“Days Without Cigarettes” — A Song, a Silence, and the Freedom to Sing

Today I’m performing a Chinese song titled “Days Without Cigarettes” (沒有煙抽的日子). On the surface, it is a quiet, poetic song about longing, emotional deprivation, and endurance. But behind its gentle imagery lies a history shaped by one of the most sensitive and suppressed moments in modern Chinese history—and a powerful reminder of why artistic freedom matters.

The song was performed and composed by 張雨生 (Chang Yu-sheng), with lyrics written by 王丹 (Wang Dan). Wang Dan was one of the most prominent student leaders during the 1989 Tiananmen Square pro-democracy movement. The lyrics originated as a poem he wrote during that period, capturing the emotional state of a generation living under uncertainty, fear, and loss. Chang Yu-sheng later set the poem to music, transforming it into a song that carried both personal sorrow and collective memory.

In the spring of 1989, large-scale student demonstrations began in Beijing’s Tiananmen Square, calling for freedom of speech, political reform, accountability, and an end to corruption. The movement quickly grew, drawing support from workers, intellectuals, and ordinary citizens across China. On June 4, 1989, the Chinese government declared martial law and deployed the military to clear the square. Troops and tanks entered Beijing, and the protests were violently suppressed. Hundreds—possibly thousands—of civilians were killed, though exact numbers remain unknown due to strict censorship. Discussion of the incident has since been heavily restricted within mainland China, and it is largely absent from official education and media.

“Days Without Cigarettes” is not an explicit protest song. It never names events or political demands. Instead, it speaks through metaphor. In the song, cigarettes symbolize relief, expression, and emotional survival. To live through “days without cigarettes” is to exist in a state of enforced restraint—wanting release, voice, or comfort, but being denied it. The recurring image of striking a match with nothing to smoke evokes hope without fulfillment and expression without permission.

Because of its lyrical origin and emotional resonance with the post-1989 atmosphere, the song became politically sensitive. While Chang Yu-sheng was a Taiwanese artist, the song’s connection to Wang Dan and the Tiananmen movement led to it being restricted and effectively banned in mainland China. Like many works associated with that period, it survived through personal memory, overseas circulation, and quiet listening rather than open performance.

That is why singing this song today is meaningful.

I live in a country where I can pick up a guitar, perform this song publicly, discuss its history openly, and share it online without fear. That freedom is not universal. It exists because others, in other places and times, paid a heavy price for trying to speak, write, and remember.

This performance is an act of remembrance—but also of gratitude.

Gratitude for the ability to sing freely.

Gratitude for the right to preserve history through art.

And gratitude for the space to honor voices that were once forced into silence.

Freedom of expression is fragile. It must be cherished, protected, and practiced—because when it disappears, even a quiet song can become dangerous.

To learn more about my work in music, art, and accessibility, visit johnnytiger.com.

For my tactile and visual art projects, visit tigertactile.com.

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