On a chilly evening in early December 2025, thousands of eager fans gathered in Beijing, anticipating a night of Japanese pop music. But as the crowd waited, news trickled out: the concert by celebrated Japanese singer Kokia had been abruptly canceled. The official reason? An equipment failure, or so the organizers claimed. Yet, for many in the audience—and for observers across East Asia—the explanation rang hollow. The cancellation was just the latest in a string of similar incidents, all unfolding as diplomatic tensions between China and Japan reached a fever pitch.
According to CNN, at least 30 Japanese cultural events in major Chinese cities—including concerts by pop icons like Ayumi Hamasaki and Yuzu—were called off or postponed in the weeks leading up to December. In Shanghai, Maki Otsuki, famed for her anime theme songs, was escorted offstage mid-performance on November 28. As videos circulated online showing staff removing her microphone and leading her away, the official explanation cited “force majeure.” The disappointment among fans was palpable. Many took to Chinese social media to call the situation “inappropriate” and a “breach of contractual obligations.”
The wave of cancellations did not occur in a vacuum. The spark came in November, when Japanese Prime Minister Sanae Takaichi (also referenced as Sanae Takoi in some reports) made a statement in parliament suggesting that a Chinese naval blockade of Taiwan could constitute an existential threat to Japan—one that might justify a Japanese military response. As reported by NPR, these remarks broke with Japan’s longstanding policy of ambiguity regarding Taiwan and security in the region. China’s government swiftly condemned the comments, viewing them as a dangerous escalation and a “red line.”
Beijing’s response was swift and multifaceted. As Al Jazeera and NPR documented, China sent a formal protest letter to the United Nations, advised its citizens not to travel to Japan, and demanded that Prime Minister Takaichi retract her remarks. The Chinese Foreign Ministry’s spokesperson, Mao Ning, accused the Japanese leader of causing “deep harm to the feelings of the Chinese people and worsening the atmosphere for exchanges between China and Japan.”
But the repercussions extended far beyond diplomatic cables. China banned imports of Japanese seafood, froze youth exchange programs, and restricted flights and the release of Japanese films. Importers and distributors in China partially suspended the release of several Japanese titles, citing the changing mood among Chinese audiences. As China Film News put it, “Provocative remarks by Japan will inevitably affect how Chinese audiences perceive Japanese films.”
For millions of Chinese fans, the sudden loss of access to Japanese music, movies, and pop culture was a bitter pill. The Wonder Festival in Shanghai, a celebration of Japanese pop culture, had drawn more than 120,000 visitors over two days earlier in the year, with tickets for the first day selling out in just four minutes, according to state media. Japanese anime and manga remain wildly popular—Demon Slayer: Infinity Castle, for example, has been playing in Chinese cinemas since November 14 and has grossed over 630 million yuan, making it one of the year’s top imported films.
Yet, even as officials on both sides hardened their positions, some voices called for restraint and understanding. One fan told CNN, “I hope that these official policies regarding restricting Japanese performances will be sensibly resolved… instead of making ordinary Chinese fans the first victims.” Others cautioned against letting public opinion become a tool for stoking anti-Japanese sentiment.
Prime Minister Takaichi, for her part, tried to walk back her comments. On November 26, she promised not to discuss hypothetical scenarios regarding Taiwan in parliament again. As she explained in a budget committee meeting, “If I just kept repeating the government’s previous position over and over, the budget committee session could have been suspended. But I was asked to provide specific examples, and I tried to respond faithfully.” Despite this, Beijing continued to insist that she formally retract her remarks—something she has so far refused to do.
Experts say the situation is unlikely to resolve anytime soon. Zhou Bo, a former senior colonel in China’s People’s Liberation Army, told NPR, “Given the disparity of military strength between China and Japan, that is simply impossible for Japan to do that. So this time, I would say, we have an interesting situation that the tail is wagging the dog.” He added that the Taiwan issue is too important for China to compromise on, involving “so many things, including honor, dignity.” As Zhou put it, “There’s no way China will just back down. So the ball is in the court of the Japanese.”
Tokyo University China expert Akio Takahara offered a broader perspective, noting that while the current downturn in bilateral relations is serious, it is not unprecedented. “This time, they are not allowing any demonstrations, and they’re not allowing any boycotting of Japanese products,” Takahara said, referencing the massive protests that erupted in 2012 after Japan purchased the disputed Senkaku Islands (known as the Diaoyu Islands in China). Back then, protesters took to the streets in over a hundred Chinese cities. Today, the government is less tolerant of public demonstrations, but the cultural chill is unmistakable.
Meanwhile, the United States’ role remains ambiguous. President Trump has stated that his relations with Japan are good, but he has not publicly backed Takaichi in the dispute. Some Japanese observers worry that the U.S. might cut a deal with China that leaves Taiwan and Japan exposed. As Takahara put it, “If it’s a kind of a deal that sells out Taiwan or whatever, it won’t be good for Japan. It won’t be good for the United States. But, you know, we don’t know what Trump is going to say tomorrow. So we are worried, but what can we do?”
Analysts warn that if the diplomatic spat continues, the damage to Japanese cultural exports in China could become long-term. For now, the cancellations have cast a shadow over the future of cultural exchange. As one observer noted, the government and industry must seek a balance between political realities and the needs of fans, so that art and entertainment do not become collateral damage in international disputes.
For the millions of young Chinese who have embraced Japanese pop culture, the hope is that art can once again serve as a bridge—rather than a battleground—between nations. Whether that hope can survive the current diplomatic storm remains to be seen.