Review
Books
Culture
4 min read

Remembering red on red

The cultural revolution's factions have a disconcertingly contemporary feel.

Simon is Bishop of Tonbridge in the Diocese of Rochester. He writes regularly round social, cultural and political issues.

A Chinese stamp depicts a map of the country from which people march holding a little red book
Long Live the Overall Victory of the Great Proletarian Cultural Revolution, stamp, 1968.
Public domain, via Wikimedia.

Modern era China has suffered human loss on an unimaginable scale.  The Taiping Rebellion in the mid-nineteenth century cost over 20 million lives, more or less the global total from the Great War of 1914-18.  The vicious Japanese occupation in the 1930s led to 15 million Chinese deaths.  The famine begun in 1958, precipitated by the Great Leap Forward, caused around 40 million deaths.   

For one nation, however large, these are appalling losses.  By contrast, the fatalities in the Cultural Revolution (1966-1976) amounted to one million or more.  But the impact of this communist insurgency within a communist state is profoundly felt today, for its generation is still alive.  The trauma of those years has wounded the bodies and minds of millions; people who are unsure how to come to terms with it because of the uncertainty of what can be safely talked about.   

Mao’s incitement to younger people to turn on their teachers and elders in vitriolic criticism and violent attack, including torture and murder, was an attempt to re-boot the revolution by exterminating elements of western capitalism and traditional Chinese authority – the so-called Four Olds of ideas, culture, customs and habits.  The humiliation of teachers and parents was profoundly at odds with the Confucian culture of respect for elders, and it was embedded in young minds whose frontal lobes had not fully developed and where empathy was unformed.  The ensuing violence, pain and hardship was sickening, encompassing millions. 

Many of the bereaved and injured, the perpetrators and the victims, are still alive.  Some bury their memories as a way of coping; others search for meaning, but run up against an authoritarian government with new digital tools that make totalitarianism possible.  In her book Red Memory (Faber and Faber, 2024), Tania Branigan has produced a masterpiece of literature.  Interviewing survivors, bystanders and instigators of the violence, she has produced a history of their guilt and trauma, while reflecting on the uses of memory.   

The collateral from this is human rights abuses on an industrial scale, to ensure there is no opposition to the CCP as the true expression of being Chinese.   

The word remember is coded with meaning.  When we piece together our memories of the past, we re-member them and the members are frequently not put back together again in the way an event happened.  This becomes more pronounced with the passage of time and the known tendency for people to make themselves more central to a story than they were at the time.  We also narrate the past in ways that burnish our reputation and preserve our conscience.  The Cultural Revolution has been reassembled in fragments; there is, and there will be, no initiative like South Africa’s Truth and Reconciliation Commission.  People can make of it what they want; but without justice, the losses fester. 

The lack of a shared public memory also means the Cultural Revolution can be made to service any goal.  Detached from the moorings of truth, it becomes a malleable symbol.  Xi Jinping suffered himself.  His father was purged, denounced as a counter-revolutionary, and sent to hard work in rural Shaanxi Province.  This is his creation myth, and how it made a man out of him.  But there are other lessons to be taken from that time which he has strategically and wilfully ignored.  The leaders of the Chinese Communist Party (CCP) who followed Mao were determined that never again would one man develop a cult of personality like his, by ensuring limited presidential terms.  Xi Jinping has abolished this limit and introduced Xi Jinping Thought in an echo of Mao’s Little Red Book.  If there is one thing Xi has taken from his experience, it is the terror that chaos unleashes and the need to avoid it at all costs.  The collateral from this is human rights abuses on an industrial scale, to ensure there is no opposition to the CCP as the true expression of being Chinese.

Idolatry is much harder to identify in our own culture, yet it is here we need to do this work

The cult of Mao was idolatrous, usurping Christ.  Jesus said he would divide families: ‘father against son…mother against daughter…mother-in-law against her daughter-in-law’.  This divisiveness was located in his claim to be the way, the truth and the life.  He did not seek to divide families, but knew his claims would do so.  Mao intentionally turned families against themselves - the foundation of a civil society - to ensure loyalty to him would not be compromised.          

It is easy to identify this several decades on and at the safe distance of several thousand miles.  Idolatry is much harder to identify in our own culture, yet it is here we need to do this work.  It is also sloppy to make links between the ideological fervour and purity of Maoism and today’s social media culture.  There is no direct link, despite some claims.  But the story of how groups coalesce righteously and are manipulated into ever more extreme forms of factional purity has a disconcertingly contemporary feel. 

Review
Awe and wonder
Culture
Music
3 min read

Ezra Collective understands the where and how of transcendence

Dance music allows us to encounter what’s ’beyond our ken’.

Josh is a curate in London, and is completing a PhD in theology.

Concert goes stand, bathed in warm light, raising their hands in the air, facing away from the camera to the stage

Like so many, I came across the Ezra Collective after the band won the Mercury Prize for the album "Where I'm Meant To Be". So, I was primed to listen to its new album, 'Dance, No One's Watching' Yet I was not expecting it to impact me so profoundly.  

The album is divided into four acts, each depicting a stage of a night out: 'cloakroom link up'; 'in the dance'; 'our element'; and 'lights on'. The night out is given structure as if it were itself a work of art or even a liturgy, the agreed form of words and movement that shapes acts of public worship. And then, at the heart of the album, I heard 'Hear My Cry' and I realised the claim was a stronger one: this wasn't just like worship.  

As this track kicked in, I experienced a moment of visceral recognition. I was taken back to a church in Hackney, where those riffs had been accompanied by lyrics of praise. Suddenly I was there again, in the midst of that community, crying out: "When my heart is overwhelmed, lead me to the rock that is higher than I!"  

Speaking to Apple Music about this song, bandleader Femi Koleoso said:  

“I wanted the record to take us to the church dance floor now. It’s all about how the dance floor can feel bigger than you, it can sweep you up and overcome your feelings of overwhelm.” 

As I continued to listen, I was also struck by the beautiful closing track, 'Everybody'. On investigation, I discovered that it was also a reworking of a praise song, 'Everybody Blow Your Trumpet'. The album interprets a night of dancing as culminating in praise to God.  The inclusion of those instrumentals, 'Hear My Cry' and 'Everybody' add resonance and heft to the refrain of the album's lead single, 'God Gave Me Feet For Dancing', where the transcendent is touched and named, albeit gently, as God. 

In his new book, Cosmic Connections (reviewed for Seen & Unseen by Paul Weston), Charles Taylor argues that poetry "reveals to us, brings us into contact with, a deeper reality which would otherwise remain beyond our ken." While modern Western societies lack a shared structure of meaning or enchantment around which, traditionally, cultures were organised, poetry offers fragmentary contact with the transcendent through experience.  

'Dance, No One's Watching' shows us that what Taylor suggests of poetry is true of dance. It demonstrates the power of music—and of our participation in that music—to lead us into an encounter with something "beyond our ken".  

Much of “Dance No One's Watching" proceeds without words. Whereas poetry can name what is encountered, music can struggle to do so, leaving the emotions it generates in need of direction at best and open to manipulation at worst. And yet, by situating their music in the experience and memories of specific communities, including churches, Ezra Collective prevents this encounter becoming a vague experience of transcendence.  

There is a hospitality, a pluralism, to the album's understanding of where and how transcendence is encountered but it is not relativism. Even as different genres and contexts are explored, the particularity remains.  

Just as the album reminds us that every church should be a dance floor, it raises the possibility that churches can help us all see God as the one who gave us feet for dancing and to find Him on every dance floor. 

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