Battle for China's Past : Mao and the Cultural Revolution
Battle for China's Past : Mao and the Cultural Revolution
Battle for China's Past : Mao and the Cultural Revolution
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destruction of <strong>the</strong> collective system per<strong>for</strong>med miracles. With this mind<br />
set, <strong>the</strong>y ei<strong>the</strong>r ignored or pretended not to see <strong>the</strong> reality that could be<br />
seen even by a discerning outsider. For instance, Unger (2002) points out<br />
that more than 60 per cent of <strong>the</strong> increase in rural income between 1978<br />
<strong>and</strong> 1982 was achieved be<strong>for</strong>e <strong>the</strong> commune system was dismantled <strong>and</strong><br />
that per capita rural income in 1990 (338 RMB) was barely higher than<br />
in 1984 (336 RMB), <strong>and</strong>, quoting Scott Rozelle, ano<strong>the</strong>r China specialist,<br />
‘<strong>the</strong> 1990s witnessed much <strong>the</strong> same story’ (Unger 2002: 172).<br />
China rural heartl<strong>and</strong><br />
A sense of rural prosperity during <strong>the</strong> mid-1980s soon dissipated <strong>and</strong><br />
<strong>the</strong> rural Chinese had to become migrant workers to earn a living. Gao<br />
Changxian, my bro<strong>the</strong>r in Gao Village, is an example of an ordinary<br />
farmer in <strong>the</strong> grain belt area. He used to have a little shop in Gao<br />
Village <strong>and</strong>, with his wife Gao Mingxia <strong>and</strong> three children of primary<br />
school age, <strong>the</strong>y managed well enough <strong>and</strong> were considered to be well<br />
off in <strong>the</strong> village in <strong>the</strong> early 1990s. Gradually, as <strong>the</strong> children grew<br />
bigger <strong>and</strong> more money was needed <strong>for</strong> education, <strong>the</strong> situation<br />
became progressively worse. Most of <strong>the</strong> young villagers left <strong>and</strong> <strong>the</strong>re<br />
were not enough customers to keep <strong>the</strong> shop going. First Gao<br />
Changxian’s wife left <strong>for</strong> Xiamen as a migrant worker <strong>and</strong> <strong>the</strong>n his<br />
second teenage daughter. Finally Gao Changxian himself also had to<br />
head off <strong>for</strong> Xiamen. Being in <strong>the</strong>ir <strong>for</strong>ties <strong>and</strong> having no qualifications,<br />
it was very difficult <strong>for</strong> Gao Changxian <strong>and</strong> Gao Mingxia to leave two<br />
children behind <strong>and</strong> to live as migrant workers in an urban structure<br />
that treated rural people as non-citizens of <strong>the</strong>ir own country (Gao<br />
2005). For <strong>the</strong> urban elite, Gao Changxian <strong>and</strong> his family, <strong>and</strong> all <strong>the</strong><br />
o<strong>the</strong>r rural migrants, are ei<strong>the</strong>r quietly ignored or are seen as deserving<br />
of <strong>the</strong>ir situation because <strong>the</strong>y are lower-quality human beings <strong>and</strong> are<br />
born to be beasts of burden <strong>for</strong> <strong>the</strong> benefit of high-quality people.<br />
Migrant workers<br />
THE BATTLE FOR CHINA’ S PAST<br />
The dire circumstances of rural migrant workers have been ignored<br />
until recently by <strong>the</strong> media. A major TV event in China since <strong>the</strong><br />
1980s has been <strong>the</strong> per<strong>for</strong>mance <strong>for</strong> <strong>the</strong> Spring Festival New Year’s<br />
Eve titled Chunjie lianhuan wanhui (Spring Festival Nationwide Joint<br />
Evening Per<strong>for</strong>mance). It is watched not only by <strong>the</strong> whole urban<br />
nation but also by millions of ethnic Chinese overseas. It is so popular<br />
<strong>and</strong> so much part of <strong>the</strong> contemporary Chinese cultural establishment<br />
that <strong>the</strong> annual event is simply referred to as Chun wan (Spring<br />
Evening). Usually <strong>the</strong> programme includes dancing, singing <strong>and</strong><br />
xiangsheng (a kind of st<strong>and</strong>-up cross-talk comedy routine), mostly by<br />
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