Mao and his policies have long been demonised in the West, with the Cultural Revolution considered a fundamental violation of human rights.

As China embraces capitalism, the Mao era is being surgically denigrated by the Chinese political and intellectual elite. This book tackles the extremely negative depiction of China under Mao in recent publications and argues most people in China, including the rural poor and the urban working class, actually benefited from Mao's policy of a comprehensive welfare system for the urban and basic health and education provision for the rural, which is being reversed in the current rush towards capitalism.

By a critical analysis of the mainstream account of the Mao era and the Cultural Revolution and by revealing what is offered in the unofficial e-media debates this book sets the record straight, making a convincing argument for the positive effects of Mao's policies on the well-being of the Chinese people.

A striking first-person account of the Cultural Revolution in Inner Mongolia, embedded in a close examination of the historical evidence on China’s minority nationality policies to the present.
 
During the Great Leap Forward, as hundreds of thousands of Chinese famine refugees headed to Inner Mongolia, Cheng Tiejun arrived in 1959 as a middle school student. In 1966, when the PRC plunged into the Cultural Revolution, he joined the Red Guards just as Inner Mongolia’s longtime leader, Ulanhu, was purged. With the military in control, and with deepening conflict with the Soviet Union and its ally Mongolia on the border, Mongols were accused of being nationalists and traitors. A pogrom followed, taking more than 16,000 Mongol lives, the heaviest toll anywhere in China.

At the heart of this book are Cheng’s first-person recollections of his experiences as a rebel. These are complemented by a close examination of the documentary record of the era from the three coauthors. The final chapter offers a theoretical framework for Inner Mongolia’s repression. The repression’s goal, the authors show, was not to destroy the Mongols as a people or as a culture—it was not a genocide. It was, however, a “politicide,” an attempt to break the will of a nationality to exercise leadership of their autonomous region. This unusual narrative provides urgently needed primary source material to understand the events of the Cultural Revolution, while also  offering a novel explanation of contemporary Chinese minority politics involving the Uyghurs, Tibetans, and Mongols.

In Cultural Revolution and Revolutionary Culture, Alessandro Russo presents a dramatic new reading of China's Cultural Revolution as a mass political experiment aimed at thoroughly reexamining the tenets of communism. Russo explores four critical phases of the Cultural Revolution, each with its own reworking of communist political subjectivity: the historical-theatrical “prologue” of 1965; Mao's attempts to shape the Cultural Revolution in 1965 and 1966; the movements and organizing between 1966 and 1968 and the factional divides that ended them; and the mass study campaigns from 1973 to 1976 and the unfinished attempt to evaluate the inadequacies of the political decade that brought the Revolution to a close. Among other topics, Russo shows how the dispute around the play Hai Rui Dismissed from Office was not the result of a Maoist conspiracy, but rather a series of intense and unresolved political and intellectual controversies. He also examines the Shanghai January Storm and the problematic foundation of the short-lived Shanghai Commune. By exploring these and other political-cultural moments of Chinese confrontations with communist principles, Russo overturns conventional wisdom about the Cultural Revolution.

A Choice Outstanding Academic Title for 2022

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?

Perceptive and provocative, Music as Mao's Weapon is an insightful look at the exploitation and manipulation of the arts under authoritarianism.