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BBC’s ‘Racism for Sale’ Documentary Triggers Discussions and Censorship on Chinese Social Media 

Weibo discussions on ‘Racism for Sale’ documentary: “BBC is maliciously hyping up the issue.”

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A video in which a group of African children dressed in red are happily chanting Chinese slogans made international headlines back in early 2020. Although the video might have seemed cheerful at first to those who don’t know Chinese, it is actually racist and exploitative.

The children are energetically repeating what someone else is telling them to say, while holding up a blackboard with the phrase they are chanting written out: “I am a black devil. My IQ is low” (“我是黑鬼, 智商低”).

The video was initially posted on Chinese social media on February 10th, 2020, sparking some controversy within China. It later started to attract international attention after Ghanaian vlogger Wode Maya, who studied in China, spoke out about it on his YouTube channel in a video on February 16th which has since been viewed nearly 200,000 times.

The video featuring the African children shocked people from all over the world and led to some media outlets looking further into the context. In April of 2020, France 24 Observers reporters investigated the video and shed light on a wider Chinese market for videos recorded in Africa with locals.

These type of videos are reportedly made by Africa-based Chinese nationals who give the children some money or food in return to perform for personalized videos, which are then sold via Chinese online platforms.

The videos often include birthday greetings or other personalized messages, but as the aforementioned example shows, sometimes also contains far more sinister content. In another video, the children were made to say they promised they’d never go to China.

There had been controversy over these kinds of videos before. As reported by France 24 Observers, such videos have been circulating on Chinese social media since 2015. In 2017, Chinese e-commerce platform Taobao already closed a few accounts selling such content.

This month, the racist video issue has been brought back to the forefront again due to BBC Africa Eye releasing its “Racism for Sale” documentary, in which reporters Runako Celina and Henry Mhango further investigate and expose the Chinese video-making industry that exploits vulnerable children across Africa. They traced the Weibo video and dozens of others back to one Chinese national living in Malawi, and then confronted him (watch the BBC documentary here).

Image of the Chinese national making the videos. (Via Yahoo).

On Weibo, the ‘Racism for Sale’ documentary also triggered discussions, but instead of focusing on the racist videos, they were generally more focused on the BBC documentary’s narrative and its intentions, and about anti-Black racism within China.

The influential Weibo channel Diba Guanwei (@帝吧官微), which has over 1,5 million followers, called out the documentary in a Weibo post for purposely wanting to meddle in China-Africa relations. It said that the Chinese man recording such videos and insulting African people was indeed a problem, but that it was too much to suggest that this is all about Chinese people exploiting Africans.

Other Weibo users denounced the Chinese man for making such videos, with one popular account suggesting that this person might have intentionally shot these videos to “hurt the friendship between Africa and China,” and that he should be severely punished for it.

One thing that some people jumped on is how a racist Weibo account named “Black People Joke Club” (黑人笑话社) is featured in the documentary for being the first Weibo account to post the video of the African children. Popular nationalist blogging account Guaguashuashi (@呱呱傻事) suggested that BBC Africa used the supposedly insignificant account to make a big story and stir up anger among Africans. Moreover, the account also claimed that the man identified as ‘Lu Ke’ (卢克) who was making the children chant and dance for the video actually had a Taiwanese accent. Guahuashashi’s post received over 2000 likes and more than 300 comments.

The “Black People Joke Club” (黑人笑话社) Weibo account was previously shut down. In light of the recent BBC documentary, other accounts publishing racist content have also been removed, including an account titled “That Guangzhou Guy” (那个广州人). Words such as ‘black devil’ have also been censored and come up with zero results on Weibo now. Images included in discussions of the BBC documentary have also been censored.

Censored images in a post about BBC’s ‘Racism for Sale.’

At time of writing, some content related to the “Black People Joke Club” or other racist accounts is still available on Weibo due to other social media users previously tagging these accounts when posting their own content. There are also still many Weibo groups, topics, and hashtags where people share racist jokes and memes. Many of these posts feature racist jokes about the N-word, blackface, or other stereotyping and derogatory content.

Although some Weibo bloggers blame the BBC for attracting more attention to the old racist video, there are also those who point out that there is indeed a problem with anti-Black racism among Chinese: “Some people in China are really discriminating against black people. Whenever there are women online who post about their happy life with their black husband, they are often cursed on by some men. I think there are really a lot of racist people in our country,” one Weibo commenter wrote.

Another popular comment by a Weibo account from Jiangxi said that some Chinese are hypocritical to deny their own racist rhetoric against black people and are loudly calling out America for anti-Black racism, while also being quick to call something ‘discrimination of Chinese people’ whenever they feel something is insulting to China.

The issue of anti-Black racism on Chinese social media has often popped up, turning into trending discussions, especially when it is about foreign media reporting on it. In 2021, a Chinese influencer came under fire after a video of her doing a blackface makeup tutorial resurfaced online. A Chinese Vtuber (virtual influencer) on Bilibili also stirred controversy for being blatantly racist and forcing her (virtual) ‘slave’ to go and pick cotton.

In 2016, social media exploded in light of a Chinese ad campaign for washing detergent brand Qiaobi (俏比) which featured a black man turning into a Chinese man after being ‘washed.’ Although the commercial initially did not receive much attention in China, the international media coverage eventually sparked major discussions on Chinese social media for being racist.

An Africa-themed skit performed during the 2018 CCTV Gala was meant to promote China-African relations, but instead it received backlash for featuring a Chinese actress wearing blackface and being accompanied by someone costumed as a monkey.

The Chinese Qiaobi commercial drew much controversy for being racist in 2016.

The ‘Racism for Sale’ video has not just triggered discussions on Weibo, it has also become a diplomatic issue. On June 13, Malawi’s Foreign Minister Nancy Tembo shared a video via Twitter addressing the matter, adding that she felt “disgusted, disrespected and deeply pained” because of the video industry exposed by BBC Africa.

The Chinese Embassy in Malawi condemned the videos in a Twitter post on June 13. Wu Peng, China’s Director-General of the Foreign Ministry Department of African Affairs, met with Minister Nancy Tembo a day later, and stated on Twitter that both China and Malawi have “zero tolerance for racism” and that China will continue to crack down on such racial discrimination videos in the future.

A Weibo account dedicated to the overseas Chinese community in Malawi has not posted anything about the BBC documentary nor the videos discussed in it.

Also read: Chinese social media responses to the Western anti-racism movement after Floyd’s death.

By Federica Giampaolo and Manya Koetse

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    Richard Merlin

    June 24, 2022 at 5:02 am

    The characters on the blackboard are traditional Chinese characters, which have been replaced by simplified characters on the Chinese mainland since the 1950s but remain in use in Taiwan and Hong Kong. People from mainland China of “Shushu”s age will not write that way.
    His accent is typical Taiwan while Lu Ke has a Jiangsu or Zhejiang accent. It would be inconceivable for Lu Ke who makes a living filming in Africa to make such a disgusting, offensive and politically incorrect (in both China and Africa) film to destroy his own business AND himself.
    The Chinese people have been extremely sympathetic for the African people. After all, the Chinese have been discriminated against, abused, exploited, and bullied by Western powers like the African people for almost two centuries.
    The Chinese government has been sending aid to Africa since the 1950s, totally trillions of dollars even while the Chinese people were suffering from hunger en masse themselves. For emotional reasons and cold calculation, the Chinese government won’t tolerate anything that will undermine its huge investment in Africa.
    In conclusion, this appears highly likely to be part of special operations by Taiwan’s intelligence agency to smear the Chinese people and to poison relations between Africa and China at the same time.
    Chinese as well as people from all over the world of all political conviction and affiliation should do everything they can to expose and condemn such evil and hideous smearing attempts against all Chinese people.
    黑板上写的都是繁体字,这个年纪的大陆人不会写繁体字。卢克的口音是典型的江浙口音。可领着小朋友们喊侮辱性口号的“叔叔”的口音明显是台湾人。卢克再愚蠢,也不会拍那种极具侮辱性的视频自断财路甚至自掘坟墓,而且拍了以后竟然还胆敢留在当地。推测很可能是台湾军情局的杰作 – 一方面败坏中国人的国际形象,同时离间中非关系。全世界的华人中国人无论何种政治信仰,无论身在何处,都应团结起来,揭露声讨谴责这种极其卑劣的、败坏全体中国人华人国际形象的无耻恶行。

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China Media

Party Slogan, Weibo Hashtag: “The Next China Will Still Be China”

The “next China” phrase has become part of Party jargon without being clearly defined, leaving it open to various interpretations.

Manya Koetse

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After Wang Yi’s remarks during his Two Sessions press conference, the sentence ‘the next China will still be China’ has solidified its place as a new catchphrase in the Communist Party jargon. But what does it actually mean?

Over the past week, the Two Sessions have dominated news topics on Chinese social media. On March 7, a hashtag promoted by Party newspaper People’s Daily became top trending: “Wang Yi Says the Next China Will Still Be China” (#王毅说下一个中国还是中国#).

The hashtag refers to statements made by China’s Foreign Minister, Wang Yi (王毅), also member of the Political Bureau of the Communist Party of China Central Committee, during a press conference held alongside the Second Session of the 14th National People’s Congress.

In his opening remarks to Chinese and foreign media, Wang emphasized that China’s role in a time of geopolitical unrest and shifting international relations will be one of peacekeeper, pillar, and progressor.

The Wang Yi quote is promoted by ChinaDaily on social media.

Wang’s comment about “next China” was a response to a question about China’s economic development, modernization, and diplomacy strategies. Wang replied that China remains a vital engine of growth. His comment that “the next China is still China” appeared to highlight China’s enduring importance on the world stage despite ongoing changes domestically. Wang mentioned the emergence of new industries, businesses, and increased international engagement as evidence of China’s ongoing evolution.

Wang also warned that “expressing pessimistic views about China will inevitably backfire, and misjudging China will result in missed opportunities” (“唱衰中国必将反噬自身,误判中国就将错失机遇”).

However, he did not elaborate on the specific meaning of his “next China” phrase, which is typical for Communist Party catchphrases and slogans that can often be interpreted in various ways across different contexts.

 
The “Next China Will Still Be China” Phrase
 

The phrase “the next China will still be China” has become more prominent in Chinese state media, from Xinhua to CCTV, since November 2023.

President Xi Jinping first introduced it during the San Francisco APEC Economic Leaders’ Week, stating that “China has already become synonymous with the best investment destination; the next ‘China’ is still China” (“中国已经成为最佳投资目的地的代名词,下一个‘中国’,还是中国”). The quote had previously come up in various investment and business communities.

The quote gained further traction when CCTV turned it into a hashtag on Weibo, emphasizing the message of “choosing China is choosing the future (“#下一个中国还是中国#, 选择中国就是选择未来”). It was also used by Ministry of Foreign Affairs spokesperson Wang Wenbin during one of the regular press conferences.

The slogan was also the central theme of a recent speech held by academic and China expert Martin Jacques for the state media initiated TED-like ‘China Talk’ series. Jacques’ talk, simply titled “The next ‘China’ is still China,” reflects on China’s transformation over the past 75 years from poverty to a global leading economy. Jacques emphasizes China’s unique ‘civilizational roots’ and its different approach to modernization compared to the West, which consists of nation states. He asserts that despite all the major transformations China has seen and is about to see, China’s fundamental characteristics will remain unchanged, rooted in its “civilizational template,” such as the relationship between state and society, the role of the family, and more.

In this speech, promoted by state media over the past two weeks, “the next China is still China” signifies that despite China’s changing role in the world, its core essence, approach, and identity as a civilization remain unchanged. On Weibo, some commenters understand the sentence in a similar way, stressing that China will not betray its roots and turn into “the next America.”

However, in other contexts, the phrase is mostly used with a greater emphasis on the economy.

For instance, in Qiushi/Qs Theory, the Party’s theoretical magazine, the quote was called “an important conclusion,” highlighting “the profound capacity of China’s economy” and echoing the “general consensus of the international community.” The Qiushi publication by Shen Dan (沈丹) uses the exact same words as those employed by Wang Yi, indicating that “China remains the largest engine of global growth” (“中国仍是全球增长的最大引擎”).

While not explicitly stated, the sentence and its context serve to counter popular foreign media headlines suggesting that China’s remarkable economic development has ended and that “India is the next ‘China'” or that “Vietnam is the next ‘China’.” Instead, it suggests that China’s economic miracle will continue.

Various headlines in foreign media.

The phrase carries significant weight in the message it conveys both domestically and internationally. On one hand, it serves as a strategy to push back against negative foreign sentiment regarding China and pessimistic views on the economy. On the other hand, it sends a strong signal to Chinese consumers and businesses, encouraging confidence in the domestic economy and the future of China.

 
Part of Xi’s Catchphrase Canon
 

The “next China is still China” catchphrase stands as another slogan representing Party language and can be added to the long list of Xi Jinping’s ‘hot’ phrases (热词).

In January of this year, The Economist noted that the latest Communist Party phrases and slogans set the tone for economic campaigns and even define entire epochs of growth. They commented: “At a time when China’s leaders are attempting to drag the economy from the doldrums, there is even more reason than normal to pay attention to party-speak.”

The article describes how some phrases that come up in Xi’s speeches, especially those stressing China’s important role in the world and the country’s rapid economic growth, become part of Party jargon and are commonly used in local documents as political buzzwords. One well-known example is “Great changes unseen in a century” (“百年未有的大变局”), which entered the Party lexicon in 2017, when then-State Councillor Yang Jiechi described it as a guiding principle of Xi Jinping Thought on Diplomacy.

State media, both in Chinese and English, play a crucial role in propagating these types of popular phrases, incorporating them into various articles, videos, hashtags, and headlines.

But despite its current ubiquity and various ways to understand the “next China” slogan, not all netizens are confident that its meaning holds true. One top comment on Douyin said: “China’s birth rates have already fallen to some of the lowest globally, which doesn’t bode well for the future at all.”

However, others are more optimistic, believing that China will remain true to its essence and that its success cannot be copied thanks to the nature of Chinese people: “Hard-working, brave, energetic – that is what defines the Chinese people and that is what can never be replicated.”

By Manya Koetse

With contributions by Miranda Barnes

References

Shen Dan 沈丹. 2024. “The Next “China” Is Still China” [下一个“中国”,还是中国]. Qiushi, February 1 http://www.qstheory.cn/dukan/qs/2024-02/01/c_1130069314.htm [March 11, 2024].

The Economist. 2024. “A Guide to the Chinese Communist Party’s Economic Jargon.” The Economist, January 11 https://www.economist.com/finance-and-economics/2024/01/11/a-guide-to-the-chinese-communist-partys-economic-jargon [March 11, 2024].

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Background photo by David Veksler on Unsplash

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China Arts & Entertainment

“The End of the Golden Age of Japanese Manga”: Chinese Netizens Mourn Death of Akira Toriyama

Manya Koetse

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Chinese fans are mourning the death of Japanese manga artist and character creator Akira Toriyama. On Friday, his production company confirmed that the 68-year-old artist passed away due to acute subdural hematoma.

On Weibo, a hashtag related to his passing became trending as netizens shared their memories and appreciation for Toriyama’s work, as well as creating fan art in his honor.

The tribute to Toriyama reached beyond online fans – even spokesperson Mao Ning (毛宁) for the Ministry of Foreign Affairs of China expressed condolences during a regular press conference held on Friday (#外交部对漫画家鸟山明去世表示哀悼#).

Throughout his career, Toriyama created various works, but he is best known for his manga “Dragon Ball,” which was published between 1984-1995 in the magazine Shonen Jump and spawned TV series, films, and video games.

 
Chinese Love for “Dragon Ball”
 

Japanese comics and anime have had a significant impact on Chinese popular culture. In China, one of the largest comics markets globally, Japanese manga has been a major import since the 1980s.

Chinese readers form the largest fan community for Japanese comics and anime, and for many Chinese, the influential creations of Akira Toriyama, like “Dr. Slump” and particularly “Dragon Ball,” are cherished as part of their childhood or teenage memories (Fung et al 2019, 125-126).

The cultural link between Toriyama’s “Dragon Ball” and Chinese readers goes further than their mere appreciation for Japanese manga/anime. Toriyama drew inspiration from the Chinese book Journey to the West when he initially created the “Dragon Ball” story. That epic tale, filled with heroes and demons, revolves around supernatural monkey Sun Wukong who accompanies the Tang dynasty monk Xuanzang on a pilgrimage to India to obtain Buddhist sūtras (holy scriptures).

“Dragon Ball” chronicles the adventures of Son Goku, a superhuman boy with a monkey tail, who who is swept into a series of adventures connected to the wish-granting, magical dragon balls, sought after by his evil enemies.

Besides Journey to the West, “Dragon Ball” is filled with many other China-related references and word games, from Chinese mythology to martial arts (Mínguez-López 2014, 35).

In one online poll conducted by Sina News asking Weibo users if “Dragon Ball” is part of their childhood memories, a majority of people responded that the manga series was part of their post-1980s and post-1990s childhood, although younger people also indicated that they loved “Dragon Ball.”

 
Online Tributes to Toriyama
 

On Friday, many bloggers and online creators posted images and art to honor Akira Toriyama. Several images went viral and were reposted thousands of times.

Chinese graphic design artist Wuheqilin (@乌合麒麟) dedicated a particularly popular post and image to Toriyama, suggesting that his death symbolized “the end of the golden age of Japanese manga.”

Weibo post by Wuheqilin, March 8 2024.

Shituzi (@使徒子), a Chinese comic artist, posted an image for Toriyama with the words “goodbye.”

Posted by @使徒子.

Chinese comedian Yan Hexiang (阎鹤祥) wrote: “I just bought the Dr. Slump series online. I thank you for bringing me the memories of my childhood, I salute you.”

Automotive blogger Chen Zhen (陈震) posted an image of Dragon Ball protagonist Son Goku with wings on his back, waving goodbye, writing: “Rest in peace.”

Image posted by @陈震同学.

One Dragon Ball fan (@小佛手绘) posted another AI-generated image of Son Goku standing by Toriyama’s grave which was shared all over Weibo.

Posted or reposted by Weibo user @小佛手绘.

By Friday night, the hashtag “Akira Toriyama Passed Away” (#鸟山明去世#) had generated over one billion views on Weibo, showing just how impactful Toriyama’s work has been in China – a legacy that will last long after his passing.

By Manya Koetse

References

Fung, Anthony, Boris Pun, and Yoshitaka Mori. 2019. “Reading Border-Crossing Japanese Comics/Anime in China: Cultural Consumption, Fandom, and Imagination.” Global Media and China 4, no. 1: 125–137.

Xavier Mínguez-López. 2014. “Folktales and Other References in Toriyama’s Dragon Ball.” Animation: An Interdisciplinary Journal. Vol. 9 (1): 27–46.

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