Over the past three days we’ve had a chance to look at the full version of the story the Party tells about China’s past 170 years. I divided it into three sections that weren’t broken up in the National Museum, but that allowed reflection on logical chunks – The Opium war up to the founding of the Republic; The founding of the Party through the Mao years; and finally, 30 years of opening up. I wanted to wait to comment on the text until you all had had a chance to read it and form some of your own impressions (which I hope you’ll share below).
The first thing that I noticed from the exhibit was that China’s default status in the world is “glorious,” and that this glory comes from the Party. This is hardly a surprising claim, but its importance in the foundational myth is worth noting. Even the title of the exhibit reinforces this idea – The Road to Rejuvenation. From there we learned that foreigners’ only interest in China was exploitation, and that the Republican gov’t failed to live up to Sun Yatsen’s vision for China.
While these two points are not completely accurate, they are presented in a way that is convincing and clear. The repeated use of the word “bourgeois,” suggests that this is a story that the Party knows how to tell (it appears 9x in the first section, and only 1 time after that when discussing the founding of the Party). All the sections prior to the actual establishment of the People’s Republic of China seem to be much clearer than the later sections.
The second section of the exhibit has a different focus and serves to emphasize the role the Party has had in improving the lives of the Chinese people. It also reinforced the idea of ethnic unity (mentioned three times here, and only one other time in the preface). While the first section may have bent the truth to some degree, this section seems to have heavily employed the use of the delete button and provides a version of history that would likely confuse many who survived Mao’s decades of rule. Without any further knowledge of China, one would come away with the impression that nothing bad happened in the 50′s, 60′s or 70′s; even though well over 50 million Chinese people died unnecessarily during that time. As despicably revisionist as it is, there is still a narrative that makes sense if you ignore all of the outside information.
However, it’s not Mao’s era that seemed the most difficult for Party historians to discuss, it’s the last 30 years. As I walked through the museum with my father, we were both left scratching our heads as we read through lists of slogans and campaigns that described each leader’s reign since Mao. I wasn’t surprised that there was no mention of Tian’anmen square or the other crackdowns, but I was surprised that there was not no mention in the narrative of a single concrete action that any of these leaders had accomplished.
Within each decade there were trinkets of accomplishments, but it felt more like a scrapbook than a museum, in that it provided very little in the way of explanation. Oh look, it’s Deng Xiaoping’s cowboy hat. Wow, remember when we got let in to the WTO, or sent that guy into space? What was clear to me was that the Party still doesn’t know how these leaders will be viewed in the future, and seems to be working on the last third of the narrative.
The conclusion though makes sure you haven’t missed the point – “Socialism is the only way to save China,” and a subtle nudge to “closely unite around the CPC central leadership with Hu Jintao as its General Secretary.”
As we left the halls of the museum and returned to Tian’anmen Square, I couldn’t help thinking that not far from here Chen Guangcheng, Ai Weiwei, Wang Lijun, and Bo Xilai were all waiting for history to judge them as well. Each one would have been seen quite differently just a little over a year ago by the authorities and by common Chinese people. Chen would have likely been forgotten in Linyi, unknown to most and a thorn in the side of leaders; Ai would have occupied a dubious position between dissident and respected artist, but I don’t have many Chinese friends interested in modern art; Wang was a cop worthy of novels and film; and Bo was a rising political star that caused the country to pause and sing the songs of an era worthy of a single photo in a museum.