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US smears China’s Huangyan Dao nature reserve amid Philippine provocations; Washington’s verbal backing offers no real support, fuels tensions: expert_我的网站
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Amid a new round of Philippine hype over its so-called territorial claims involving China's Huangyan Dao, the US State Department on Saturday, in a statement, smeared China's Huangyan Dao National Nature Reserve as "destabilizing" and pledged support for its ally. A Chinese expert said Washington is encouraging Manila to disrupt regional peace while offering little more than hollow verbal assurances, further undermining stability in the South China Sea.
The statement, published on the State Department's official website and attributed to spokesperson Thomas Pigott, claimed that the US "rejects China's ongoing attempts to enforce its destabilizing 'national nature reserve'" at Huangyan Dao.
Pigott also alleged that the reserve would "deny Filipino fishermen access to their traditional fishing ground as reflected in the 2016 Arbitral Award."
It is absurd for the US, a country that is not a party to the United Nations Convention on the Law of the Sea (UNCLOS), to pass judgment on the Huangyan Dao National Nature Reserve, Yang Xiao, a research fellow at the Institute of Peaceful Development under the Chinese Academy of Social Sciences, told the Global Times on Sunday.
The US has neither jurisdiction in the South China Sea nor the standing to judge regional affairs. Its allegation of the reserve at this time is merely intended to echo the Philippines' latest hype surrounding Huangyan Dao, Yang said.
At a time when the broader China-US relationship is moving toward an easing of tensions, attempts by certain US officials to encourage provocations out of narrow political interests run counter to the overall trend, Yang said.
Pigott further smeared the reserve as "another unilateral attempt by China to use dubious environmental and legal pretexts," which he claimed was intended to advance China's territorial and maritime claims in the South China Sea "at the expense of its neighbors."
"The United States stands with our Ally, the Philippines, in support of a free and open Indo-Pacific," Pigott claimed.
The expert added that the statement also invoked the unlawful and invalid 2016 "South China Sea Arbitral Award" as a pretext, seeking to portray China as a destabilizing force in the region and mislead the international community.
The US statement comes as Manila has sought to advance its claims over Huangyan Dao through various means, including by delimitation of the so-called "baselines of the territorial sea" of the Chinese territory of Huangyan Dao. The Chinese Foreign Ministry on July 31 described the move as "illegal, null and void."
Yang said that amid a broader retrenchment of its global strategy, the US is seeking to encourage countries including Japan and the Philippines to stage regional provocations and disrupt stability. Such tactics include organizing joint military exercises and tolerating provocative actions by Manila in the South China Sea.
However, Washington is no longer capable of offering the Philippines substantive support and can provide little more than rhetorical backing, Yang said. Such statements amount to words on paper and have no practical effect, he added.
China's State Council approved the establishment of the Huangyan Dao National Nature Reserve in September 2025. China has since conducted multiple scientific surveys in the area.
On August 1, China issued management measures for the reserve, prohibiting unauthorized fishing and mining, the harvesting or excavation of corals, coral reefs and giant clams, as well as other activities that damage rare marine species or the reserve's natural ecosystems.
China has also discovered a globally rare coral reef growth structure-type marine blue hole at Huangyan Dao. Preliminary geochronological analyses suggest that the blue hole formed at least 3,200 years ago, while surveys have found rich biodiversity in its surrounding waters. The finding is considered further evidence of the effectiveness and necessity of China's ecological protection measures at Huangyan Dao.
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Bing Bing, a young acrobat born in the 2000s, told the Global Times that she first tested the "tossing and eating an apple" routine through short videos before taking it to the stage. After her first performance, she spent the holidays performing it, adjusting the movements and pacing based on how audiences responded.
"Performance is the hardest thing to master. Your facial expressions and body movements have to convey to the audience what you are doing and what you want to do," she said. "The goal is to make them know that you are performing, yet still find it entertaining."
According to Bing Bing, the training behind such performances is far less glamorous than the finished act suggests. "Training is very repetitive. You fail, repeat, fail again, succeed and then fail again," she said. "Practice is what turns quantity into quality, even facial expressions and body movements require deliberate practice."
For Bing Bing, however, mastering the routine is only one part of the job. Once performers step in front of an audience, the carefully rehearsed movements have to adapt to a live and unpredictable setting.
Beyond the theater
In recent years, acrobatic performances have increasingly moved into aquariums, theme parks and cultural tourism venues, where audiences themselves become part of the performance rather than simply watching from fixed seats.
Bing Bing previously performed alongside other clowns at an aquarium, inviting visitors to participate in the act. She said the difference is not merely a change of venue: performers have to constantly interact with the people in front of them.
"Traditional stages are farther away from the audience and are better suited to performances that people simply watch," she said. "Aquariums and theme parks, however, place greater emphasis on interaction and connection with the audience. Even with the same routine and interactions, you can often get unexpected results."
That interaction also changes how performers think about rhythm and presentation. A routine that works in a theater cannot necessarily be transferred unchanged to a tourist attraction, where audience reactions, distance and participation can all alter what happens on stage.
Sun Dawei, head of the Wuqiao Acrobatic School, told the Global Times that this shift is also changing the industry's approach to production.
"Acrobatics used to focus mainly on showcasing skills. Now there is greater emphasis on story-telling and emotional expression," he said. "Performances are no longer confined to theaters, but are increasingly staged as resident shows at cultural tourism venues."
According to Sun, a production usually begins with a theme, followed by the selection of appropriate skills. Performers then refine the routine repeatedly before adding music and stage design and going through multiple rehearsals.
"Traditional signature skills and core fundamentals must be preserved," he said. "Content that simply pursues danger or no longer fits contemporary aesthetics needs to be repackaged. Traditional skills should be given new forms of expression while retaining their roots and appealing to modern audiences."
For Bing Bing, this shift has also been made possible thanks to short-video platforms. Her apple routine gained its first wide exposure online before audiences encountered it in person.
"Short videos have helped more people learn about Chinese acrobatics and traditional culture, and encouraged more people to go to theaters and watch performances offline," she said.
The growing visibility of acrobatics online, however, has raised another question: once traditional skills enter new venues and digital platforms, how can performers avoid simply repeating familiar formulas?
Russian aerial acrobat Liza, who has lived and worked in China for more than seven years and now performs regularly at Shanghai Qianguqing, a large-scale cultural tourism attraction featuring live performances, noted that the answer lies in how a show is constructed as a whole.
"A performance should start with an overall concept, and then you choose the props and music around it. Music itself can guide the choice of movements, provided the performer already has a solid technical foundation," Liza told the Global Times. "The transitions between movements have to be natural and smooth, like telling a story step by step. Costumes are also important because they complete the character. Everything needs to work together."
For Liza, technical difficulty should serve the performance rather than become the performance itself.
"Real professionalism means making the audience unable to see how hard you are working. Everything should look effortless," she said. "I value beauty and precision in movement. You should not make things more complicated simply to show off your skills. You should improve steadily as you grow as a performer, rather than constantly chasing greater difficulty."
She said that this is particularly important as increasingly extreme acts, including hair- and tooth-hanging, attract attention online.
"Most performers are following established templates, and I rarely see people creating something that is truly their own," Liza said. "You can find your own style and way of expression without taking excessive risks."
From an apple-tossing routine that drew more than 6 million likes to performances in aquariums and cultural tourism venues, traditional acrobatics is finding new ways to reach audiences. But bringing an old art back into the spotlight is not simply about making tricks harder or more spectacular. As Bing Bing's apple routine shows, sometimes it takes a familiar skill presented in an unfamiliar way to make a new generation stop and watch again.
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