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Jews in Shanghai: Memories of a Nearly Forgotten Community

New initiatives bring back the memories of Shanghai’s Jewish community.

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As modern buildings mushroom and old neighborhoods disappear, the traces of Jewish history are fading in today’s Shanghai. But recent initiatives, such as a Jews in Shanghai musical and the launch of a Shanghai Jewish diaspora website, keep the memories of China’s Jewish heritage more alive than ever. A short history of Jews in Shanghai and how their history is remembered in 21st century China.

 
Story by Manya Koetse, photo-reportage by Maarten van der Meer.
 

Perhaps Jewish history is not the first thing that springs to mind when thinking about Shanghai. Yet the vibrant city harbors a rich history of Jewish heritage – a history that has recently seen a revival in Chinese media and entertainment.

The increased attention for the Jewish community of Shanghai and the history of Jews in China comes at a time when relations between China and Israel are at a new height. The two countries recently signed a visa deal that has encouraged mutual travel. Tel Aviv and Beijing are also making plans to establish a free trade zone.

 

DISAPPEARING HISTORIES

“While bulldozers are rumbling, discoveries of historically important buildings make the news.”

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The ‘memory revival’ of China’s Jewish history also comes at a time when old Jewish neighborhoods in Shanghai are being demolished. A reviving Jewish community in the city of Kaifeng is facing an ongoing crackdown by the government, as Judaism does not belong to China’s five state-approved religions of Buddhism, Taoism, Islam, Christianity and Protestantism.

Shanghai’s northern district of Hongkou is at the heart of Shanghai’s old Jewish neighborhood. Although many buildings are well-preserved, large parts of the neighborhood have been demolished over the past few years. Residents are located to other, more remote, areas of the city.

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While bulldozers are rumbling, discoveries of historically important buildings sometimes make the news. In 2014, an old residence set for demolition turned out to be a meeting place for Sun Yat-sen and other well-known people during the 1910s. The building was preserved after a Weibo user asked for help to save it.

In February 2016, another Hongkou building remained intact after it was discovered to be be a former ‘comfort women’ house used by Japanese troops during WWII.

While parts of the old neighborhood are disappearing, new initiatives are keeping its memories alive.

 

NEW WAYS OF REMEMBERING

“China has seen a ‘revival’ in remembering China’s and Shanghai’s Jewish history.”

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Just 3 kilometers from Shanghai’s famous Peace Hotel (its Victor’s Café was named after famous Shanghai Jew Sir Victor Sassoon) lies the Shanghai Jewish Refugees Museum; opened in 2007 to commemorate the Jewish refugees who lived in Shanghai during WWII. The museum frequently holds new displays and events to catch the audience’s attention.

But the history of Jews in Shanghai is kept alive through more than only the museum. Over the past few years, China has seen a ‘revival’ in remembering China’s and Shanghai’s Jewish history. Its historical revival mainly takes place outside museums, namely in popular culture and cyberspace.

China’s first animated movie about the Jewish history of Shanghai premiered in 2010. A Jewish Girl in Shanghai (犹太女孩在上海) tells the story and hardships of Jewish girl Rena who flees Nazi persecution by traveling to Shanghai during the WWII. The film has been described as “China’s first homegrown Jewish film”. A sequel to the anime appeared in 2015.

In the same year (2015), the first musical themed around the Jews in Shanghai saw the light at the Shanghai International Arts Festival in October. The musical Jews in Shanghai (犹太人在上海) revolves around the blossoming love between a Jewish man and Shanghai woman during the chaos of WWII. The Chinese-Israeli musical premiered in Beijing in June of 2016 (Yuan 2016: 30).

Jews in Shanghai, the musical (image via mypiao.com).

Jews in Shanghai, the musical (image via mypiao.com).

Shanghai’s Jewish history is also being commemorated through digital channels. On September 28, Shanghai’s Hongkou district government released a multilingual website telling different stories of the Jewish diaspora in Shanghai during the World War II. The project, launched by Shanghai International Studies University and the Shanghai Jewish Refugees Museum, has collected stories from the time Jews fled to Shanghai to escape Nazi persecution.

E-learners can now also learn about the Jewish history in China through Coursera. Nanjing University has started offering an online course on Jewish Diaspora in China , taught by Dr. Xu Xin – an expert on the history of Judaism in China. The course requires enrollment but is offered for free.

 

JEWS IN CHINA/SHANGHAI: A SHORT HISTORY

“They have entirely lost their religion and are scarcely distinguishable in any way from the Chinese.”

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China has a long history of Jewish diaspora, although it is not entirely clear when and where this history began. What is clear, however, is that China is the only country in East Asia where Jews have consecutively lived for the last 1000 years. Marco Polo already mentioned the presence of Jews in China in 1286, and there is historical evidence that Jews lived in the old city of Kaifeng since the 11th century (Xin 2010: 133).

Although the city of Kaifeng once had a lively Jewish community, it gradually diminished throughout the 19th century. By the early 20th century, it had become nearly non-existent. When a bishop of the Anglican church visited the city in 1867, he already noted about the Kaifeng Jews that “they have entirely lost their religion and are scarcely distinguishable in any way from the Chinese” (Rhee 1973: 118).

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The reason for the Jewish demise could be explained through their complete assimilation in China. Throughout time, they took on Confucianism, practiced patrilineal descent, intermarried, and identified with Chinese culture so much that they were no longer really considered “Jewish” at all (1973: 115).

In Shanghai, however, something different was happening. After China was defeated by Britain during the first Opium War (1839-1842), Shanghai became an open port where foreign trade was allowed and where Britain could establish settlements. It was at this time that the first wave of Jewish people came to Shanghai, along with British merchants, to start businesses there. This early Jewish community of modern China, who were Sephardi Jews, settled down in Shanghai and other cities (Hong Kong, Tianjin) to make money and establish companies.

The second wave of Jewish came to Shanghai in the early 20th century. These Ashkenazi Jews came from Eastern Europe and Russia, and also settled down in the bustling city to start small businesses. Together with the first wave of Jews in Shanghai, they had a thriving Jewish community with Jewish synagogues, cemeteries, and institutions.

But the history of Jews in Shanghai is mostly known for the third wave of Jewish diaspora: German and Austrian Jewish who came to Shanghai as refugees before and during the WWII.

 

THE SHANGHAI GHETTO

“Shanghai became their destination not by choice, but because they had no other choice.”

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Why Shanghai? For many Jews at the time, Shanghai became their destination not by choice, but because they had no other choice (Xin 2016). As anti-Jewish violence grew strong in Nazi-ruled Germany and Austria, many Jews wanted to leave the country. But despite the 1938 Evian Conference in France, that was joined by 32 nations to resolve the Jewish refugee crisis, other countries remained reluctant to take in Jewish refugees. Without the required visas needed to enter countries such as America, many Jews were desperate.

Shanghai, however, was an exceptional place: it was an open port under the control of foreign powers, and it already was home to two relatively large Jewish communities. There was no need for a visa. For those who could afford to go on a boat to China, it was the best refugee haven (Gao 2011: 203; Meyer 2000: 71). After the anti-Jewish pogroms during the 1938 Kristallnacht, many Jews arrived in China. In the 1933-1940 period, approximately 20,000 European Jews came to China, of which a large majority arrived in Shanghai per boat (Xin 2016; Gao 2011: 203)

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The fourth and final wave of Jewish arrived in China via the Japanese city of Kobe. It was a Polish Jewish community who had ended up in Kobe via Siberia, but left again after the outbreak of the Pacific War. By the early 1940s, four different Jewish communities, coming from four different “waves” of diaspora, lived in Shanghai together at the same time.

It was Shanghai’s Hongkou district (also spelled as ‘Hongkew’) that became the main Jewish neighborhood. Since it was amongst the lesser developed areas of Shanghai, the cost of living was cheap there. But under Japanese control, the area’s Tilanqiao neighborhood (提篮桥) turned into a “designated area for stateless refugees”, simply a “ghetto”, where around 20,000 of its 50,000 residents were Jewish. Japanese authorities controlled the district and prohibited Jews from leaving the “Hongkou ghetto” without the required papers, which were hard to obtain.

According to Evelyn Pike Rubin, one of the German-Jewish refugees who survived in Shanghai during the 1939-1947 period, the designated area only came in 1943. She told What’s on Weibo: “Until 1943 we could live anywhere. As a matter of fact, I lived with my parents on Avenue Joffre. It was not until May of 1943 that the so-called ‘ghetto’ was established. Mr. Ghoya gave out the passes – sometimes with difficulty. My mother got a pass and did business outside the ghetto and I and my friends got passes to continue attending the Shanghai Jewish school in the former International Settlerment on Seymour Road.”

Evelyn Pike Rubin later published a book about her experiences in Shanghai, titled Ghetto Shanghai (1998: link).

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Despite suffering hardships, the Jews in the Shanghai Ghetto were safe and far removed from the horrors of Europe. Jewish children attended school and could freely play around the streets with their Chinese friends.

Nina Admoni, who spent her childhood in the Shanghai ghetto, with her Chinese friends [image timesofisrael.com].

Nina Admoni, who spent her childhood in the Shanghai ghetto, with her Chinese friends [image timesofisrael.com].

Nina Admoni, a Polish Jew who spent her childhood in the ghetto, told Times of Israel in 2012 that she looked back on her experience in Shanghai fondly and even idyllically: “The Chinese people in Shanghai were very kind, that’s what I remember.”

 

GONE, BUT NOT FORGOTTEN

“The last synagogue of Shanghai stopped its services in 1956.”

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There is a world of difference between what once was the “Shanghai Ghetto” and the same area today. The first synagogue of Hongkou, from the 1920s, now houses the Shanghai Jewish Refugee Museum. The Jewish community is no longer active here. The last synagogue of Shanghai stopped its services in 1956.

After WWII ended, Jews in China gradually left the country. It was not possible for them to become Chinese nationals, as the country did not have a naturalization procedure. The upheaval of the Chinese Civil War followed by the communist victory in 1949 meant that the Jewish could no longer continue to do business in China. As many left for North America, Australia, New Zealand or Palestine, only a few hundred Jews were left across China by the 1960s (Xin 2016).

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What once was a home and safe haven for thousands of Jews has now turned into a quiet neighbourhood with local shops and a street market. Many parts are being deconstructed for renovation.

Shanghai still has a small Jewish community, but it is not comparable to what it once was.

The Ohel Rachel Synagogue on North Shaanxi Road is now regulated by the Chinese government. The Jews in Shanghai are allowed to hold a religious ceremony no more than three times per year.

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In Kaifeng, once home to China’s oldest Jewish community, a revival of Judaism amongst around 1000 residents who claim to be of Jewish ancestry has been met by opposition from the local government. It has shut down Jewish heritage organizations and has prohibited residents from gathering to worship for Passover and other holidays. Signs and relics of the city’s Jewish past have been removed from public places.

China’s Jewish communities have changed through time. They have grown smaller, they have become Chinese, or they have vanished altogether.

Although the visibility of Jewish history might be disappearing from the streets of Shanghai, its stories are kept alive through books, museums, musicals, cinemas and on the internet. Its presence may be gone, but its history will never be lost.

– By Manya Koetse, photographs by Maarten van der Meer

About the photographer:
Maarten van der Meer is an independent/freelance photographer focusing on photographic stories, both fictive & real. He likes to mix various image styles and tries to find the narrative and excitement within everyday scenes. Besides his story projects, Van der Meer shoots portraits & landscapes.

References (news article sources in links)

– Gao, Bei. 2011. “The Chinese Nationionalist Government’s Policy Toward European Jewish Refguees During World War II.” Modern China 37 (2): 202-237.
– Meyer, Maisie J. 2000. “The Interrelationship of Jewish Communities in Shanghai.” Immigrants & Minorities 19 (2): 71-90.
– Rhee, Song Nai. 1973. “Jewish Assimilation: The Case of Chinese Jews.” Comparative Studies in Society and History 15(1): 115–126.
– Xin, Xu. 2010. “Tracing Judaism in China.” Social Sciences in China 31 (1), 130–161.
– Xin, Xu. 2016. “Jewish Diaspora in China” [online course]. Coursera. https://www.coursera.org/learn/jews-in-china/home/welcome [1.10.16]
– Yuan, Kang. 2016. “Jews in Shanghai: Love is Boundless.” Women of China (July): 30-31.

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

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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2 Comments

2 Comments

  1. Henry B Meisel

    February 11, 2017 at 1:43 am

    I am a survivor of the Shanghai Ghetto 1939-49…………lived in the Ghetto because we were declared stateless not because we were Jews….other Jews besides German,Viennese,Polish lived outside……..in fact the Japanese saved our lives though Germany an ally tried to find a solution. I lecture on the survival by showing the film “Shanghai Ghetto” with question and answer periods. In recent years Shanghai TV produced another film “Survival in Shanghai” which will be shown at Temple Emanuel in NYCity in April 2017

    (one part of this comment that included a link to a private website has been removed by whatsonweibo for as the link contained malware. sorry for any inconvenience)

  2. Kevin Dwyer

    November 24, 2018 at 7:08 pm

    Keep up the good work, Ms. Koetse. Read your stuff all the time but don’t think I’ve thanked you for you b/f for your excellent reporting. (P.S. ‘Dwyer’ is the Irish cousin of the Dutch ‘zwart’ & the German ‘schwarz’)

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Backgrounder

Digital Art or Visual Propaganda? China’s New Wave of Online Political Satire

Political, patriotic art mocking Western leaders is welcomed by social media users and propagated by Chinese officials.

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Image by What's on Weibo, highlighting various digital artworks by @乌合麒麟, @半桶老阿汤.

A specific genre of political satire has been gaining popularity on Chinese social media lately, with some images even making international headlines. While political satire mocking Chinese authorities is generally soon taken offline, these online works are brought to the limelight by Chinese official channels. Is it grassroots digital art? Or is it official visual propaganda?

When the parody image ‘The Last G7’ went viral on Chinese social media in June of 2021, it made international headlines for insulting the G7 summit, the West and Christianity, ridiculing ‘double-faced’ Australia, bashing Japan over Fukushima water, and offending India’s COVID19 situation. There was enough satirical symbolism and detail in the image to offend virtually any country that was -implicitly- portrayed in it.

Some media headers suggested the image was created by Chinese state media, others said it was done by ‘Chinese trolls’ or Chinese authorities.

The image was actually created by a Chinese computer graphics illustrator from Beijing who is active on social media, where he also sells his digital art online.

Online political satire in China has been around since the early start of social media in China and is often seen as a form of online activism. In media articles and academic literature focused on online political satire in China, the phenomenon is often discussed within the framework of censorship and dissidence, as a practice of resistance against Chinese authorities. Political satire can exist in many forms, from funny word jokes to catchy songs, from viral gifs to sophisticated cartoons.

Renowned Chinese political cartoon artists such as Badiucao (巴丢草), Hexie Farm (蟹农场), Kuang Biao (邝飚), and Rebel Pepper (变态辣椒) were previously active on Chinese social media platform Weibo, and their accounts were shut down dozens of times before publishing their work within China’s online environment became virtually impossible.

These artists are known for drawing cartoons that criticize and mock Chinese leaders, the central government, or their policies. Their work fits the narrative of online political satire being used as a weapon to resist authoritarian rule in spite of the highly censored online climate they exist in (Shao & Liu 2019, 517).

What exactly is political satire? It is “a specific form of criticism that ridicules political figures, events, or phenomenon” (ibid). Visual political satire is especially relevant within the context of Chinese social media because images allow for a creative form of expression, an outlet to critique political events, that is harder to detect by online censors than the use of potentially sensitive words and terms.

But what if political satire does not critique the Chinese party-state at all? What if it actually does not conflict with party ideology, or even suits the narratives that are propagated by Chinese officials?

 

Recent Examples of Chinese Political Satire on Social Media

 

In late December of 2020, a photoshopped image of an Australian soldier murdering a child stirred controversy on social media and beyond. The soldier, who is holding a knife to the throat of a child, is standing on an Australian flag, the shadows of bodies can be discerned lying on the floor. The image – which alluded to the report regarding unlawful killings of Afghan civilians and prisoners by Australian troops – was shared on Twitter by Chinese Foreign Ministry spokesperson Zhao Lijian. The controversial post led to Australian Prime Minister Scott Morrison demanding an apology from China.

The computer graphic by Wuheqilin that was shared on Twitter by a Chinese official.

In January of 2021, around the time of Biden’s inauguration, another satirical work was shared on Twitter by a senior producer of CGTN (@Peijin_Zhang) and others. Like the earlier image, this political satire was also full of details and symbolism. It shows American President Biden holding a bomb in front of a White House background, while Trump is taken away by officers and Kamala Harris is standing by an open grave reserved for Biden – shovel in hand. The text underneath the image says: “What a paradise of freedom, democracy, and sweet air.”

Artwork titled ‘失乐园·末日余晖’ ‘Paradise Lost-Afterglow’ created by ‘半桶老阿汤’ aka ‘Half Bottle Of Old Soup.’

At the time of the online controversy over the Xinjiang cotton ban by the BCI in March of 2021, another digital illustration titled “Blood Cotton Initiative” made headlines for featuring (BBC) journalists in KKK-style hoods interviewing a scarecrow in a field, cotton-picking slaves in the background.

The image is a response to the allegations of forced labor and human rights abuses in Xinjiang, which various Chinese officials and state media have condemned as being ‘false,’ ‘manipulative,’ and ‘hypocritical’ in light of many western countries’ own human rights records. The image was shared on Twitter by, among others, the official account of China Daily Asia (@Chinadaily_CH) and China Daily Hong Kong (@CDHKedition).

“Blood Cotton Initiative” (血棉花) by Chinese artist Wuheqilin.

In June of 2021, another political satire made headlines, as mentioned earlier in this article. It was the image mocking the G7 members who issued a summit communique that called on China to “respect human rights and fundamental freedoms,” especially in relation to Xinjiang and Hong Kong autonomy, and also pushed for a new inquiry into the origin of the Covid-19 virus (link to pdf). The image, which is a parody of The Last Supper mural painting, is titled ‘The Last G7’ (最后的G7).

Image ‘The Last G7’ created by ‘半桶老阿汤’ aka ‘Half Bottle Of Old Soup.’

The image shows various animals sitting around the table, supposedly to represent Germany (left), Australia, Japan, Italy, US, UK, Canada, France, and India. Behind them are oxygen tanks, while the elephant on the right (India) is still receiving IV treatment and is not participating in the table talks. The Akita dog (Japan) is serving a green drink from a radioactive tea cattle while the bald eagle in the middle (US) is turning toilet paper into money. The beaver (Canada) is tightly holding on to a Chinese doll – a reference to Huawei executive Meng Wanzhou who has been in Canada ever since she was arrested during a stopover by Canadian police in 2018. On the table, there is a cake with the Chinese flag on it. 

“Through this we can still rule the world,” the words above the image state, while the text on the wall in the image says: “We have freedom and democracy.” State newspaper Global Times shared and explained the political satire in an article on June 13.

 

The Creators Behind the Artwork

 

Recent Chinese political satire images circulating on social media have been labeled as ‘propaganda’ by many commenters on Twitter, who assume the images were originally published by Chinese state media outlets. But although these images were often shared by official (media) accounts, their creators are seemingly unaffiliated with state media.

Chinese social media has seen a surge of (CG) artists dedicated to creating patriotic art and political satire mocking Western powers. At this time, the two most noteworthy names are Wuheqilin and Bantong Laoatang.

 
‘WUHEQILIN’ 乌合麒麟
 

The aforementioned Australian piece and the ‘Blood Cotton Initiative’ image both were created by Wuheqilin (乌合麒麟), a professional computer graphic (CG) artist with over 2.8 million followers on his Weibo account, which he opened in 2009. Wuheqilin’s real name is Fu Yu (付昱, 1988) – a business owner and art director from Harbin.

Although Wuheqilin became especially famous for his controversial Australia image of November 2020, his work was featured by Chinese state media before that time. In June of 2020, Global Times (English version) called him a “Wolf Warrior artist” who “strives to use new art to spread truth and inspire patriotism.”

Wuheqilin published his first political artwork on his social media account in 2019, at the time of the Hong Kong protests. In this work, titled ‘A Pretender God,’ the artist takes a critical stance towards the demonstrators, showing them bowing to a monster-like figure resembling the Statue of Liberty.

‘A Pretender God’ by Wuheqilin.

Another one of Wuheqilin’s recent viral pieces is titled ‘G7’, an old-looking photograph that was a satirical comparison of the G7 foreign ministers to the leaders of the Eight-Nation Alliance that invaded northern China in response to the Boxer rebellion in 1900. This image was also shared and explained by Global Times.

‘G7’ by Wuqihelin.

Wuheqilin clearly focuses on showing the dark side, hypocrisy, and supposedly bad intentions of Western powers in international politics. Noteworthy enough, he often uses English phrases in his work to emphasize his point, which may suggest he also intends for his art to be noticed by media and politicians outside of China.

Although Wuheqilin is most famous for political satire mocking Western powers, he also makes non-satirical patriotic art, such as the piece he dedicated to Chinese agronomist Yuan Longping (袁隆平), China’s ‘Father of Hybrid Rice,’ who passed away in May of 2021.

“I Always Had Two Dreams” “我一直有两个梦想” by Wuheqilin.

Over the past year, Wuheqilin and his work are often praised by Chinese official media outlets. It is often shared by English-language state media, or retweeted by Chinese officials or media accounts that are active on Twitter. Together with the fact that Wuheqilin uses English in his artwork, his work has gained major attention both in- and outside of China.

 
‘HALF BOTTLE OF OLD SOUP’ 半桶老阿汤
 

The creator of ‘The Last G7’ image and the White House image is active on social media under various names. On Weibo, where he has over 39,000 followers, the artist is known as @半桶老阿汤 (Bàntǒng lǎo ā tāng). On Twitter, he has an account under the name ‘Half Bottle Of Old Soup’ (@Half_soup), a direct translation of his nickname. The artist also has a site under the name Henry Yu. His webshop is under the ‘Laoatang’ nickname, which we will use here.

Laoatang is a concept designer and computer graphic artist from Beijing. On his Weibo account, the artist has been sharing artwork by himself and others for years. Like Wuheqilin, he has an online cloud link where people can download artworks for free, but he also has a site where people can support him by buying digital art files for the small price of 10-15 yuan ($1.5-$2.5).

Like Wuheqilin, Laoatang’s artwork is also often focused on mocking the supposed hypocrisy of Western powers regarding international affairs involving China. ‘The Last G7’ was the first work by Half Soup to make (international) headlines, but he previously did many other works in response to political affairs.

His work ‘That’s What U.S. did'(‘这是你们的愚蠢行径,我们不会’) was published at the time when news over the BCI [Better Cotton Initiative] Xinjiang cotton ban over forced labor concerns made waves in China.

‘That’s What U.S. Did’ by 半桶老阿汤

The image is part of a computer graphic video that shows black slaves working in American cotton fields while singing ‘My Lord Sunshine Sunrise.’ The next scene shows how one black man is held at gunpoint by a white hooded figure, a scarecrow with a BCI logo showing in the foreground. The words “That’s what U.S. Did, Not Us!” come up while two black figures can be seen hanging from the gallows.

In a different style, Laoatang has also created various other political satire illustrations. One from June 2021 is called ‘Investigate Thoroughly! Except Here’ (‘彻查!除了这儿’). It shows members of the WHO research team standing in front of the American army biochemical lab at Fort Detrick which is closed and guarded by Biden. In the background, there’s the scenery of a happy and open Wuhan city.

‘Investigate Thoroughly! Except Here’ (‘彻查!除了这儿’) by 半桶老阿汤 / Half Bottle of Old Soup

The illustration is a response to U.S. calls for a thorough investigation into the origins of the novel coronavirus in China, while a possible link between the Fort Detrick institute and the COVID19 pandemic are allegedly ignored. This image was also shared by the Communist Youth League on social media.

 
OTHERS & INTERTEXTUALITY
 

Online creators such as Wuheqilin and Laoatang move in certain Chinese social media circles of artists producing work in similar genres who share each other’s work and comment on it. At times, there is also some kind of intertextuality or connection between these artworks.

A good example of this intertextuality is the work by the artist who is active on Weibo under the name ‘钢铁时代2011’ (Gangtie Shidai 2011). In December of 2020, they published the artwork below that reflects on the international commotion involving the Australian soldier image by Wuheqilin, which was tweeted out by Chinese official Zhao Lijian.

“Damn it, they know what we’ve done” by @钢铁时代2011 [Gangtie Shidai 2011].

The image shows artist Wuheqilin holding up one of his artworks relating to the alleged Australian war crimes in Afghanistan, while Zhao Lijian is holding up the other image by Wuheqilin. In the front, Australian Prime Minister Scott Morrison is depicted turning his back to the images, with the sentence: “Damn it, they know what we’ve done.”

During the controversy over the BCI ban on Xinjiang cotton, there was also an outpour of online (unofficial) political art. Beijing illustrator Yang Quan @插画杨权 (1990) is also among those creating online political/patriotic art. He published an image titled “Cotton is Soft, but China is Strong.”

‘Cotton is Soft, But China is Strong’, by @插画杨权.

The dog has the letters “H” and “M” coming from his bloody mouth, referring to fashion chain H&M which was one of the major Western brands publishing a statement regarding the ban on Xinjiang cotton (read more here). Again, as in most of the recent works produced by the artists in this genre, the message of the image is reinforced through a text in English, suggesting the work is also meant for an international audience to understand.

 

In Between Censorship and Propaganda

 

Propaganda is part of Chinese media, and a ‘new’ kind of propaganda has been part of Chinese social media propaganda efforts over the past few years (also see here, here, here, here).

But separated from those mainstream, more centralized propaganda efforts, the artists mentioned in this article are part of a ‘new wave’ of political satire on Chinese social media because:

– They are independent artists and/or not officially part of state media outlets or the CCP Propaganda Bureau.
– Their style is very different from official (online) propaganda posters and imagery.
– Their works are labeled as ‘art’ and have definite artworks qualities; they are unique, are made with skill and technique, and are filled with symbolism and detail.
– Their works are praised and welcomed by state media outlets and/or government officials, as these are shared and propagated through multiple official channels.
– These artists and their creations are widely celebrated and praised by Chinese social media users.

The phenomenon of artists who are unrelated to official agencies creating political art that is then used as a tool for propaganda is not unique in the history of Chinese propaganda or that of other countries, but it is very noteworthy in the context of the short history of social media in China, where political satire is often targeted at Chinese government officials and policies and therefore censored.

Perhaps you could say it is not surprising at all that the political satire we see most in Chinese social media today is directed at foreign leaders and Western powers, since any images mocking the Chinese government would be censored immediately.

But to solely interpret these political images through this one-dimensional view would not do justice to the artwork, the artists, nor to the art aficionados, since there are several influences at play within the creation of this genre.

> Digital Art & Nationalism

There are many young artists in China today who are patriotic and nationalistic, and who use art as a way to express their political views. They do so in various ways, through personal websites, social media, cloud downloads, etc, providing an alternative to official, controlled media sources. Propaganda sometimes becomes art, and art sometimes becomes propaganda. These dynamics do not automatically turn these artists into ‘Chinese trolls,’ as some foreign media labeled them.

Artists such as Wuheqilin or the aforementioned artist named Yang Quan all belong to the post-80 generation. In this current, post-Mao generation, you find a “fourth generation” of nationalism, as described by Peter Hays Gries in China’s New Nationalism. This nationalism is very much alive in China’s online environment, and it is fused with anti-western sentiment that partly builds on the “one hundred years of humiliation” of China at the hands of the West (Zhang 2012, 2). Although this generation, that grew up amid China’s rapid economic growth, did not directly experience the past humiliations upon which their nationalist narratives are constructed, this history remains central to understandings of Chinese national identity and its place in the world today (Wang 2-11).

As pointed out by Tao Zheng (2012), the articulation and promotion of nationalist views by individuals and groups independent of the state have been a significant part of Chinese online culture for many years, with several online movements and campaigns focusing on pointing out “western arrogance and prejudice.” The current wave of political digital art is just another form of expression of this type of “cyber nationalism.”

> Building Communities

Another reason why it would be too crude to simply label China’s recent online political satire as ‘propaganda’ is because it has emerged from a dynamic digital environment where netizens engage in a participatory activity of creating, sharing, commenting, recreating, connecting, etc. – and it is through these practices that the artworks become meaningful.

In ‘The Networked Practice of Online Political Satire in China’ by Guobin Yang and Min Jiang (2015), the authors argue that the sharing and circulation of online political satire in China is a “networked social practice” that is actually more important than the meaning and significance of the content itself. It is a grassroots political expression that, in their mode of unofficial network operation, could be seen as “popular mobilizations against power” (216). Yang and Jiang also emphasize the social function of political satire, where the reception is just as relevant as the production.

> A Fine Line

In the end, the question of whether these works are grassroots digital artworks or official propaganda pieces is perhaps not one of either/or: they are both. They saw the light as digital artworks and then became tools within a framework of official propaganda once they were praised, shared, and used by Chinese state media and officials to project their own strategies.

The creators of these artworks, however, walk a fine line. When their artworks no longer suit the strategic interests propagated by official channels, they are still at risk of being censored within the highly controlled digital environment they operate in. In that case, their online influence, magnified by official actors, could actually be held against them.

For now, artists such as Wuheqilin are thriving on Chinese social media. In his last post, Wuheqilin drew his own conclusion about the current state of China’s online environment, writing:

For the public intellectuals and those with vested interests who once held on to the power of speech, these are perhaps the darkest times, because their “decade-long campaign for Enlightenment has been lost.” But for ordinary Chinese netizens, for those who love this country and believe in it, we have unprecedented confidence, creativity, and cohesion. These are the best of times, and we are marching towards the brightest future.”

 

By Manya Koetse (@manyapan)

With special thanks to Piervittorio Milizia.

References

Gries, Peter Hays. 2004. China’s New Nationalism: Pride, Politics, and Diplomacy. Berkely and London: University of California Press.

Shao Li, Liu Dongshu. 2019. “The Road to Cynicism: The Political Consequences of Online Satire Exposure in China.” Political Studies 67(2): 517-536.

Yang, Guobin and Min Jiang. 2015. “The Networked Practice of Online Political Satire in China: Between Ritual and Resistance.” The International Communication Gazette 77(3): 215-231.

Zhang, Tao. 2012. “Anti-CNN and ‘April Youth’: Anti-Western Sentiment in Youth-oriented Chinese Online Media.” In Hernandez, L. (ed.), China and the West: Encounters with the other in Culture, Arts, Politics and Everyday Life,
Cambridge Scholars, 1-16.

Zheng Wang. 2012. Never Forget National Humiliation: Historical Memory in Chinese Politics and Foreign Relations. New York: Columbia University Press.

Featured image created by What’s on Weibo, highlighting and using parts of various digital artworks by @乌合麒麟, @半桶老阿汤.

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The Concept of ‘Involution’ (Nèijuǎn) on Chinese Social Media

Nèijuǎn (involution) has become a commonly used term on Chinese social media, but what is it?

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Chinese TV drama A Love for Dilemma (“小舍得”) has reignited an ongoing debate about the problem of ‘involution’ in Chinese society today.

A scene from the Chinese TV drama A Love for Dilemma (“小舍得”) has reignited online discussions on the concept of nèijuǎn 内卷, “involution,” which was also a top buzzword in China in 2020.

A Love for Dilemma is a 2021 TV drama directed by Zhang Xiaobo (张晓波), who also worked on other hit series including Nothing But Thirty. This season’s popular TV drama A Love for Dilemma is themed around family, parenting, and China’s competitive education system.

In the series, two stepsisters compete against each other over the school results of their children. The family’s ‘grandpa’, played by famous actor Zhang Guoli (张国立), tries to create harmony around the dinner table between his daughter and stepdaughter, but the rivalry between the two and how they raise their children intensifies nevertheless.

Scene from A Love for Dilemma.

While stepsister Tian Yulan urges her little son to work hard in school and focus on his grades so that he can go to the best high school and university, sister Nan Li places more emphasis on the general development of her children and wants them to enjoy their childhood. Both mothers, however, question their own choices when facing challenges with how their children perform at school.

The specific scene that has ignited current discussions is a dialogue between the husbands of the sisters, who sit outside to talk about the education system and how it sometimes feels like everyone is in a theatre watching a show together until one person stands up from their seat. This makes it necessary for other members of the audience to also stand up, until everybody is standing.

The dialogue continues, with the two talking about how it does not stop at the people standing up. Because then there are those who will take it a step further and will stand on their seats to rise above the others. And then there are even those who will grab a ladder to stand higher than the rest. But they are still watching the same show and their situation has actually not changed at all – except for the fact that everybody is now more uncomfortable than they were before.

Many netizens found it striking how this dialogue explains how the term ‘involution’ is used in China nowadays. After the show aired, the hashtag “How to commonly explain involution” (#如何通俗解释内卷#) became a trending topic in the week of April 19, receiving 260 million views in a few days.

 
What Is ‘Involution’?
 

As explained by Jialing Xie in this top buzzword article on What’s on Weibo, involution describes the economic situation in which as the population grows, per capita wealth decreases. Since recently, this word has come to be used to represent the competitive circumstances in academic or professional settings in China where individuals are compelled to overwork because of the standard raised by their peers who appear to be even more hardworking.

The term ‘involution’ and how it is used today comes from a work by American anthropologist Clifford Geertz titled Agricultural Involution – The Processes of Ecological Change in Indonesia (1963). In this work, Geertz explores the agricultural dynamics in Indonesia during the colonial period’s Cultivation System, where a radical economic dualism existed within the country: a foreign, Dutch economy and a native, Indonesian economy (p. 61-62).

Geertz describes how the Javanese faced a deepening demographic dilemma as they saw a rapidly growing population but a static economy, while the Dutch, who organized Javanese land and labor, were only growing in wealth (69-70). Agricultural involution is the “ultimately self-defeating process” that emerged in Indonesia when the ever-growing population was absorbed in high labor-intensive wet-rice cultivation without any changing patterns and without any progress (80-81).

When Geertz used the term ‘involution’ to describe the dynamics in Indonesia, he built on the work of another American anthropologist, namely Alexander Goldenweiser, who also used the term to describe “those culture patterns which, after having reached what would seem to be a definitive form, nonetheless fail either to stabilize or transform themselves into a new pattern but rather continue to develop by becoming internally more complicated” (Geertz 1963, 81).

 
The Involution Concept in the Chinese Context
 

The popular use of the Chinese translation of ‘involution’, nèijuǎn 内卷, started to receive attention in Chinese media in 2020. It is deviating from the original use of the term and is meant to explain the social dynamics of China’s growing middle class.

As suggested in the article “‘Involution’: The Anxieties of Our Time Summed Up in One Word” by Zhou Minxi (CGTN), the popularity of the term comes from “a prevalent sense of being stuck in an ever so draining rat race where everyone loses.”

China’s ever-growing middle class is now facing the question of how they and their children can remain in the middle class in a situation where everyone is continuously working harder and doing all they can to rise above the rest. Xiang Biao, a professor of social anthropology at Oxford University, is quoted by Zhou:

The lower class still hopes to change their fate, but the middle and upper classes aren’t so much looking upward, and they are marked by a deep fear of falling downward. Their greater fear is perhaps losing what they already have.”

The term ‘involution’ often comes up together with criticism on China’s ‘996’ work system (working from 9am-9pm, 6 days a week). Although Alibaba founder Jack Ma once called the 12-hour working day a “blessing,” the system is a controversial topic, with many condemning how Chinese (tech) companies are exploiting their employees, who are caught in a conundrum; they might lose their sanity working such long hours, and might lose their job and future career prospects if they refuse to do so.

But the term also comes up when discussing China’s education system, where competition starts as early as kindergarten and the pressure on children to succeed in the ‘gaokao’ college entrance exam starts many years before it takes place.

This image shows the “juan” 卷 character from ‘nei juan’ (involution) changing into a person on their bike with laptop. Image via http://www.bajieyou.com/new/431e6ef39aac4a6da232671122f66ff4

This discussion also came up with a now-famous image of a student riding his bike while also working on his laptop, using every moment to study. This was then also called “Tsinghua Inversion” (清华内卷), referring to one of China’s top universities, where competition is so vicious that students must double their efforts to catch up with others.

 
‘Involution’ Discussions on Chinese Social Media
 

By mid-2020, ‘involution’ attracted the attention on Weibo when popular academic accounts started discussing the term. Recently, ‘involution’ is used so often on Chinese social media that it has already gone beyond its original context, leading to many people discussing its meaning.

“We are forced to work overtime and are unable to resist, and yet it seems that everyone is doing it out of free will,” one Weibo user says, with another person adding: “The abnormal state of inversion has already become our normal state.”

A popular legal blogger (@皇城根下刀笔吏) on Weibo writes:

It is an internal bottomless vicious cycle of competition. For example, everyone used to work eight hours per day, five days per week. Then one company comes up where people work twelve hours per day, six days per week. Then this company will have major competitive strength in the market economy. But the outcome is that other companies are also compelled to do the same in order to compete. As time goes by, all companies will shift to a twelve-hour workday, six days a week, and job applicants entering the market can’t find any eight-hour workday positions for five days a week anymore. So, if another company wants to beat its competitors, it will have to introduce a seven-day workweek. And then other companies will need to follow in order to make a living. That is involution.”

By now, there are various images and memes that have come to represent the meaning of ‘involution’ in present-day China, such as one cram school sign saying: “If you come we will train your kids, if you don’t come, we will train the competitors of your kids.”

“The society’s resources are in short supply and to obtain the limited supplies, people are all madly practicing their skills to obtain them – regardless if they need them or not,” another Weibo user says.

Most comments relating to the discussion of ‘involution’ on Chinese social media express a sense of fatigue with an ongoing rat-race in the education and employment market.

On the interest-based social networking platform Douban, there are even some support groups for people who feel stuck in ‘involution’ and are looking for a way out. The “Center for Victims of Involution” (内卷受害者收容中心) group has over 3000 members, with smaller groups such as “Let’s Escape Involution Together” (我们一起逃离内卷) having a few dozen participants.

The generation that is mostly affected by this sense of socioeconomic stagnation is the post-90 generation. In 2020, a record high of 8.74 million university graduates entered the job market, but their chances of finding a job that suits their education and personal expectations are slim; many industries are recruiting fewer people than before in an employment market that was already competitive before the COVID19 pandemic. It leaves them facing a troubling Catch 22 situation: they will be stressed and pressured if they do not find that top job, but when they do, they are often also stressed and pressured.

It is a recurring topic on social media. Five years ago, a song by the Rainbow Chamber Singers (彩虹室内合唱团) titled “The Sofa Is So Far” immediately became a hit in China. Many young Chinese recognized themselves in the hardworking and tired people described in the lyrics, which started with: “My body feels empty / I am dog-tired / I don’t want work overtime.”

How to get away from the involution rat race is also a much-discussed topic on Weibo, where the hashtag page “How can young people resist involution” (#年轻人如何反内卷#) has received over 280 million views.

Some suggest the answer to ending the vicious cycle is to find a way to get rich fast, others suggest that not getting married and staying child-free is also a way to alleviate the pressure to participate in this zero-sum game.

Tech blogger Sensai (@森赛), who has over 2 million followers on Weibo, advises young people to find their true interest and to invest in it before the age of 30. Doing something that sparks joy, such as learning a new language or working on art, might start as a hobby but could turn into a valuable side business later, Sensai says.

For some, however, that goal seems unattainable. “I am already working 15 hours a day, how could I ever do that?!”

“This is just bringing us into a whole other level of involution,” others write.

In order to watch A Love for Dilemma (小舍得), the show that started so many of these discussions this month, you can go over to iQiyi or YouTube.

By Manya Koetse

References

Geertz, Clifford. 1963. Agricultural Involution: The Processes of Ecological Change in Indonesia. Berkeley & Los Angeles: University of California Press.

Zhou Minxi. 2020. “‘Involution’: The anxieties of our time summed up in one word.” CGTN, Dec 4 https://news.cgtn.com/news/2020-12-04/-Involution-The-anxieties-of-our-time-summed-up-in-one-word-VWNlDOVdjW/index.html [20.4.2021].

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.

©2021 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com.

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