個具有更廣泛文化和語言應用的通用詞彙，泛指人口的大规模流动、逃离或迁移。

Returning to the PLEASURE Taipei concert, the show was structured into six chapters, the most controversial is "Chapter I : The Girl in the Garden [Exodus]," the opening video shows Jolin Cai stood on the two ends of the scales entwined by a giant snake, gazing across at a Black priest, subsequently falling from the sky, landing in a barren, cracked earth devoid of life, confronting hardship and despair. While there is no direct evidence that the "Garden" referenced in both the chapter title and the opening video is based on the Garden of Eden, the English title "Exodus" can be traced back to the Septuagint, a widely recognized ancient Greek translation of the Hebrew Bible. Originally a specific term for a Western religious event, referring specifically to the biblical Book of Exodus, it has since evolved after the 17th century into a more general term with broader cultural and linguistic applications, generally referring to large-scale population movements, escapes, or migrations in a secular context.

《聖經·出埃及記》講述在埃及為奴的以色列民，在摩西的帶領下出埃及，經歷十災，最終在西奈山領受神所立的律法與會幕建造的歷程。【PLEASURE（愉悅主義）臺北演唱會】的開場設定，在基督教徒的眼裏可能會被解讀成：以夏娃為原型的人物企圖逃離伊甸園，原罪使其堕落于荒野，在罪惡牛犢的指引下釋放靈魂深處更多「人性惡念」。在這一背景鋪墊下，隨後共舞的蛇也指向誘惑夏娃吃禁果的、那條滋生人類原罪的蛇。在基督教文化中，「金牛犢」與「伊甸園的蛇」通常象徵著邪惡、誘惑和魔鬼撒旦的化身，核心都圍繞著悖逆上帝、偶像崇拜、不信與罪的後果。

The Book of Exodus in the Bible tells the story of the Israelites enslaved in Egypt, who, led by Moses, departed Egypt, endured the ten plagues, and finally received God's law and instructions for the construction of the Tabernacle at Mount Sinai. The opening sequence of the PLEASURE Taipei Concert might be interpreted by Christians as Eve attempting to escape the Garden of Eden, her subsequent fall into the wilderness due to original sin, and the release of deeper human malevolence under the guidance of the sinful calf. Against this backdrop, the dancing serpent then points to the serpent that tempted Eve to eat the forbidden fruit, the serpent that gave rise to original sin. In Christian culture, the golden calf and the serpent of Eden typically symbolize evil, temptation, and the embodiment of Satan. These motifs all revolve around the consequences of disobeying God, idolatry, unbelief, and sin .

在伊甸園，亞當和夏娃違背了上帝的禁令，聽從了蛇的引誘；在曠野，以色列人違背了上帝「不可製造偶像」的誡命，轉而崇拜人手所造的金牛犢。金牛犢和伊甸園的蛇代表了人類歷史上對上帝權威的兩次重大背叛，強調了不順服和偶像崇拜的罪性。而在開場歌曲《SEVEN》中，又高唱的「咬掉亞當的蘋果，第六感等待已久」、「纏繞蛇的語言，讓你不停下墜」。即便以上任一單獨的元素或許是無意識的，但是多種元素在叠加混合之下，卻極有可能產生新的指向性，可能讓受衆裏的部分基督教徒認爲有「不敬上帝」的成分而感到被冒犯——在藝術創作中，單一元素（如蛇、牛、下墜）往往具有多義性，但當「Exodus」這個極具神學份量的詞彙與「蛇、牛犢、禁果」同時出現時，整體的語義空間會被迅速限縮在《聖經》的敘事框架內。在碎片化傳播的時代，一個孤立的視覺符號極易被剝離出原有的敘事語境，從而被賦予極端化的解釋。儘管存在這些符號爭議，蔡依林團隊在舞台藝術上的探索與創新依然值得肯定。

In the Garden of Eden, Adam and Eve disobeyed God's command and yielded to the serpent's temptation; in the wilderness, the Israelites disobeyed God's commandment "You shall not make idols," instead worshipping the golden calf created by human hands. The golden calf and the serpent in the Garden of Eden represent two major betrayals of God's authority in human history, emphasizing the sinfulness of disobedience and idolatry. The opening song "SEVEN" also features lyrics like, "biting off Adam's apple, the sixth sense has been waiting," and "entangled by the serpent's language, you will fall endlessly." Even if any single element is unintentional, the combination of multiple elements can potentially create new connotations, possibly offending some Christians in the audience who perceive it as "disrespectful to God." In artistic creation, a single element (such as the serpent, the calf, or the fall) often has multiple meanings, but when the theologically significant term "Exodus" appears alongside "serpent, calf, and forbidden fruit," the overall semantic space is rapidly confined to the biblical narrative framework. In an era of fragmented communication, an isolated visual symbol is easily stripped of its original narrative context and thus given extreme interpretations. Despite these symbolic controversies, Jolin Cai's team's exploration and innovation in stage art are still commendable.

回歸「本原」是為了消解無端的揣測

Returning to "Fundamentals" to Dissolve Groundless Speculation
 

蔡依林從小至今都是虔誠的佛教徒，她的宗教信仰源於家庭影響。通常情況下，對於信仰佛教的演藝人員而言，在每一場大型演出舉辦之前，按照慣例都會在演出后台設擺供品，燒香祈願——向東方世界的佛祈願，保佑演出順利，並不是祭拜西方世界或其他教派的神祇。所以，對於「有預謀的設陣吸取氣運」一説，過於誇張。綜上所述，【PLEASURE（愉悅主義）臺北演唱會】裏的西化元素都是用以包裝舞台表演的藝術需求，對於佛教信仰的表演者而言，這并非出於對西方信仰的偏見與特殊傾向。因此，任何後續務實的調整並不涉及對任何信仰的價值判斷，而是基於跨文化傳播的考量與負責任的溝通姿態。

Jolin Cai has been a devout Buddhist since childhood, with her religious beliefs stemming from family influence. Typically, for Buddhist performers, it is customary before each major performance to set up offerings and burn incense backstage—praying to the Buddhas and Bodhisattvas of the Eastern world for a successful show, rather than worshipping Western gods or deities from other faiths. Therefore, the claim that the performance involved "setting up a formation to drain the audience's luck" is an exaggeration. In conclusion, the Western elements in the PLEASURE Taipei concert were purely artistic choices made for the stage performance packaging. For a Buddhist performer, this is not driven by a bias or specific inclination toward Western faiths. Therefore, any subsequent pragmatic adjustments do not involve value judgments of any faith, but rather a consideration of cross-cultural communication and a responsible communication posture.

我贊賞藝人及其團隊對藝術内容創作做出的探索，但還是應該明確故事情節的架空程度，强調演出情節的架空虛構性，盡可能切斷宗教聯想——吸取一些客觀意見。對此，建議藝人方面與演出主辦方應該盡可能調整一些設計，把可能與《聖經》形成强烈關聯、產生直接聯想的元素，比如更換「Exodus」的篇章詞匯等——這是基於考量，確保藝術順利呈現的有效策略之一。同時在售票平臺盡到告知義務，標注：「演出會出現蛇、牛等大型裝置，若對相關動物會產生不適請慎重購票」等聲明——其實并不影響售罄速度，但體現了對目標觀眾文化背景的尊重與專業的風險管理態度。此外，把慶典公牛繞場車隊高舉的類似「白色招魂幡（丧葬幡）」的設計撤換，其中也包括圓形舞臺四周的疑似「白色招魂幡（丧葬幡）」矩陣——外國的設計團隊也許不懂，或許意在營造一種「神聖、純淨或原始的儀式感」，但在台灣和大陸的習俗以及東亞文化語境中，應該都知道這真的很像喪葬儀式會出現的元素——極易產生視覺語義的文化誤讀。對此，建議調整，徹底切斷陰晦的聯想。

I appreciate the artists' and their teams' exploration of artistic content creation, but the degree of the storyline's fictionality should be clearly defined. The fictitious nature of the performance should be emphasized, religious associations minimized, and objective opinions considered. In this regard, I suggest that the artists and the event organizers adjust some designs as much as possible, removing elements that might strongly relate to or directly evoke associations with the Bible, such as changing the term "Exodus" used for the chapter title. This is a well-considered and effective strategy to ensure the smooth presentation of the art itself. Simultaneously, ticketing platforms should fulfill their duty to inform audiences by stating: "The performance will feature large installations such as snakes and bulls. Please exercise caution when purchasing tickets if you are sensitive to these animals." This approach would not affect ticket sales but demonstrates respect for the target audience's cultural background and a professional risk management attitude. Furthermore, the design of the "white spirit banners" (丧葬幡) carried by the convoy of bulls around the stage should be removed, including the matrix of what appears to be "white spirit banners" surrounding the circular stage. Foreign design teams may not understand this, and may intend to create a sense of sacredness, purity, or primitive ritual. However, within the customs of Taiwan and the Chinese mainland, and within the context of East Asian culture, they should recognize that this strongly resembles elements found in funeral rites, easily leading to cultural misinterpretations of the visual meaning. Therefore, adjustments are recommended to completely eliminate any negative or unsettling associations.

對於這些細節調整，并不會影響整體的藝術內核的展現，但卻能夠切斷一些負面關聯——這種細節的文化在地化微調，對於消解負面關聯至關重要。

These subtle adjustments do not affect the overall artistic core, but they can sever negative associations. This kind of culturally localized fine-tuning is crucial for dissolving potential negative connections.

洞悉「輿情」是為了掌握傳播的脈絡

Discerning "Public Opinion" to Master the Communication Context
 

根據中國大陸官方2018年發佈的《保障宗教信仰自由的政策和實踐》白皮書指出，大陸有佛教、道教、伊斯蘭教、天主教和基督教等宗教，信教公民近2億人。其中，佛教和道教信徒占據多數，天主教信徒約600萬人，基督教信徒3800多萬人。大陸始終堅持從本國國情和宗教實際出發，實行宗教信仰自由政策，保障公民宗教信仰自由權利，建構積極健康的宗教關係，維護宗教和睦與社會和諧。信教和不信教公民和睦相處：不信教公民尊重信教公民的宗教信仰，不歧視和排斥信教公民；信教公民尊重不信教公民的信仰選擇。

According to the 2018 white paper, Policies and Practices on Safeguarding Freedom of Religious Belief, released by the Chinese mainland authorities, there are Buddhism, Taoism, Islam, Catholicism, and Christianity in the Chinese mainland, with nearly 200 million adherents. Among them, Buddhists and Taoists make up the majority, Catholics number approximately 6 million, and Christians number over 38 million. The Chinese mainland has consistently adhered to a policy of freedom of religious belief based on its national conditions and religious realities, safeguarding citizens' right to freedom of religious belief, building positive and healthy religious relations, and maintaining religious harmony and social harmony. Religious and non-religious citizens coexist harmoniously: non-religious citizens respect the religious beliefs of religious citizens and do not discriminate against or exclude them, while religious citizens respect the faith choices of non-religious citizens.

大陸的無神論者、佛教徒是占據絕大部分的主流群體，因此在無神論者、佛教徒的眼中——主要以看熱鬧爲主，對於涉及西方元素的設定不會有深入的認知、概念與意識。當下的世界格局正在不斷變化，中華民族正在勢不可擋的全面崛起，大陸對於全球文化交流持開放態度，但同時重視內容傳播的在地文化適應性。大陸權威智庫在多年前就已公開指出：「要警惕文化領域、意識形態的鬥爭，警惕通過文化活動在潛移默化之中完成惡性植入，警惕不為大眾所察覺。」這更多體現了在文化傳播中對在地規範的重視。

Atheists and Buddhists constitute the majority of the mainstream population in the Chinese mainland. Therefore, from their perspective, the event is primarily a spectacle, lacking in-depth understanding, conceptual awareness, or recognition of Western religious elements. The current world order is constantly evolving, and the Chinese nation is experiencing an unstoppable and comprehensive rise. While the Chinese mainland maintains an open attitude towards global cultural exchange, it simultaneously emphasizes the local cultural adaptability of content dissemination. Years ago, authoritative think tanks in the Chinese mainland publicly pointed out: "We must be vigilant against struggles in the cultural and ideological spheres, vigilant against the subtle and malicious implantation of ideas through cultural activities, and vigilant against actions that go unnoticed by the public." This emphasis primarily reflects a focus on local norms in cultural dissemination and adaptation.

目前，大陸場次還未開演，【PLEASURE（愉悅主義）臺北演唱會】的內容並不等於【PLEASURE（愉悅主義）大陸巡迴演唱會】的內容！儘管大陸演出審批已經獲得通過，顯示了大陸官方層面的開放態度，但愈來愈多的檢舉信發向文旅部門，自然會引發大陸監管部門對後續輿情的持續性關注、以及更多元角度的評估。因此，目前各方尚都處於觀望狀態，靜候作爲大陸首站的深圳場的開演，再做進一步判斷。

Currently, the Chinese mainland shows have not yet commenced, and the content of the PLEASURE Taipei concert may differ from that of the PLEASURE Chinese mainland tour. Although performance approval in the Chinese mainland has been granted, demonstrating the openness of the authorities,the increasing number of complaint letters sent to the cultural and tourism departments will naturally prompt continued scrutiny of public opinion and more diverse assessments by Chinese mainland regulatory bodies. Therefore, all parties currently remain in a wait-and-see state, awaiting the opening of the Shenzhen concert—the tour's first stop in the Chinese mainland—before making further judgments.

在這一輿論背景下，蔡依林三月深圳站的演出作爲大陸巡演首站顯得尤爲重要，不只是歌迷、粉絲與大陸網民的關注，還有監管部門的重視。我認為，首場開演后的社群輿論走向至關重要——深圳站為觀望指標。若演出內容引發成千上萬的檢舉信源源不斷發向文旅部門，即使最初審批通過，洶湧的民意壓力也可能帶來後續已定演出出現變數的風險，這是任何市場都無法完全保證的。

Against this backdrop of public opinion, Jolin Cai's Shenzhen concert in March, as the first stop of her mainland tour, is particularly important, attracting attention not only from fans and netizens but also from regulatory bodies. I believe the direction of public opinion on social media after the first show is crucial, with the Shenzhen show serving as a key indicator. If the performance content triggers a flood of complaints to the cultural and tourism departments, even if initial approval is granted, the overwhelming public pressure could introduce variables to subsequent scheduled performances—a risk that no market can completely guarantee.

北京鳥巢體育場作爲國家級指標性的演出場地，在此演出同時具有獲得國家層面認可的深層次意義。因此，我還認爲，洞察北京方面的看法非常重要，其表態對各地文旅分支部門也具有指導意義——北京站為定性風向標。若北京場次因劇烈輿情變動或行政調整而被取消，無不對外傳達演出存在一些問題，必然連帶對藝人產生負面影響，恐將會是藝人演藝生涯中的巨大危機。因此，藝人方面與演出主辦方應該高度重視、積極應對——請做好大陸巡演深圳首場與北京場兩站大考！屬於藝人及其團隊的考驗才剛剛開始！——這場文化震盪提醒著所有全球化的創作者，在追求藝術表達的同時，洞悉文化符號的潛在脈絡、管理傳播風險，是維繫商業成功與社會和諧的必修課。（文/酋長）

Beijing National Stadium (Bird's Nest) is a national landmark performance venue, and performing there carries the profound significance of receiving national-level recognition. Therefore, I also believe that gaining insight into Beijing's perspective is crucial, as its official stance has guiding significance for cultural and tourism branches in various regions—the Beijing stop serves as a qualitative weather vane. If the Beijing performance is cancelled due to drastic shifts in public opinion or administrative adjustments, it will undoubtedly signal that there are issues with the production, inevitably negatively impacting the artist and potentially causing a major career crisis. Therefore, both the artist and the event organizers should pay close attention and respond proactively. They must prepare for the crucial tests of the Shenzhen debut and the Beijing show! The real test for the artist and her team has only just begun!— This cultural upheaval reminds all global creators that while pursuing artistic expression, understanding the underlying context of cultural symbols and managing dissemination risks are essential lessons for maintaining commercial success and social harmony. (By Qiu Zhang/酋長)