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More Than Gold: The Success of ‘Made-in-China’ at the Olympics

Chinese products and techniques have gained worldwide attention during the Rio Olympics. From made-in-China Olympic helmets and mosquito nets to its traditional cupping therapy – China gained more from the Rio Olympics than gold alone.

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Chinese products and techniques have gained worldwide attention during the Rio Olympics. From made-in-China Olympic helmets and mosquito nets to its traditional cupping therapy – China gained more from the Rio Olympics than gold alone.

The Rio Olympics have done much good for the international image of ‘made in China’. Chinese news site Economic Daily recently reported that a variety of Chinese products have been used in this year’s Rio Olympics, ranging from eco-friendly tableware to air-conditioners. Even this year’s Olympic mascot was manufactured in China. “Made in China is everywhere”, CCTV reported.

According to Economic Daily (@经济日报), the prevalence of China-made products demonstrates China’s rise and its overall competitiveness in the global market. It is also said to give the world a more positive view of China’s image.

Chinese audiences on Sina Weibo praised the heightened presence of China-made products in the international arena: “Made in China! As a Chinese, I feel proud [of my country]!  Good job, China!” one Weibo netizen wrote.

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Last week, the made in China design of the helmets of China’s gold-winning cycling track team made headlines. According to Chinese media, the special helmets were a good promotion of China’s design and cultural heritage.

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Besides the cycling helmets, two other made-in-China products also sparked international interest: Chinese mosquito nets and cupping sets.

Mosquito nets: China’s answer to Zika

Mosquito nets played an important role at the Rio Olympics since the Zika virus became a major concern to the Olympic Games and its athletes.

Mosquitoes are the primary transmitters of the Zika virus, which has infected hundreds of thousands of people across Latin America, especially in Brazil. Many athletes, such as Australian golfer Jason Day, even withdrew from the Rio Olympics due to concerns over Zika. The virus is known to be especially harmful to pregnant women, as infection can result in severe brain malformations in the fetus and other birth defects.

Chinese mosquito nets, that have since long been used in households across China, became trending Olympic news in and outside the PRC when pictures of Chinese athletes under their efficient tents made its rounds across the internet.

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Chinese gymnast Feng Zhe said on Weibo that a foreigner even came to him to buy a mosquito net. On Twitter, Australian female basketball player Elizabeth Cambage shared pictures of herself with a made-in-China mosquito net. China’s e-commerce sites now even promote their mosquito nets as “2016 Olympic mosquito nets”.

After China’s completely mosquito-proof tents became popular in Rio, Chinese netizens started to list items that are widely used among Chinese households and yet less known to people in other regions.

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One of these products is Liushen Hua Lu Shui (or Liushen Florida Water, 六神花露水), another effective product against mosquitoes. This product has recently also been introduced to markets outside of China, where it has been well-received.

Chinese cupping therapy goes global

Interest in China’s traditional cupping therapy has also grown since US swimmer Michael Phelps won the Olympic medal with deep-purple, circular bruise-like patterns on his back, which drew international attention.

Phelps’s marks came from cupping, a Chinese technique that involves placing heated cups on the back that create skin suction. In traditional Chinese practice, cupping is used to reduce pain, loose muscles, and prevent skin inflammation.

In an interview with Sohu TV, Phelps touted the benefits of cupping and said: “For me, cupping works great. It releases some of the tensions I have on my shoulders, my back, and legs – I love it.”

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Phelps’s Olympic success and media coverage on the treatment preceding his race have led to an increase in the sales of cupping sets both in and outside China. On Taobao, the sales in cupping sets have almost doubled this month.

The 2025 vision of ‘Made-in-China’

The increased presence of Chinese products abroad is consistent with China’s first high-level 2025 vision that focuses in upgrading China’s international manufacturing.

In making this plan, Chinese leaders emphasize the importance of innovation and quality over quantity in the Chinese manufacturing industry, hoping to move ‘made in China’ up the value chain by 2025. In accordance with this 2025 vision, more and more China-made products will appear in international events like the Olympics and beyond.

But the image of ‘made in China’ is still not all sunshine and roses. As Chinese products and techniques are getting more popular across the world, there are also more discussions on effectiveness and safety. The recent hype around Chinese cupping, for example, also raised discussions on whether or not the therapy works and how safe it is.

Earlier this summer, shocking images of a man being severely burnt through cupping were shared across the internet. Guokr.com, a website that seeks to popularize science in China, points out that cupping is still a rare and little-studied practice. Due to the potential risks associated with cupping therapy, such as burns and skin infections, Guokr does not recommend people try cupping on their own.

The growing interest for Chinese products indicates an increasing international acceptance of Chinese culture and ‘made in China’. Especially athletes and celebrities play an important role in the promotion of these products. But the existing negative connotations of ‘made in China’, that is often associated with low quality and safety hazards, is not likely to change overnight.

There are still nine years to go before the China’s “2025 Vision”. That means that after Rio, there will be four more Olympics that can serve as a platform for Chinese products to prove they’re golden. Who knows, made-in-China bobsleighs might just become all the rage in Pyeongchang 2018.

By Yanling Xu and Manya Koetse

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

Yanling Xu is a freelance writer and recent college graduate. Originally from Xiamen, China, she studied in the U.S. and received her Bachelor degree in Political Science and East Asian Studies from Grinnell College. Yanling currently resides in Chicago.

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China Arts & Entertainment

From Comedy to Controversy: Behind the Li Haoshi Incident

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

Manya Koetse

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

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

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

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

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

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

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

 

HUMOR AND STAND-UP COMEDY IN CHINA

 

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

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

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

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

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

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

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

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

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

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

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

 

THE POWER OF PERFORMERS

 

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

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

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

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

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

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

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

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

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

 

THE SACRED PLA

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

By Manya Koetse

References (other online sources hyperlinked in text)

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

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

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

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

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

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

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

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China Arts & Entertainment

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

1: TOLERANCE & MORE FREEDOM OF SPEECH

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

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

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

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

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

 

2: CROSSING A RED LINE

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

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

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

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

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

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

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

 

3: ALWAYS HONOR OUR SOLDIERS

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

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

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

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

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

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

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

Read more related articles:

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

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