You can help expand this article with text translated from the corresponding article in Chinese. (January 2013) Click [show] for important translation instructions.
View a machine-translated version of the Chinese article.
Machine translation, like DeepL or Google Translate, is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Wikipedia.
Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article.
You must provide copyright attribution in the edit summary accompanying your translation by providing an interlanguage link to the source of your translation. A model attribution edit summary is Content in this edit is translated from the existing Chinese Wikipedia article at [[:zh:唱红歌、读经典、讲故事、传箴言]]; see its history for attribution.
You may also add the template {{Translated|zh|唱红歌、读经典、讲故事、传箴言}} to the talk page.
The red culture movement, officially known as Singing revolutionary songs, Reading classic books, Telling stories and Spreading mottos[1] (Chinese: 唱红歌、读经典、讲故事、传箴言) or Singing, Reading, Telling and Spreading (Chinese: 唱读讲传) is a political movement launched by Bo Xilai in Chongqing, People's Republic of China, as part of the Chongqing model. It is one of Bo's two main political movements, along with Chongqing gang trials. Started in 2008, the movement caused impact around China.[2][3]
Reactions to the red culture movement were divided. Bo's revival of Mao-era culture and accompanying social welfare programs were popular within certain segments of society, and made Bo popular with both Marxists and neo-leftists. One student quoted in The Washington Post embraced the ethos of the campaign, saying, "When I sing red songs, I find a kind of spirit I never felt when singing modern songs …To surround yourself with material stuff is just a waste of time."[9] A group of retired participants in a red song routine told the Los Angeles Times "We know these songs from our youth. We grew up with revolutionary spirit and we want to pass that on to our children.” Another noted that he felt compelled to participate in order to express appreciation of the CCP for the country's strong economy.[5]
However, the campaign was unsettling to others—particularly the intelligentsia. A 57-year-old lawyer told The Washington Post, "I saw the beatings of the teachers by the Red Guards. It was horrible …Young people may not recognize it. But for us who lived through it, how can we possibly sing?"[9] An academic quoted in The Daily Telegraph described the mandatory campaign as akin to being "drowned in a Red sea."[10] Another critic wrote, "[S]ince China’s 'spectacular economic rise,' an aspiring hegemonic power consisting of late capitalism and new authoritarianism emerges onto the global scene to conduct a grand finale to the finale of the very concept of historical progression. ... The new Mao of the twenty-first century has at moments ceased to be as much a pop-consumerist icon as anything else and as it was in the 1990s."[11] In September 2009, a mid-level official in the city committed suicide after being pressured to organize his work unit to participate in the red songs campaign. The official, Xie Dajun, reportedly disagreed with the campaign, which evoked painful memories of the Cultural Revolution.[10] Bo's critics and opponents derisively referred to him as "little Mao," with some expressing concern about the resemblance of the red culture campaign to the Cultural Revolution.[12]
^何事忠 (2010-12-06). ""唱读讲传": 提高文化软实力的有效途径" (in Chinese). 人民网. Archived from the original on 2016-08-21. Retrieved 2012-02-14. 唱红歌,就是唱人民解放的歌、社会主义建设的歌、改革开放的歌、劳动人民的歌。读经典,就是读古今中外几十年、几百年以至几千年大浪淘沙留下的精彩诗文。讲故事,就是讲革命、建设和改革开放时期打动人心、催人奋进的人和事。传箴言,就是传古今中外的名人名言、格言、警句和人民群众创作的"好段子"。
^Hung, Ruth Y.Y. (August 2015). "Red Nostalgia: Commemorating Mao in Our Time." Twenty-first Century ‘Chinoiserie’: China and the Global Imaginary, a special issue of Literature Compass, 12.8. pp. 371-384