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Another Apology to China? One Taiwanese Model and China’s Angry Cyber-Nationalism

Public anger and displays of cyber-nationalism often end with a public apology “to China.”

Manya Koetse

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When a Taiwanese model recently scolded people from the mainland on social media, it triggered a wave of comments from netizens who took it as a personal insult and an attack on China. Anger has become a recurring display of Chinese cyber-nationalism. Controversies often end with a public “apology to China”.

Popular Taiwanese model ‘Stella’ (史黛拉) stirred controversy on Chinese social media on September 29 for calling mainlanders ‘426‘, a Taiwanese term for scolding people from the PRC.

The pronunciation of ‘426’ [死阿陆] sounds similar to ‘damned mainlanders‘ [死大陆人] in Taiwan’s Hokkien dialect.

stella

The model made the remarks as she posted pictures on her Facebook page that show her working at the Shanghai International Automobile Fair: “Can you let me take a selfie?! Masses of ‘426’ (damned mainlanders) want to take pictures with me, and Arabic people, Japanese and all kinds of bastards secretly photographing me and asking my number,” she complained.

stellafb

The model’s remarks triggered hundreds of reactions on Sina Weibo. Many Chinese saw the post as an indication of Taiwanese attitudes towards mainland China. Some netizens wrote: “Resist Taiwan bastards from earning money in China and then scolding mainlanders. Trash!”

“Taiwanese people have no inner qualities,” another Weibo user commented.

“Can’t the government take measures against people who insult mainlanders?”, another netizen said.

Similar controversies frequently surface on Chinese social media. Last August, Chinese netizens were furious after footwear brand K-Swiss launched a commercial that depicted an alleged Chinese character in a way that was called “insulting” and “humiliating” to China.

Popular Korean actor Park Bo Gum, who featured in the commercial, received a storm of criticism. Many Chinese netizens blamed him for ridiculing their country.

China’s Angry Cyber-Nationalism

News of ‘China’ getting its “feelings hurt” by foreign celebrities or institutions frequently pops up in Chinese media, leading to an angry display of Chinese cyber-nationalism.

According to Ying Jiang, the author of Cyber-Nationalism in China (2012), the roots of the “angry nationalism” expressed by today’s Chinese netizens can be traced back to China’s “Century of Humiliation” that took place from roughly the mid-1800s until after WWII.

During this period, China faced a great deal of hardships brought about by foreign powers. The Opium Wars and unequal treaties led to an economic and military decline, and ultimately caused China to weaken.

In the postwar 20th century, the rise of Chinese nationalism has gone hand in hand with an intensification of anti-foreign sentiments. A new wave of nationalism came about in the 1990s when Western influences on China were considered to negatively influence Chinese traditional culture. It was also the time when the government launched an extensive propaganda campaign of patriotic education, that especially impacted China’s younger generations.

Although China’s post-1990s generation is generally known for having a strong sense of internationalism, they also have a distinct sense of patriotism.

Author Zheng Jiawen recently wrote how the term ‘little pinkos’ (小粉红) nowadays refers to a high-profile group of Chinese young female netizens who go online to defend their patriotism. Taking action against foreign “insults” is part of their movement. They are not alone; the sentence “never forget national humiliation” (勿忘國耻) is ubiquitous on Chinese social media.

A Year of Apologies

China’s angry cyber-nationalism has become very apparent in 2016, a year in which China has received multiple apologies for “hurting the feelings of the Chinese”. Many of these incidents occured during the Rio Olympics.

One of the controversies involved an inaccurate Chinese flag. Chinese Olympic viewers were offended when a wrong version of the Chinese flag was used during several medal ceremonies. While the Chinese embassy in Brazil subsequently rushed to have accurate versions of the Chinese flag made by local manufacturers, netizens started a petition demanding an apology from the Rio Olympic organization.

_90879762_cctvwrong2Subtle difference. This is the incorrect flag. The correct Chinese flag has one large star and four small stars, each of whose points angle towards the main star. See image below by Daily Mail.

3700a45200000578-3729719-image-a-2_1470670139662

The flag mishaps continued. During the medal ceremony where Chinese swimmer Fu Yuan Hui shared the bronze with Canada’s Kylie Masse, the Chinese flag was seen hanging below the Canadian one. Many netizens viewed this as a sign of disrespect. Then there was Australia’s Channel 7 flag mix up where China was mistakenly represented by the Chilean flag, leading to furious reactions with another online petition demanding an apology from Channel 7.

Another noteworthy incident involved the Canadian media. When Canadian Olympic TV commentator Byron MacDonald thought his microphone was off, he insulted a Chinese athletic swimmer and caused outrage on Weibo. The presenter apologized shortly after.

The list does not end here. Back in January of this year, 16-year-old Taiwanese K-pop singer Chou Tzuyu got into trouble for waving a Taiwanese flag on a Korean reality show. Netizens criticized the singer for supporting Taiwan’s independence by waving the flag, which prompted Chou to release a video on the eve of Taiwan’s presidential elections to apologize for her actions.

chou

Later in April, two cast members from No Other Love, a popular Chinese romantic film, also got into trouble for “insulting” China. Taiwanese lead actor Leon Dai was even removed from the film for his alleged support to the Taiwanese independence movement. American-born Japanese actress Kiko Mizuhara was criticized for being anti-Chinese for liking an Instagram photo that offended the Chinese.

_90427647_weibo

She later apologized in a 5-minute video on Weibo.

‘Apologize to China Contest’

According to some commentators, the sensitivity over “hurt feelings” sometimes becomes problematic. Last July, Japanese vlogger Kinoshita Yuka, known for eating large quantities of food on camera, came under fire after she posted a video of herself eating 137 bananas. Chinese netizens wondered if Kinoshita was eating bananas that originated from the Philippines, and if the 137 bananas were an allusion to China’s 1.37 billion population, as a revenge in reference to the South China Sea verdict.

imgres

The YouTube video soon triggered another war of words between Chinese and foreign netizens, as many Chinese netizens viewed the act as a deliberate insult aimed at China .

One comment read: “At a sensitive time like this, you release this video of you eating 137 Philippine-grown bananas to insult the Chinese, are you dumb? Do you think the Chinese are easily bullied?”

In the same month, Lady Gaga caused a ‘bad romance’ between herself and China after she met with the Dalai Lama. For many netizens, it marked the end of her career in China: “I like your songs, but I choose my country over you.”

Seeing this trend of Chinese people easily getting their “feelings hurt”, an activist in Taiwan named Wang Yikai started an “Apologize to China” contest in the summer of 2016. The contest soon went viral and attracted the attention of netizens from all over the world, including from China.

The contest received many creative apologies in all shapes and forms, from pictures to videos. The winning apology came from a Hong Kong group and was a parody of the song “Sorry Sorry” by Super Junior. In the parody, the group sings they are sorry for not loving China enough because they don’t own a made-in-China iPhone clone.

sorry

It seems that Taiwanese model Stella has chosen the wrong year to upset Chinese netizens. By now, she has removed her comments from her Facebook page, but the screenshots have already gone viral on Chinese social media.

“Go back to your own island!” many netizens say.

“Why are you Taiwanese always so disgraceful?” another Weibo user comments: “Good for us that you don’t call yourselves ‘Chinese’ when going abroad, otherwise you would give us all a bad name.”

The model has not responded to the controversy yet. Perhaps she can start by registering for next year’s ‘Apologize to China’ contest.

– By Manya Koetse and Chi Wen

References

Ying Jiang. 2012. Cyber-Nationalism in China: Challenging Western media portrayals of Internet censorship in China. Adelaide: University of Adelaide Press.

©2016 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com.

Manya Koetse is the founder and editor-in-chief of whatsonweibo.com. She is a writer, public speaker, and researcher (Sinologist, MPhil) on social trends, digital developments, and new media in an ever-changing China, with a focus on Chinese society, pop culture, and gender issues. She shares her love for hotpot on hotpotambassador.com. Contact at manya@whatsonweibo.com, or follow on Twitter.

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8 Comments

8 Comments

  1. Avatar

    John Rain

    September 30, 2016 at 2:31 am

    I don’t know whether Chinese people’s thin skinned nationalism is more funny or pathetic. China, as a nation, is a sulky 2-year old.

    • Avatar

      Wang Wei Guo

      October 1, 2016 at 9:38 am

      When foreign barbarians and raiders burn down your national monuments, rape your children, loot your history and tarnish your culture you can complain about our “thin skinned nationalism”, until then know that we forget not and we forgive never. 勿忘國耻, 以身报国

      • Avatar

        John Rain

        October 2, 2016 at 8:43 am

        “burn down your national monuments, rape your children, loot your history and tarnish your culture” This also describes the Communist Party under Mao, yet both the party and Mao are held in very high regard today, how is this possible if you “forget not and […] forgive never”?

    • Avatar

      Silver Sterling

      October 1, 2016 at 6:17 pm

      John Rain,

      And it concerns aWestern degenerate accursed breed like you ……because?

      Oh yeah, I know, as a an accursed bloodthirsty breed you guys are ALWAYS looking for trouble stirring up shit when it does not concern you. Westerners , as a breed, are inflammatory, savages always looking to start shit from physically bombing and hijacking other countries to playing the Big Brother – always have a need to dissed others PROACTIVELY.

      • Avatar

        John Rain

        October 2, 2016 at 8:47 am

        It concerns me because the Chinese government used “hurt feelings” to censor things they don’t like outside China’s borders. I don’t know about you, but I’m a fan of free speech and free media. I hope alluding to the fact that China has neither won’t hurt your feelings even more?

    • Avatar

      John Rain

      October 2, 2016 at 8:39 am

      Thanks to both Wang Wei Guo and Silver Sterling for proving my point better than I could ever hope to. Thank you, both of you!

  2. Avatar

    Silver Sterling

    October 1, 2016 at 6:24 pm

    Btw, the Taiwanese “model” look like those plastic surgery whore-wannabe-model. In HK this type of “leng-mo” is a source of joke and ridicule. Basically slut -like clowns.

    Dress and act like a slut with those fake ass ,pouty 3 year old demeanor, then crap about lusty hounds wanting to approach her? Anyone wanna wager her breast is implants and those features are cosmetic surgery?

  3. Avatar

    Erisadesu

    December 7, 2016 at 7:15 pm

    oh well.. it seems that everyone in this world is more sensitive, you can’t make sarcasm or ironic remarks or tell a joke because you don’t know who you will offend any more…but all those people who want to use china for making money should be more carefull on what they are saying….

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China Arts & Entertainment

From Comedy to Controversy: Behind the Li Haoshi Incident

Exploring the dynamics that led to the social storm involving Chinese comedian ‘House’ Li Haoshi.

Manya Koetse

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The Li Haoshi scandal sheds light on a complex interplay of factors, including the working conditions within the Chinese comedy industry, the expectations placed on performers in China’s entertainment realm, and the significant role of the People’s Liberation Army (PLA) in shaping Chinese nationalism. A deep dive by What’s on Weibo.

Humor is no joking matter. While the business of humor can be competitive and challenging no matter where you are in the world, there are some special considerations and implications for working in humor in China.

This week, Chinese comedian Li Haoshi (李昊石), who performs under the name ‘House’, experienced firsthand that there are strict limitations to what can be openly satirized or joked about in China today. When one of his jokes about two stray dogs described them by referencing a famous People’s Liberation Army (PLA) slogan, he found himself at the center of a social media storm. One related hashtag received over 1.1 billion views on social media platform Weibo this week.

The phrases used in the comic skit, with Li saying they came to mind while watching the dogs chasing a squirrel, were: “Forge exemplary conduct, fight to win.” The lines are part of the PLA slogan “Follow the Party! Fight to win! Forge exemplary conduct!” (“听党指挥,能打胜仗,作风优良!”), which was used by Xi Jinping in 2013.

Li Haoshi was not just socially canceled by angry netizens who defended the honor of Chinese soldiers and slammed the comedian for being so unpatriotic, he also saw his career go up in flames. His shows were called off, he was banned from social media, his employer was fined more than $2 million, he was blacklisted under orders of the China Performing Arts Association (CAPA), and he is now under official investigation.

Following the controversy, there were different views on Chinese social media regarding the issue (read more here). Although the majority of commenters argued that the PLA is never to be joked about, some people also lamented that online discussions lacked nuance.

This scandal sheds light on a complex interplay of factors, including the working conditions within the Chinese comedy industry, the expectations placed on performers in the Chinese entertainment world, and the important role played by the People’s Liberation Army (PLA) in shaping Chinese nationalism.

 

HUMOR AND STAND-UP COMEDY IN CHINA

 

Humor has played a prominent role in Chinese language and culture for centuries, manifested through a diverse array of jokes and humorous texts. Professional comedians, who served to entertain the aristocrats, have been around since as early as 800 BC.

Although humor has always been there, it has not necessarily always been appreciated. Confucianism has played a significant role in devaluing humor in China, as it formally regarded humor and satire as inferior forms of aesthetic expression. Chinese rulers who did not tolerate criticism or dissent also could not appreciate jokes or comics which, in any way, went against their rule and authority (Sullivan & Sullivan 2021, 102; Yue 2008, 403-413).

In the early days of modern China, following the collapse of the Qing dynasty, there was a notable resurgence of various forms of humor and jokes that spanned two decades, including cross-talk (xiàngsheng 相声) and skits (xiǎopǐn 小品). It was during this period that the Mandarin word “yōumò” (幽默) was introduced, derived from the English term “humor.” This term was coined by the renowned Chinese writer and translator Lin Yutang (林语堂), who faced the challenge of finding an exact Chinese translation for the English word (Hsu 2015, 2).

For decades, from the founding of People’s Republic of China to the Anti-Rightists Movement and the Cultural Revolution and beyond, there was not much yōumò around. As described by David Moser (2004), the constraints imposed by the Party and political sensitivities severely limited the content and topics that comedians could explore.

The comparatively relaxed political atmosphere of the post-Mao era gave rise to novel forms of humor and comedy. In subsequent years, influenced by the United States, “stand-up comedy” (tuōkǒuxiù 脱口秀) also gained popularity. Initially originating in small bars or cafes in major cities such as Shanghai and Beijing, this comedic genre swiftly spread across the nation.

But similar to numerous other performance forms in China, stand-up comedy faces challenges in maintaining its spontaneity and provocative nature. Performers and comedy clubs are required to obtain licenses and gain script approval, while also navigating strict boundaries regarding politically sensitive topics that are strictly off-limits (Sullivan & Sullivan 2021: 102).

This does not mean that stand-up comedy is not thriving in China. On the contrary, the genre has only become more popular over recent years as stand-up comedy performers skillfully navigate the boundaries of what is acceptable by employing different techniques, such as irony, self-deprecation, and surreal humor to offer alternative perspectives within the permitted discourse (see: Chen and Gao 2023). In doing so, Chinese stand-up comedy has evolved beyond its American influences and embraced more traditional Chinese comedic language techniques from xiàngsheng and other performing arts.

In today’s landscape, Chinese comedians face a multitude of boundaries beyond just political ones. Operating within an environment where cultural and commercial factors hold significant sway, it becomes almost inevitable for popular performers to encounter controversy at some point in their careers. Authorities, audiences, sponsors, or companies may take offense at the content of their comedic expressions, adding further complexity to their navigation of these boundaries.

Li Dan, Papi Jiang, and Yang Li previously also faced criticism for their “inappropriate” or “vulgar” jokes.

The online comedian Papi Jiang (Papi酱), for example, saw her videos being taken offline in 2016 for containing “vulgar language and content,” after which she vowed to choose her words more carefully in the future. Female stand-up comedian Yang Li (杨笠), also known as the “punchline queen,” was dismissed as the spokesperson for American tech company Intel in 2021 for her jokes that allegedly insulted men. The popular talk show host and comedian Li Dan (李诞) sparked controversy for promoting female underwear brand Ubras with a slogan that was deemed sexist.

In such a working environment, it is difficult to fathom that the 31-year-old Li Haoshi, who had previously appeared on the immensely popular stand-up comedy competition show “Rock & Roast” Season Four, was unaware that his reference to a PLA slogan would surpass the acceptable boundaries. However, like many comedians, he may simply have been testing the limits.

 

THE POWER OF PERFORMERS

 

Another factor that comes into play when exploring the reasons behind the ‘House’ scandal is the special role attributed to Chinese performers.

Although Chinese performers and renowned names in the cultural industries have always been seen as fulfilling an exemplary role, this notion holds even greater significance in the era of social media, where Chinese performers and celebrities wield tremendous influence in an online environment with over one billion internet users. The rapid growth of online entertainment-focused apps and platforms has also created opportunities for unknown performers to achieve overnight fame.

There have been various studies about celebrities in China. One study from 2019 by Sullivan and Kehoe highlights the complexity of China’s celebrity scene. Because while the industry flourishes, it still operates under strict regulations imposed by both the state and industry stakeholders. Additionally, moral values play a significant role in shaping the industry. Sullivan and Kehoe argue that the state, through media and cultural industries, retains control over the symbolic economy within which celebrities operate (2019, 242).

Channeling public opinion and safeguarding social stability are priorities for Chinese authorities, and the influence of Chinese celebrities is often used to promote Party ideology and policies. While authorities encourage Chinese famous performers to act as positive role models, negative news surrounding the country’s popular stars is often perceived as having a “negative social impact” or a “bad influence on public morale.”

There are some some noteworthy instances that exemplify the significance of moral values and the role of Chinese celebrities as role models. One such example occurred in 2019 when Roy Wang (Wang Yuan 王源), a young Chinese singer and actor widely regarded as one of the country’s most influential teenagers, found himself embroiled in controversy after being caught smoking during a restaurant dinner in Beijing.

The incident surrounding Wang’s smoking quickly ignited a firestorm on Chinese social media. The controversy stemmed from two main factors. Firstly, Beijing had implemented a ban on smoking in all public indoor spaces since 2015, making Wang’s actions a violation of the law by lighting up in a restaurant. Additionally, as an influential teen icon, Wang held the responsibility of being a role model to his numerous fans, amplifying the impact of his behavior.

The idea that China should “raise the bar” for becoming a celebrity was widely propagated in 2021. In that same year, the China Association of Performing Arts (CAPA) officially released new guidelines for Chinese performers aimed at promoting adherence to the principles of “social morality.” According to these guidelines, performers could face a permanent ban from their profession if they fail to comply.

The guidelines are meant to “promote the healthy development of the performer industry” and lay out the “practice norms,” which stipulate that performers, among other things, should abide by national laws and regulations, should honor their contracts and comply with copyright laws. But they also stipulate that they should “love the motherland and support the Party’s line and policies” (“热爱祖国,拥护党的路线方针政策”), “persevere in the orientation that literature and art should serve the people and socialism” (“坚持文艺为人民服务、为社会主义服务的方向”), and “actively uphold a positive image” (“积极树立正面形象”).

By joking about the PLA, Li Haoshi violated some of the rules laid out by CAPA. His severe punishment not only demonstrates to the public that Chinese performers/celebrities should abide by the same laws as ordinary citizens – if not be held to even higher moral standards, – it also serves as a cautionary message to other entertainers, urging them not to overstep boundaries and to uphold their responsibility as public figures to positively impact public morale.

 

THE SACRED PLA

 

In addition to Li Haoshi’s position as a stand-up comedian and his role as a performer/celebrity, another significant aspect of this controversy revolves around the status of the People’s Liberation Army (PLA) in contemporary China. PLA soldiers are revered as the heroic “soldier sons of the people” who display unwavering loyalty to the Party and the nation.

The People’s Liberation Army (PLA) was founded in 1927, with Mao Zedong counted among its founders. It played a crucial role in the rise of the Chinese Communist Party and the establishment of the People’s Republic of China in 1949.

In addition to its core duty of protecting the country and conducting military operations, the PLA is also involved in other tasks such as peacekeeping efforts and disaster relief. However, its primary and most significant role is to serve as the military branch of the Chinese Communist Party (CCP) and ensure the CCP’s continued leadership in China. By safeguarding China’s sovereignty, territorial integrity, and unity, the PLA carries both a military and symbolic significance.

The PLA plays a major part in Chinese nationalist discourses, while simultaneously also playing a central role in driving nationalism in China. Whether it is the social media spectacle of China’s Taiwan military exercises or ‘100.000 soldier loving girls‘ during the Wuhan floods, the PLA acts as “a bridge between nationalism as an abstract ideological concept and as an everyday concern of the people for the security of their country” (Ji 2004, 248).

Military propaganda, often disseminated online, is important in reinforcing the image of PLA soldiers as guardians of the nation. When four Chinese PLA soldiers were killed during a border clash with Indian troops in 2020, Chinese state media outlets made noteworthy efforts to shape the ways in which the soldiers are to be remembered, blending political and personal elements while lauding their unwavering patriotism. In doing so, they posted their photos along with phrases such as “The place where I stand is China” and “I will defend the motherland with my life.”

Those insulting the PLA can face serious consequences under the “Heroes and Martyrs Protection Law” which was introduced in 2018. In 2021, former Economic Observer journalist Qiu Ziming (仇子明), along with two other bloggers, were the first persons to be charged under the new law as they were detained for “insulting” the Chinese soldiers. Qiu, who had 2.4 million fans on his Weibo page, made remarks questioning the number of casualties China said it suffered in the India border clash. He was sentenced to eight months in prison.

Li Haoshi’s faux-pas is particularly sensitive because the lines used in his joke indirectly made a comparison between PLA soldiers and stray dogs, while also placing words famously used by Xi Jinping in a ridiculous context. Additionally, as highlighted by Chinese bloggers and China Digital Times editor Alexander Boyd, Li’s joke potentially alludes to a scene from the 1956 Chinese war movie Battle on Shangganling Mountain (上甘岭) during the Korean War, where soldiers were depicted chasing after a squirrel. The intention of the scene was allegedly to showcase the kind-hearted nature of the brave soldiers of the Volunteer Army.

Some people believe that Li Haoshi was purposely alluding to that scene with his joke, and in doing so, insulted China’s Korean War ‘martyrs,’ which is illegal under the martyr defamation law. That would be a serious offense. In 2022, former investigative journalist Luo Changping was sentenced to seven months in prison and ordered to make a public apology for insulting Chinese soldiers portrayed in a blockbuster movie about the Korean War.

Whether or not Li intended to make such a connection or put much thought into his joke remains uncertain. However, many netizens are angry with Li for various reasons. Chinese nationalists defend the honor of their hero soldiers, while others blame Li for not respecting the boundaries within which he should operate.

Furthermore, Li’s colleagues, Chinese stand-up comedians, are also upset that he took the risk of making a politically incorrect joke, which has put the entire industry under scrutiny. This incident has created more tension for other performers in an already challenging work environment.

On Chinese social Q&A platform Zhihu, one experienced stand-up comedian performer from Shandong shared his view on the matter, suggesting that Li has brought harm to their industry:

For commercial performances, our lines have to first have to go through a script reading meeting, they will then go through 4-6 open rounds of ‘polishing,’ and then go through the script polishing of the copywriters working for the show. (..) Moreover, the words and phrases we use in our jokes must have a contextual understanding and source. Therefore, there is no way that Li Haoshi was not aware of the history and origin of the sentences he used.

At the same time, all of our jokes in commercial performances require approval. Therefore, Li Haoshi obviously knew that this particular joke wouldn’t pass the approval, so he intentionally didn’t submit it. This is not a case of ignorance, it is simply being malicious.”

Overall, Li Haoshi’s case serves as a warning to others to be cautious with their words, whether used during performances, talk shows, interviews, or online.

Jokes are not to be taken lightly in a media environment where every line carries weight. When humor becomes such a serious matter, it becomes increasingly challenging to stay funny.

By Manya Koetse

References (other online sources hyperlinked in text)

Chen, Dan, and Gengsong Gao. 2023. “The Transgressive Rhetoric of Standup Comedy in China.” Critical Discourse Studies 20 (1): 1-17.

Hsu, Pi-ching. 2015. Feng Menglong’s Treasury of Laughs. Leiden, The Netherlands: Brill.

Ji, You. 2004. “Nationalism, the Chinese Defence Culture and the People’s Liberation Army.” In: Leong H. Liew and and Shaoguang Wang (eds), Nationalism, Democracy and National Integration in China, pp. 247-268. London: RoutledgeCurzon.

Moser, David. 2004. “Stifled Laughter: How the Communist Party Killed Chinese the Chinese Humor Form of Xiangsheng.” Danwei.org http://www.danwei.org/tv/stifled_laughter_how_the_commu.php, accessed via https://www.academia.edu/5929719/Stifled_Laughter_How_the_Communist_Party_Killed_Chinese_the_Chinese_Humor_Form_of_Xiangsheng [20 May 2023].

Sullivan, Lawrence R. and Nancy Sullivan. 2021. Historical Dictionary of Chinese Culture. New York and London: Rowman & Littlefield

Sullivan, Jonathan, and Séagh Kehoe. 2019. “Truth, Good and Beauty: The Politics of Celebrity in China.” The China Quarterly 237 (March): 241–256.

Yue, Xiao Dong. 2008. “Exploration of Chinese Humor.” Humor: International Journal of Humor Research 21 (4): 407-421.

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China Arts & Entertainment

A Joke Too Far: 3 Social Media Views on Chinese Comedian Li Haoshi Getting Canceled over PLA Pun

From Weibo to WeChat, from Douyin to Zhihu, Li Haoshi’s joke has sparked widespread conversations, and opinions vary.

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There is a delicate balance between humor and controversy, and Chinese comedian Li Haoshi recently discovered the consequences of crossing that line. In a punchline that took aim at China’s People’s Liberation Army, Li found himself at the center of a significant controversy. Is Li deserving of his ensuing cancellation? On Chinese social media, opinions are divided.

A Chinese comedian’s politically incorrect joke is the topic that everyone has been talking about this week, even making international headlines.

Li Haoshi (李昊石), a comedian who performed under the stage name ‘House’ with the famous Chinese comedy company Xiao Guo company (笑果文化), recently faced accusations of making offensive remarks towards the Chinese army during one of his shows. As a result, he has been subjected to a ban on social media platforms and has also been prohibited from participating in future performances.

The show in question took place on May 13th and while the performance officially was not allowed to be filmed, some attendees recorded the particular joke that caused controversy and then exposed House on social media. According to a Zhihu user who claimed to have secretly recorded the entire show, the joke went as follows:

“Shanghai is an international metropolis where everything is aligned with international standards. After I moved to Shanghai, I adopted two stray dogs. Strictly speaking, they weren’t stray dogs. We found them on a nearby mountain, and they were wild dogs. We can’t really say we rescued them because they were at the top of the food chain in the mountains and didn’t need our help. We were more like a makeover show, experiencing city life. These two dogs were indeed the top predators on the mountain. When I first saw them, it felt like I was witnessing a wildlife documentary. The two dogs would chase a squirrel like a missile launched into the air. Normally, when you see dogs, you find them cute, and your heart melts. You think of these words. But when I saw these two dogs, only eight words flashed in my mind: ‘Good discipline, capable of winning battles’ (作风优良, 能打胜仗). They were truly exceptional. I walked proudly on the streets of Shanghai with these two dogs. The only problem was that they had so much energy. My physical fitness couldn’t keep up.”

The triggering aspect of this joke lies in the eight words “zuò fēng yōu liáng, néng dǎ shèng zhàng” (“作风优良, 能打胜仗”: “Good discipline, capable of winning battles”). This slogan has long been associated with the Chinese People’s Liberation Army (中国人民解放军, PLA) as a standard used to describe and motivate the army. The lines, used by Xi Jinping in 2013, are used together with another phrase, namely that of “tīng dǎng zhǐhuī” (“听党指挥”), meaning “to obey the Party’s command” or “follow the Party’s leadership,” together encapsulating the principles of the Chinese military.

“Obeying the Party’s command – Capable of winning battles – positive work ethic” – these famous phrases were used in a comical context by Chinese comedian House. (Image source).

Using the army’s slogan to describe two wild dogs is considered offensive to the PLA’s “sacred and inviolable” image.

The joke was considered such a serious faux pas that Party newspaper People’s Daily posted about it on social media platform Weibo two days later, claiming that performers in talkshows should be cautious with their words and be careful to stay within appropriate boundaries.

They also suggested that there should be consensus within the industry on where the bottom line is on which jokes can and cannot be made. People’s Daily used the phrase “tuōkǒu mò tuōguǐ, wán gěng xū yǒu dù” (“脱口莫脱轨,玩梗须有度”), which can be translated as: “Do not deviate when speaking freely, and use jokes [memes/punch lines] with moderation.”

The word used for ‘talkshow’ is tuōkǒuxiù 脱口秀, a Chinese term that literally translates to “talk show” but actually mostly refers to stand-up comedy shows and a type of popular form of entertainment in which performers showcase their humorous storytelling skills in an engaging and often improvisational manner.

Li Haosi’s controversial joke garnered more significant attention from Chinese state media. After People’s Daily initial post, they made another Weibo post addressing the issue. The post began with the hashtag “There is a sense of security called the soldier sons of the people” (#有一种安全感叫人民子弟兵#), which is a widely used phrase to describe the People’s Liberation Army (PLA) and highlight the close relationship between the military and the Chinese people.

A second post by People’s Daily about the Li Haoshi controversy paid tribute to China’s PLA soldiers.

In the post, People’s Daily expressed their support for the PLA and condemned any action or statement that might be seen as disrespectful or offensive towards the military and the soldiers who serve as the guardians of the Chinese people (“人民子弟兵不容冒犯”). They tagged their post with the hashtag “People’s Daily Discusses ‘House’ Offending the Soldiers Sons of the People” (#人民日报评House冒犯人民子弟兵#), which has since received over 670 million views on Weibo.

As the controversy surrounding Li Haoshi escalated, fuelled in part by Chinese state media, it has also became a prominent topic of discussion among the general social media userbase. From Weibo to WeChat, from Douyin to Zhihu, Li Haoshi’s joke has sparked widespread conversations. Within these online discussions, there are three prominent and recurring viewpoints that we will explore here.

 

1: TOLERANCE & MORE FREEDOM OF SPEECH

“You ‘wolf warriors’ and ‘little pinkies’ are only good at conducting witch hunts! It is actually you who should be canceled.”

The notion of talk shows being regarded as “an art of offense” (“一种冒犯的艺术”) is widely discussed on Chinese social media these days. Evaluating the boundaries between ‘acceptable humor’ and ‘crossing the boundaries’ continues to be a topic of discussion, with some advocating for performers’ artistic freedom of expression and speech, arguing that “there is no offensive art, but all kinds of genuine art can be offensive.”

In a since-deleted WeChat article, one Chinese blogging account expressed readers’ concerns regarding the Li Haoshi controversy. A major concern raised was not just about freedom of expression for performers, but about freedom of expression within this topic itself, suggesting that the online discourse surrounding the ‘House controversy’ allows very limited space for actual debate and offers no opportunity for people to discuss the different perspectives of the story.

On Weibo, some individuals express similar concerns about the lack of nuance in the discussion. Apart from censorship or top-down control, they worry about a general discussion environment that leaves no space for opposing opinions. One person commented: “You ‘wolf warriors’ and ‘little pinkies’ are only good at conducting witch hunts! It is actually you who should be canceled.”

“The more people comment, the more extreme they get,” another person wrote. Meanwhile, the comment sections of various popular posts discussing the issue were either disabled or heavily filtered, to the extent that none of the 244 listed comments were visible.

 

2: CROSSING A RED LINE

“It is very simple. Making jokes is not the same as malicious slander.”

Many people do not agree with those advocating for a more tolerant approach to the Li Haoshi controversy. A seeming majority of Weibo users argue that ‘talk shows’ should not serve as a sanctuary for “inappropriate speech.” They assert that public speeches have inherent “bottom lines” that cannot be crossed. Performers should be aware of these existing red lines, and should not use their profession as an excuse to express problematic statements.

One popular blogger (@胜利主义章北海) argued that comedians are already well aware that they have certain boundaries; offending their audience would rob them of their income, and they are also careful not to insult their boss or colleagues: “They would not dare to [offend them]. They are conscious of these boundaries. So why would they dare to offend the PLA?”

Many agree with this stance: “It is very simple. Making jokes is not the same as malicious slander.”

In these online discussions, the United States is often cited as an example due to its strong emphasis on free speech. Some Chinese netizens note that even in the U.S. and other Western countries, there are also topics or jokes that would be considered off-limits and could lead to consequences such as being canceled.

The Weibo account “Xu Ji Observation” (@徐记观察, previously recognized for positive online content and the promotion of the “mass line”) mentions how some people in America were condemned for even hinting at disrespecting the military. American quarterback Tom Brady was widely criticized in 2021 after comparing playing football to military deployment, and Pete Davidson was slammed for making fun of an American representative and war veteran who had lost one eye during his deployment in Afghanistan. Both Brady and Davidson had to apologize.

Although many people agree with Xu Ji’s observation, others argue that the comparison is not entirely fair, as the consequences faced by Chinese performers who get ‘canceled’ go beyond a simple apology. In China, as exemplified by Li Haoshi’s current situation, an apology alone is unlikely to resolve the matter (read more about China’s canceled celebrities here).

 

3: ALWAYS HONOR OUR SOLDIERS

“”We can do without talk show hosts or celebrities, but we cannot do without our soldier sons of the people!”

There is also a large group of netizens who argue that this discussion should not be about ‘freedom’ versus ‘boundaries’ at all, but instead should focus on the mere fact that the Chinese comedian deliberately insulted the “soldier sons of the people,” and in doing so, committing a crime according to the “Heroes and Martyrs Protection Law.”

Although Chinese state media have led narratives surrounding this controversy in which they stress the ‘sacredness’ of the PLA, its mission, and duties, there are many netizens who say they feel the same. House’s joke has triggered anger among Chinese social media users who emphasize the dedication of the PLA and condemn any jokes targeting them.

In many online posts, bloggers highlight the heroic actions of the PLA in the past and, using patriotic images of soldiers with national flags, remind people about how they selflessly rescued people during the Wenchuan Earthquake or persistently guarded the South China Sea.

One popular comment said: “We can do without talk show hosts or celebrities, but we cannot do without our soldier sons of the people!”

While online discussions surrounding the Li Haoshi controversy are ongoing, Chinese authorities have concluded that the joke constitutes a legal violation. As of May 18th, House’s social media account has been suspended, he has been boycotted by the China Association of Performing Arts, and the Beijing Police have announced their intention to investigate the case due to House’s alleged “severe insult to the People’s Liberation Army during his performance, causing a highly negative societal impact.”

Furthermore, Xiao Guo, the company representing House, has received an official warning and has had over 1.35 million yuan ($190,000) in “illegal gains” confiscated, along with a fine of 13.35 million yuan ($1.8 million) imposed by the police. In response to this penalty, the company has canceled all scheduled performances in China and terminated their contract with Li Haoshi.

Read more related articles:

◼︎ “Love the Motherland” – New Moral Guidelines for Chinese Performers Come Into Force
◼︎ Chinese Comedian Li Dan under Fire for Promoting Lingerie Brand with Sexist Slogan
◼︎ Female Comedian Yang Li and the Intel Controversy
◼︎ 25 ‘Tainted Celebrities’: What Happens When Chinese Entertainers Get Canceled?
By Zilan Qian and Manya Koetse, with contributions by Miranda Barnes

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