Set about with Mao Zedong’s promise to the public of achieving “all this and heaven too” in what would supposedly appear as a brief yet transformative period in which a renaissance in cultural and social thought could be accomplished, one may consider the cultural revolution as a process somewhat akin to the proposal of a permanent revolution. However, this would appear to be a rather superficial perspective on the matter that clearly lacks nuance. This would be due to the ironically more socially conservative elements of the approaches advocated by Mao’s government which had proven to put emphasis on traditional Chinese values and models for society which revolved around the preservation of the existing power structures that acted as the basis of the existing issues regarding class struggle, lack of individual and collective liberty, and wealth and power being concentrated amongst the elites. This also appears to go hand in hand with the strong sense of resistance by the proletariat during this period, along with the widespread campaigns for liberation which were practiced by many Chinese working class women.
When reflecting on the global political situation at the time of Mao’s cultural revolution, it is clear to note that this was at the time in which the Soviet Union was at its peak. This would have proven to act as a significant opposition and source of conflict and rivalry between the East and the West, thus being a hindrance to the development of a permanent international socialist revolution. This may also, in part, act as an explanation for the emphasis Mao placed on militarist development so as to effectively respond to this potential threat, as well as his imperialist interests and desire to be the supreme ruler to which all the main political power is centralised. As observed here, the foundations of a capitalist post colonial society ruled by classist ideals are preserved, and Mao can thus be quoted claiming to act as “the unquestioned and absolute monarch of all he surveyed”.
Equally, when looking at the cultural revolution from a social standpoint, it appears that traditional values were still very much fundamental in the operation of Chinese society during this period thus leading to much uprising and protest particularly by women and other marginalised groups, with it also being known that limited progress was made regarding understanding of sexuality. This situation arguably appeared to have worsened with sexual repression having become increasingly extreme and with limited means by which one could act against this, in spite of the widespread protesting by the repressed. Subservience to the bourgeoisie who appeared to present as the exact representation of the traditional family oriented model of society, as well as actively engaging in the repressive behaviours including “aversion to sexual deviance”, engagement in illicit and inappropriate sexual activities, as well as the manipulation and representation of sexuality through performance arts, namely opera. This can be reflected through Chen Kaige’s Palm D’Or film “Farewell My Concubine” in which, through themes of prostitution, masculinity, sexual repression, and suicide, this sentiment can be observed. These themes are applied to the conflicted nature of this society caused by the division between the more progressive and liberal attitudes, with the socially conservative attitudes, these being portrayed through the personalities of young actors Dieyi and Xiaolou (who would take on roles with clearly conflicting characteristics based off the traditional ideals on gender, with Dieyi taking on female roles and having his body manipulated so as to further suit these). Jinxian, the woman who Xiaolou eventually marries putting an end to his initial homosexual relationship with Dieyi, is very obviously looked down upon by much of the more conservative society and lives with the shame that comes for being engaged in prostitution. This eventually led to her suicide due fear and powerlessness, not only as a woman who has experienced exploitation and repression as a member of the supposedly weaker sex, but as a prostitute who merely used male exploitation of these attributes to support her livelihood. Her suicide could perhaps be seen as an act of submission to these ideas, further symbolising the repression she had to endure, appearing as a means of getting peace and freedom from the rigidity of these norms.
When linking back to the socioeconomic dimension of the advancements in society under Mao’s rule, it can be seen to potentially appear that only the most socially and economically influential members of the proletariat would be able to effectively advance in society, with this advancement being very much merely about gaining status within the existing class-led hierarchical system; the peak of liberty and general aim of the proletariat would be to ultimately become bourgeois.
Chinese Cultural Revolution. Published in Journal of Interdisciplinary Cultural Studies. DOI: 10.29329/almamater.2024.1053.3
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