Category: Culture

George Bernard Shaw’s 1933 Shanghai visit recalled

The brief 1933 visit to Shanghai by the famed Irish playwright and socialist George Bernard Shaw was the theme of the third Shanghai Public Relations Academic Symposium on Irish Literature, held on July 26.

An article published in this regard by the website Sixth Tone notes: “Before his arrival, articles about Shaw had been published in various newspapers and magazines. Some discussed his communist advocacy in Hong Kong, while others talked about how his satirical writing style had influenced European society.”

Shaw was welcomed to the city by Soong Qingling, the widow of China’s first president Dr. Sun Yat Sen, who remained true to his revolutionary ideals and ended her days as Honorary President of the People’s Republic of China and with her long-standing wish to be admitted to membership of the Communist Party of China granted.

With help from Soong, Shaw met and talked with several leading left-wing Chinese intellectuals, including Yang Xingfo, a social activist and patriotic democrat, former Peking University president Cai Yuanpei, literary icon Lu Xun, writer and linguist Lin Yutang, and the American journalists Harold Isaacs and Agnes Smedley. He also met Mei Lanfang, the renowned Peking opera artist and founder of Shanghai’s Left Theatre Club.

According to Sixth Tone: “Although Shaw spent just over eight hours in Shanghai, his visit sparked considerable discussion and reverberations among the city’s left-wing intellectual circles. The writer and poet Yu Dafu wrote in Free Talk, a supplement of the Shun Pao newspaper, that he hoped Shaw could tell the world, in his own sarcastic tone, about Japanese imperialism and its invasion of China.”

Following the visit, a group of left-wing writers and cultural workers, including Lu Xun, began compiling reports from various newspapers and periodicals about the Irish writer’s short visit. The collection was published in March 1933 by Yecao Shudian, or Wild Grass Bookshop, under the title ‘George Bernard Shaw in Shanghai’.

In his preface, Lu Xun wrote: “Those who truly welcomed him were the Chinese people, as well as the literary and artistic circles that stood by the people. The Chinese people did not regard him as a ‘revolutionary leader’ or a ‘thoroughgoing socialist writer,’ much less as an idol. They regarded Shaw as a loyal friend of the oppressed people of the world, and of China.”

In a video address to the symposium, Chinese Ambassador to Ireland Zhao Xiyuan said that despite the great distance between China and Ireland, the two countries share long histories, splendid cultures, and rich literary traditions. He emphasised that three years ago, President Xi Jinping put forward the Global Civilisation Initiative (GCI), highlighting the need for civilisations to live together in harmony.

“As long as the two countries remain committed to openness, inclusiveness, and mutual learning, and continue to transcend estrangement through dialogues, overcome conflict through exchanges, and transcend superiority through mutual respect and inclusiveness, we will further strengthen the public foundations of China-Ireland friendship. In doing so, we will make new contributions to the sustained and sound development of China-Ireland relations, and to the building of a community with a shared future for humanity.”

Former president of Ireland Michael D. Higgins also made reference to Shaw’s visit to Shanghai during his state visit to China in December 2014.

In a speech delivered at the Sun Yat Sen Museum on December 11, he noted:

“A Nobel Prize winning playwright and novelist, Shaw was also an essayist and polemicist, a free-thinker and a stout defender of the rights of the working classes and the marginalised.

“George Bernard Shaw continues to inspire us as the epitome of the engaged public intellectual, somebody who put his talent to the service of emancipatory change. Indeed, Shaw was an astute observer of his times but never a bystander – he consistently sought to translate his ideas into actual, public realisations. For example, he was a co-founder of the distinguished London School of Economics, and he helped to establish the New Statesman magazine; two ‘institutions’ which have been handed on to us.

“Shaw’s visit to Shanghai coincided with an era of great turbulence globally – a period when foreign powers were pushing rival claims onto China, as the Chinese people struggled to assert national sovereignty and define both an appropriate form of government and a new model of society for themselves.

“As a Fabian, Shaw was undoubtedly alive to the possibilities of a wider socialist awakening in China. As an Irishman he would have been sensitive to the Chinese calls for national sovereignty. At the same time, he was mindful not to be prescriptive in his conversation with his Chinese counterparts – conscious as he was of the travails of Europe’s own economic and political affairs.

“In the message he addressed to the Chinese people on the occasion of his visit, Shaw thus wrote:

“‘It is not for me, belonging as I do to a quarter of the globe which is mismanaging its affairs in a ruinous fashion to pretend to advise an ancient people striving to set its house in order.’”

Higgins concluded by, “by saluting all the academics and students in the Irish Studies Network who are here with us this afternoon. Shaw recognised no boundaries in the commitment to international solidarity. I believe that your interest in our culture and language, as well as the revived interest in your great civilisation currently manifest in Ireland, offer a robust and fruitful base for the future of Irish and Chinese relations.

“May the relations between our two peoples, Irish and Chinese, continue to be infused by the spirit of cross-border friendship and mutual curiosity which animated George Bernard Shaw’s visit in 1933.”

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Wham! – Musical icebreakers in 1985 China

Keith Bennett finds a new documentary film on the first western pop group to perform in the People’s Republic to be a warm, touching and entertaining depiction of a moment in history.

Wham! 10 Days in China, a documentary film with much contemporary footage which went on general release in the UK on July 28, records the extraordinary story of the duo’s 1985 visit, when they became the first western pop group to perform in China, with concerts in Beijing and Guangzhou.

For some of us, the film is a vivid reminder of how China looked at that time. George Michael, then 21, and Andrew Ridgeley, then 22, were true icebreakers. China was still in the relatively early stage of reform and opening up and was very much, in Deng Xiaoping’s words, “crossing the river by feeling the stones”. Although living standards were rising, we were still some way away from the subsequent Chinese economic miracle. However, people’s expectations were definitely rising and with it their eagerness to embrace the outside world (and not without a whole range of misconceptions and naïve expectations) and to experience new things. As others have already noted, in reviews of the film and of course elsewhere, China was a country and a society on the cusp of great change – a change that has in turn profoundly altered the whole course of global development in the twenty-first century in ways that could not reasonably have been envisaged 40 years ago. It is actually extraordinary that these two young men played a modest but very real part in making this happen – in icebreaking and in inventing the future.

According to the film, becoming the first western pop group ever to be invited to perform in the People’s Republic was conceived as just a smart way of making it in the United States. That’s as maybe, but they still had to be prepared to make that leap and take that chance – something that might be seen as a rare moment of real insight on the part of the band’s cynical and manipulative manager. It also necessitated patient and protracted negotiations, something that would be all too familiar to anyone involved in similar work at the time. The art curator James Birch provides a vivid account of what it took to secure the first British contemporary art exhibition in Beijing and Shanghai a few years later in his Gilbert and George and the Communists.

Using China as the gateway to the USA might appear to have been counterintuitive but it showed that there was great interest in and fascination with China in the country at that time, albeit for very different reasons on the part of different sections of the population. As we have previously noted, today’s is not the first iteration of ‘Chinamaxxing’.

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Dear You – A poignant tale of patriotism, solidarity and resilience

Our co-editor Keith Bennett is moved by China’s surprise film hit of 2026 – a story of the struggles and sacrifices of overseas Chinese and their families back home.

‘Dear You’, which was released in the UK and Ireland on June 26 by Trinity CineAsia, is China’s surprise film hit of the year. It was produced on a low budget of just over $2 million, featuring mostly amateur actors rather than big stars, filmed in a local dialect, and without the glitzy or dramatic special effects that increasingly characterise films produced in China as well as the West.

Going on nationwide release in China on April 30, in time for the May Day holiday, it rapidly became the country’s second highest grossing film of 2026, with box office receipts soon approaching the equivalent of $250 million.

The film is really a journey of discovery that operates on multiple levels. It has little overt political content yet is rich in political meaning. Progressively revealing the cruel realities that lay behind the waves of Chinese migration in the second half of the nineteenth century and the first half of the twentieth, it depicts how millions of Chinese people struggled and made a life – in the face of the pain of separation from home, family and motherland, and of poverty, exploitation, discrimination and exclusion.

Early in the story, Den Musheng (Bhagseng), also known as Iron Fish, is forced to leave his home in Teochew (Chaoshan), in the northern tip of Guangdong province, to avoid forcible conscription by the Kuomintang forces as they attempt to stave off their ultimate defeat at the hands of the Communist Party and the People’s Liberation Army. Leaving his wife, Sogriu (Ye Shurou), who herself had abandoned a life of privilege in a wealthy land-owning family to marry her poor lover, and their three young children, Bhagseng travels first to Malaya, then still under British colonial rule.

His time in Malaya proves short-lived in the face of British oppression and extreme exploitation. By this time, largely thanks to its rubber and tin resources, Malaya was the most profitable colony in the British Empire. With the “Malayan Emergency”, correctly known as the Anti-British National Liberation War, erupting in 1948, repression of the Chinese community in particular reached intolerable levels.

Life in Thailand is scarcely easier, with poverty, exploitation, corruption and repression still the defining features. Chinese language teaching is banned and Bhagseng helps establish an ‘underground school’ in the basement of the decidedly down at heel inn where he is struggling to rent the least salubrious room.

Continue reading Dear You – A poignant tale of patriotism, solidarity and resilience

Chinese football fans adopt Erling Haaland

Although China failed to qualify for the 2026 football World Cup, the country’s millions of football fans have been finding many ways to engage with the contest.

One such has been the virtual adoption of Erling Haaland. The Norwegian soccer forward and striker for Manchester City, considered to be his country’s greatest ever footballer, and currently one of the best in the world, has become an online sensation. Fresh from scoring 16 goals to help Norway reach its first World Cup since 1998, Chinese fans have been turning his goals, exaggerated facial expressions, and off-pitch antics into a nonstop stream of viral content.

The Shanghai-based website Sixth Tone reports: “With the tournament underway, hashtags related to Haaland have attracted more than 490 million views on microblogging platform Weibo, where he launched an official account earlier this month, as well as on Douyin, China’s version of TikTok, attracting 194,000 followers within days.

“Standing nearly two metres tall with a powerful physique, Haaland is often portrayed online as a ‘robot striker’ or ‘Nordic cyborg’, a nod to his seemingly machine-like scoring ability.”

That imposing image is balanced by his approachable side. Haaland has been spotted signing autographs while casually eating a carrot in a car or smiling during heated on-pitch confrontations. He has also joined a trending meme beside the Liziba monorail station in the southwestern megacity of Chongqing, mimicking tourists who pretend to “eat” the passing train. Fans have filled the comment sections with edits of Viking-themed artwork released by the Norway team.

Sixth Tone adds that the striker’s popularity has also attracted commercial interest in the country. He has been announced as an ambassador for the Chinese herbal tea brand Wanglaoji and represents the Norwegian Seafood Council in promoting Norwegian salmon and other seafood exports.

Exports of Norwegian salmon to China have been growing exponentially. They jumped 188% in April 2025 compared to the same month the previous year, making China the third-largest market globally for Norwegian salmon, according to the country’s export statistics. This pushed Norway’s market share in China to 62%, exceeding the 50% threshold for the first time in over a decade of gradual market expansion.

Haaland is also set to make his feature film voice acting debut, playing a Viking also named Haaland in the animated film ViQueens. The movie is scheduled for release at Christmas 2026. It is directed and co-written by Harald Zwart, who also directed The Karate Kid (2010).

Continue reading Chinese football fans adopt Erling Haaland

The Great Qin show in Xi’an: Experiencing Chinese history and its lessons for today

In the following article Bhabani Shankar Nayak reviews a spectacular show he attended in Xi’an during a recent visit to China. Bringing to life the forging of a united China by first emperor Qin Shi Huang but also presenting it from the perspectives of ordinary people, he explains that it “brings audiences together to reflect on the idea of national unification in China in a way that remains inclusive and respectful of both domestic and global perspectives” and that it “conveys to the world that patriotism and nationalism can be inclusive, and need not be grounded in supremacist ideas or practices that undermine others or create divisions in the process of nation-building.”

Bhabani is Professor of Business Management at London Metropolitan University and writes extensively on socialism and anti-imperialism.

On 15 December 2025, after a hectic day of academic exchanges and talks in the morning, followed by sightseeing in the afternoon, my body was exhausted and it was difficult to keep my eyes open. My mind, however, was immersed in the cultural geography of Xi’an and the history of Shaanxi – the birthplace of Chinese civilisation. Then came an eighty-minute epic fantasy performance produced by the Shaanxi Cultural Investment Group at the Great Qin Performance Theatre located  in a magnificent building on the east side of the Epang Palace in Fengdong New Town, Xixian New Area in Xi’an. This surreal production, led by a blend of acrobatics, dance, drama, technology, and music, made me forget my physical fatigue and drew me completely into the original archaeological setting of the Qin Dynasty. A 500-ton, 37-metre track platform expanded to 95 meters, accompanied by vibrating seats, transporting the audience back to the battlefields, palaces, mountains, oceans, rivers,  agricultural fields, love stories, music, dance and the social and economic lives of ordinary Chinese people in 221 BCE. It was a visual marvel of Chinese history, unfolding the story of the Qin Dynasty through its main character, Hei Fu, a soldier.

The performance began in a realistic workshop setting, where Chinese archaeologists were shown working at an excavation site, restoring the ruins and remains of the Qin Dynasty. As the performance progressed, the story of China’s unification unfolded, following the journey of a Qin Dynasty soldier, Hei Fu, as its central narrative thread. Through his experiences, the performance used the fate of an ordinary individual to depict the broader historical process of Qin’s unification of the six states – Han, Chu, Yan, Zhao, Wei, and Qi. The immersive performance by Chinese theatre artists brought the past vividly to life through technologically led moving track platforms, where the stage transformed seamlessly to suit six different scenes. With 360° panoramic visuals and dynamic stage design, it recreated the military, architectural, cultural, and social landscape of the Qin Dynasty.

Directors Zhou Liya and Han Zhen, through The Great Qin, not only give life to Heifu – a figure inspired by the Terracotta Warriors and Horses Museum of Qin Shi Huang – but also connect his sacrifices to the making of China as a nation. The performance further revives the character of Dajiang Yi, a dedicated craftsman emerging from the ruins of the Epang Palace. Similarly, it portrays Guan Zhixi, an official who offers a legal perspective on the Qin Dynasty. History often reveals that heroes and villains are merely two sides of the same coin. So, the assassins depicted in The Great Qin are not merely threats to Emperor Qin Shihuang; they also serve as powerful reminders of loyalty, betrayal, and commitment in Chinese history.

The Great Qin performance is not merely an immersive theatrical show; it is also a powerful reflection on Chinese history, highlighting how ordinary people and soldiers like Heifu sacrificed their lives in the making of what would eventually become modern China. The story concludes with Heifu’s death, while his beloved continues to wait for him, embodying a quiet yet enduring form of devotion. The performance serves as a poignant reminder of the often-unseen sacrifices made by women in the making of families and nations – while men rule and die in wars, women endure loss and carry forward the continuity of life. In this respect, China is no different from the rest of the world.

There is no doubt that The Great Qin is a political show which portrays Chinese nationalism without undermining any other culture, ethnicity or nation. It brings audiences together to reflect on the idea of national unification in China in a way that remains inclusive and respectful of both domestic and global perspectives. The performance also serves as a reminder to younger generations to uphold the unity and integrity of China, emphasising that these are the results of profound historical sacrifices. The Eurocentric monolithic lens depicts China in its narrow and mono-ethnic outlook underming the diversities in China. The Great Qin  show restores Chinese diversity and rejects dominant North American and European narratives on China.

The Great Qin is not merely an entertaining show; it is also an integral part of contemporary Chinese popular culture. Through the lens of The Great Qin, China once again conveys to the world that patriotism and nationalism can be inclusive, and need not be grounded in supremacist ideas or practices that undermine others or create divisions in the process of nation-building.

Cuban culture celebrated in London

Friends of Socialist China co-editors Carlos Martinez and Keith Bennett were pleased to join a celebration of Cuban Culture Day on October 21. Held in a packed Bolivar Hall, the cultural premises of the Venezuelan Embassy in London, ‘Cuban Mosaic: A Night of Identity and Resilience’ brought together Cuban artists and friends of Cuba from cultural and artistic circles for a dazzling medley of music, dance and poetry that served to well illustrate the vibrancy and diversity of Cuban culture and the society it reflects.

Organised by the Cuban Embassy in London, with support from the Cuba Solidarity Campaign (CSC), the evening was presided over by Ambassador Ismara Mercedes Vargas Walter, who expressed her pride in the artistic quality and warmth of the gathering, which strengthened ties between Cuba and people in Britain. Friends of Cuba from all walks of life were present at the invitation-only gathering.

The following report was originally published on the website of the Cuban Foreign Ministry.

On 21 October, in London, the Cuban Embassy, with the support of the Campaign for Solidarity with Cuba (CSC), hosted an unforgettable gala in celebration of Cuban Culture Day. Entitled ‘Cuban Mosaic: A Night of Identity and Resilience,’ the event brought together Cuban artists and friends of the island in the United Kingdom to offer a broad and exciting sample of our music, dance and poetry. The result was a vibrant and emotional evening at the Bolívar Hall of the Venezuelan Embassy in the United Kingdom.

The programme combined virtuosity, tradition and contemporary creativity, with Cuban artists presenting a variety of performances and instruments, from classical pieces to modern compositions, allowing the audience to experience the cultural richness of Cuba and the celebrations that take place in our country during October.

At various points, classics from the Cuban tradition were revived alongside arrangements and performances that reflected the vitality and relevance of our culture. The evening was opened by pianist Eralys Fernández and clarinettist Lester Chío Alonso, who offered a highly lyrical start. Guitarist Nikos Baroutsakis captivated the audience with his repertoire, while Ramon Goose and John Woodham brought rhythm and flavour with guitar and congas. Singer and multi-instrumentalist Sergio Marciano shone with pieces that connected directly with the audience. Dance talent was represented by Damarys Farres & CSA Dance Company, who offered choreographic moments of great expressive power, and the London Lucumi Choir provided the voices needed to complete the evening’s sound palette.

The diverse and enthusiastic audience included British parliamentarians, members of the diplomatic corps, representatives of cultural, business, consular and academic institutions, as well as the CSC. They all joined in the celebration, enjoyed the displays of Cuban culture up close and learned more about the significance of Cuban Culture Day, which commemorates the identity, resilience and creativity of our people.

Ambassador Ismara Mercedes Vargas Walter presided over the evening and expressed her pride in the artistic quality and warmth of the gathering, which strengthened ties between Cuba and the British public. The presence of diplomats, cultural representatives and friends of Cuba underscored the international and dialogue-oriented nature of the event.

The Revolutionary Reel: How Chinese cinema sustains the struggle

The power of storytelling to sustain revolutionary enthusiasm and struggle is well-known. Stories both true and fictional have encouraged fighters in times both good and bad. Vladimir Lenin loved to read novels and took particular inspiration (and the title of one of his most famous works) from Chernyshevsky’s What is to be Done?. This novel continues to inspire, with Chinese President Xi Jinping citing it at the 2024 BRICS Conference, noting how the protagonist’s “unwavering determination and ardent struggle encapsulate exactly the kind of spiritual power we need today. The bigger the storms of our times are, the more we must stand firm at the forefront with unbending determination and pioneering courage.”

As the times have moved on, so have the formats of storytelling, and the moving image has come to replace the written word over the 20th century as the dominant form of narrative. In the same way as novels, the medium responds directly to the social contexts in which it is produced. In the Chinese revolutionary era, and the years leading up to the Chinese People’s War of Resistance against Japanese Aggression, this was evident in the burgeoning film industry of the time, located mostly in Shanghai. The importance of many of these films and the extent to which they played an ideological role in sustaining the Chinese people’s resistance is charted in the below Sixth Tone article, which notes that the films “evolved from cultural commentary into a medium of resistance, help[ed] to shape public opinion and mobilize support for the war effort.” In place of some of the traditional melodramas or fantasy epics, the early Communist Party of China played a direct role in advocating stories which portrayed everyday people’s struggles, women’s struggles, and other tales that raised social awareness.

This year marks the 80th anniversary of the Chinese people’s victory against Japanese Aggression, and their inestimable contribution to the victory in the World Anti-Fascist War, and once again cinema is making an important ideological contribution. 2025 has seen numerous films depicting this victory and the Chinese people’s experiences and contributions: Dead to Rights (a story in the context of the Nanjing Massacre), both fictional and documentary films covering the Dongji Island incident (where Chinese fisherfolk saved drowning British POWs), as well as the upcoming Evil Unbound, a story covering the notorious germ warfare human experiments carried out by the Japanese Imperial army. 

In addition to re-establishing the proper historical contributions of the Chinese people in the history books, which for too long have been downplayed in the West, these narratives and documentaries also remind the Chinese people, and the peoples of the Global South at large, of the importance of protecting one’s own sovereignty and their capacity for resistance and victory.

Kim Jong Il noted in 1973 that “the task set before the cinema today is one of contributing to people’s development into true communists and assisting in the revolutionising and remodelling of the whole of society on the working-class pattern.” And whether you prefer the black and white classics, or the modern blockbusters, the leftist cinema of the People’s Republic of China continues to play this role.

The following article was first published by Sixth Tone.

In the years leading up to Chinese People’s War of Resistance against Japanese Aggression, Chinese cinema had already begun preparing for it. Following the Mukden Incident in 1931, a false flag attack by Japanese troops on a railway line in northeastern China as pretense to invade Manchuria, Chinese filmmakers began incorporating themes of social crisis, injustice, and national survival into their work.

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Review: Dead to Rights

The Chinese film Dead to Rights, a moving depiction of the 1937-38 Nanjing Massacre, went on general release in London on September 5, distributed by the Cultural Centre of Nouvelles d’Europe UK.

Carlos Martinez reviews the film, arguing that: “Although harrowing to watch, Dead to Rights is not a film of despair. It restores to memory the countless unnamed heroes who resisted occupation. And it reaffirms the principle that only truth can prevent history from being distorted or erased.”

Shen Ao’s Dead to Rights (released domestically as Nanjing Photo Studio) is a Chinese film of searing power and urgency. Set during the Nanjing Massacre of December 1937, it combines meticulous historical detail with a sweeping human drama that is resonating deeply with audiences around the world. Since its release in July, the film has smashed box office records and helped to reignite the discussion about one of the darkest chapters of the twentieth century.

The story follows A Chang (Liu Haoran), a humble postman who is mistaken for a photo studio employee by occupying Japanese soldiers. Realising that their mistake offers an opportunity for survival, Chang plays along. Inside the photo studio, he encounters the owner and his family sheltering in the basement, as well as an actress taking refuge.

The group’s uneasy survival hinges on developing photographs for a Japanese army photographer, Lieutenant Hideo Ito, who is documenting Japanese activities in the city for propaganda purposes. Yet the images they process – of torture, murder and rape – become an unbearable testament to the horrors engulfing their city. Together, the group risks everything to preserve these negatives and smuggle them to the outside world, convinced that only by exposing the truth can justice be served.

The drama draws inspiration from real events. In 1938, a teenage apprentice in Nanjing did indeed copy photographs brought in by Japanese soldiers, creating an album that would later serve as crucial evidence in war crimes trials. The English title, Dead to Rights, underscores the central motif: incontrovertible proof of wrongdoing that ultimately condemned the perpetrators.

The film’s release is especially poignant given its timing, just a few weeks before the 80th anniversary of Japan’s surrender and the end of the Global Anti-Fascist War. As I observed in a recent article, “China’s role in the war, and indeed the very existence of the Pacific Theatre, has to a significant degree been written out of history… However, China was the first country to wage war against fascist occupation, and the Chinese People’s War of Resistance Against Japanese Aggression was of decisive importance to the overall global victory over fascism. In the course of 14 years of war (1931-45), China suffered over 35 million casualties, and around 20 percent of its people were made refugees.”

While the war crimes carried out by Nazi Germany are etched indelibly into global consciousness, the Nanjing Massacre and other atrocities committed by the Japanese armed forces remain far less well known outside China. The Tokyo War Crimes Tribunal, the Eastern counterpart to the Nuremberg trials, estimated that over 260,000 people were killed in the weeks following Japan’s seizure of the city. Tens of thousands of women were raped in what the late historian Iris Chang described as “an orgy of cruelty seldom if ever matched in world history”.

Films like Dead to Rights serve to set the record straight, telling the truth about the occupation’s crimes and reasserting China’s place in the Global Anti-Fascist War. Shen’s film insists that China’s sacrifices, resistance and heroism be remembered.

But the film also arrives at a moment when this history feels painfully alive, with Israel’s genocidal assault on Gaza generating horrifying images of indiscriminate bombing, destroyed hospitals and civilian massacres. Indeed, the film’s central theme – the imperative to document the crimes of an occupying force – is being replayed today by courageous journalists and citizens in Gaza, whose cameras and pens are transformed into weapons of truth. As the director has commented: “A photo was a bullet on that battlefield. The click of a shutter echoed the crack of gun. The negatives pierced invaders’ lies.”

Wherever atrocities are denied or minimised – whether the Nazi Holocaust, the Nanjing Massacre, or today’s unfolding tragedies – the work of bearing witness becomes a form of resistance. The film’s characters embody that conviction. Facing daily terror, they nevertheless refuse compromise. They echo the patriotic spirit of a generation that insisted, “We will win this war,” and demanded “not one inch less” than the full liberation of China.

Artistically, the film is striking. The opening sequence cuts between bullets firing and camera shutters clicking, equating the act of shooting with both violence and documentation. The production design recreates Nanjing’s wartime devastation with harrowing realism, while the cast delivers performances of quiet dignity and depth. Liu Haoran’s A Chang is an unlikely hero – fearful but ultimately courageous – whose humanity anchors the narrative.

Although harrowing to watch, Dead to Rights is not a film of despair. It restores to memory the countless unnamed heroes who resisted occupation. And it reaffirms the principle that only truth can prevent history from being distorted or erased. In an era when denial and revisionism persist — whether from Japanese right-wing politicians or from those who seek to obscure the atrocities being perpetrated right now by Israel — this is a powerful and important message.

Dead to Rights is an epic of historical cinema, challenging audiences to confront uncomfortable truths, remember forgotten histories, and to connect to the shared global struggle against fascism and imperialism. To remember is to resist. And to honour those who preserved the truth in Nanjing is to stand in solidarity with those who risk everything today to show the world what must not be denied.

  • At time of writing, Dead to Rights is showing in cinemas in London, Birmingham and Manchester in the UK. Details may be found here.

London film retrospective pays tribute to Anna May Wong

In the following article, which originally appeared in the Morning Star, David Horsley reviews a season of Anna May Wong’s films, currently showing at the British Film Institute (BFI) on London’s Southbank until October 8, and pays a well-deserved tribute to the pioneering Chinese-American actor and filmmaker.

David writes: “Some films dealing with the war in China either used the usual racist stereotypes or actors in ‘yellow face’ when depicting Chinese people. But one film, Lady From Chungking is an anti-imperialist classic without said stereotypes.

“Anna May Wong (real name Wong Liu Tsong) portrays the lady of the film’s title. She is not only a member of the resistance in an area occupied by the Japanese but is in fact the group’s leader. She wisely directs their efforts to resist and plays a major personal role, sacrificing her life for the cause of freedom.

“Her final defiant words before a firing squad says after her death, that many more will follow in her place, leading to peace and a China free from the invaders.”

She excoriated the racist and sexist stereotyping that she faced in her professional life: “How should we be, with a civilisation that’s so many times older than that of the West. We have our own virtues. We have our rigid code of behaviour, of honour. Why do they never show these on the screen? Why should we always scheme, rob, kill?”

Further information, including synopses of all the films, and details of showings may be found on the BFI website.

David Horsley is also the author of a booklet on the life of Claudia Jones, the African-American communist and great friend of China.

During WWII, Hollywood film makers produced dozens of films based on that conflict. Many were worthy attempts to support the war effort against Hitler and a few are anti-fascist classics, like the outstanding None Shall Escape the Judgement made in 1944  which envisages a court in Warsaw trying a Nazi for his part in the Holocaust. This was years before the actual Nuremberg Trial.

Most films dealt with the war in Europe, with very few on the war in China where the Japanese invaders slaughtered over 20 million men, women and children.

Some films dealing with the war in China either used the usual racist stereotypes or actors in “yellow face” when depicting Chinese people. But one film, Lady From Chungking is an anti-imperialist classic without said stereotypes.

Continue reading London film retrospective pays tribute to Anna May Wong

London concert honours China’s victory over fascism

More than 300 people gathered at the Royal College of Music in London’s Kensington district on the evening of August 28 for a concert arranged by the Chinese Embassy in commemoration of the 80th anniversary of the victory in the Chinese People’s War of Resistance against Japanese aggression and the World Anti-Fascist War.

With the theme, Honour History for a Better Future, the concert featured ten pieces of Chinese and Western music presented by the Hunan Provincial Song and Dance Theatre and New Elements Music.

Founded in 1953, the Hunan Provincial Song and Dance Theatre is one of China’s most prestigious performing arts groups.  New Elements Music was founded in London in 2019 and is dedicated to building bridges between Chinese and global music cultures. There were also guest performers from the London City Orchestra and the Camden Philharmonia Orchestra.

Opening with the Ode to the Red Flag, a classic of revolutionary Chinese music composed by Lü Qiming in 1965, the program featured Chinese modern folk music from the period of war and revolution along with contemporary work inspired by the vision of building a community of shared future for humanity. Western pieces included Sir Edward Elgar’s Nimrod.

Particularly poignant for a number of people in the audience was Long Way from Home, the theme song from the documentary film The Sinking of the Lisbon Maru, performed live by Elly O’Keeffe, the London-based Irish singer, who also sings it in the film, accompanied by clips from the film.

A stirring finale was provided by the piano solo Ode to the Yellow River, performed by Di Xiao, Professor at the Royal Birmingham Conservatoire, followed by the choral singing of Defend the Yellow River and My Motherland.

Defend the Yellow River is the last movement of the Yellow River Piano Cantata composed by Xian Xinghai during the war against Japanese aggression. In 1970, it was also adapted into the Yellow River Piano Concerto, which incorporates phrases from The East is Red and the Internationale.

The mixed choir was formed by members of the Choir of the Chinese Embassy in London, the London Chinese Philharmonic Choir and a team from the London Branch of the Bank of China.

Special mention should also be made of the evening’s conductors, Ray Lin from New Elements Music and Thomas Payne, Musical Director of the London City Orchestra.

The event was sponsored by the London Branch of the Bank of China.

Among the distinguished friends of China present were Labour member of the House of Lords, Lord Davidson of Glen Cova; Mrs Denise Wynne, daughter of Lisbon Maru survivor Dennis Morley; former President of the British Sociological Association Martin Albrow; and Jack Perry, Chairman of the 48 Group Club. Friends of Socialist China was represented by our co-editors Carlos Martinez and Keith Bennett.

A short report of the evening was carried by the Xinhua News Agency.

The unlikely global rise of Chinese rapper Lanlao

The following article from Sixth Tone profiles the unexpected global breakthrough of Lanlao (aka SKAI ISYOURGOD), a 27-year-old rapper from Huizhou, Guangdong. Emerging in 2023 with Stacks from All Sides/Karma Codes, a track critiquing inequality, Lanlao first went viral on Douyin (the Chinese version of TikTok) before crossing over to TikTok, YouTube, and Spotify, where he recently surpassed Jay Chou as the most-streamed Mandarin-speaking artist. His songs, mixing trap-influenced beats with vividly local storytelling, have resonated across languages and borders, inspiring memes and dance routines, and generating more than 1.7 billion Douyin views.

Unlike some earlier Chinese rappers who imitated US-centric themes, Lanlao localises hip-hop with characters drawn from Guangdong life. His lyrics reflect the region’s wealth disparities and cultural diversity, as well as depicting everyday reality for a variety of social groups.

Lanlao also embodies Guangdong’s cultural heterogeneity. Blending Mandarin with Hakka, Cantonese, and Teochew, his linguistic palette echoes the speech patterns of overseas Chinese communities, particularly in Southeast Asia. This, coupled with themes of migration, helps to explain his strong diaspora following. International listeners, meanwhile, connect to the familiar cadence of Southern US rap, an influence Lanlao openly acknowledges.

His meteoric rise — celebrated by fans, state media, and even his hometown government — highlights how locally rooted, culturally hybrid Chinese hip-hop can achieve global reach.

Over the past year, Lanlao, a hip-hop artist from a low-profile city in southern China who raps in complex, accented Mandarin and whose videos abound with niche cultural references, has become one of the most successful Chinese musicians internationally.

The artist, who also goes by the name SKAI ISYOURGOD, saw his unlikely rise begin with the release of “Stacks from All Sides/Karma Codes” in summer last year. The song, a commentary on wealth and inequality, first took off in China on Douyin, before gaining traction among overseas Chinese on its international sister app TikTok. Later, it spread to non-Chinese-speaking foreign audiences, with 26 million views on YouTube and with comments such as, “Understanding 0%, Vibing 100%.”

Lanlao would go on to prove to be more than a one-hit wonder, with subsequent songs, such as “Blueprint Supreme,” spawning new waves of fans from different countries, generations, and backgrounds posting videos of themselves on social media reinterpreting the track through quirky dance routines. Last month, he surpassed Mandopop legend Jay Chou as the most-streamed Mandarin musician on Spotify, approaching 5 million monthly listeners.

Continue reading The unlikely global rise of Chinese rapper Lanlao

China honours communist composer Theodorakis on his centenary

Special concerts celebrating the 100th anniversary of the birth of legendary Greek communist composer Mikis Theodorakis were held in three Chinese cities from July 29 to August 2. They marked the first time for the composer’s work to be performed in China, a country he had long wished to visit but failed to realise before his death on September 2, 2021.

Known for his film scores, including the iconic music for ‘Zorba the Greek’, Theodorakis’ compositions often blend traditional Greek music with classical and contemporary styles, creating a unique and powerful sound.

Minister Counselor and Chargé d’Affaires ad interim of the Greek Embassy in Beijing Alexandros Vidouris told Global Times that the loud applause during the performance was way beyond his expectations.

“It was a dream of composer Theodorakis to have his work performed in China. Unfortunately, he could not come before he passed away. So, this was a very significant moment in his memory commemorated yesterday [July 29], a hundred years since the day he was born,” he said.

Maria Papageorgiou, a classical and classical crossover performer, added: “Theodorakis was a global composer, because he had strength and was willing to bring all people together in peace and protest for their rights, or for their love and their country.”

The Greek Reporter  also reported on the concerts.

In a separate article, it reviewed the composer’s life: “The shadow of war, however, soon fell over his formative years. The German occupation during World War II and the subsequent Greek Civil War were not just historical events; they were lived experiences that forged his unwavering commitment to justice and human rights. He joined the resistance, faced arrests, torture, and exile – trials that would forever infuse his music with raw, visceral power.”

Noting how his music combined classical techniques while remaining true to his roots, the article continued: “It was this unique synthesis that allowed him to bridge the gap between popular music and high art. He took the poetry of Greece’s greatest literary figures – Nobel laureates like George Seferis and Odysseas Elytis, and the revered Yannis Ritsos – and set them to music, making complex verses accessible to the masses.

“His scores for films like ‘Zorba the Greek’ (1964) introduced the iconic sirtaki dance to the world, making him an international sensation. Yet, it was the epic oratorio ‘Axion Esti’ (1960), based on Elytis’s poem, that truly cemented his place as a national treasure, a work that became an anthem for Greek identity.

“Nevertheless, Theodorakis was more than a composer; he was a revolutionary. When the military junta seized power in Greece in 1967, his music was banned, and he was once again imprisoned. From his cell, his melodies became the clandestine soundtrack of defiance.

“Smuggled out of the country, his songs became anthems for protesters worldwide, a powerful symbol of the Greek people’s struggle against tyranny. His international renown, fueled by artists and intellectuals who championed his cause, eventually led to his release and exile, but his voice remained unbroken.

“Upon his return to Greece after the fall of the junta, Theodorakis continued to compose prolifically, always with an eye towards social justice and peace.”

Continue reading China honours communist composer Theodorakis on his centenary

Strangers When We Meet: A nuanced projection of life on the edge in today’s China

Friends of Socialist China was invited to the Tiantan Award Panorama, a Chinese Film Event, presented by the Beijing International Film Festival (BJIFF).

This week-long journey through six exceptional Chinese films – powerful dramas, emotional stories, and thought-provoking themes that reflect the vibrant and evolving landscape of the country’s cinema – was held from May 10-17, at the Genesis Cinema in East London.

In the below review, Alfie Howis, a writer and activist based in London, looks at an emotional, quasi-romantic drama featuring two ex-prisoners entwined in a somewhat toxic relationship with a precipitous age gap and diverging visions of marriage.

Strangers When We Meet is a 2024 film by Zhang Guoli, starring Fan Wei and Zhou Dongyu. I had the pleasure of viewing this film in London as part of the Beijing International Film Festival’s international screenings. It is an emotional, quasi-romantic drama featuring two ex-prisoners entwined in a somewhat toxic relationship with a precipitous age gap and diverging visions of marriage. The plot is well paced and doesn’t feel rushed despite the hairpin twists and turns, while the high-quality, beautiful cinematography shows the technical and artistic prowess of contemporary Chinese cinema.

Warning: spoilers below

What struck me about this film was its non-judgemental and sympathetic approach to its central characters despite their backgrounds. Lao Qin, Zhou Dongyu’s character and Chang Juan, Fan Wei’s character, are both revealed to have been in prison for murder. The opening section of the film features the end of Lao Qin’s time in prison and his release, where he is treated kindly by prison guards and told that it doesn’t matter what he did now that he is free. He gets back on his feet, finding an apartment and trying to work, tasks all of which seem to be relatively easy and unaffected by his rather long stint in prison that just ended. Although emotionally Lao casts a downtrodden image, it is not as a result of any discrimination he faces as an ex-prisoner. Similarly, when Chang Juan goes missing in the mid to late section of the film, the prison authorities have a great concern for her wellbeing and work with Lao Qin to try and find her – there is no hint of disdain or inhumanity when dealing with such serious ex-criminals. On the contrary, they are generally humanised and treated normally, not overly sympathised, coddled, or patronised, but treated as people just trying to get by despite their hard circumstances.

The approach to wealth and its utility is complex and goes far beyond a basic consumerist ideology, despite one of the central themes being that Lao Qin comes into a large sum of state compensation from the demolition of his family home. Chang Juan is more attached to excessive consumption, buying expensive clothes with Lao Qin’s money and pushing for various reckless and self-indulgent spending decisions. While this is softly mocked and an object of comedy in the plot, it turns out to be a broader feint of Chang Juan’s character, as her ultimate goal is to abscond with a chunk of the money to pay off the innocent victim of a crime she committed. This is ultimately a noble goal, and even at times took on a feminist character as Chang Juan uses the patriarchal marriage system, with its bride cost, to right the wrongs of her crime.

Continue reading Strangers When We Meet: A nuanced projection of life on the edge in today’s China

An unexpected friendly encounter: Ambassador Wang Yajun pays tribute to veteran artists from the DPRK

The following article, which was originally published on the website of the Chinese Embassy in the Democratic People’s Republic of Korea (DPRK), relates how Ambassador Wang Yajun and his staff members visited the fine arts exhibition in the capital Pyongyang held in honour of April 15’s 113th birth anniversary of the DPRK’s founding leader Kim Il Sung.

To his surprise, he met there with two old artists in their 90s from the Korean People’s Army. They fought side by side with the Chinese People’s Volunteers more than 70 years ago and have a special bond with the Chinese people.

92-year-old Korean People’s Artist Li Lushan said that he had participated in many major battles, such as blocking the US Army’s Incheon Landing. In 1951, he was seriously injured, and it was the Chinese People’s Volunteer Army that sent him to Changchun, Jilin for treatment. During that time, the Chinese people selflessly donated blood for him and took great care of him. It was China and the Chinese people who gave him a second life.

Cui Shigen, a 90-year-old painter from the Songhua Academy of Fine Arts in the DPRK, said that the Chinese People’s Volunteer Army soldiers had visited his home and encouraged him by patting his shoulders when they heard that he was going to join the army. Later, he fought with the Chinese People’s Volunteer Army on the Eastern Front and participated in post-war reconstruction. At a celebration party, he also created portraits of Chairman Kim Il Sung and Chairman Mao Zedong, which were highly praised by the army leaders and soldiers.

The article noted that the two artists are not only household names in the DPRK. Their work is also very popular in China.

Ambassador Wang paid tribute to the two veteran artists for their contributions to national independence, development and China-DPRK friendship, wished them good health and longevity, and said that through their works, he felt the great love of the Korean people for their national leaders. This year marks the 80th anniversary of the founding of the Workers’ Party of Korea. “I believe that under the leadership of the Workers’ Party of Korea headed by General Secretary Kim Jong Un, the Korean people will surely achieve greater success in the journey of creating a new era of national comprehensive rejuvenation. This year also marks the 75th anniversary of the Chinese People’s Volunteers’ participation in the War to Resist US Aggression and Aid Korea. I believe that under the strategic guidance of General Secretary Xi Jinping and General Secretary Kim Jog Un, the traditional friendship between China and the DPRK, which was forged with blood, will surely be inherited and developed, and will continue to move to a higher level, benefiting the people of the two countries.”

The article was published in Chinese and has been machine translated.

In early spring of April, the “Exhibition of Fine Arts by Veteran Artists in Memory of the 113th Anniversary of the Birth of Chairman Kim Il Sung” was grandly held at the Pyongyang International Cultural Center. On the 20th, Ambassador Wang Yajun of the Chinese Embassy in North Korea and his delegation visited the exhibition.

In the exhibition hall, oil paintings such as “Mangyongdae Residence” and “Spring in Mt. Paektu” vividly show Chairman Kim Il Sung’s revolutionary career and glorious achievements in his dedication to the independence and prosperity of North Korea and the happiness of the people. Korean paintings such as “Golden Autumn” and “In a Greenhouse Benefiting the People’s Livelihood” reflect from multiple angles the fruitful results achieved by General Secretary Kim Jong Un in leading the North Korean people to create a new era of national comprehensive rejuvenation. In addition, there are many exquisite works that vividly present the unique and beautiful natural scenery of North Korea.

What Ambassador Wang and his delegation did not expect was that there were many famous old North Korean artists participating in the exhibition. Among them, two old painters in their 90s were from the People’s Army. They fought side by side with the Chinese People’s Volunteers more than 70 years ago and have a special bond with the Chinese people.

92-year-old Korean People’s Artist Li Lushan said that he had participated in many major battles, such as blocking the US Army’s Incheon Landing. In 1951, he was seriously injured and it was the Chinese People’s Volunteer Army that sent him to Changchun, Jilin for treatment. During that time, the Chinese people selflessly donated blood for him and took great care of him. It was China and the Chinese people who gave him a second life.

Cui Shigen, a 90-year-old painter from the Songhua Academy of Fine Arts in North Korea, said that the Chinese People’s Volunteer Army soldiers had visited his home and encouraged him by patting his shoulders when they heard that he was going to join the army. Later, he fought with the Chinese People’s Volunteer Army on the Eastern Front and participated in post-war reconstruction. At a celebration party, he also created portraits of Chairman Kim Il-sung and Chairman Mao Zedong, which were highly praised by the army leaders and soldiers. When he was moved, Cui Shigen sang the Chinese People’s Volunteer Army Song in Chinese with Ambassador Wang and his entourage. The sincere and friendly atmosphere deeply touched everyone at the scene.

Today, the two old artists are not only household names in North Korea, but their Korean paintings and oil paintings are also very popular in China.

Ambassador Wang paid tribute to the two veteran artists for their contributions to national independence, development and China-DPRK friendship, wished them good health and longevity, and said that through the affectionate works, he felt the great love of the Korean people for their national leaders. This year marks the 80th anniversary of the founding of the Workers’ Party of Korea. I believe that under the leadership of the Workers’ Party of Korea headed by General Secretary Kim Jong-un, the Korean people will surely achieve greater success in the journey of creating a new era of national comprehensive rejuvenation. This year also marks the 75th anniversary of the Chinese People’s Volunteers’ participation in the War to Resist U.S. Aggression and Aid Korea. I believe that under the strategic guidance of General Secretary Xi Jinping and General Secretary Kim Jong-un, the traditional friendship between China and the DPRK, which was forged with blood, will surely be inherited and developed, and will continue to move to a higher level, benefiting the people of the two countries and making greater contributions to maintaining regional peace.

The growing popularity of Indian cinema in China

In the following article, which was originally published by UK-China Film Collab, Asma Waheed looks at the abiding popularity of Indian cinema in China despite the ups and downs of the countries’ bilateral political relations over the decades.

Asma notes that while there has rightly been much attention paid to East-West cinematic exchange, “it is equally important to examine East-East cinematic exchange – in this case, the relationship between Indian and Chinese cinema… Bollywood’s popularity in China provides a real threat to Hollywood’s once-held monopoly in the global film market. But the story of Bollywood in China is not confined to the 21st century – instead it spans across to the 1950s, a time where both countries had undergone monumental change.”

The beginnings of Indian film success in China date from the 1951 film Awaara, or Liulangzhe (流浪者). Directed, produced and starring Raj Kapoor, a legendary icon in Indian film, the story follows the life of a young man, Raj, as he becomes entangled in a life of crime. A mainstay of the Golden Age of Indian cinema, in its exploration of themes such as destiny, justice, and morality, Awaara became a symbol of new nation-building in a post-independence India.

In an act of cultural exchange and diplomacy, the Indian People’s Theatre Association brought Awaara to China in 1955. Such was its popularity that even Chairman Mao was said to be a great fan of the film and its title song, Awaara Hoon. (The Indian People’s Theatre Association [IPTA] is the oldest association of theatre artists in India. It was formed in 1943 and promoted themes related to the Indian freedom struggle against British colonial rule. Communist leaders such as PC Joshi, General Secretary of the Communist Party of India [CPI], and Sajjad Zaheer, General Secretary of the Progressive Writers’ Association, were instrumental in its formation. It remains the cultural wing of the CPI.)

Today, a key inheritor of this legacy is Aamir Khan, famed for his 2001 anti-colonial cricketing epic Lagaan. Asma notes that:

“In the surveys and research regarding South Asian and East Asian film relationships, a primary reason for why audiences enjoyed Aamir Khan’s film and other Indian films was the shared cultural values. This may be surprising to some, but in Yanyan Hong’s research, it found that Indian film movie-goers were attracted to the film’s engagement with social issues relevant to both Indian and Chinese societies.”

She concludes: “The status of Indian cinema in China has shifted with the political climate, enjoying bouts of immense popularity before falling out of favour, only to reemerge years later. The nature of the film industry is such that it has become a vehicle for cultural diplomacy – whether Indian cinema will see another spike of interest in China remains undecided, but their relationship serves as a clear example of how good storytelling resonates across borders, adapting to the unique landscapes of each country and society. More importantly, it showcases the shared nature of human experiences across different cultures and highlights the similarity across seemingly different people.”

As the world grows more globalised in the 21st century, the impacts on the film industry are undeniable.

China emerged as one of the world’s largest box office markets, with over 90,000 cinema screens in the country, and Korean director Bong Joon-ho’s Parasite made history as the Oscars. Fuelled by diasporic communities mainly in the US and UK, Bollywood too continues to garner attraction across the globe. It is certain that the film industries of South and East Asian countries are driving their soft-power transnationally, evident in Korea’s Hallyu Wave growing from a regional trend in East Asia to now a tsunami sweeping across the globe.

There has rightly been much attention on the East-West cinematic exchange, and it is long overdue that Asian cinema has received praise in Hollywood institutions. However to better understand cinema in a global context, it is equally important to examine East-East cinematic exchange— in this case, the relationship between Indian and Chinese cinema.

In this essay series, I will explore the evolving and dynamic relationships between South Asian cinema and two markets— China and the UK. As a country with a considerable South Asian population, the UK presents an interesting case for understanding the reach of Bollywood beyond the subcontinent. Meanwhile, as two of the world’s most sizeable economics, India and China’s film industries offer a fascinating and important case study of cross-border cultural exchange in a globalised world.

In many people’s minds, Indian cinema— especially Bollywood[1]— is a genre full to rhetorical brim with melodramatic narrative, musical sequences, and grand dance numbers. But it is the unique and emotional storytelling that struck a chord with Chinese audiences, leading to major commercial success— indeed, Bollywood’s popularity in China provides a real threat to Hollywood’s once-held monopoly in the global film market.[2] But the story of Bollywood in China is not confined to the 21st century— instead it spans across to the 1950s, a time where both countries had undergone monumental change.

Continue reading The growing popularity of Indian cinema in China

Xi Jinping speech at the Forum on Literature and Art

Qiushi, the theoretical journal of the Communist Party of China (CPC) recently published the full text of the Speech at the Forum on Literature on Art, delivered by General Secretary Xi Jinping on October 15, 2014, but now officially published in full. 

The main body of Comrade Xi’s speech is divided into five parts, and these are some of the key points he makes in each section:

  1. A thriving Chinese culture is essential for the rejuvenation of the Chinese nation
  • Every leap forward for human society and civilisation has been accompanied by historic cultural progress… Throughout history, China’s position and influence in the world has never relied on military might or outward expansion, but rather on the compelling power and appeal of its culture.
  • Literature and art serve as a clarion call for progress in every age… During the European Renaissance, giants like Dante, Petrarch, Giovanni Boccaccio, Leonardo da Vinci, Raphael, Michelangelo, Michel de Montaigne, Miguel de Cervantes, and William Shakespeare ushered in the dawn of a new era and awakened people’s minds. Remarking on the Renaissance, Engels noted that it was “a time which called for giants and produced giants – giants in power of thought, passion, and character, in universality and learning.”
  • The famous Chinese writer Lu Xun once said that to transform the intellectual world of our compatriots, we must first work on literature and art. Our endeavours to provide intellectual guidance, forge inner strength, and build a common cultural identity are all inseparable from literature and art. At a time when towering skyscrapers are rising across the land, we must also make sure that the intellectual and cultural towers of our nation stand tall and majestic.

2. We should produce excellent works worthy of the times

  • Excellent works are not confined to one style, form, or standard. They can be highly refined compositions or popular entertainments, monumental masterpieces or universally accessible creations. What makes a work great is its capacity to warm and inspire audiences, to spread and endure through time, and to win people’s affection with its positive energy and appeal.
  • When I visited Russia last March, I met with several Russian sinologists and mentioned that I had read many works by Russian authors, including Chernyshevsky’s What Is to Be Done?, which had such a profound impact on me when I read it in my youth. During a visit to France this March, I discussed the influence of French literature on my life, explaining that I developed a strong interest in French literature and art in my youth, because many of our Party’s early leaders had studied in France. While in Germany, I shared my experience of reading Faust. At the time, I was working in rural Shaanxi Province. When I learned that a fellow student had a copy of the book, I walked 15 kilometres to borrow it from him. Later, he walked the same distance to retrieve it. Why do I share these stories with foreigners? I do it because literature and art are a universal language. When we talk about literature and art, we are really talking about society and life. This makes it one of the easiest ways to create understanding and connection with others.
  • Problems such as plagiarism and imitation are leading to a sameness in many works, while assembly-line production and fast-food-style consumption are also problems. In some works, we see a mockery of the sublime, a distortion of classical narratives, and a subversion of history, as well as the denigration of ordinary people and heroic figures. Some works fail to distinguish between right and wrong or good and evil; they glorify the ugly as beautiful and exaggerate the dark side of society. Others indulge in sensationalism, catering to low tastes and treating creation as a “money tree” for personal gain or a “party drug” for sensory gratification. Some works are poorly written, hastily produced, and contrived, contributing to the creation of “cultural garbage.” Some creators overemphasise luxury, excessive packaging, and ostentation, allowing form to overshadow content. Moreover, some are fixated on the notion of “art for art’s sake,” focusing solely on personal experiences – tempests in teacups that are of no relevance to the general public or real life. All this serves as a warning: literature and art must not lose their direction in the tide of the market economy, nor deviate from the question of whom they are supposed to serve. Otherwise, literature and art will be devoid of vitality.
  • I have spoken with several artists about the most pronounced issues in literature and art today. Coincidentally, they have all mentioned the same word to me: impatience. Some people believe that it is not worth their time to continue refining a work until it reaches its potential because they cannot quickly convert their efforts into practical value – or, in other words, they cannot swiftly cash in. Not only is this attitude misguided, it also allows low-quality works to thrive and leads to a situation where the bad drives out the good. The history of artistic development shows that the pursuit of quick success, excessive resource exploitation, and shoddy production harm not only art but the cultural life of society. Vulgarity is not the same as accessibility; desire does not equate to hope, and mere sensory entertainment does not equal spiritual joy. For literature and art to gain the people’s recognition, superficiality, opportunism, self-promotion, and empty grandstanding will not cut it. Mutual flattery and self-congratulation are also not going to work.
  • We should adhere to the principle of “letting a hundred flowers bloom and a hundred schools of thought contend,” in order to promote academic and artistic democracy, create a positive, healthy, and harmonious atmosphere, encourage open discussions among different viewpoints and schools of thought, and advocate the development of various genres, themes, forms, and techniques. This will help promote mutual learning and exchange of ideas, content, style, and schools of thought.
  • The internet and new media have transformed artistic forms, giving rise to many new genres and profoundly changing how art is conceived and practiced. The shifts toward digitised text, more visually-oriented books, and online reading have spurred a major transformation in the arts and broader social culture. To adapt to these developments, we should focus on the creation of online art and provide stronger positive guidance in this evolving landscape.
  • The recent years have seen a surge of new artistic organisations, such as private studios, private cultural agencies, and online artistic communities. New artistic groups, including online writers, contracted writers, freelance writers, independent producers, independent actors and singers, and freelance artists, have all become very active. There is a strong likelihood that future artistic masters will come from among these groups, given that throughout history and across cultures, many renowned artists have emerged from society and from among the people. We should broaden our outreach efforts, expand our connections, and look at these groups with a fresh perspective. With new policies and methods, we can unite and engage such artists and guide them to become a vital force in the flourishing of socialist art.
  1. We should encourage people-centred cultural creation
Continue reading Xi Jinping speech at the Forum on Literature and Art

Sino-British Concert: East-West Dialogue, Spring Sequence of New Sounds

On February 2, 2025 the ‘Sino-British Concert: East-West Dialogue, Spring Sequence of New Sounds’ was held at London’s Royal Academy of Music. David Peat, Secretary of Friends of Socialist China (FoSC) Britain Committee, attended the event on invitation. The following is his report.

On Sunday 2nd February, visitors to London’s central Shaftesbury Avenue and surrounding streets were able to take part in Chinese New Year (CNY) celebrations. The breadth of China’s historic culture and modern development were all displayed: exuberant traditional ‘Lion Dances’ took place next to China’s cutting-edge high-tech electric BYD vehicles. People could purchase good fortune souvenirs, and enjoy street snacks and the sounds of firecrackers, all along the temporarily pedestrianised thoroughfare. Each year London’s main Chinese New Year celebration, which expanded beyond the bounds of Chinatown proper since the mayoralty of Ken Livingstone, can be enjoyed by both tourists and residents of the capital city. With the recent viral success of the Xiaohongshu [Red Note] app, western users have been able to witness the amazing CNY celebrations that take place all over China, so no doubt some attendees were keen to enjoy that closer to home.

To the west of Chinatown proper, another event was held, which was a stunning display of musical skill and proof that artistic cultures – and cultures in general – benefit from sharing traditions and influence across borders. This event was the Sino-British Concert: East-West Dialogue, Spring Sequence of New Sounds, hosted by the Sino-British Ensemble, the Society for Anglo-Chinese Understanding (SACU), and the UK Beijing Arts Centre.

In attendance at the event was Chinese Ambassador Zheng Zeguang and his wife Counsellor Hua Mei, along with Minister Zhao Fei. Among others present were representatives of organisations that have sought to build connections and understanding between China and the UK, including Special Guest Michael David Wood, historian and SACU President, who is especially known for his book and BBC documentary on China’s iconic Tang dynasty poet Du Fu. Prior to the performances, Professor Wood gave a brief talk outlining the history of musical exchanges between the west and the east and highlighted the ongoing potential for artistic collaboration to build bridges between nations and peoples.

This sold-out event was held in the beautiful Duke’s Hall of the Royal Academy of Music. The program was expansive and diverse, with more than 80 musicians performing 10 ‘dialogues’, in which one piece of music from the western tradition and one from the eastern were performed alternately, or even directly in conversation with one another. The Sino-British orchestra features musicians from China, the UK, India, Germany, Italy, Romania and other countries, and also foregrounded pieces and musical styles from China’s ethnic minority musical traditions.

Chinese President Xi Jinping has highlighted how China in its history has long cherished the notion of “harmony without uniformity.” In a speech at UNESCO headquarters in 2015 titled ‘Exchanges and Mutual Learning Make Civilizations Richer and More Colorful’, President Xi quoted Yan Zi, prime minister of the State of Qi during the Spring and Autumn Period (770-476 BC), who is recorded as observing: “Only by combining the texture, length, rhythm, mood, tone, pitch and style adequately and executing them properly can you produce an excellent melody… Who can tolerate the same tone played again and again with one instrument?”[1] This observation matches the purpose of the concert: appreciating the new connections and possibilities that can be created when diverse musical traditions and peoples are brought into contact. As the enormous interest in apps like RedNote has shown, people in both East and West are intensely curious to make connections with one another, and the results are ‘win-win’ when they do. Events like the Sino-British concert are a wonderful way to establish and strengthen these sorts of links.

For those interested in similar events in future, check SACU’s website at Home – Society for Anglo-Chinese Understanding (SACU)

[1] Xi Jinping, The Governance of China Vol 1, pp. 283 – 289.

From TikTok to the Little Red Book

The following article by Joe Scholten takes a look at the Chinese social media app RedNote (小红书/xiaohongshu – the direct translation of which is Little Red Book), to which millions of “TikTok refugees” migrated after the Biden regime banned TikTok.

Joe notes that the sudden appearance of millions of US users on RedNote has led to an unprecedented (and unpredicted) cultural exchange between particularly young people in China and the US – in spite of the best efforts of the US government to prevent such exchanges. “What stunned me most was that for the first time in a very long time I had seen Americans critically engaging with a fundamental truth regarding China that I thought would take Americans decades to understand: that at the end of the day we have collectively been lied to about China.”

The article describes how people in the US were able to see for the first time how people in China really live, and how many were shocked that ordinary Chinese people find it far easier to afford dignified housing, good quality healthcare and nutritious food than their US counterparts. What’s more, the “TikTok refugees” were surprised to find that the Chinese people they encountered online were able to express themselves freely on a wide range of topics. “For example, they seemed surprised that there was a plethora of LGBTQ content, or the account of a Uighur medical student talking about how much she liked the nightlife in her college city, or just how unifying cat taxes and tongue-in-cheek memes about China stealing data were.”

Joe concludes:

This moment with RedNote is a historic one. I sincerely hope that Americans will go to Little Red Book and see how their own lives could be better. I want Americans to see how we can build a better world, a socialist world, and how we can learn from the things China does well and apply those lessons to the betterment of the world.

The incoming Trump administration has given TikTok a 75-day reprieve, so it remains to be seen whether US users will be able to continue on the app going forward. Regardless, the cultural exchange that has opened up via RedNote is a positive example of grassroots people-to-people relations that can help to counter the New Cold War propaganda and build towards a future of peace and cooperation between the US and China.

Joe Scholten is a writer and activist from St Louis, Missouri.

As news has come forth that the United States Supreme Court has upheld a proposed TikTok ban following months of lawsuits against the ban, a somewhat strange phenomenon has emerged, with millions of American users fleeing to a Chinese Social Media app 小红书 (literally “Little Red Book”, but usually known in English as RedNote). As of the penning of this article roughly 3.4 million American users have downloaded the app as per Reuters; I suspect however that number is an underestimate given my own experiences on the app.

The app’s user base is largely made up of women, with about 300 million users. By US standards this is a large user base, but WeChat has roughly 1 billion more active users. Despite such a large user base Americans, and anglophone internet users in general, are likely unfamiliar with the Chinese internet. Sites like BIlibili, Youku, Weibo, etc aren’t household names in most anglophone countries outside of largely immigrant and ethnically Chinese communities within said countries. The large influx of users to RedNote has been one of the more unexpected events of the last few years, though I suppose this may be a week when decades happen.

Before penning an analysis of this application, I wanted to understand it by engaging with it, and although I have had plenty of thoroughly eye opening experiences, I will discuss these later.  I would like to first begin this section by detailing how American audiences have reacted to these events. Millions of views have been garnered on platforms like TikTok describing how Americans have been lied to about China. Upon seeing how people in China can afford groceries, how housing is affordable, how the government prevents homelessness, and how the social credit system doesn’t exist, many Americans express the sentiment that they have been lied to by their government. By all accounts they have been lied to, seeing posts from Chinese audiences confused by the concept of “social credit” has exposed millions of Americans to a fundamental truth: much of the information they have received about China has been false. From a historical standpoint this has been an enormous paradigm shift.

During the Cold War, a strength of the American system was how ubiquitous and global US products were – things like Coca Cola, Hollywood, popular music and so on were globally recognizable brands. Even in the USSR you could find teenagers who wanted to emulate US culture (stilyagi). Arguably to this day the same can be said in relation to these  brands. Tools like social media are often headquartered in the US and have ties to US intelligence agencies. Yet for presumably the first time in history, US users are flocking in the millions to an app headquartered in a socialist country. What’s more, Americans are beginning to understand that they themselves have been consuming US capitalist propaganda from the apps they consume. The hegemony of US social media is being broken.  

Continue reading From TikTok to the Little Red Book

Brixton plaque remembers China pioneer

A pioneering photographer, now considered a founder of photojournalism, was honoured with the unveiling of a blue plaque at his former home in the south London district of Brixton on Thursday August 8. London’s blue plaques scheme, run by English Heritage, celebrates the links between notable figures of the past and the buildings in which they lived and worked.

John Thomson, who was born in Edinburgh in 1837 and who died in London in 1921 and is buried in Streatham Cemetery, was known for some of the first photographs of China, Cambodia and Thailand to reach a British audience, as well as for photos of the poorest sections of the working class in Victorian London, before finally winning recognition from ‘high society’ and royalty.

In April 1862, Thomson left Edinburgh for Singapore, beginning a ten-year period of travelling in East and South Asia. After visiting Ceylon (as Sri Lanka was then known) and India in October-November 1864 to document the destruction caused by a cyclone, he travelled to Thailand (then known as Siam), taking photographs of the monarch and members of the royal court and government.

Inspired by accounts of the rediscovery of the ruins of the city of Angkor, which was at the heart of a magnificent Khmer civilisation that flourished from the ninth century onwards, Thomson set off on his first major photographic expeditions and, despite nearly dying of malaria, took the first known photographs of the Angkor Wat Temple, which today takes the central place on the Cambodian flag. As in Siam, he also took photos of the Cambodian royal family.

Following a brief return to Britain, he settled in Hong Kong in 1868, using it as a base to explore and photograph China extensively over the next three years, including Fujian province, Guangzhou, Beiijing, Shanghai, the Great Wall and deep into central China. He published many of his photographs under the title, ‘Illustrations of China and Its People’.

His other important publication was ‘Street Life in London’. According to the BBC, it “recorded some of the impoverished characters living on the fringes of late nineteenth century society in London. His photographs include Hookey Alf of Whitechapel, who wore a hook in place of the arm he lost in an industrial accident and hung around the streets of east London looking for casual labour… His photojournalism, deliberately intended to prick the consciences of the Victorian middle classes, included a poignant picture of a destitute woman in Covent Garden, taken in 1877 and entitled ‘The Crawlers’.”

What the BBC did not report was that, far from merely intending to prick middle class consciences, each of the 36 photos was accompanied by text written by Adolphe Smith Headingley, a Marxist revolutionary and member of the First International. Half-French and a participant in the Paris Commune, Smith narrowly escaped execution when the Commune was crushed and was also instrumental in popularising the singing of the Red Flag in the British Labour movement.

Speaking at the unveiling of Thomson’s plaque, Jamie Carstairs, senior digitisation officer with Bristol University’s library services, who originally made the nomination, said that Thompson was an exceptionally gifted and versatile photographer with “a rare combination of a keen intellectual curiosity, perceptive observational skills, and visual virtuosity.”

‘Illustrations of China and its People’, consisting of 200 photographs and descriptions, was published in 1874. It earned him the nickname “China Thomson”. He is nowadays acclaimed as one of the best foreign photographers ever to set foot in China, Carstairs noted.

 “Thomson’s photography introduced the Victorian public to what it could not see – far away Asia – and to what it did not necessarily want to see – London’s poorest people. John Thomson is a model photographer. Talented, hardworking, innovative, effective, generous, humane. His respect and empathy for the people he photographed made for compassionate and moving portraiture, especially of women.”

Carstairs was followed by Betty Yao MBE, a Chinese community activist, who co-founded the Pan-Asian Women’s Association (PAWA UK) and is the Managing Director of Credential International Arts Management. The rediscovery of Thomson’s work on China is largely thanks to 15 years of tireless work by Betty, who curated the touring exhibition, ‘Through the Lens of John Thomson’, which has now been viewed by over a million visitors throughout Britain, Ireland, China, Europe and North America. Betty has also chaired the John Thomson Commemoration Group, which completed the restoration of his gravestone at south London’s Streatham cemetery in 2019.

She told the gathering of her first encounter with Thomson’s work: “Instantly, I fell in love with his images of China, especially the many, many photographs of women.”

Mayor of Lambeth, and Labour Councillor for Brixton North, John-Paul Ennis said: “I’d like to thank everybody involved in helping to bring this blue plaque to fruition. Blue plaques create the opportunity to sow seeds in people’s minds. To see that great people have lived or worked in your community can have a huge impact on you.”

Thomson’s great-granddaughter, Caroline Thomas said: “As Londoners by upbringing, the work [‘Street Life in London’] resonates greatly, despite being produced over a century ago. It’s sad to think that some of the themes still prevail today. We’re especially proud of the fact that Thomson and Smith chose as their subjects ordinary people and those on the edge of society…  It is this humanity that we would like to honour.”

In 2020, a heritage plaque was unveiled on the Edinburgh building where Thomson was born. 

The below article was originally published on The Brixton Blog. We also embed an interview with Betty Yao, recorded in 2018, to coincide with her exhibition showing at the Brunei Gallery at SOAS University of London.

Continue reading Brixton plaque remembers China pioneer

From Wagner to Alex Ho: new musical territory

We are pleased to republish the below review of a May 21 piano recital by Aidan Chan, which originally appeared in the Morning Star and was written by the paper’s classical music correspondent Simon Duff.

Aidan is a brilliant young Irish Chinese pianist whose work is often described as “fearless, courageous and ambitious.” A campaigner against racism, and a member of the FOSC Britain Committee, Aidan explores the relationship of music to revolution and of identity and social structures to performance. 

His concert, held at the 1901 Arts Club in London’s Waterloo, a hidden gem of the London cultural scene, focused on the work of Wagner, along with the London premiere of a new work by the up and coming British Chinese composer Alex Ho. Aidan describes this piece as being “a response to Puccini’s opera Turandot, in particular its Orientalist portrayal of Chinese cultures and people.”

The concert also featured a video and poetry piece by Aidan entitled ‘What Light Shines There?’, inspired by the interdisciplinary work of the late Korean American author and artist Theresa Hak Kyung Cha, who was tragically murdered in 1982, during which he read a poem while images portrayed the nuclear ‘doomsday clock’, intertwined with montage of a US air strike on Syria.

AIDAN CHAN is an Irish Chinese pianist whose work favours an exploration of identity and social structures through performance. He has an affinity for Chopin and Mozart. In short he is fearless, courageous and ambitious.

For his London May concert Chan chose to focus on the work of Wagner and emerging British-Chinese composer Alex Ho.

The concert opened with Wagner’s Prelude from Tristan und Isolde arranged for piano by Zoltan Kocsis. Opening with a delicate two-note harmonic suspension opening it gives way to clusters of build-up chords. Dark and menacing clouds complete the soundscape before moving into lighter tones and moods of brief optimism, before Wagner’s full dynamic range explores his notions of God and revolutionary zeal.

Under Chan’s cool flexible and light playing, the piece flowed and the rhythmic intensity worked with poetic touches.

The passion and commitment continued through the next piece by Wagner’s Feierlicher Marsch from Parsifal, arranged by Liszt. Playing on the 1901’s Steinway Model C grand piano, the tonal clarity shone out.

Speaking ahead of the concert Chan explained what drew him to perform Wagner: “I’m particularly interested in his legacy as a cultural zeitgeist. There is a hauntological element to it that keeps finding its way into social and political discourse. Last year I read Paradoxes and Parallels, a collection of conversations between Daniel Barenboim and Edward Said and that pushed forward my thinking about my position as a performer of Western classical music in the context of today’s world.”

Wanting to create a piece which further contextualised some themes common to the Wagner’s works, a section of the concert was given over to a video and poetry piece by Chan entitled Light What Light Shines Through, inspired by the interdisciplinary work of Korean American author and artist Theresa Hak Kyung Cha. This pointed towards the transience of time and death/rebirth as a cycle, and also consumer alienation and apathy. Chan read a poem and the images, over silence, were of a doomsday clock intertwined with montage of a US air strike on Syria.

Contemporary composer Alex Ho’s work is deeply admired by Chan. His new work — premiered at the concert — is called Torn, to the ground, exhausted, sobbing. It begins with slow minimal notation with Chan singing a lullaby-like series of high notes as he played a high note melodic note cluster, before moving on to Copeland-inspired fast-paced sections, and then into area of modern Chinese jazz.

On the Steinway the overall intention and effect was stunning. Ho is moving into new important territory.

Chan adds: “The piece is a response to Puccini’s opera Turandot, in particular its Orientalist portrayal of Chinese cultures and people. As a performer it always broadens my horizons to work with him as he actively encourages dialogue between performer and composer and leaves much space for his music to be communicated through the performance itself.”

The final piece was a return to Wagner and Liszt in the form of the Isoldens Liebestod from Tristan und Isolde. Slow builds into further grand operatic chordal gestures.

At the end of the evening the audience knew that they had witnessed a special concert. Some 12 hours later the general election was called. Hope for a brighter future ahead, indeed.