Chinese ballet The Red Detachment of Women promoted by the Hon. Daniel Andrews, Premier of Victoria will make its debut at Arts Centre Melbourne on February 15 next year as part of the Asia-Pacific Triennial of Performing Arts (Asia TOPA). He believes that he is bringing a Chinese cultural treasure to Australian, ignoring the fact that it is a product of brutal propaganda and lies clothed in a dazzling wrap.

The Red Detachment of Women is the story of Wu Qionghua, the daughter of a tenant farmer who leased land from the chief land owner of Hainan Island, Nan Batian. She joined the Red Army and eventually returned to her hometown for revenge. Like other propaganda works, it is a fiction based partly on the truth. The historical file records that a Female Special Task Force under the command of the Qiongya Independent Division Headquarters of the Chinese Workers and Peasants’ Red Army had been executing local land owners and their families, and looting wealthy families to finance the defence of the Soviet Republic of China, and they were also fighting against the then National Government of the Republic of China. Targeting former land owners (most of them are small land owners) and former members of the National Government, The Red Detachment of Women story is a deeper explanation of and also praise for Mao’s series of genocides in which over 2 million land owners were executed during the Land Reform Movement from 1950 to 1952 (Note: In July 1955, the Land Reform was introduced to the Tibetan area.) , and over 710,000 “Anti-Revolutionary Prisoners of War” (mainly junior military and administrative officers (POWs) of the former Chiang Kai-shek National Government) were executed from 1950 to 1953.

In the late 1950s, Mr. Liu Wenshao, a propaganda writer of the Political Department of the Hainan Military District and Mr. Liang Xin, a writer from the higher Propaganda Department of the South-central Military Region of the People’s Liberation Army did the same research and wrote their unusual stories from political perspectives. Mr. Xie Jin, a famous rouge film director, produced a film of The Red Detachment of Women which was a sensation in China. Nan Batian was a purely fictional character. In 2004, the Xinhua News Agency reported that Ms Wang Yunmei, a former soldier of the Jiongya Female Task Force officially joined the CCP in her 102 years. She also recalled that she gave birth, in 1930s while travelling with the military, to a baby boy who died shortly after birth. The death of the baby has not been mentioned at all in the story, for it’s obviously a very negative aspect for the Communist propaganda and as such it’s been covered up. The story has been manipulated by the art and propaganda cadres of the Communist Party, and has been compiled into various art forms such as Chinese operas, songs, and picture books. In 1964, The Red Detachment women was performed as a ballet for the first time, which immediately drew the attention of Jiang Qing, wife of Mao the mass murderer. She edited and rehearsed every detail of The Red Detachment of Women Ballet herself, and she even changed the main figure Wu Qionghua’s name to “Wu Qinghua”, eventually making the Red Detachment of Women a classic work preaching the violent rouge revolution.

The Red Detachment of Women was released at the time of the Great Proletarian Cultural Revolution, with its popularity soaring up with series of murdering of innocent human lives by the Chinese Communist Regime.

It is a propaganda work from the beginning as it was created specifically for Mao to preach his Class Struggle doctrine, and it soon became one of the eight “Revolutionary Model Operas”. During that dark time of only one voice, the leading professional singers of the five prominent schools of Chinese traditional operas were victimized while traditional operas were smashed and traditional culture was decapitalized. Some performers and crew members were persecuted for their differences in artistic views with Jiang Qing. At that time, the entire population of China, numbered at 800 million, were only allowed to watch the eight “Revolutionary Model Operas”. This was an unprecedented attempt at brainwashing an entire nation. Nowadays, almost every Chinese person over the age of 45 cannot help but sing fragments from these red songs and operas. Mr. Bai Xianyong, an author from Taiwan commented that, “The Red Detachment of Women ballet severing the root of the Chinese connection with the ballet culture, displaying murderous scenes on the stage of romantic and elegant dances, was a very absurd thing”. Therefore, such a red ballet is a monster, not a real ballet. You may say that ever since 1960s or earlier, there has been no ballet in China. Similarly, when talking about Peking opera, Chinese people sing the revolutionary rags from Taking Tiger Mountain By Strategy, The Legend of the Red Lantern, Shajiabang, etc.. Such a bloody memory was burned into the hearts of senior mainland Chinese migrants, which will never go away in their lives.

Netizens spoof "Red Detachment of Women

When Mao died, his wife Jiang Qing was taken down. Then The Red Detachment of Women became taboo for sixteen years until 1992, not long after Deng Xiaoping carried out the Tiananmen Square Massacre in 1989. The ideological trend of democracy and freedom was muzzled. This led to the return of The Red Detachment of Women ballet. It immediately overwhelmed the land like a flood, and even travelled overseas, becoming a propaganda infiltration vehicle for the Chinese communist ideology and nationalism.

In 1972, U.S. President Richard Nixon and his wife was arranged to watch The Red Detachment of Women ballet and brought worldwide attention to it for the first time. In his memoirs, he wrote, “The result was a hybrid combining elements of opera, operetta, musical comedy, classical ballet, modern dance, and gymnastics. The story deals with a young Chinese woman in prerevolutionary times who leads her townspeople in a revolt against an oppressive landlord. Emotionally and dramatically the production was superficial and artificial. In many respects, as I noted in my diary, it reminded me of the ballet Spartacus that we had seen in Leningard in 1959—in which the end was changed so that the slaves won.”

Prof. Bonnie S. McDougall, a Chinese literature expert and Honorary Associate in the School of Languages and Cultures of the University of Sydney, and Kam Louie wrote in their book The Literature of China in the Twentieth Century, “President and Mrs. Nixon, along with Henry Kissinger and entourage, saw a performance in February 1972, hosted by Zhou Enlai with Jiang Qing, Guo Moruo and other high officials in attendance. The American afterwards expressed their reaction as a mixture of boredom and astonishment.”

The authors go on to say, “The incongruous combination of classical ballet routines and Chinese dance steps in this work was accentuated by the extraordinary costume of the women soldiers in their skin-tight shorts and flesh-coloured tights. The script was even more melodramatic than the other model works, and the stage effects were exaggerated to the point of being grotesque, as for instance when Hong is being burnt at the stake. Fighting and beatings made for plenty of action on stage, but this was offset by the improbability of episodes such as his show of defiance when helpless and surrounded on all sides.”

The Red Detachment of Women ballet uses women as stage props, blood red as the theme colour; it is filled with violence, hatred and political symbols; its plots are absurd, and actions exaggerated. It is an explosive venting of anti-humanitarian values.

A totalitarian China does not produce any culture of value. What “culture” does it have to “exchange” with Australia? The early modern Chinese civilization has suffered complete destruction at the hands of Communist culture. The deterioration of the entire Chinese society including the complete moral decay is solid evidence of this lack. China only manufactures rouge culture Chinoise or rouge culture under the guise of tradition and pure nationalism. The Red Detachment of Women is evil rouge culture from the beginning; it is no different from Sturmabteilung (The Storm Detachment of German) culture, and it is purely a product of propaganda. Having been mentally damaged and psychologically scarred for life by Chinese propaganda, most mainland China migrants felt it difficult to escape from the red evil culture and chose to migrate to Australia. Suddenly they turned by chance to where the lights were waning and there they saw Premier Andrews standing with The Red Detachment of Women praising the Chinese totalitarian culture. How absurd!

(September 26, 2016. This is a translation.)

(Original published on: http://www.kanzhongguo.com.au/hotnews/20160930/194724.html)