Madame Mao’s Nietzschean vision
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🔗 via palladiummag.com.
Highlights
Out of the worker, peasant, and soldier, we must enthusiastically and by any means create heroic images. As Chairman Mao told us, the world represented in art can and should surpass reality. It should be stronger, purer, more perfect, and more idealized. Don’t be limited by real people and events. Stop writing about dead heroes when we are surrounded by living heroes.
China’s consciousness had been defined by generations of conflict against more powerful actors. Internally, the Communists had led a revolt against landlords and aristocrats. Geopolitically, China had valorized the West for generations even while being colonized by it. From a Nietzschean perspective, China’s position of servility could not help but corrupt its spirit. China was now independent, but its consciousness had been shaped by domination. Jiang was determined that her heroes should not reflect this consciousness, but rather the heroic and agentic will to power that the Chinese people now had to cultivate. While the party had acted as the spearhead of this will during the war for liberation, the masses had barely begun to participate in it. The use of folk forms was helpful in teaching China to look within, but they had to be transformed before they could properly convey the consciousness of the new society.
The worthwhile lesson of Jiang Qing is in her refusal to impose powerlessness and victimhood on her subjects. She refused to sanction what Pierre Bourdieu, invoking Nietzsche, once called a “sociologically mutilated being” as a model of human excellence. Instead, she invited the masses at gunpoint to contemplate beauty and strength. The power of her project can be seen in the transformative chaos of its age. As she learned from Lu Xun, also invoking Nietzsche, the artist must be capable of driving men mad.
A fascinating story about Madame Mao and her influence on Communist-era Chinese culture and art.