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No Cookie-Cutter #MeToo Approach: An Overview of China’s Me Too Movement (Updated)

There is no China-based, Chinese #metoo movement as there is in the US and other countries.

Manya Koetse

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PREMIUM CONTENT ARTICLE

In the months after the #Metoo movement first shook social media in the US and other countries, “#Metoo in China” has become a much-discussed topic. What’s on Weibo provides an overview of what has happened in the PRC regarding the global #Metoo movement.

Ever since the #Metoo movement caught fire on social media with people sharing personal stories of sexual harassment, many journalists, China watchers, and Me Too activists have been closely watching if, and how, the #Metoo movement would surface in China.

More than five months after #Metoo particularly shook entertainment and media circles in the US, it has become evident that the #Metoo movement has not taken off in the PRC as it has in some other countries.

What is noticeable about those ‘Me Too’ stories that did become big in China, is that (1) they mostly relate to sexual harassment in academic circles, that (2) the majority is linked to US-based Chinese and the overseas Chinese community, and that (3) some stories on sexual harassment that went viral in China were only framed as ‘#Metoo’ accounts by English-language media – not by the posters themselves.

Some US news outlets have determined that there is no ‘me too’ movement in China because it has been silenced by the government. Although there has in fact been online censorship regarding this issue, there is no sign of a truly China-based ‘Me Too’ movement in which regular female netizens collectively share their stories of sexual abuse in the way it has unfolded in many Western countries.

At time of writing, neither the #Metoo hashtag nor its Chinese equivalents (#我也是,#Metoo在中国, #米兔) were censored on Chinese social media platform Sina Weibo. In addition, contrary to some reports in English-language media, Chinese mainstream media have reported about the Me Too movement since October 2017, with some state-run media (e.g. CRI) serving as a platform for victims of sexual harassment to make their stories known to the public.

This is an overview of some important moments in mainland China since October regarding the global #Metoo movement.


 
● 15 October 2017: Me Too
 

Ten days after the New York Times first published an article detailing sexual harassment complaints against Hollywood mogul Harvey Weinstein, American actress Alyssa Milano posts a tweet that urges victims of sexual abuse to come forward using the words ‘me too’.

The ‘me too’ slogan was first used in 2006 by Tamara Burke to help sexual assault survivors in underprivileged communities.

#Metoo soon becomes a hashtag and movement that particularly rocks the American entertainment industry and focuses on the widespread prevalence of sexual assault and harassment, especially in the workplace.

 
● 16 October 2017: China Daily Controversy
 

The state-run newspaper China Daily publishes an opinion column by Canadian-Egyptian author Sava Hassan titled “Weinstein case demonstrates cultural differences,” in which Hassan alleges that sexual harassment is less common in China because “Chinese traditional values and conservative attitudes tend to safeguard women against inappropriate behavior from members of the opposite gender.”

The article is linked to on Twitter by China Daily, writing: “What prevents sexual harassment from being a common phenomenon in China, as it’s in most Western societies?”

Screenshot of the controversial tweet, by SupChina.com.

Over recent years, various surveys have pointed out that sexual harassment is, in fact, a problem in mainland China. A 2016 survey amongst over 2000 working females conducted by the Social Survey Center of China Youth Daily indicated that more than 30% experienced sexual harassment. Another survey by the China Family Planning Association also showed that more than 30% of China’s college students have been sexually assaulted or harassed.

The article and tweet trigger waves of criticism and is temporarily taken offline. At time of writing, the article is available online again at the China Daily website.

 
● October – November 2017: State Media Reports #Metoo
 

Various mainstream and state-run Chinese media extensively report about the “Me Too” movement in North America and elsewhere.

Some examples (in Chinese):

*People’s Daily, October 30 2017: “我也是受害者!揭发性骚扰运动走上法国街头” [“I am also a victim! The movement to expose sexual harassment is heading to the streets of France.”] http://world.people.com.cn/n1/2017/1031/c1002-29617842.html
*Xinhua, November 4 2017:”美国揭露性骚扰运动延烧到国会山” [“The US movement against sexual harassment extends to Capitol Hill.”] http://www.xinhuanet.com/2017-11/04/c_1121905779.htm
*Xinhua, November 6 2017: “我也是”运动蔓延 美国会酝酿反性骚扰培训” [“As ‘MeToo’ movement grows, America explores anti-sexual harassment trainings.”] http://www.xinhuanet.com/world/2017-11/06/c_129733177.htm
*Xinhua, November 11 2017: “随笔:“我也是”,你有勇气说出吗?” [“‘Me Too’: Do You Have the Courage to Speak Out?”] http://www.xinhuanet.com/2017-11/16/c_1121965426.htm
*Sina News, December 1 2017: “大声地说出来 羞耻的不是你” [“Speak out loud: you are not the one to be ashamed.”] http://news.sina.com.cn/c/2017-12-01/doc-ifyphtze2990099.shtml
*China Daily, December 6 2017 “《时代》揭晓2017年度人物:性骚扰丑闻“打破沉默者” [“Time announces Person of the Year 2017: those breaking the silence on sexual harassment.”] http://language.chinadaily.com.cn/2017-12/07/content_35249891.htm

 
● 27 November 2017: Shanghai Harassment goes Viral
 

The 28-year-old Xu Yalu (nicknamed ‘Brazil Teacher Xu’ 巴西徐老师) posts on WeChat about how she has been harassed multiple times by the same man in Shanghai from 2013 to 2015, and that the police will not do anything to stop the man.

The article, titled “I was harassed three times within two years time by an old pervert” (“上海静安寺,我2年内被一个老色狼猥亵3次”) receives more than 1.19 million views before it is taken down by Chinese censors. Three days later, Xu Yalu republishes her article on Zhihu.com where it is not taken offline.

Photos of the man who allegedly harassed her various times in Shanghai were spread by Xu Yalu.

Although the original article by Xu Yalu does not mention the ‘#metoo’ hashtag once, this story is placed into a larger Chinese ‘#metoo’ context by the New York Times and Reuters.

 
● November 2017: Sophia Huang Xueqing Steps Forward for Chinese ‘Metoo’
 

Huang Xueqin (黄雪琴 aka Sophia Huang Xueqing), a female reporter, launches a survey focused on the sexual harassment of Chinese female journalists and emerges as an initiator of a potential Chinese #Metoo movement by launching ATSH, an Anti-sexual harassment platform on WeChat.

Huang speaks to various English-language media about the silence with which the global #metoo movement is met in China. According to HKFP, Huang receives over 200 responses from female journalists, of which only 16% say they have never experienced sexual harassment.

Later, in January, Huang publicly speaks out in a special show titled ‘Hear me Speak’ by the CRI TV programme “China’s Voice” (中国之声) about the ‘Metoo’ movement in China and about her personal experiences being sexually harassed as a journalist.

 
● 1 January 2018: Wo Ye Shi
 

With the hashtag ‘Wo Ye Shi’ (#我也是, “#metoo”) a US-based former doctoral student named Luo Xixi (罗茜茜) comes forward on Chinese social media (@cici小居士) with sexual harassment allegations against her previous supervisor Chen Xiaowu (陈小武).

Luo accuses the award-winning professor Chen of sexually harassing her and several other students 12 years ago at Beihang University, also known as Beijing University of Aeronautics and Astronautics (BUAA). On the Chinese Q&A platform Zhihu.com, Luo shares how her supervisor attempted to force himself upon her. She also posts several testimonies online to support claims that Chen also sexually assaulted at least seven other students.

In a blog post on Weibo, Luo writes that she was inspired to come forward with her story when she first heard about the Harvey Weinstein scandal and the launch of the “#metoo” campaign on Twitter and Facebook.

 
● 4 January 2018: “Social movements play limited role”
 

State-run newspaper Global Times, commonly regarded a Party mouthpiece, publishes an article in which it addresses claims made by Western media outlets that “sex-related crimes are serious in China,” but that the country “‘rarely’ takes sexual assault allegations seriously.”

Although Global Times acknowledges that sexual violence is a problem in China, as it is in other countries, it also stresses that “social movements can only play a limited role in reducing sexual harassment.”

Instead, it says that the most effective solution is that “more efforts should be put into establishing and perfecting laws and regulations so as to deter potential sexual violence and properly handle it if it happens.”

 
● 7 January 2018: Fudan Survey
 

Former Fudan student ‘Taoligeriler’ (@桃莉格日勒在路上), inspired by Luo Xixi’s account, starts a petition asking Fudan University in Shanghai to do more to tackle the problem of sexual harassment on campus.

SCMP reports that the petition collects 300 signatures in a day. On Weibo, Taogeriler writes: “About the petition against sexual harassment, I have asked a lot of people to join, but many people feel it does not have anything to do with them.”

 
● 11 January 2018: “Say no to sexual harassment!”
 

After investigating the claims of Luo Qianqian and other former students, Beihang University fires Chen from his position. Three days later, the Education Departments also recalls his scholar title.

Meanwhile, Party newspaper People’s Daily launches an online campaign titled “Being courageous is the best you can be. Turn things around and say no to sexual harassment!”

 
● 15-19 January 2018: Manifests and Hashtags
 

According to the South China Morning Post, students and alumni across China have been inspired by Luo’s account to press their own universities for change. The report does not give out numbers, but estimate that “between 30 and 50 campaigns had emerged on social media over the past week.”

One of them is an anti-sexual harassment manifesto drafted by Xu Kaibin 徐开彬, a journalism professor at Wuhan University. It is signed by approximately 50 instructors from over 30 Chinese colleges.

Although there are not many accounts of women sharing their own stories of sexual assault on Weibo, various hashtags emerge on Chinese social media as variations to #metoo. Besides #woyeshi (#我也是)there is also #MeTooInChina (#MeToo在中国).

From January 17 to February 17, the hashtag #MeTooInChina gets temporarily blocked on Weibo. In response to this, Weibo users launch the alternative hashtag #mitu, written as #米兔, which literally means ‘rice bunny’, but sounds like the English #metoo, and the hashtag #MiTuinChina (#米兔在中国#).

 
● 31 January 2018: Chinese-American lawyer Hua Qiang’s #Metoo
 

Chinese state-run news outlet CRI.com publishes a feature article about LA-based Chinese-American lawyer Hua Qiang (华强) who has joined the #metoo campaign by sharing her story of sexual harassment.

Photo of Chinese American lawyer Hua Qiang, via cri.com.

Hua Qiang tells CRI that during a 2008 annual conference for lawyers, an influential lawyer by the name of Malcolm S. McNeil gave her a ride home after her car broke down. On the highway, Hua states, the lawyer suddenly started harassing Hua, grabbing her bosom, while driving. Too afraid to cause an accident on the freeway, Hua was too scared to fight him off. His wide network and strong influence in the area also made Hua too afraid to speak out, until the #metoo movement arrived.

 
● February 2018: MeToo in South Korea
 

The spread of the ‘Me Too’ movement in South Korea makes headlines in Chinese (state) media and becomes a topic of discussion on Chinese social media.

 
● 9 March 2018: Wang Ao Speaks Out
 

Chinese assistant professor of East Asian Studies Wang Ao (王敖) at Wesleyan University, Connecticut, writes an article on sexual harassment on Chinese social networking site Douban, in which he expresses his admiration of Luo Xixi and her #MeToo story.

In a lengthy post*, Wang details sexual harassment cases he has encountered inside academic circles.

In one example, Wang tells about an acquaintance who planned to study overseas and received an invitation from the professor in charge of admissions. When she arrived at his Beijing residence, the man tried to grab her and she finally manages to escape. Wang also alleges that the same professor has been targeting students for more than 20 years, and even had to change schools because of it. Although Wang does not mention any names in his article, the Douban link is soon removed.

 
● 10-16 March 2018: The Gary Xu Scandal
 

Wang Ao publishes another article on March 10, first on Douban and then on Zhihu, in which he provides a name with the professor mentioned in his earlier story. According to Wang, it concerns Xu Gang (徐钢), better known as Gary Xu, a prominent art curator at the Shenzhen Biennale and associate professor of East Asian studies at the University of Illinois Urbana-Champaign (UIUC). UIUC is known for its large numbers of Chinese students.

Wang adds that not only students but also some his own colleagues became a victim of Xu’s improper conduct. A female commenter under the name “Survivor 2018” replies to the thread, telling her own story of alleged abuse by Xu Gang.

Chinese law graduates in North America start asking people to offer relevant information regarding Xu Gang’s misconduct to be able to take legal actions against the professor.

On March 16, Xu Gang posts a lengthy article through WeChat in response to the accusations made against him. Xu states that he supports the #MeToo movement, but that he denies any sexual misconduct allegations and says that Wang just aims to destroy his reputation.

Meanwhile, Chinese media outlet Sixth Tone reports that two women have come forward about sexual misconduct they say they experienced at the hands of Xu.

One woman told Sixth Tone she was forced into unwanted sexual actions with Xu, which she says “ruined her life” at the time. She furthermore claimed that other UIUC students also had sexual relations with Xu. In 2015, an undergraduate student already reported Gary Xu to the school for engaging in sexual misconduct with several female students.

 
● March 19 2018: Gary Xu Non-Active
 

According to Sixth Tone, the University of Illinois responded to this case through email, saying that “the University investigates and takes appropriate action whenever conduct is reported that may jeopardize or impact the safety or security of our students or others,” and that they are not allowed to discuss any potential investigations. They added that “Dr. Xu currently is not teaching any courses but will hold his tenured status until Aug. 16, 2018, when he will resign from the university.”

Xu has since also been fired from his post as the curator of the upcoming 2018 Shenzhen Biennale.

 
● March 20 2018: Various Hashtags
 

Many discussions using the ‘metoo’ hashtag on social media now relate to how the #metoo movement is gaining traction in South Korea.

*MeToo: 34.8 millions views, 20.000 comments, 241 fans of this hashtag.

*WoYeShi #我也是: 1.7 million views, 2339 comments, 6 followers of this hashtag.

*MeTooinChina #Metoo在中国#: 7.2 million views, 6941 comments, 134 followers of this hashtag.

*MiTu #米兔: 3.2 million views, 8050 comments, 0 followers.

*MiTuinChina #米兔在中国: 3.5 million views, 4456 comments that include this hashtag, 64 followers of this hashtag.

 
● UPDATE – April 2018: Gao Yan Case
 

A two-decade-old sexual abuse case becomes trending on Weibo when Canada-based netizen named Li Youyou (李悠悠), inspired by Luo Xixi and ‘#metoo’, comes forward on social media about a Peking University classmate named Gao Yan (高岩), who committed suicide in 1998.

Twenty years after her death, Li and some of Gao’s other old classmates, link Gao’s suicide to the behavior of Professor Shen Yang (沈阳), who had since moved on to work in the Literature & Language department of Nanjing University. They claim Gao was raped by the professor on multiple occasions over a two-year period, and had been called “mentally ill” by him.

Gao Yan when she was going to university.

The case draws much attention and also leads to the dismissal of Professor Shen. On Chinese social media, rather than a ‘#metoo’ movement, netizens link the story with that of two other university suicides, namely that of male student Yang Baode (杨宝德) and Tao Chongyuan (陶崇园); they address a bigger problem of exploitation of students in Chinese universities. More than sexual abuse, it is also about emotional and verbal abuse, and official misconduct in academic circles – regardless of gender. Also read our article about this here.

 


By now, there are sporadic discussions of China’s ‘metoo’ movement on Weibo. “I still hope #metoo can influence China,” one netizen (@末未木十) writes.

Another netizen says: “The #metoo movement is meaningful, but it hasn’t really been able to become a reality in China.”

“#MetooinChina has returned,” one other Weibo user says: “But there’s barely discussions about it anymore. Now, the hashtag “International Women’s Day Against Harassment” (#三八反骚扰#) has been deleted. I wonder when that one will come back.”

Perhaps saying that there is no Chinese MeToo movement at all is too crude; after all, there are important stories and initiatives in China that are connected to the global #metoo movement. But unlike in the US and other countries, these events have not led to a wider movement of common netizens widely sharing their own stories of abuse on social media.

Why is this the case? According to the Washington Post, it is because of China’s “patriarchal culture and a male-dominated one-party state that obsessively protects those in power.”

Stephany Zoo at RadiiChina says that ‘metoo’ has not taken off because China’s business landscape is built on guanxi, relationships, and that speaking out would pose too much of a risk to individuals within such a stability-focused culture.

One Chinese blogger claims that China’s metoo movement has been hindered by, amongst others, the decade-old abuse case of Tang Lanlan. This case triggered massive attention earlier this year when Chinese media exposed the identity of the victim, potentially ruining her chances to lead her life out of the public eye.

The Chinese so-called ‘human flesh search engine‘ could cause victims of sexual abuse to become victimized once again by becoming the focus of attention in an online environment that is joined by more than 700 million people; in order to protect oneself, not speaking out in public might be the safer option in the eyes of many people.

But maybe there is also another reason for it, namely that some social movements emerge in a country because it is the right time and the place for it. Just as many Chinese movements have never emerged in the US, many American movements will have no success spouting up in the PRC. #Metoo is not a movement that can have a cookie-cutter approach – even if it does spring up in other countries, it will have different shapes, voices, and outcomes.

“Foreign media can report whatever they want [about China],” one Weibo commenter says: “In the end, it’s up to us to pay attention to [the movements] we find important.”

By Manya Koetse with contribution from Boyu Xiao

* title: 《关于学校里的性侵犯,我看到了什么,想了什么,能做什么》

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©2018 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com.

Manya is the founder and editor-in-chief of What's on Weibo, offering independent analysis of social trends, online media, and digital culture in China for over a decade. Subscribe to gain access to content, including the Weibo Watch newsletter, which provides deeper insights into the China trends that matter. More about Manya at manyakoetse.com or follow on X.

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3 Comments

3 Comments

  1. kaka

    April 7, 2018 at 6:26 pm

    Please add the latest news about Professor Shen Yang into this article. Looking forward to that.

    • admin

      April 8, 2018 at 1:41 am

      Thanks for letting us know, we’ll try to update asap.

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Backgrounder

“Oppenheimer” in China: Highlighting the Story of Qian Xuesen

Qian Xuesen is a renowned Chinese scientist whose life shares remarkable parallels with Oppenheimer’s.

Zilan Qian

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They shared the same campus, lived in the same era, and both played pivotal roles in shaping modern history while navigating the intricate interplay between science and politics. With the release of the “Oppenheimer” movie in China, the renowned Chinese scientist Qian Xuesen is being compared to the American J. Robert Oppenheimer.

In late August, the highly anticipated U.S. movie Oppenheimer finally premiered in China, shedding light on the life of the famous American theoretical physicist J. Robert Oppenheimer (1904-1967).

Besides igniting discussions about the life of this prominent scientist, the film has also reignited domestic media and public interest in Chinese scientists connected to Oppenheimer and nuclear physics.

There is one Chinese scientist whose life shares remarkable parallels with Oppenheimer’s. This is aerospace engineer and cyberneticist Qian Xuesen (钱学森, 1911-2009). Like Oppenheimer, he pursued his postgraduate studies overseas, taught at Caltech, and played a pivotal role during World War II for the US.

Qian Xuesen is so widely recognized in China that whenever I introduce myself there, I often clarify my last name by saying, “it’s the same Qian as Qian Xuesen’s,” to ensure that people get my name.

Some Chinese blogs recently compared the academic paths and scholarly contributions of the two scientists, while others highlighted the similarities in their political challenges, including the revocation of their security clearances.

The era of McCarthyism in the United States cast a shadow over Qian’s career, and, similar to Oppenheimer, he was branded as a “communist suspect.” Eventually, these political pressures forced him to return to China.

Although Qian’s return to China made his later life different from Oppenheimer’s, both scientists lived their lives navigating the complex dynamics between science and politics. Here, we provide a brief overview of the life and accomplishments of Qian Xuesen.

 

Departing: Going to America

 

Qian Xuesen (钱学森, also written as Hsue-Shen Tsien), often referred to as the “father of China’s missile and space program,” was born in Shanghai in 1911,1 a pivotal year marked by a historic revolution that brought an end to the imperial dynasty and gave rise to the Republic of China.

Much like Oppenheimer, who pursued further studies at Cambridge after completing his undergraduate education, Qian embarked on a journey to the United States following his bachelor’s studies at National Chiao Tung University (now Shanghai Jiao Tong University). He spent a year at Tsinghua University in preparation for his departure.

The year was 1935, during the eighth year of the Chinese Civil War and the fourth year of Japan’s invasion of China, setting the backdrop for his academic pursuits in a turbulent era.

Qian in his office at Caltech (image source).

One year after arriving in the U.S., Qian earned his master’s degree in aeronautical engineering from the Massachusetts Institute of Technology (MIT). Three years later, in 1939, the 27-year-old Qian Xuesen completed his PhD at the California Institute of Technology (Caltech), the very institution where Oppenheimer had been welcomed in 1927. In 1943, Qian solidified his position in academia as an associate professor at Caltech. While at Caltech, Qian helped found NASA’s Jet Propulsion Laboratory.

When World War II began, while Oppenheimer was overseeing the Manhattan Project’s efforts to assist the U.S. in developing the atomic bomb, Qian actively supported the U.S. government. He served on the U.S. government’s Scientific Advisory Board and attained the rank of lieutenant colonel.

The first meeting of the US Department of the Air Force Scientific Advisory Board in 1946. The predecessor, the Scientific Advisory Group, was founded in 1944 to evaluate the aeronautical programs and facilities of the Axis powers of World War II. Qian can be seen standing in the back, the second on the left (image source).

After the war, Qian went to teach at MIT and returned to Caltech as a full-time professor in 1949. During that same year, Mao Zedong proclaimed the establishment of the People’s Republic of China (PRC). Just one year later, the newly-formed nation became involved in the Korean War, and China fought a bloody battle against the United States.

 

Red Scare: Being Labeled as a Communist

 

Robert Oppenheimer and Qian Xuesen both had an interest in Communism even prior to World War II, attending communist gatherings and showing sympathy towards the Communist cause.

Qian and Oppenheimer may have briefly met each other through their shared involvement in communist activities. During his time at Caltech, Qian secretly attended meetings with Frank Oppenheimer, the brother of J. Robert Oppenheimer (Monk 2013).

However, it was only after the war that their political leanings became a focal point for the FBI.

Just as the FBI accused Oppenheimer of being an agent of the Soviet Union, they quickly labeled Qian as a subversive communist, largely due to his Chinese heritage. While the government did not succeed in proving that Qian had communist ties with China during that period, they did ultimately succeed in portraying Qian as a communist affiliated with China a decade later.

During the transition from the 1940s to the 1950s, the Cold War was underway, and the anti-communist witch-hunts associated with the McCarthy era started to intensify (BBC 2020).

In 1950, the Korean War erupted, with the People’s Republic of China (PRC) joining North Korea in the conflict against South Korea, which received support from the United States. It was during this tumultuous period that the FBI officially accused Qian of communist sympathies in 1950, leading to the revocation of his security clearance despite objections from Qian’s colleagues. Four years later, in 1954, Robert Oppenheimer went through a similar process.

The 1950’s security hearing of Qian (second left). (Image source).

After losing his security clearance, Qian began to pack up, saying he wanted to visit his aging parents back home. Federal agents seized his luggage, which they claimed contained classified materials, and arrested him on suspicion of subversive activity. Although Qian denied any Communist leanings and rejected the accusation, he was detained by the government in California and spent the next five years under house arrest.

Five years later, in 1955, two years after the end of the Korean War, Qian was sent home to China as part of an apparent exchange for 11 American airmen who had been captured during the war. He told waiting reporters he “would never step foot in America again,” and he kept his promise (BBC 2020).

A letter from the US Immigration and Naturalization Service to Qian Xuesen, dated August 4, 1955, in which he was notified he was allowed to leave the US. The original copy is owned by Qian Xuesen Library of Shanghai Jiao Tong University, where the photo was taken. (Caption and image via wiki).

Dan Kimball, who was the Secretary of the US Navy at the time, expressed his regret about Qian’s departure, reportedly stating, “I’d rather shoot him dead than let him leave America. Wherever he goes, he equals five divisions.” He also stated: “It was the stupidest thing this country ever did. He was no more a communist than I was, and we forced him to go” (Perrett & Bradley, 2008).

Kimball may have foreseen the unfolding events accurately. After his return to China, Qian did indeed assume a pivotal role in enhancing China’s military capabilities, possibly surpassing the potency of five divisions. The missile programme that Qian helped develop in China resulted in weapons which were then fired back on America, including during the 1991 Gulf War (BBC 2020).

 

Returning: Becoming a National Hero

 

The China that Qian Xuesen had left behind was an entirely different China than the one he returned to. China, although having relatively few experts in the field, was embracing new possibilities and technologies related to rocketry and space exploration.

Within less than a month of his arrival, Qian was welcomed by the then Vice Prime Minister Chen Yi, and just four months later, he had the honor of meeting Chairman Mao himself.

Qian and Mao (image source).

In China, Qian began a remarkably successful career in rocket science, with great support from the state. He not only assumed leadership but also earned the distinguished title of the “father” of the Chinese missile program, instrumental in equipping China with Dongfeng ballistic missiles, Silkworm anti-ship missiles, and Long March space rockets.

Additionally, his efforts laid the foundation for China’s contemporary surveillance system.

By now, Qian has become somewhat of a folk hero. His tale of returning to China despite being thwarted by the U.S. government has become like a legendary narrative in China: driven by unwavering patriotism, he willingly abandoned his overseas success, surmounted formidable challenges, and dedicated himself to his motherland.

Throughout his lifetime, Qian received numerous state medals in recognition of his work, establishing him as a nationally celebrated intellectual. From 1989 to 2001, the state-launched public movement “Learn from Qian Xuesen” was promoted throughout the country, and by 2001, when Qian turned 90, the national praise for him was on a similar level as that for Deng Xiaoping in the decade prior (Wang 2011).

Qian Xuesen remains a celebrated figure. On September 3rd of this year, a new “Qian Xuesen School” was established in Wenzhou, Zhejiang Province, becoming the sixth high school bearing the scientist’s name since the founding of the first one only a year ago.

In 2017, the play “Qian Xuesen” was performed at Qian’s alma mater, Shanghai Jiaotong University. (Image source.)

Qian Xuesen’s legacy extends well beyond educational institutions. His name frequently appears in the media, including online articles, books, and other publications. There is the Qian Xuesen Library and a museum in Shanghai, containing over 70,000 artefacts related to him. Qian’s life story has also been the inspiration for a theater production and a 2012 movie titled Hsue-Shen Tsien (钱学森).2

 

Unanswered Questions

 

As is often the case when people are turned into heroes, some part of the stories are left behind while others are highlighted. This holds true for both Robert Oppenheimer and Qian Xuesen.

The Communist Party of China hailed Qian as a folk hero, aligning with their vision of a strong, patriotic nation. Many Chinese narratives avoid the debate over whether Qian’s return was linked to problems and accusations in the U.S., rather than genuine loyalty to his homeland.

In contrast, some international media have depicted Qian as a “political opportunist” who returned to China due to disillusionment with the U.S., also highlighting his criticism of “revisionist” colleagues during the Cultural Revolution and his denunciation of the 1989 student demonstrations.

Unlike the image of a resolute loyalist favored by the Chinese public, Qian’s political ideology was, in fact, not consistently aligned, and there were instances where he may have prioritized opportunity over loyalty at different stages of his life.

Qian also did not necessarily aspire to be a “flawless hero.” Upon returning to China, he declined all offers to have his biography written for him and refrained from sharing personal information with the media. Consequently, very little is known about his personal life, leaving many questions about the motivations driving him, and his true political inclinations.

The marriage photo of Qian and Jiang. (Image source).

We do know that Qian’s wife, Jiang Ying (蒋英), had a remarkable background. She was of Chinese-Japanese mixed race and was the daughter of a prominent military strategist associated with Chiang Kai-shek. Jiang Ying was also an accomplished opera singer and later became a professor of music and opera at the Central Conservatory of Music in Beijing.

Just as with Qian, there remain numerous unanswered questions surrounding Oppenheimer, including the extent of his communist sympathies and whether these sympathies indirectly assisted the Soviet Union during the Cold War.

Perhaps both scientists never imagined they would face these questions when they first decided to study physics. After all, they were scientists, not the heroes that some narratives portray them to be.

Also read:
■ Farewell to a Self-Taught Master: Remembering China’s Colorful, Bold, and Iconic Artist Huang Yongyu
■ “His Name Was Mao Anying”: Renewed Remembrance of Mao Zedong’s Son on Chinese Social Media

By Zilan Qian

1 Some sources claim that Qian was born in Hangzhou, while others say he was born in Shanghai with ancestral roots in Hangzhou.
2The Chinese character 钱 is typically romanized as “Qian” in Pinyin. However, “Tsien” is a romanization in Wu Chinese, which corresponds to the dialect spoken in the region where Qian Xuesen and his family have ancestral roots.

This article has been edited for clarity by Manya Koetse

References (other sources hyperlinked in text)

BBC. 2020. “Qian Xuesen: The man the US deported – who then helped China into space.” BBC.com, 27 October https://www.bbc.com/news/stories-54695598 [9.16.23].

Monk, Ray. 2013. Robert Oppenheimer: A Life inside the Center, First American Edition. New York: Doubleday.

Perrett, Bradley, and James R. Asker. 2008. “Person of the Year: Qian Xuesen.” Aviation Week and Space Technology 168 (1): 57-61.

Wang, Ning. 2011. “The Making of an Intellectual Hero: Chinese Narratives of Qian Xuesen.” The China Quarterly, 206, 352-371. doi:10.1017/S0305741011000300

 

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Farewell to a Self-Taught Master: Remembering China’s Colorful, Bold, and Iconic Artist Huang Yongyu

Renowned Chinese artist and the creator of the ‘Blue Rabbit’ zodiac stamp Huang Yongyu has passed away at the age of 98. “I’m not afraid to die. If I’m dead, you may tickle me and see if I smile.”

Manya Koetse

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The famous Chinese painter, satirical poet, and cartoonist Huang Yongyu has passed away. Born in 1924, Huang endured war and hardship, yet never lost his zest for life. When his creativity was hindered and his work was suppressed during politically tumultuous times, he remained resilient and increased “the fun of living” by making his world more colorful.

He was a youthful optimist at old age, and will now be remembered as an immortal legend. The renowned Chinese painter and stamp designer Huang Yongyu (黄永玉) passed away on June 13 at the age of 98. His departure garnered significant attention on Chinese social media platforms this week.

On Weibo, the hashtag “Huang Yongyu Passed Away” (#黄永玉逝世#) received over 160 million views by Wednesday evening.

Huang was a member of the China National Academy of Painting (中国国家画院) as well as a Professor at the Central Academy of Fine Arts (中央美术学院).

Huang Yongyu is widely recognized in China for his notable contribution to stamp design, particularly for his iconic creation of the monkey stamp in 1980. Although he designed a second monkey stamp in 2016, the 1980 stamp holds significant historical importance as it marked the commencement of China Post’s annual tradition of releasing zodiac stamps, which have since become highly regarded and collectible items.

Huang’s famous money stamp that was issued by China Post in 1980.

The monkey stamp designed by Huang Yongyu has become a cherished collector’s item, even outside of China. On online marketplaces like eBay, individual stamps from this series are being sold for approximately $2000 these days.

Huang Yongyu’s latest most famous stamp was this year’s China Post zodiac stamp. The stamp, a blue rabbit with red eyes, caused some online commotion as many people thought it looked “horrific.”

Some thought the red-eyed blue rabbit looked like a rat. Others thought it looked “evil” or “monster-like.” There were also those who wondered if the blue rabbit looked so wild because it just caught Covid.

Huang’s (in)famous blue rabbit stamp.

Nevertheless, many people lined up at post offices for the stamps and they immediately sold out.

In light of the controversy, Huang Yongyu spoke about the stamps in a livestream in January of 2023. The 98-year-old artist claimed he had simply drawn the rabbit to spread joy and celebrate the new year, stating, “Painting a rabbit stamp is a happy thing. Everyone could draw my rabbit. It’s not like I’m the only one who can draw this.”

Huang’s response also went viral, with one Weibo hashtag dedicated to the topic receiving over 12 million views (#蓝兔邮票设计者直播回应争议#) at the time. Those defending Huang emphasized how it was precisely his playful, light, and unique approach to art that has made Huang’s work so famous.

 

A Self-Made Artist

“I’m ugly, but my mum likes me”

‘Ugly Mouse’ by Huang Yongyu [Image via China Daily].


 

Huang Yongyu was born on August 9, 1924, in Hunan’s Chengde as a native of the Tujia ethnic group.

He was born into an extraordinary family. His grandfather, Huang Jingming (黄镜铭), worked for Xiong Xiling (熊希齡), who would become the Premier of the Republic of China. His first cousin and lifelong friend was the famous Chinese novelist Shen Congwen (沈从文). Huang’s father studied music and art and was good at drawing and playing the accordion. His mother graduated from the Second Provincial Normal School and was the first woman in her county to cut her hair short and wear a short skirt (CCTV).

Born in times of unrest and poverty, Huang never went to college and was sent away to live with relatives at the age of 13. His father would die shortly after, depriving him of a final goodbye. Huang started working in various places and regions, from porcelain workshops in Dehua to artisans’ spaces in Quanzhou. At the age of 16, Huang was already earning a living as a painter and woodcutter, showcasing his talents and setting the foundation for his future artistic pursuits.

When he was 22, Huang married his first girlfriend Zhang Meixi (张梅溪), a general’s daughter, with whom he shared a love for animals. He confessed his love for her when they both found themselves in a bomb shelter after an air-raid alarm.

Huang and Zhang Meixi [163.com]

In his twenties, Huang Yongyu emerged as a sought-after artist in Hong Kong, where he had relocated in 1948 to evade persecution for his left-wing activities. Despite achieving success there, he heeded Shen Congwen’s advice in 1953 and moved to Beijing. Accompanied by his wife and their 7-month-old child, Huang took on a teaching position at the esteemed Central Academy of Fine Arts (中央美术学院).

The couple raised all kinds of animals at their Beijing home, from dogs and owls to turkeys and sika deers, and even monkeys and bears (Baike).

Throughout Huang’s career, animals played a significant role, not only reflecting his youthful spirit but also serving as vehicles for conveying satirical messages.

One recurring motif in his artwork was the incorporation of mice. In one of his famous works, a grey mouse is accompanied by the phrase ‘I’m ugly, but my mum likes me’ (‘我丑,但我妈喜欢’), reinforcing the notion that regardless of our outward appearance or circumstances, we remain beloved children in the eyes of our mothers.

As a teacher, Huang liked to keep his lessons open-minded and he, who refused to join the Party himself, stressed the importance of art over politics. He would hold “no shirt parties” in which his all-male studio students would paint in an atmosphere of openness and camaraderie during hot summer nights (Andrews 1994, 221; Hawks 2017, 99).

By 1962, creativity in the classroom was limited and there were far more restrictions to what could and could not be created, said, and taught.

 

Bright Colors in Dark Times

“Strengthen my resolve and increase the fun of living”

Huang Yongyu’s winking owl, 1973, via Wikiart.


 

In 1963, Huang was sent to the countryside as part of the “Four Cleanups” movement (四清运动, 1963-1966). Although Huang cooperated with the requirement to attend political meetings and do farm work, he distanced himself from attempts to reform his thinking. In his own time, and even during political meetings, he would continue to compose satirical and humorous pictures and captions centered around animals, which would later turn into his ‘A Can of Worms’ series (Hawks 2017, 99; see Morningsun.org).

Three years later, at the beginning of the Cultural Revolution, many Chinese major artists, including Huang, were detained in makeshift jails called ‘niupeng‘ (牛棚), cowsheds. Huang’s work was declared to be counter-revolutionary, and he was denounced and severely beaten. Despite the difficult circumstances, Huang’s humor and kindness would remind his fellow artist prisoners of the joy of daily living (2017, 95-96).

After his release, Huang and his family were relocated to a cramped room on the outskirts of Beijing. The authorities, thinking they could thwart his artistic pursuits, provided him with a shed that had only one window, which faced a neighbor’s wall. However, this limitation didn’t deter Huang. Instead, he ingeniously utilized vibrant pigments that shone brightly even in the dimly lit space.

During this time, he also decided to make himself an “extra window” by creating an oil painting titled “Eternal Window” (永远的窗户). Huang later explained that the flower blossoms in the paining were also intended to “strengthen my resolve and increase the fun of living” (Hawks 2017, 4; 100-101).

Huang Yongyu’s Eternal Window [Baidu].

In 1973, during the peak of the Cultural Revolution, Huang painted his famous winking owl. The calligraphy next to the owl reads: “During the day people curse me with vile words, but at night I work for them” (“白天人们用恶毒的语言诅咒我,夜晚我为他们工作”) (Matthysen 2021, 165).

The painting was seen as a display of animosity towards the regime, and Huang got in trouble for it. Later on in his career, however, Huang would continue to paint owls. In 1977, when the Cultural Revolution had ended, Huang Yongyu painted other owls to ridicules his former critics (2021, 174).

According to art scholar Shelly Drake Hawks, Huang Yongyu employed animals in his artwork to satirize the realities of life under socialism. This approach can be loosely compared to George Orwell’s famous novel Animal Farm.

However, Huang’s artistic style, vibrant personal life, and boundary-pushing work ethic also draw parallels to Picasso. Like Picasso, Huang embraced a colorful life, adopted an innovative approach to art, and challenged artistic norms.

 

An Optimist Despite All Hardships

“Quickly come praise me, while I’m still alive”

Huang Yongyu will be remembered in China with love and affection for numerous reasons. Whether it is his distinctive artwork, his mischievous smile and trademark pipe, his unwavering determination to follow his own path despite the authorities’ expectations, or his enduring love for his wife of over 75 years, there are countless aspects to appreciate and admire about Huang.

One things that is certainly admirable is how he was able to maintain a youthful and joyful attitude after suffering many hardships and losing so many friends.

“An intriguing soul. Too wonderful to describe,” one Weibo commenter wrote about Huang, sharing pictures of Huang Yongyu’s “Scenes of Pooping” (出恭图) work.

Old age did not hold him back. At the age of 70, his paintings sold for millions. When he was in his eighties, he was featured on the cover of Esquire (时尚先生) magazine.

At the age of 82, he stirred controversy in Hong Kong with his “Adam and Eve” sculpture featuring male and female genitalia, leading to complaints from some viewers. When confronted with the backlash, Huang answered, “I just wanted to have a taste of being sued, and see how the government would react” (Ora Ora).

In his nineties, he started driving a Ferrari. He owned mansions in his hometown in Hunan, in Beijing, in Hong Kong, and in Italy – all designed by himself (Chen 2019).

Huang kept working and creating until the end of his life. “It’s good to work diligently. Your work may be meaningful. Maybe it won’t be. Don’t insist on life being particularly meaningful. If it’s happy and interesting, then that’s great enough.”

“Hometown Scenery” or rather “Hunan Scenery” (湘西风景) by Huang.

Huang did not dread the end of his life.

“My old friends have all died, I’m the only one left,” he said at the age of 95. He wrote his will early and decided he wanted a memorial service for himself before his final departure. “Quickly come praise me, while I’m still alive,” he said, envisioning himself reclining on a chair in the center of the room, “listening to how everyone applauds me” (CCTV, Sohu).

He stated: “I don’t fear death at all. I always joke that when I die, you should tickle me first and see if I’ll smile” (“对死我是一点也不畏惧,我开玩笑,我等死了之后先胳肢我一下,看我笑不笑”).

Huang with Yiwo (伊喔), the original model for the monkey stamp [Shanghai Observer].

Huang also was not sentimental about what should happen to his ashes. In a 2019 article in Guangming Daily, it was revealed that he suggested to his wife the idea of pouring his ashes into the toilet and flushing them away with the water.

However, his wife playfully retorted, saying, “No, that won’t do. Your life has been too challenging; you would clog the toilet.”

To this, Huang responded, “Then wrap my ashes into dumplings and let everyone [at the funeral] eat them, so you can tell them, ‘You’ve consumed Huang Yongyu’s ashes!'”

But she also opposed of that idea, saying that they would vomit and curse him forever.

Nevertheless, his wife expressed opposition to this idea, citing concerns that it would cause people to vomit and curse him indefinitely.

In response, Huang declared, “Then let’s forget about my ashes. If you miss me after I’m gone, just look up at the sky and the clouds.” Eventually, his wife would pass away before him, in 2020, at the age of 98, having spent 77 years together with Huang.

Huang will surely be missed. Not just by the loved ones he leaves behind, but also by millions of his fans and admirers in China and beyond.

“We will cherish your memory, Mr. Huang,” one Weibo blogger wrote. Others honor Huang by sharing some of his famous quotes, such as, “Sincerity is more important than skill, which is why birds will always sing better than humans” (“真挚比技巧重要,所以鸟总比人唱得好”).

Among thousands of other comments, another social media user bid farewell to Huang Yongyu: “Our fascinating Master has transcended. He is now a fascinating soul. We will fondly remember you.”

By Manya Koetse 

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References

Andrews, Julia Frances. 1994. Painters and Politics in the People’s Republic of China, 1949-1979. Berkley: University of California Press.

Baike. “Huang Yongyu 黄永玉.” Baidu Baike https://baike.baidu.com/item/%E9%BB%84%E6%B0%B8%E7%8E%89/1501951 [June 14, 2023].

CCTV. 2023. “Why Everyone Loves Huang Yongyu [为什么人人都爱黄永玉].” WeChat 央视网 June 14.

Chen Hongbiao 陈洪标. 2019. “Most Spicy Artist: Featured in a Magazine at 80, Flirting with Lin Qingxia at 91, Playing with Cars at 95, Wants Memorial Service While Still Alive [最骚画家:80岁上杂志,91岁撩林青霞,95岁玩车,活着想开追悼会].” Sohu/Guangming Daily March 16: https://www.sohu.com/a/301686701_819105 [June 15, 2023].

Hawks, Shelley Drake. 2017. The Art of Resistance Painting by Candlelight in Mao’s China. Seattle: University of Washington Press.

Matthysen, Mieke. 2021. Ignorance is Bliss: The Chinese Art of Not Knowing. Palgrave Macmillan.

Ora Ora. “HUANG YONGYU 黃永玉.” Ora Ora https://www.ora-ora.com/artists/103-huang-yongyu/ [June 15, 2023].

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