Chinese Propaganda Music Download

[Vanesa Domagala]

The lyrics of "The East Is Red" idealize Mao Zedong, and Mao's popularization of "The East Is Red" was one of his earliest efforts to promote his image as a perfect hero in Chinese popular culture after the Korean War. In 1956, a political commissar suggested to China's defense minister, Peng Dehuai, that the song be taught to Chinese troops, but Peng opposed Mao's propaganda, saying "That is a personality cult! That is idealism!" Peng's opposition to "The East Is Red", and to Mao's incipient personality cult in general, contributed to Mao purging Peng in 1959. After Peng was purged, Mao accelerated his efforts to build his personality cult, and by 1966 succeeded in having "The East Is Red" sung in place of China's national anthem in an unofficial capacity.[5]

chinese propaganda music download

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Yuen Yanting, who was born in Hong Kong and emigrated to Holland at the age of five, directed the feature-length musical documentary Yang Ban Xi, The 8 Model Works, which was nominated for the Grand Jury Prize at the Sundance Film Festival in 2005, and awarded the Prix du Meilleur Essai at the Montreal International Festival of Films on Art in 2007.

The private collection features about 300 brightly colored, Mao-era propaganda posters stretching from the founding of Communist China in 1949 to 1990, which includes some of China's darkest political days. The museum, which has been open for a number of years but finally received an official government license last spring, is a labor of love.

The Chinese pianist Lang Lang performed a widely-known anti-American propaganda song during his performance at the White House's state dinner for Chinese President Hu Jintao last week, the Chinese-American newspaper Epoch Times reports.

"The movie and the tune are widely known among Chinese, and the song has been a leading piece of anti-American propaganda by the Chinese Communist Party (CCP) for decades," the Epoch Times reports."CCP propaganda has always referred to the Korean War as the 'movement to resist America and help [North] Korea.' The message of the propaganda is that the United States is an enemy--in fighting in the Korean War the United States' real goal was said to be to invade and conquer China. The victory at Triangle Hill was promoted as a victory over imperialists."

"Born in China, Mr. Lang went to the U.S. as a teenager to study at the Curtis Institute of Music in Philadelphia. He is fluent in both English and Mandarin. He is probably equally adored by classical music fans in the U.S. and in China, and splits his time between the two countries," Yan notes.

While their own traditional songs and music were being wiped out, Tibetans have unconsciously been programmed to find meaning in this barrage of propaganda songs they learned to sing in Chinese. It is this inculcated habit of finding meaning in meaninglessness that now poses the gravest danger to Tibetan identity.

That is why Tibetans, both in and outside Tibet, need to now compose, sing, share and distribute as widely as possible the songs of freedom and resistance, songs about the snow-capped mountains, blue rivers and the high plateau. We need to sing more songs that not only enrage the CCP but also put its entire propaganda machinery on alert to block word after word and phrase after phrase and its entire security apparatus up in arms trying to ban song after song after song.

We are a team of young Tibetans around the globe, highlighting these examples of civil resistance inside Tibet. Lhakar Diaries serves as a platform to promote similar actions on the outside, showing our solidarity with Tibetans in Tibet. Each Wednesday we share our personal journeys with our essays, artwork, music and exploration of our shared cultural heritage and identity.

To reach this web-savvy generation, Xi has ordered propaganda officials to become more adept at using digital media to counter foreign influences in pop culture. While the products of these attempts mirror their Western counterparts stylistically, the content is distinctly Chinese.

Meanwhile, the Communist Youth League is working with CD REV, a Chinese hip hop group, to release nationalistic songs and music videos that denounce U.S. influence in the region and portray China as a peaceful country.

China's Cultural Revolution (1966-1976) produced propaganda music that still stirs unease and, at times, evokes nostalgia. Lei X. Ouyang uses selections from revolutionary songbooks to untangle the complex interactions between memory, trauma, and generational imprinting among those who survived the period of extremes. Interviews combine with ethnographic fieldwork and surveys to explore both the Cultural Revolution's effect on those who lived through it as children and contemporary remembrance of the music created to serve the Maoist regime. As Ouyang shows, the weaponization of music served an ideological revolution but also revolutionized the senses. She examines essential questions raised by this phenomenon, including: What did the revolutionization look, sound, and feel like? What does it take for individuals and groups to engage with such music? And what is the impact of such an experience over time?

"The Evolution of Chinese Popular Music: Modernization and Globalization, 1927 to the Present stands out by holistically addressing the hundred-year history of Chinese popular music. Full of carefully researched observations on music, lyrics, performers, composers, and historical and contemporary currents, it also fills a clear niche by focusing on the music-theoretical content of these repertories. The book will engage a broad cross-section of readerships, from popular music studies to musicology and Asian studies, and is sure to enjoy a lengthy shelf-life as a central reference in the field of Chinese popular music studies."

"Red Sun in the Sky" (天上太阳红彤彤) is a famous Chinese propaganda song of the Communist Party of China, sung in praise of Chairman Mao Zedong. The song was composed by Tu Honggang (屠洪刚).

Red Guard songs not only provide us with vivid accounts of central notions and conceptsin the Red Guard movement, but can also serve to illustrate certain inherent trends in theChinese politics of language and art, which were taken to their extremes during the CulturalRevolution. Words obtain particular qualities when set to music--looking only at the lyricswould be an incomplete approach. This paper thus endeavors to take into account variousfacets of the subject. Besides questions of form, language, symbolism, and content, Iexamine different meanings and functions of songs and singing in the context of the RedGuard movement.(1) Furthermore, I touch upon the place of the Red Guard songs in theChinese tradition of politically motivated songs. My research is based on a collection ofeighty-one titles from various sources, predominantly originating in Beijing or neighboringprovinces: songbooks and booklets, some edited by Red Guards; Red Guard publications;People's Daily; Masses' Daily (Dazhong bao); biographical works; and songs I recordedmyself which do not exist in printed form. Additionally, I conducted about twentyinterviews with former Red Guards in 1993 and 1994.(2) These firsthand accounts, though toofew in number to be representative, provided valuable information, particularly with regardto functional aspects of the songs. After an introduction I examine several prominentkeywords and characteristic topoi of the Red Guard song repertoire. I then give a brieflinguistic analysis of Red Guard song texts. Finally, I describe social and political functionsof the song as a form belonging to Red Guard political culture.

As is known, the Confucian concept of music, or art in general, was in certain respectsquite similar to communist ideas: in both cases music is considered a tool for didactic orideological purposes that has to be put under state control.(3) On the other hand, songstraditionally served as vehicles to articulate more or less hidden remonstrance of theemperor, and were therefore objects of serious attention by the authorities. At times certainfolksongs were even banned (jin ge). Hong Xiuquan, the infamous leader of the TaipingRebellion, appears to have been the first to systematically employ songs as protest orpropaganda devices and he was inspired by the hymns of protestant missionaries.(4) Even in1903 singing was an element of student protest in Shanghai.(5) In the 1910s the Department ofEducation started to use "classroom songs" (xuetangge) on a large scale in order to spreadsocial and political norms. Patriotic songs accompanied the demonstrations of the MayFourth movement.(6) Since the 1920s Chinese communists have systematically usedre-written folksongs as vehicles for propaganda or information, especially to win over therural population. So-called "mass songs" (dazhong gequ), whose musical style is heavilyinfluenced by Western tradition (particularly by Soviet revolutionary songs) gained majorimportance as a powerful protest medium of left-wing and nationalist groups in urban areasin the 1930s.(7) After the founding of the People's Republic of China (PRC), the song as aform was controlled by the Chinese Communist Party (CCP), and served as a significantupholder of state ideology. They fell under the primacy of politics as prescribed by Mao'sYan'an Talks: songs had to be weapons in the class struggle; they had to comply with the"mass line" and the requirements of socialist realism, which during the Great Leap Forwardwere superseded by the aesthetic guideline of "combining revolutionary realism withrevolutionary romanticism" (Geming shixianzhuyi he geming langmanzhuyi xiang jiehe).(8) All of the numerous mass campaigns were accompanied by specially composed songs. MaoZedong's call for continuing class struggle in 1962 led to a radicalization of cultural politicswhich were increasingly ruled by Jiang Qing's ultra-leftist ideas. In the early 1960s, thegroup of professional musicians was too small in number to be able to satisfy the needs ofthe propaganda apparatus; this led centrists to establish special classes in order to teachpeasants, workers, and students the basics of song composition. Song-composing contestsand amateur performances at work units took place on a regular basis. On the eve of theCultural Revolution, militant songs about class struggle and exalted odes to socialism, theparty, and Mao Zedong were the predominant genres in China's musical life. They exerted aformative influence on the style of Cultural Revolutionera composition, including manyRed Guard songs.

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