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“Fake” and “Hypocritical” – Western Anti-Racism Movements Criticized on Weibo

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

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George Floyd and the global anti-racism movements have not just dominated headlines in the US and other western countries – in China, they have also become a major news topic. This is an overview of the general Chinese online media discussions of these global news developments, including all the big hashtags, from the George Floyd killing to global companies changing their policies amid concerns over racial stereotyping.

 
This is the “WE…WEI…WHAT?” column by Manya Koetse, original publication in German by Goethe Institut China (forthcoming), see Goethe.de: WE…WEI…WHAT? Manya Koetse erklärt das chinesische Internet.
 

George Floyd – it is a name that the entire world has come to know since the 46-year-old black man was killed during an arrest in May of this year.

The death of Floyd has sparked major Black Lives Matter protests around the world, inspiring international movements fighting against racism. The incident also led to unrest, riots, and the defacement of controversial statues in America and other countries.

In solidarity with the Black Lives Matter movement and the fight against systemic racism, many organizations and companies in western countries have also made various anti-racist statements and announced policy changes.

Minneapolis graffiti mural honoring George Floyd, photo by Munshots, Unsplash.

In China, the case of George Floyd (transcribed as 乔治•弗洛伊德 Qiáozhì Fúluòyīdé) and its ongoing aftermath have also made headlines in the media and have become big news topics on social media sites such as Weibo.

In a year of COVID-19 crisis and geopolitical tensions – including escalating China-US tensions and the passing of the national security law for Hong Kong -, many of the recent news stories do not stand alone.

The way the news is reported and discussed in China by state media and web users is often part of larger narratives about China and its current relations within the international community. But it’s not just politics; cultural context also greatly matters when it comes to how the anti-racism movement in the Floyd aftermath is perceived in the PRC.

 

“Oh, How Free America Is” – Floyd’s Killing

 

As now widely known, the George Floyd incident took place in Minneapolis, Minnesota, on May 25, when police responded to a shopkeeper’s call about someone potentially using a counterfeit bill. Floyd was sitting in his car when officers arrived at the scene and was asked to step out of his vehicle.

Even though Floyd was compliant and unarmed, a bystander video shows how he was held face-down on the ground, the officer pressing his knee into the side of his neck, while Floyd was begging for air, uttering the sentence: “I can’t breathe.”

While the officer knelt on Floyd’s neck for over seven minutes, the 46-year-old could be seen losing consciousness and going limp.

The video of the fatal arrest went viral on social media overnight, and soon led to people protesting in Minneapolis and elsewhere across the US, demanding justice over the fatal arrest.

Black Lives Matter public demonstration in Cincinnati, photo by Julian Wan, Unsplash.

The four officers involved in George Floyd’s death have since been fired from the Minneapolis Police Department and have been criminally charged. Tensions in Minnesota reached a boiling point and protests escalated to riots and lootings, with Minneapolis Mayor Jacob Frey declaring a state of emergency on May 29.

On that same day, CNN correspondent Omar Jimenez, a reporter of color, was arrested and handcuffed on live television together with his cameraman and producer while reporting on the situation in Minneapolis. Although the CNN crew was released shortly after, the incident also further intensified the debate on discrimination and racism in America.

On Weibo, news of the George Floyd incident and the American protests soon went trending with various related hashtags.

By late May and early June, some of the top Weibo hashtags regarding the protests were “CNN Crew Arrested by Police” (#CNN报道团队被警方逮捕#, 170 million views), “Minneapolis Enters State of Emergency” (#美国明尼阿波利斯市进入紧急状态#, 370 million views),  “Protests Erupt over Case of Black Man Dying after American Police Applies Pressure on Neck” (#美警察压颈致黑人死亡引发抗议#, 7+ million views),  “American Anti-Racist Demonstrations” (#美国反种族歧视游行#, 3+ million views) and many more.

The hashtag “U.S. Riots” (#美国暴乱#) garnered over 5,3 billion views and triggered thousands of reactions on Chinese social media.

Many of the Weibo responses to the killing of George Floyd and its direct aftermath incorporated these developments into a bigger framework of strained US-China relations, pointing out the supposed American hypocrisy for criticizing China regarding freedom and human rights, especially in light of the COVID19-crisis and the Hong Kong situation.

“Oh how free America is,” one popular comment on Weibo said (“多么自由的米国”), with others saying things such as: “Are these the human rights you are advocating?”

Commenters expressed their disgust at the brutality of the policemen, calling the police officers “ruthless” and “sadistic,” with some – not without sarcasm – wondering if China should introduce an “anti-racism law” against US officials responsible for racial abuse.

News of CNN reporter Jimenez being arrested by the American state patrol was also shared on Weibo by the Communist Youth League official account, leading to many reactions criticizing America’s “freedom of press.”

“So this is so-called equality? Freedom? Democracy?” Another user writes: “So this is the freedom I’m yearning for? Is this called freedom?”

Some Weibo users shared compilations showing American officers using excessive force and violence while beating and shooting down people during their work.

Although criticism of the US-dominated Chinese online discussions of Floyd’s killing, there were also social media users showing support for the protesters: “I fully support the movement of Black Americans fighting for the rule of law, equality, and freedom,” one popular comment, receiving over 14,000 likes, said.

One blogger with over 123,000 followers wrote: “The riots erupting in the US will surely have a negative impact on society. But looking at it from another perspective, it still makes me envious because they have the guts to speak up, the courage to resist. If such a thing would happen in China, would you stand up?”

 

“Fake Anti-Racism” – From The Simpsons to Darlie Toothpaste  

 

As George Floyd protests have now ignited a wave of anti-racism efforts across the globe, there are also new hashtags popping up on Chinese social media that are generating a lot of discussion.

Although the protesters denouncing racism and police brutality directly after the Floyd killing were often praised on Chinese social media, some of the latest efforts by companies and brands – showing wider consideration of racism in media, fashion, and entertainment – met less sympathy among Chinese web users.

One example is the news-related hashtag “The Simpsons Cartoon Stops Using White People to Dub the Voices of Non-White Roles” (#动画辛普森不再用白人为非白人配音#), which had over 90 million views on Weibo at time of writing. In late June, producers of The Simpsons announced that they will no longer let white actors do the voices of characters of color.

“Bloody hell, [as if] you can hear by the voices if they are white or not?!”, a typical comment said, with other recurring comments saying: “This is crazy! Voices aren’t black or white.”

“Just make them all blue,” others suggested, with one person writing: “They [the Simpsons] all have yellow skin, why don’t they use actors of Asian descent to do their voices? This is fake so-called anti-racism.”

Others also argue that these kinds of initiatives only stress racial differences, instead of combating racism: “The more it’s like this, the more they stress the importance of racial distinction. Why?”

Other anti-discrimination initiatives, such as that of Unilever and beauty brand L’Oréal Paris to stop using words like “whitening” and “fair” in describing their products, together with other brands’ initiatives to remove some skin-whitening products altogether, also received a lot of attention on Weibo (hashtag #欧莱雅停用美白宣传语#, 110 million views).

“This goes too far,” “Unbelievable,” “How unnecessary,” many commenters wrote, adding: “What does this have to do with racial discrimination?” “Isn’t this just another form of discrimination?”

“Why do I feel that it’s Asians who are being discriminated against here,” some users said: “Different ethnicities have different beauty standards, different people also have different tastes in beauty. For many Asians, they just happen to think fair skin is pretty.“

Noteworthy enough, the critical stances that are ubiquitous on Weibo toward this kind of initiatives are not just visible from the most general comments; the news sources posting these news articles, from Xinhua to Sina Top Trending, also use ‘thinking face’ or ‘surprised’ emoji in their posts that suggest a certain reproachful attitude towards these kinds of developments.

Chinese media often use pensive/surprised emoji when reporting on western brands’ anti-racism policies (image: screenshot of Xinhua reporting on L’Oréal).

Another notable brand response to the anti-racism movement also ignited online discussions: Colgate announced a review of its Chinese toothpaste brand “Darlie”[1], once known as “Darkie” (literally “Black Man Toothpaste” 黑人牙膏 in Chinese), for featuring a man in blackface.

Some of the hashtags used in discussing this news are “Black Man Toothpaste is the Latest Brand Affected by American Anti-Racism” (#黑人牙膏成美反种族歧视受影响最新品牌#) and “Colgate Considers Changing the Name of the Chinese Market ‘Black Man Toothpaste’” (#高露洁考虑将中国市场黑人牙膏改名#, 110 million views).

Darlie toothpaste is a household name for many Chinese (image via Sina Weibo).

Darlie toothpaste is originally a Chinese brand, under the umbrella of the 87-year-old Shanghai company Hawley & Hazel, and is a household name for many Chinese. The overall sentiment in response to this news is that many do not understand how changing the brand is helpful in the battle against social injustice.

“I just don’t see how this is racial discrimination,” one person comments: “How is this stereotyping [black men]?”

News that America’s biggest bank JPMorgan Chase is dropping the terms “master,” “slave,” and “blacklist” from its technology material and programming code was also met with criticism on Weibo (#摩根大通停用黑名单等术语#), where some wondered if they had “gone mad” and whether this way some sort of “literary inquisition.”

In a recent blog article on Weibo discussing these latest developments, blogger Captain Wuya (@乌鸦校尉) wrote about the brands and companies involved that “they are waving their big stick of political correctness at anyone they can hit.“

“What really needs to change here, is American big brands exaggerating the facts,” another popular comment said.

 

“Excessive Political Correctness” – Rejection of Western Anti-Racist Policies

 

The latest anti-racism movement in western countries is clearly discussed in a very different way in the Chinese social media context than it is in the English-language social media sphere.

Although many of the latest anti-racism initiatives by brands and companies also draw a mix of praise and criticism on Twitter or Facebook, the general view on Weibo seems to be that they are “fake,” “overdoing it,” are “unnecessary” and “non-sensical,” and that they stress racial differences rather than equality. Another recurring sentiment is that anti-black racism is prioritized over racism against Asians.

The different views among Chinese social media users on what is deemed racist or not has attracted wide attention before. One noteworthy example is that of the 2016 Qiaobi laundry detergent commercial that shows a black man turning into a Chinese man after being ‘washed.’ The commercial was taken down after causing controversy outside of China.

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

A typical comment on Chinese social media, at the time, was: “Western media have just taken their concept of ‘racism’ and applied it [to this commercial]. In reality, the great majority of Chinese people have no notion of ‘white’ versus ‘black’ or ‘Asian’, and any supposed inferiority in this.”

Similar responses also came up when the 2018 CCTV Gala caused consternation in foreign media for featuring a Chinese actress wearing blackface in a segment emphasizing Sino-African relations.

The controversial skit included a Chinese actress in blackface (CCTV).

These attitudes and general comments seem to suggest that racism or discrimination is just less of an issue in China, or that it is soon trivialized. Is this the case?

Issues of racism and discrimination are certainly not trivialized in China when it is about anti-Asian racism. Throughout modern history, the Chinese have been victims of racism. Over recent years, there are myriad examples of collective anger and boycott campaigns because Chinese feel discriminated against.

For example, when Italian luxury brand Dolce & Gabbana launched a promotional video in which a Chinese-looking woman clumsily attempted to eat a large cannoli bread with chopsticks, many netizens on Chinese social media called it racist. After screenshots went viral of a China-bashing online conversation with the alleged Stefano Gabbana, the issue became one of the largest trending topics on Weibo in 2018.

The COVID-19 pandemic has also led to an increase in racism in the US and other countries directed at those of Asian descent, something that has recently become a hot topic on Chinese social media, triggering anger and calls for equal treatment of Asians.

Is it, then, perhaps that discrimination and racial inequality within mainland China are not so much of an issue? This certainly is also not the case. Besides the many different shapes and forms of discrimination – regional discrimination being one of them –, there are many examples of anti-black racism in China. Online racism against Africans has been an ongoing issue on Weibo ever since the platform was first launched in 2009 (example, example).

A notice at a Guangzhou McDonald’s restaurant saying “black people cannot come in” sparked international outrage earlier this year.

Voices against the discriminatory treatment of Africans in China have only grown louder during the coronavirus outbreak, when hundreds of Guangzhou-based Africans were evicted from hotels and apartments after local authorities began a campaign to forcibly test them for the coronavirus. A notice at a Guangzhou McDonald’s restaurant saying “black people cannot come in” sparked international outrage earlier this year.

All in all, it is not about racism being non-existent in China, nor is it trivialized. The fact that the latest western developments are discussed in such a different light on Chinese social media has much more to do with how American and European anti-racist policies, and the grip they hold on media, politics, and the corporate world, are rejected by Chinese netizens.

This does not mean that the Floyd incident is deemed any less horrific in China than elsewhere in the world. Social injustice and inequality are recurring topics on Chinese social media, and it is something that greatly matters to many Chinese web users, with these kinds of stories going trending all the time.

It does mean, however, that western approaches to anti-racism, with the racial etiquette that comes with it and a focus on what is correct or incorrect when it comes to language, imagery and behavior, are often deemed excessive (“矫枉过正”) by Chinese web users – or useless in actually combating social inequality.

These responses have a lot to do with current geopolitical developments and the position of China within the international community, but more so with the fact that China has a very different historical, cultural, and societal context when it comes to (anti-black) racism compared to the US or other western countries.

In a lengthy article posted on Weibo in early July by Chinese commentator and academic Guo Songmin (郭松民), who has been actively posting about the Black Lives Matter movement, the prominent leftist author explains that this also has a lot to do with the fact that, different from most western countries, “China has neither a history of slavery nor a history of colonizing Africa,” and that, at the same time, China is also not a country of immigrants.

In the end, some say that they do understand the latest anti-racist initiatives by American and European companies in their home markets, but also argue that they should not impose their political correctness upon the Chinese market.

A recent Weibo blog, reiterating the views of many on Weibo, argues that Darlie Toothpaste should still be ‘Black Man Toothpaste’ in China, and that cosmetic brands should continue to cater their ‘whitening’ products to the Chinese market. According to the author, these colors, words, and imageries mean something different in the PRC than in the West. “If European and American cosmetic companies truly respect the cultural and ethnic diversities across the world,” they write: “they should also respect the culture and aesthetics of East Asians.”

To what extent the anti-racist movement will eventually affect the Chinese market, and how -and if- this will change existing views on racism remains to be seen. Meanwhile, heated discussions continue on social media. For some Weibo commenters, the situation at hand seems clear enough: “American-style political correctness just makes no sense here.”

 

By Manya Koetse
Follow @whatsonweibo

For COVID-19 related articles, please click here.

[1] Darlie is a toothpaste brand of Colgate partner Hawley & Hazel, that was established in Shanghai in 1933, and was originally marketed as a parody of American performer Al Jolson. He became popular for his blackface performances, and the whiteness of his teeth made him the face of the toothpaste brand.

Spotted a mistake or want to add something? Please let us know in comments below or email us. First-time commenters, please be patient – we will have to manually approve your comment before it appears.

This text was written for Goethe-Institut China under a CC-BY-NC-ND-4.0-DE license (Creative Commons) as part of a monthly column in collaboration with What’s On Weibo.

Manya Koetse is the editor-in-chief of www.whatsonweibo.com. She is a writer and consultant (Sinologist, MPhil) on social trends in China, with a focus on social media and digital developments, popular culture, and gender issues. Contact at manya@whatsonweibo.com, or follow on Twitter.

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3 Comments

3 Comments

  1. Unbiased Doll

    September 30, 2020 at 2:37 am

    Unfortunately racism is prevalent in China and Asian societies. Even the Asian international students who come to the west e.g. US tend to be very racist towards people of color. This is not just limited to Blacks but to South Asians, Latinos or others. They are simply rude and disrespectful willing to ignore the laws and regulations of the country (e.g. pedestrian laws when driving). Initially I thought they were just not used to customs and etiquettes but then the same people showed a well mannered attitude towards white people. So I definitely can vouch the racism is ingrained in Chinese and Asian culture (mostly hung out with Chinese but I also observed this in Korean, Indonesian and Vietnamese).

  2. Charles Kaltwasser

    July 10, 2021 at 3:59 pm

    an american anti racist tried to kill me today because he curiously deems me to be “racist.”

    What puzzles me is that the mafiaesque black lives matter group in USA says nothing about the thousands of black lives lost at sea
    trying to escape Libya after Obama and the French President now in jail sponsored the destruction of Gaddafy
    Libya

    I am trying to be nonfiction here

  3. Charles Kaltwasser

    July 10, 2021 at 4:04 pm

    hello
    你好吗

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Backgrounder

Full Translation of Peng Shuai’s Weibo Post and Timeline of Events

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Over the past seven weeks, the whereabouts and safety of Chinese tennis star Peng Shuai have been a matter of constant concern in international (social) media. Here is a timeline of events and a full translation of the Weibo post by Peng Shuai – where it all began.

On the night of November 2nd of 2021, a Weibo post by the 35-year-old Chinese tennis player Peng Shuai (彭帅) sent shockwaves across social media. In her lengthy post, the three-time Olympian describes details surrounding an alleged affair she had with the 75-year-old Zhang Gaoli (张高丽), who served as China’s senior Vice-Premier (2013-2018) and was also a member of China’s highest ruling council, the Politburo Standing Committee (2012-2017).

Here, we will give you a short timeline of the things that unfolded from the moment Peng Shuai’s story was published on Weibo, as well as providing the full text of her post and a translation.

 

Timeline of Events

 

November 2nd, 2021

On the night of November 2nd of 2021, 35-year-old tennis player Peng Shuai posts her story on her Weibo account, where she has over 590,000 followers. The post comes online at 22:07 and is sent through a mobile phone.

Although Peng’s post was only online for about twenty minutes before it was deleted, its impact was irreversible. Peng Shuai’s Weibo account remained online, but the name ‘Peng Shuai’ started to be censored on Weibo and other Chinese social media platforms, where online discussions about the tennis player and Zhang Gaoli were soon silenced. Peng Shuai’s post and the ensuing silence triggered a wave of global concern about her wellbeing and whereabouts.

 
November 3, 2021

Peng Shuai’s story makes headlines in the international media, with many Western media outlets describing the issue as a “#MeToo allegation.” within the context of the global #MeToo movement, suggesting Peng’s post was a “MeToo post.” The tennis star did not mention ‘#Metoo’ in her own writings.

 
November 16, 2021

Japanese tennis player Naomi Osaka attracts more international attention for Peng’s whereabouts when she posts the #WhereisPengShuai hashtag on Twitter. Two days later, tennis star Serena Williams also writes on Twitter: “I am devastated and shocked to hear about the news of my peer, Peng Shuai. I hope she is safe and found as soon as possible. This must be investigated and we must not stay silent.”

 
November 17, 2021

While the issue is still completely silenced in Chinese (social) media, the English-language state media outlet CGTN addresses the commotion on Twitter on November 17, when they share a screenshot of an email allegedly sent by Peng to WTA Chairman Steve Simon, saying she was not actually missing and not unsafe.

 
November 19, 2021

While many people still raised their concerns on Twitter – and a White House spokesperson even said the Biden administration was ‘deeply concerned’ about the reports alleging that Peng Shuai had gone missing – photos of Peng Shuai in her home showed up on November 19th, posted on Twitter by Chinese journalist Shen Shiwei (沈诗伟) claiming the tennis star posted them on her WeChat moments herself.

 
November 20, 2021

One day later, a video was also shared on Twitter by the same Shen, showing Peng enjoying dinner with friends and having conversations in which it was clearly indicated that the date was November 20, 2021.

 
November 21, 2021

During that very same weekend of November 20-21, Peng also reappeared in public when she attended the Junior Tennis Finals in Beijing. This was also the very first time in 19 days that she ‘reappeared’ in mainland China’s online media spheres, where photos of her attendance at the games were also shared online.

On that same day, it was announced by the Olympics governing body that International Olympic Committee president Thomas Bach held a 30-minute long video phone call with Peng Shuai. Chinese sports official Li Lingwei and the Chair of the Athletes’ Commission, Emma Terho, reportedly were also on the call, during which Peng explained that she was safe and well at her home in Beijing, but would like to have her privacy respected.

 
November 22, 2021

A Weibo post published by the French embassy in Beijing marks the first time for Peng Shuai’s case to be addressed on Chinese social media.

In their post, the French embassy expresses concerns about the lack of information surrounding Peng Shuai, and reiterates its belief in promoting freedom of expression, equality between men and women, and combating sexual and gender-based violence. The post receives many replies, but its comment section is heavily censored.

 
December 1st, 2021

The WTA (Women’s Tennis Association) announces the suspension of all tournaments in China amid concerns about the safety of Peng Shuai.

In a statement by Steve Simon, WTA Chairman & CEO, the immediate suspension of all WTA tournaments in China, including Hong Kong, was said to also be related to concerns about risks that all players and staff could face if the WTA were to hold events in China in 2022.

Due to the Covid19 situation, there were no WTA events scheduled for China in the near future.

 
December 7, 2021

The US announces a “diplomatic boycott” of the 2022 Winter Olympics in China. American athletes will still compete at the Winter Games. Although this boycott was not necessarily directed linked to Peng Shuai, many media outlets did connect it to concerns over the tennis player.

 
December 19, 2021

In an interview with Singapore-based media outlet Lianhe Zaobao (联合早报), Peng Shuai claims she did not accuse Zhang Gaoli of sexually assaulting her.

A video issued by Lianhe Zaobao shows a reporter asking Peng questions during a skiing competition event in Shanghai, where Peng could be seen talking to Chinese basketball player Yao Ming. When the reporter asks Peng if she is free, she answers that she has always been free and is not being monitored.

When the reporter addresses the allegations of sexual assault, Peng says:

First and foremost, I must emphasize. I have never said or written about anyone sexually assaulting me. That’s a very important point. On the Weibo post, that’s my personal issue.”

Peng also confirms that the English email that was screenshotted and published by CGTN on November 17 was written by her in the Chinese version, but that it was translated into English for her since her English language skills aren’t good enough to write such an email herself.

 

Full Text Translation of Peng Shuai’s Weibo Post

 

In a previous post, What’s on Weibo gave a partial translation of Peng’s Weibo post. Here, we will provide a full translation. Please note that this is a translation provided by What’s on Weibo and not an official translation issued by any other party.

 

我知道说不清楚,说了也没有用。但还是想说出来。我是多么的虚伪不堪,我承认我不是一个好女孩,很坏很坏的女孩。大概三年前张高丽副总理你退休了,找天津网球中心的刘大夫再联系到我,约我打球,在北京的康铭大厦。上午打完球,你和妻子康洁一起带我去了你们家。然后把我带进你家的房间,和十多年前在天津时一样,要和我发生性关系。

I know I can’t say it clearly and that it’s useless to say. But I want to say it anyway. I’m such a hypocrite. I’ll admit I’m not a good girl, I’m a bad bad girl. About three years ago, Vice Premier Zhang Gaoli, you had retired and asked Dr. Liu from the Tianjin Tennis Center to contact me again to play tennis at the Kang Ming Hotel in Beijing. After we finished playing in the afternoon, you and your wife Kang Jie took me with you to your home. You then took me to your room, and like what happened in Tianjin over ten years ago, you wanted to have sex with me.

那天下午我很怕,根本没想到会是这样,一个人在外帮守着,因为谁都不可能相信老婆会愿意。七年前我们发生过一次性关系,然后你升常委去北京就再没联系过我。原本埋藏了一切在心里,既然你根本不打算负责,为何还要回来找我,带我去你家逼我和你发生关系?是我没有证据,也根本不可能留下证据。后来你一直否认,可确是你先喜欢的我,否则我也不可能接触的到你。

I was very scared that afternoon, I had not expected things to go this way, someone was guarding outside, because nobody would believe that a wife would allow this. Seven year earlier we had sexual relations once, and then you – promoted as a member of the Standing Committee – went to Beijing and never contacted me again. I had buried it all inside me, and since you were not planning on taking responsibility at all, why did you come and look for me again, take me to your house, and force me [逼 = force, press for] into sex? I have no proof, and it would be impossible for me to keep any evidence. You denied everything afterward, but it is true that you liked me first, or otherwise, I wouldn’t have had a way to come into contact with you.

那天下午我原本没有同意一直哭,晚饭是和你还有康洁阿姨一起吃的,你说宇宙很大很大,地球就是宇宙的一粒沙,我们人类连一粒沙都没有,还说了很多很多,就是让我放下思想包袱。晚饭后我也并不愿意,你说恨我!又说你这七年从未忘记过我,会对我好等等……我又怕又慌带着七年前对你的情感同意了……是的就是我们发生性关系了。

That afternoon I originally did not agree and cried the whole time, and I still had dinner with you and auntie Kang Jie together. You said the universe is so big, that the earth is just a grain of sand in the universe, and that we as mankind are not even a grain of sand, and you said a lot more to alleviate the load on my mind. After dinner I still did not want to, and you said you hated me! You also said that in these seven years, you never forgot me and that you would be good for me etc etc. I was afraid and panicked and carrying the emotions of seven year ago, I agreed…yes, we had sex.

感情这东西很复杂,说不清,从那日后我再次打开了对你的爱,后来与你相处的日子里,单从你人相处你是一个很好很好的人,对我也挺好,我们从近代历史聊到远古时代,你同我讲万物的知识再谈到经济哲学,聊不完的话题。一起下棋,唱歌,打乒乓球,桌球,包括网球我们永远可以打得不亦乐乎,性格是那么的合得来好像一切都很搭。

The feelings between two people can be very complicated, I can’t clearly explain, [but] after that day I again began to open up to your love. In the days I interacted with you afterward, purely from how we got along, you were a very good person and also treated me well. We would talk about anything from modern history to ancient times, you spoke to me about so much knowledge and talked about economic philosophy, [we had] endless talks about topics. We played chess together, sang songs, played ping pong, billiards, and, including tennis, we could always have a good time. Our personalities got along well together, it looked like we were a great match.

自小离家早,内心极度缺爱,面对发生这一切,我从不认为我一个好女孩,我恨我自己,恨我为什么要来到这个世界,经历这一劫。你同我说你爱我,很爱很爱,来生希望在你二十岁我十八岁时我们就遇见。你说你很孤独,一个人很可怜,我们有聊不完的天,讲不完的话,你说你这个位置没有办法离婚,如果你在山东时认识,还可以离婚,可是现在没有办法。我想过默默无闻就这样陪着你,开始还好,可是日子久了慢慢的变了,太多的不公与侮辱。每次你让我去,背着你你妻子对我说过多少难听侮辱的话,各种冷嘲嘲讽。我说喜欢吃鸭舌,康洁阿姨会冲着我说~咿真恶心。冬天北京雾霾我说有时候空气不太好,康洁阿姨会对我说,那是你们郊区,我们这儿没感觉。等等诸如类似的话说了很多很多,你在时候她不这样说,好像和我们一样,两个人相处时是一个样,有旁人时你对我又是一个样。我同你说过,这些话听多了心里特别难受委屈。

Since I left home early in my childhood, I felt a lack of love in my heart. Facing everything that was happening, I never thought I was a good girl. I really hated myself, hated why I had to come into this world and experience this disaster. You told me that you loved me, very very much, and that in the next life you hoped to meet me when you are 20 and I am 18 years old. You said you were very lonely, that you felt miserable, we had days of endless chats, endless talks, you said there was no way for you to divorce in your position, that if we’d met while you were in Shandong, you could have still divorced, but that there was no way now. I thought about staying with you like this without attracting public attention, which was okay in the beginning, but the days slowly started to change, and there was too much injustice and insult. Every time you let me go, your wife would say many offensive insulting words to me behind your back, [giving me] all kinds of sneers. When I said I like to eat duck tongue, auntie Kang Jie would go and say ~ ugh, how disgusting. During Beijing’s winter smog, I said sometimes the air is not very good, and auntie Kang Jie would tell me ‘that’s just your suburbs, we do not notice a thing here.’ And so on, there were many of such talks, but she would never do it when you were there. It was similar to when we were together – when it was just the two of us you’d be this way, when there were others there you’d act that way. I told you that these kinds of words were really painful to hear.

从认识你第一天到现在没用过你一分钱,更没通过你某去过任何利益或者好出,可名分这东西真重要。这一切我活该,自取其辱。从头到尾你都是一直让我保密和你的一切关系,更不可以告诉我妈和你有男女关系,因为每次都是她送我去西什库教堂那儿,然后换你家的车才能进院里。她一直以为我是去打麻将打牌,去你家玩。我们在彼此的生活中都是真实生活中的一个透明人,你的妻子好像甄嬛传的皇后一样,而我无法形容自己多么的不堪,很多时候我觉得我自己还是一个人吗?我觉得自己是一个行尸走肉,装,每一天都在装,哪个我才是真的我?我不该来到这个世界,可又没有勇气去死。我好想可以活的简单点,可事与愿违。

From the first day I met you up to today, I’ve never used a penny of yours, and I’ve never used you for any personal benefits, but a person’s status is very important. I deserved all of this, I courted disaster. From beginning to end, you have always asked me to keep my relationship with you secret, let alone tell my mother that we were in a relationship. Every time she brought me to the Xishiku cathedral, I would have to change to your car to be able to enter the courtyard. She always thought I was going to your place to play mahjong and cards. We were transparent individuals in each other’s lives. Your wife seemed like the Empress in Empresses of the Palace (甄嬛传), and I can’t describe how bad I felt, and how many times I wondered if I was still an actual person myself. I felt like a zombie, I was pretending so much every day that I didn’t know who the real me was anymore. I shouldn’t have come into this world, but I didn’t have the courage to die. I wanted to live a simpler life, but things turned out contrary to what I wanted.”

30号那天晚上争议很大,你说2号下午再去你家我们慢慢谈,今天中午打电话来说有事再联系,推脱一切,借口说改天再联系……,就这样和七年前一样“消失了”,玩玩想不要就不要了。你说我们之间没有任何交易,是,我们之间的感情和钱,权利没有任何关系,可这三年的感情我无处安放,难以面对。你总怕我带什么录音器,留下证据什么的。是的,除我以外我没留下证据证明,没有录音,没有录像,只有被扭曲的我的真实经历。我知道对于您位高权重的张高丽副总理来说,你说过你不怕。但即使是以卵击石,飞蛾扑火自取灭亡的我也会说出和你的事实。以你的智商某略你一定否认或者可以反扣给我,你可以如此玩世不恭。你总说希望你母亲在天可以保佑你,我是一个坏女孩不配为人母,你为人父也有儿有女,我问过你就算是你的养女你会逼她这么做吗?你今生做的这一切日后心安理得的去面对你的母亲吗?我们都很道貌岸然……

There was a big dispute on the night of the 30th [October], and you told me to come to your place on the afternoon of the 2nd [November] so we could talk things over. Today a phone call came that something had come up and you’d contact me again. Evading everything, with the excuse that we would get in touch another day ……, this is the same “disappearing act” as seven years ago, getting rid of me after you’re done playing with me. You said there were no transactions between us, that’s true, with all the feelings and money between us, it had nothing to do with power and wealth. But I have nowhere to leave my feelings of the past three years, it’s very hard to face. You were always afraid that I would bring some kind of recorder and leave evidence or something. Apart from myself, there is indeed no evidence left, no recordings, no videos, only my distorted real experiences. I know that for someone of your status, Vice Premier Zhang Gaoli, you’ve said that you’re not afraid. But even it’s like striking a stone with an egg, and courting self-destruction like a moth to the flame, I will tell the truth about you. With your intelligence, I’m certain you will deny it or you can blame it on me, or disregard it. You always said you hoped your mother in heaven could bless and protect you. I am a bad woman who doesn’t deserve to be a mother, but you are a father with both a son and a daughter. I have asked you this before: if it was your adopted daughter, would you have forced her to do this? Do you still have the courage to face your mother after everything you’ve done in your lifetime? We sure all like to pose as people with high morals…

 

By Manya Koetse

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Mainstream, Underground, and Online: Electronic Dance Music in China

A peek into China’s electronic dance music scene, from Jean Michel Jarre to the country’s post-covid club scene.

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China has been called the “promised land for electronic dance music,” but some critics say the industry is negatively affected by those prioritizing money over music. Still, the country’s mainstream and underground dance scenes are thriving and the pandemic has brought increased recognition of local artists. This is a peek into China’s electronic music scene, from Jean Michel Jarre to the country’s post-covid dance scene.

This is the “WE…WEI…WHAT?” column by Manya Koetse, original publication in German by Goethe Institut China, visit Yi Magazin: WE…WEI…WHAT? Manya Koetse erklärt das chinesische Internet.
 

More DJs, more festivals, more fans, more online communities. Over the past few years, China’s dance music scene has seen enormous growth in popularity, and electronic music now appears wherever people go, both online and offline, from live music events, night clubs, and fashion shows to reality shows, movies, and social media.

Following the continued explosion of electronic music culture in China’s major cities, DJMag, a renowned UK-based platform dedicated to electronic dance music, even launched a special China Awards section in 2021. In this year’s Top 100 DJ list there are eight Chinese DJs, the highest number ever since a DJ from China first made the list in 2017.

As an unexpected consequence of the pandemic, China’s local dance community has seen heightened popularity of local DJs. While Covid19 has seriously affected the global dance music scene, it has been an ongoing opportunity to shine for local talents in mainland China.

This was the first year for Chinese DJ Panta Q to enter the renowned DJMag Top 100 DJs list (image via DJMag).

Just five years ago, China-based DJ Spencer Tarring discussed the huge potential of China as “the rising promised land for electronic dance music.” But what’s the status quo of China’s dance and DJ culture? Here we’ll explore China’s electronic music scene, from mainstream to underground and the online community.

 

From ‘EDM’ to ‘Haoshi’

 

Let’s first explain some terminology. ‘Electronic dance music’ is actually a huge umbrella term for percussion-based electronic music produced primarily for nightclubs, raves, and festivals, and performed/presented by DJs. In Europe, electronic dance music is often simply called ‘dance’ or ‘dance music,’ with subgenres including techno, house, trance, and many others (deBoni 2018).

There’s also the acronym ‘EDM.’ Although it literally stands for ‘Electronic Dance Music,’ it is not the same as the overarching ‘electronic dance music’ genre, as it was adopted in the US to label commercial dance music. It has since been commonly used to solely describe the mainstream electronic dance music that is represented by world-famous DJs such as Tiësto, Martin Garrix, Armin van Buuren, or David Guetta (see Androids 2017; Jori 2021; Magnetic 2021).

In Mandarin Chinese, the term Diànzǐ yīnyuè (电子音乐), often abbreviated as Diànyīn (电音), literally means ‘electronic music’ and is used as a catch-all term for any music made using electronic instruments or involving electronic processing.

DJ Lizzy, a popular female DJ in China, image via Lizzy Wang Weibo account.

EDM is translated as Diànzǐ wǔqǔ (电子舞曲) (‘Electronic Dance Music’), and also refers to commercial dance music. House is generally translated as Hàoshì yīnyuè (浩室音乐), techno as Tiěkènuò yīnyuè (铁克诺音乐), and trance as Chūshén yīnyuè (出神音乐).

 

Rewind: A Very Short History of Electronic Music in China

 

The history of electronic dance music in China brings us back to the early 1980s. In the decades and years before, there was strict music censorship under Mao’s rule and the influx of Western music was limited. After Mao’s death and the start of the Open Door policy, modern music from outside of mainland China became increasingly popular among young Chinese, inspiring local musicians to start writing and recording their own pop, rock, and modern music (Holm 1983; Latham 2007: 336).

China’s ‘New Wave’ movement was partly triggered by ‘The Concerts in China‘ by the French electronic music pioneer Jean Michel Jarre in 1981, who performed in Beijing and Shanghai in October-November of that year for a combined audience of 150,000 people (Billboard 1982).

“Electronic music visits China for the first time” – Jean-Michel Jarre performs in China in 1981 (让-米歇尔·雅尔).

Following the Jarre concerts, the New Wave movement also became visible at conservatories and music schools across China in the early 1980s when Chinese composers started to experiment with electronic music. While influenced by Western music, many examples of Chinese electronic music created in these years featured Chinese traditional musical elements (Li 2018).

Many Chinese people became more familiar with modern Western music in the 1980s and 1990s through cassette tapes that were shared and copied hundreds of times, and the so-called dakou culture which emerged in the mid-90s.

Dakou (打口) CDs were dumped by Western countries and imported into China as plastic garbage, intended to be recycled, but then flowed into Chinese cities and became available for listeners to buy from black markets.

A dakou cd with a punch hole (source).

Dakou CDs (and tapes) have a cut-out, a punch hole, or crack in them to mark them as waste and prevent them from being resold, but people were still able to restore them and listen to most of the music. The dakou culture greatly influenced China’s music scene.1

Proper nightclubs first started to open up in big Chinese cities in the early 1990s, a time in which many people in the electronic music scene were more focused on the music rather than the money.

This is also when Ben Huang, who would become one of China’s most well-known DJs, started his career. The Shanghai-born Huang was a student of modern dance and fine arts before he became active in the Beijing music scene and kick-started China’s club culture.

Other big names emerging around this time are the so-called “godfather of Chinese dance music” Mickey Zhang, DJ Youdai (Zhang Youdai), Yang Bing, and famous electronic musician Weng Weng. They later also started organizing dance parties or setting up their own labels.

1998 saw the first rave party named ‘Cheese’ at the Great Wall. Image via The Beijinger.

Although illegal rave parties emerged in various cities across the country since the mid-90s, China’s first big rave party took place in the late 1990s at the Great Wall, organized by the Swiss collective ‘Cheese’ (Grefer 2016; Yiu & Charrieras 2021: 233). Vice China (2019) writes:

“What was most magical about China’s party culture in the 1990s, is that it miraculously united all participants of any subculture. The people coming to these rave parties could come from completely different communities, from doctors to lawyers, from hoodlums to diplomats, local punks and sightseeing exchange students (..), on the dance floor surrounded by electronic music, nobody would talk about ideals and doctrines, actions and problems, everyone put all their conflicts aside and danced.”

Nevertheless, much of the scene remained underground and many people in China had not been exposed to electronic dance music yet or did not understand it.

When the renowned British-Canadian electronic musician Richie Hawtin performed in Shanghai at some of the city’s earliest techno events in the 1990s, some people wondered if the CD was stuck and if the mixer needed to be fixed.2

 

The Mainstream Scene: “Tuhai” and Rock Music Envy

 

Starting in the 2000s, more money-driven clubs started to open and the electronic dance music scene in China started to develop into two separate worlds; the underground with its underground scene and the mainstream with its mainstream scene.

“And there I am in the middle,” DJ Ben Huang said in a 2009 interview.

Huang’s comment is telling for a market where electronic music has become the second most popular music genre, while the ‘real’ Chinese fans of electronic dance still complain that there has been too little progress in the scene in recent years.

Online discussions indicate that many think that electronic dance music in China has become too commercialized too quickly and has become all about the money rather than the music – leaving little space for the underground scene to flourish, and lacking breeding ground to boost a stronger development of the local electronic music scene.

In 2016, Jiangsu television aired China’s first-ever variety show featuring Electronic Dance Music (EDM) titled Heroes of Remix (盖世英雄remix). The show introduced international electronic dance music genres to a mainstream audience, mixing it with Chinese traditional influences. Two years later, the talent reality show Rave Now (即刻电音) premiered on Tencent Video, further promoting the popularity of EDM in China.

Against the backdrop of an ever-growing EDM industry in China with numerous nightclubs opening up all over the country, the release of the 2021 movie Upcoming Summer (盛夏未来), which focuses on electronic music, further assimilated dance music into China’s mainstream pop culture. A hashtag dedicated to the movie on Chinese social media received over 650 million views (#电影盛夏未来#). (Note: the movie can now also be viewed through Netflix.)

The film Upcoming Summer, where EDM plays a major role.

While electronic music is divided into many genres, commercial EDM is by far the most popular type of electronic music in China. Some of the music played by Chinese local DJs that is deemed to be of lower quality than ‘legitimate’ EDM is also called ‘Tuhai’ (土嗨), a wordplay on ‘too high’ that refers to unoriginal bounce music with whistles and repetitive melodies.

The more the popularity of electric dance music is growing among the masses, the more music fans speak out, saying that China’s mainstream electronic music does not represent authentic electronic dance music, even arguing it that it negatively influences the development of the entire genre; excessive commercialization has neglected the music itself.

The recent surge of Tuhai in Chinese clubs is also a side-effect of the pandemic, during which clubs have started booking far more local DJs with little experience to keep the shows going. To counter the so-called ‘Tuhai virus’, China’s top DJ Carta launched the ‘Chinese Bounce Mafia’ alias together with trance DJ Luminn and DJ/producer Unity to mock the repetitive music genre.

‘Chinese Bounce Mafia’ promo poster from 2020.

In an interview with MixMag (Wycech 2020), Carta says:

“We started Chinese Bounce Mafia after seeing the number of shows these guys were doing and what was happening to the market. We all hated the music, so we said ‘fuck these guys, if they can get all these shows, so can we’. So Chinese Bounce Mafia is our stand against what we see as a problem within the market. The name is a troll because people thought we’ve all sold out and given into bounce but we actually play anything from house to trance to big room to techno.”

It is not easy to counter the Tuhai trend, which is not just ubiquitous in China’s clubs but is also everywhere in the Chinese online music environment, triggering online discussions on how the low-standard music is negatively impacting the overall music quality in the online libraries of platforms such as QQ Music, Kugou, and Tencent Music.

Some Chinese electronic music fans even say they envy China’s rock music scene. One article by the Music Economy Official Weibo Account (@音乐财经官方微博) on Sina said:

“As a fan of electronic music, I feel envious [of the rock music scene]. I envy their music festivals, I envy their good musicians, I envy their good fans, and this isn’t the first time for me to admire China’s rock scene in this way.”

The Music Economy author argues that although it’s been a bumpy ride for rock music in China, the genre has come a long way over the past four decades and has since been embraced by the general public.

Chinese rock music fans enjoying a concert, image via Music Economy.

One of the reasons why the author argues that China’s dance music community has reason to envy the rock music scene is that there is an alleged pure love for music that draws people into the rock scene, while many people coming to the DJ culture enter the market for the money, not for the music. Because people are prioritizing money over music, too many compromises are often made, resulting in low-effort productions or mediocre festivals.

Another difference between China’s dance and DJ culture compared to the rock scene, is that many rock music fans have grown up listening to the music and have followed their favorite musicians for years. China does not (yet) have a greater electronic music history to build on.

The author writes:

“I know it’s not very scientific to compare rock to electronic music, but they are both imported products and when I see how rock is finally flourishing after having been through so much, I can’t help feeling envious. Electronic dance music and electronic music in China still need to build on more experience. I hope more musicians can stop worrying about income and focus on the music, following their own dreams. I also hope more people will really start caring about electronic music and dance, and that they will start spending money on tickets and records to support their organizers and favorite musicians.”

What also plays a role in this, is that DJ culture mostly takes place inside nightclubs and entertainment venues, where drinks and socializing are often considered more important by Chinese clubgoers than whoever is standing behind the DJ table. China’s current commercial club culture is not a fruitful breeding ground for the further development of China’s electronic dance music scene, the author claims.

 

Underground & Online Electronic Dance in Post-Covid China

 

Despite all negative consequences of Covid19 for the music industry, the pandemic has also had an unexpected positive influence on China’s dance culture. With no international DJs allowed to travel into China, local DJ talents are getting increased recognition and there is more interest in the domestic dance scene.

As clubs were shutting down across the world in the spring of 2020, China entered its post-lockdown phase and nightclubs came back to life, with more people ready to explore the club scene.

Despite those voices expressing concern about the lower-quality EDM that is dominating China’s club scene, there are also those who think it is not necessarily bad for electronic dance to go mainstream this way because it also indirectly creates more acceptance for non-mainstream sub-genres and electronic music at large.

In recent years, new underground nightclubs, festivals and independent labels have mushroomed in China. There is now a flourishing club music scene in various cities across the country: Beijing, Shanghai, Shenzhen, Hangzhou, Wuhan, Kunming, and Guangzhou have all played a pivotal role in the development of China’s electro dance music culture, with Chengdu leading the way (Neocha 2021).

Partying at TAG, image via Tag Changdu Weibo account.

Among Chengdu’s many electronic music clubs, there’s .TAG (‘To Another Galaxy’). The club, located on the 21st floor of Chengdu’s Poly Centre, was founded by a small group of Chinese and Dutch music lovers and entrepreneurs, taking inspiration from clubs in Amsterdam and Berlin. TAG has become a city hotspot for underground house and techno, with local DJs such as Cora and HAO attracting a young and free-spirited clubbing crowd.

TAG was founded in 2013, the same year in which renowned record label SVBKVLT was established in Shanghai. SVBKVLT has pushed works from many local talents, including the Beijing-based electronic music duo Zaliva-D and Shanghai producer and artist 33EMYBW (Wu Shanmin).

Chengdu’s .TAG and Shanghai’s SVBKVLT are just some examples of China’s thriving underground scene, as there are many other important players, including Beijing’s underground techno club Zhao Dai, Shanghai’s 3NTRY, club Elevator and ALL, or OIL in Shenzhen, featuring Chinese DJs and electronic music artists such as Slowcook, Yang Yang, Temple Rat, Knopha, Chuan, Max Shen, Luna Li, and many, many more.

Image via Weibo account of 33EMYBW.

China’s electro music culture goes beyond clubs and festivals – the online environment is a big part of it. Although the 2021 shutdown of the Xiami Music app from the Chinese market created a vacuum for online electronic music streaming, other online music libraries such as QQ Music, Netease Cloud Music, Kuwo and Kugou are now competing over listeners.

On social media platforms Weibo and Wechat, there are various electronic music blogging accounts with thousands of followers but there are also hundreds of festival accounts, club accounts, label accounts, and DJ/creator accounts.

More in-depth discussions on China’s electronic music scene can also be found on Chinese Q&A platform Zhihu.com, the social networking sites QQ and Douban, and on Bilibili. Over the past few years, other smaller online communities, from Moresound to Abletive, have also arrived at the scene for people to discuss the development of Chinese dance music.

Although many online discussions about the state of China’s electronic dance music scene are quite critical of how the scene is evolving, it could still be seen as a sign of how the industry and its audience are maturing – growth comes with growing pains.

Despite all hurdles, new China-based talents are gaining traction and electronic music labels are popping up one after another. Covid has posed a major challenge to the scene but has also injected new energy into the domestic market.

Electronic music in China has come a long way since Jean Michel Jarre first made waves in the country, and after all these years, the genre is entering a new era. The next few years will show which direction Chinese electronic music is moving in, but one thing is certain: electronic music is part of China’s music scene today and, whether or not everyone agrees on the quality of the beats that are booming, the music is here to stay.

On one online discussion page about Chinese electronic music, someone asked how others feel about Chinese DJ PantaQ arriving in the DJMag Top 100 DJ list. One commenter answered: “This is only the beginning. Chinese electronic music will start to shine on the international stage.”

 

By Manya Koetse
Follow @whatsonweibo

1 Professor Jeroen de Kloet did extensive research into China’s dakou culture. For more on China’s dakou generation, we recommend reading: Jeroen de Kloet, China with a Cut: Globalisation, Urban Youth and Popular Music (Amsterdam: Amsterdam University Press, 2010).
2 This scene was described by Chinese DJ / producer Ma Haiing (MHP) in the book by Matthew Collin, Rave On: Global Adventures in Electronic Dance Music (London: Profile Books, 2018), Chapter 6.

References

– Androids. 2017. “An Idiot’s Guide to EDM Genres.” Complex.com, October 13: https://www.complex.com/music/an-idiots-guide-to-edm-genres/ [Oct 11, 2021].
– Billboard. 1982. “Jarre Fame Spreads – Even to China.” Billboard Magazine (March 13): page 22.
– Collin, Matthew. 2018. Rave On: Global Adventures in Electronic Dance Music, London: Profile Books.
– De Boni, Luka. 2018. “The Rise of China’s Electronic Dance Music Scene: From Underground Culture to Online Communities.” What’s on Weibo, August 26
https://www.whatsonweibo.com/the-rise-of-chinas-electronic-dance-music-scene-from-underground-culture-to-online-communities/ [Nov 1, 2021].
– De Kloet, Jeroen. 2010. China with a Cut: Globalisation, Urban Youth and Popular Music. Amsterdam: Amsterdam University Press
– Grefer, Philipp. 2016. “Disco(s), Techno and the EDM Storm: A Brief (and Personal) History of Electronic Music in China.” The Beijinger, Nov 16 https://www.thebeijinger.com/blog/2016/11/04/discos-techno-and-edm-storm-brief-and-personal-history-electronic-music-china [Nov 12, 2021].
– Holm, David. 1983. “The Difficulty of ‘Walking on Two Legs.’” Index on Censorship: 12 (1): 34-37.
– Jori, Anita. 2021 “The Meanings of ‘electronic dance music’ and EDM.” In: The Evolution of Electronic Dance Music , edited by Ewa Mazierska, Tony Rigg and Les Gillon, Chapter 1. New York: Bloomsbury Academic.
– Latham, Kevin. 2007. Pop Culture China! Media, Arts, and Lifestyle. California: ABC-CLIO.
– Li, Qiuxiao. 2018. “Characteristics of Early Electronic Music Composition in China’s Mainland,” Contemporary Music Review 37:1-2.
– Magnetic. 2021. “STOP CALLING EDM EDM – HERE IS A PROPER DEFINITION.” Magnetic Magazine, Jan 13 https://www.magneticmag.com/2015/10/stop-calling-edm-edm-here-is-a-proper-definition/ [Oct 12, 2021].
– Music Economy Official Weibo Account 音乐财经官方微博.2020. “电音圈有什么资格羡慕滚圈.” Sina News, August 20 https://k.sina.com.cn/article_5255791141_13945022501900poao.html [Nov 27, 2021].
– Neocha. 2021. “Sleepless in Chengdu.” July 5, https://neocha.com/magazine/sleepless-in-chengdu/ [Nov 27, 2021].
– Yiu, Alex and Damien Charrieras. 2021. “On the Fence: Electronic Dance Music Cultures in Hong Kong and Shenzhen.” In: Sébastien Darchen, Damien Charrieras, John Willsteed (eds), Electronic Cities – Music, Policies and Space in the 21st Century, 223-243. Singapore: Palgrave Macmillan.
– Vice China. 2019. “触电中国 EP1:从荷东到锐舞,中国电音的起源与脉络.” Tencent News, July 30 https://new.qq.com/omn/20190730/20190730A0CTCB00.html?pc [Oct 12, 2021].
– Wycech, Olivia. 2020. “An Edm Club In Taipei Has Unabashedly Banned Bounce Music…But What Even Is Bounce Music?” MixMag, October 20 https://mixmag.asia/feature/what-is-chinese-bounce-music [Nov 17, 2021].

Featured image by Ama for Yi Magazin.

This text was written for Goethe-Institut China under a CC-BY-NC-ND-4.0-DE license (Creative Commons) as part of a monthly column in collaboration with What’s On Weibo.

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