Yan'an Luyi explicitly stated that art is the most powerful weapon for propaganda, mobilization, and organization of the masses, requiring literary and artistic workers to use their pens as guns. Guided by this concept, a large number of literary and artistic talents such as Ai Qing, Xian Xinghai, and He Jingzhi gathered at Yan'an Luyi to create classic works such as "Yellow River Cantata" and "White Haired Girl"... To commemorate the 83rd anniversary of the speech at the Yan'an Literature and Art Symposium, the China Conservatory of Music held the National Music Doctoral Lecture "Singing for the People - Series of Lectures by Art Masters" to once again recall the spirit of Yan'an Luyi and inspire young students to embark on a new creative practice of singing for the people. In the late 1930s, China was completely engulfed in the flames of the War of Resistance Against Japan. At the time of national crisis, Yan'an, the base area in northern Shaanxi under the leadership of the CPC, became the cradle of revolutionary culture. A large number of progressive literary and artistic workers rushed to Yan'an with the ideal of saving the country, hoping to awaken the people's resistance to the enemy through art. In 1938, Yan'an Lu Xun Academy of Art was officially established. Lu Yi explicitly stated that "art - drama, music, fine arts, and literature - are the most powerful weapons for propaganda, mobilization, and organizing the masses", requiring art workers during the revolutionary period to use pens as guns to serve the cause of national liberation. This purpose endows Yan'an Lu Art with distinct populism and combativeness: art must be rooted in the struggle life of the people, serve the anti Japanese struggle of the masses, and become a spiritual weapon to awaken the people and boost morale. Guided by this ideology, a large number of well-known domestic literary and artistic talents such as Ai Qing, Xian Xinghai, He Jingzhi, and Ouyang Shanzun gathered at Yan'an Luyi and embarked on the revolutionary front of literature and art, becoming the vanguard of revolutionary literature and art who deeply penetrated the people, served the people, reflected reality, and inspired the resistance war. They created a series of classic works such as "Yellow River Cantata", "Brothers and Sisters Clearing the Wilderness", "Nanniwan", and "White Haired Girl". In January 1939, poet Guangqian created the recitation poem "Ode to the Yellow River" in Yan'an. Xian Xinghai keenly captured the rhythm of the national spirit in the poem. In March of the same year, while suffering from illness, he wrote continuously for six days in a simple earthen kiln in Yan'an and completed the composition of the "Yellow River Cantata" on March 31st. The work not only absorbs Western symphonic techniques, but also incorporates elements of Shaanbei folk songs. The Yellow River symbolizes the national spirit, and with the majestic momentum of "the wind roars and the horse barks", it elevates the tragic struggle of the Chinese nation into a stunning artistic symbol, becoming a literary monument of the Anti Japanese War and vividly interpreting the core purpose of Lu Yi's "art serving the Anti Japanese War". As the War of Resistance Against Japan entered a stalemate, the artistic practice of Lu Yi ushered in a crucial turning point. In 1942, Mao Zedong put forward the principle of "literature and art serving the workers, peasants, and soldiers" in his speech at the Yan'an Forum on Literature and Art, which set the tone for revolutionary literature and art during the Yan'an period and further pointed out the path of education and creation for Lu Yi. "Coming from the masses and going to the masses" became the basic methodology for Lu Yi's creation and teaching. Lu Yi teachers and students went deep into the fields, closely integrating artistic creation with people's lives. Classic works such as "Brothers and Sisters Clearing the Wilderness," "Nanniwan," and "White Haired Girl" all come from this period. Among them, the creative process of the Yang opera "Brothers and Sisters Clearing the Wilderness" is highly representative: teachers and students abandoned the creative mode of "spring and snow", combined the humorous form of traditional Shaanxi Yangge with the theme of land reclamation production, and injected the concept of labor glory into the hearts of the masses with the simple lyrics of "the rooster and rooster are so high and loud". The story of siblings cultivating land in the wilderness embodies the theme of military civilian unity in land reclamation and self-reliance. The play was well received by the people in the base areas as soon as it was performed, and everyone was influenced by revolutionary principles in the cheerful sound of yangko. It achieved the organic unity of literary propaganda and mass entertainment, and folk art radiated strong political mobilization energy. Luyi has also established the "three three system" teaching model. The "three three system" breaks the tradition of academia working in isolation, requiring teachers and students to spend three months studying theory, three months practicing at the grassroots level, and three months summarizing and improving. Encourage students to go deep into rural areas, experience people's lives, draw creative inspiration from them, and create works that truly reflect the voice of the people. Based on this model, Lu Yi has produced a large number of talented artists, and a large number of literary and artistic talents continue to be active at the forefront of the literary and artistic field. Nanniwan "is a representative work that records and spreads the story of military and civilian struggles in Yan'an through familiar folk song language. The lyrics of this song were written by the poet He Jingzhi, who combined his profound understanding and experience of the military civilian mass production movement in the border area, especially the 359th Brigade's reclamation of Nanniwan, and fully brewed and wrote the lyrics in one go. Composer Marco delved deep into the forefront of land reclamation, working alongside soldiers during the day and recording folk song materials under oil lamps at night. Finally, he composed the song "Nanniwan" using his collected and recorded Shaanbei folk song tunes. The straightforward and vivid lyrics "The fragrance of flowers in the flower basket, let me sing it" and the catchy and fresh melody not only retain the local charm of Xintianyou, but also exude the spirit of revolutionary optimism, praising the spirit of self-reliance and striving for strength of the Eighth Route Army soldiers during the Anti Japanese War, and singing out the heroic sentiment of "doing it yourself and having enough food and clothing". "Nanniwan" quickly spread in the border areas and rear areas, inspiring the military and civilians of the whole country. In Luyi, music has become an important carrier for revolutionary propaganda and ideological enlightenment. Artists attach great importance to collecting and organizing folk music materials and applying them to practical creation. Luyi offers a folk music collection course, where students go to the front lines to collect folk song materials (such as the prototype of "The East is Red" called "Sesame Oil"), and then adapt them into revolutionary songs to feed back to the masses. This virtuous cycle of "collection creation dissemination" makes Luyi's works both highly artistic and full of life temperature, truly realizing the creative loop of folk nourishing art and art feeding back to the public. After the victory of the War of Resistance Against Japan, the spark of Lu Yi spread in all directions with the tide of the Liberation War. Northeast Luyi, established in 1946, fully inherited the Yan'an genes and continued to write revolutionary literary legends in the midst of white mountains and black waters. The classic opera "Spark of Stars" and the classic songs "Revolutionaries Always Young" and "Me and My Motherland" were all created by teachers and students of Northeast Lu Art. The song 'Me and My Motherland' was written by Zhang Li and composed by Qin Yongcheng, both of whom were students trained by Northeast Lu Art. On the Mid-Autumn Festival in 1984, Zhang Wu burst out of inspiration and thought that her path was closely linked with the destiny of her motherland. The motherland and herself were like the sea and a spray, so she completed her lyrics in less than 20 minutes. After being composed by Qin Yongcheng, it became a classic song "Me and My Motherland", which is still sung throughout the country and deeply loved by the people to this day. Over the course of 85 years, the spirit of Lu Yi has shone with new colors in the new era. When contemporary conductor Li Xincao played the "Yellow River Cantata" with his baton, the surging melody still stirred the spirit of national rejuvenation; The classic opera 'The White Haired Girl' has been reshaped by modern stage design, allowing young audiences to touch the historical temperature in artistic aesthetics. The opera "Spark of Stars" re arranged by Shenyang Conservatory of Music uses holographic projection technology to reproduce the scenes of the Anti Japanese War in Linhai and Xueyuan. The fusion of traditional revolutionary narrative and contemporary aesthetic context demonstrates the strong inclusiveness of the Red Classics in keeping up with the times. These innovative practices vividly prove that the creative orientation of "putting the people at the center" is an eternal flame of hope on the literary and artistic front. It will also guide literary and artistic talents to continue the bloodline of Lu Yi spirit in new forms, and continue to write the glorious chapter of our era. (New Society)