Red Salutes to comrade Jiang Qing (Chiang Ching) in her 100th birthday year as well as to Zhang Chunqiao (Chang-Chung-Chiao)!
Long Live memories of the Gang of Four and may their names be written in letters of gold!
This article expresses the personal views of Harsh Thakor
Long Live memories of the Gang of Four and may their names be written in letters of gold!
This article expresses the personal views of Harsh Thakor
On March 19th 1914 Comrade Jiang Qing was born.
Earlier this year on March 19th the 100th birthday of Jiang qing, (Chiang Ching) one of the leaders of the Maoist gang of four took place.
Earlier this year on March 19th the 100th birthday of Jiang qing, (Chiang Ching) one of the leaders of the Maoist gang of four took place.
Sadly there was no commemoration deliberately held in China as she blackened the injustice of the current C.C.P.
There was also no mention or celebration of Jiang Qing’s 100th birthday in the revolutionary camp worldwide.
A major commemorating meeting celebrating Chiang’s 100th birthday explaining the significance of her work and of ZhangChunqiao ‘ should have been held.
A major commemorating meeting celebrating Chiang’s 100th birthday explaining the significance of her work and of ZhangChunqiao ‘ should have been held.
Without doubt she was one of the greatest women revolutionaries of all time whose contribution was immortal to the Communist Movement.
Few women comrades were ever more daring and courageous. For 10 years she defended Mao Tse Tung’s like with the solidity of a boulder. She would traverse the steepest of cliffs and the most turbulent of seas in defending the Socialist line
She was also one of the most creative and innovative of artists in revolutionary history devising a new form of opera .She mastered artistic forms that related to the common people.
We commemorate 50 years this year since she innovated a new form of Opera in July 1964.
We commemorate 50 years this year since she innovated a new form of Opera in July 1964.
With Comrade Zhang Chunqiao she played the biggest role in the ten years of the G.P.C.R after Mao. She was one of the sharpest critiques of the capitalist roaders and voiced the very heart of the masses.
With the other 3 comrades she played a major role in implementing Mao’s call for supporting the line of Tachai and herself participated in agricultural production.
With the other 3 comrades she played a major role in implementing Mao’s call for supporting the line of Tachai and herself participated in agricultural production.
The phenomenal achievements of the G.P.C .R in it’s final years owe a great deal to the Gang of four especially Jiang Qing and the 1976 political rally in Tiannemen square supporting Mao ‘s line led by the gang of was one of the most significant events in revolutionary China’s political history.
A major campaign had been initiated by Zhang Chunqiao in 1975.to battle revisionism called ‘farrago on the educational front.’
A major campaign had been initiated by Zhang Chunqiao in 1975.to battle revisionism called ‘farrago on the educational front.’
This debated whether the Cultural Revolution educational policies should be followed or the conventional policies before the G.P.C.R.
Revolutionary comrades do not deny that she made grave errors and the practice of Chiang and her comrades was infested with powerful currents of left sectarianism.
The slogans raised had left adventurist overtones. This was observed by writers like William Hinton. Artists, musicians and intellectuals were subjected to persecution of phenomenal proportions.
However the 4 particularly Jiang and Zhang initiated some of the most progressive innovation seen in any society, be it in art or production.
They withstood the 1981 trial with death defying courage.
No comrade exhibited more courage than Jiang, in spite being a women through her historic statement .
Her speech created the sensation of a red flame extinguishing in the court.
Revolutionary comrades do not deny that she made grave errors and the practice of Chiang and her comrades was infested with powerful currents of left sectarianism.
The slogans raised had left adventurist overtones. This was observed by writers like William Hinton. Artists, musicians and intellectuals were subjected to persecution of phenomenal proportions.
However the 4 particularly Jiang and Zhang initiated some of the most progressive innovation seen in any society, be it in art or production.
They withstood the 1981 trial with death defying courage.
No comrade exhibited more courage than Jiang, in spite being a women through her historic statement .
Her speech created the sensation of a red flame extinguishing in the court.
This included organizations like Unity Centre of Communist revolutionaries of India, C.P.Reddy-S.N.singh group, C.P.I.(M.L.) Party Unity and C.P.I.(M.L.) peoples war .
One has to credit Bob Avakian and the R.C.P.U.S.A for upholding Chiang Ching and the other comrades in 1978 itself.
In India only the Central Re-organization Commitee of the C.P.I.(M.L.) and the U.C.C.R.I.(M.L.)led by Harbhajan Sohi upheld the Gang of 4.
One of the strangest phenomena was the peoples rally against the gang of 4 in 1976 just after Mao’s death.
This can be attributed to weaknesses in political trends in the G.P.C.R. and the legalizing of revolutionary committees .
The masses were not educated sufficiently on who were their real enemies.
Certain writers quote Mao stating “Help Chiang correct her errors”.Mao rebuked the gang for not completely implementing the mass line not uniting the majority and resorting to factionalism and splitting.
From 1974 the revolutionary committees were morally de-activated. William Hinton stated
“The Gang of four” was ultra-left which grossly distorted Mao’s policies and directives, carried sound initiatives to extremes that turned them inside out and upside down, and succeeded in wrecking whatever they touched.
In the 1960’s unlike earlier periods found himself on ‘Liang Mountain’ in regard to leftism-that is so immobilized by a contradiction with the right that he felt tied his hands in dealing with the left.”
I feel this assessment grossly undervalues the situation the 4 comrades faced and hardly does them true justice. Such comrades hardly understood or respected the death-defying political struggle of the gang of 4 to save the Socialist State.
Quoting Bob Avakian
“ Another dimension is, I do think there were some errors of conception and methodology on the part of the people leading this—maybe Mao to some degree, but especially people like Chiang Ching and others who put a tremendous amount of effort into bringing forward these advanced model revolutionary cultural works, which were really world-class achievements in revolutionary content, but also in artistic quality: the ballets, and the Peking operas and so on.
But who also I think, had certain tendencies toward rigidity and dogmatism, and who didn’t understand fully the distinction between what goes into, of necessity, creating model cultural works, and what should be broader artistic expression, which might take a lot of diverse forms, and not only could not be, but should not be supervised in the same way and to the same finely-calibrated degree as was necessary in order to bring forward these completely unprecedented model cultural works.
And there needed to be more of a dialectical understanding, I think—and this is tentative thinking on my part, because I haven’t investigated this fully and a lot more needs to be learned, so I want to emphasize that—but I have a tendency to think that there needed to be a better dialectical understanding of the dialectical relation between some works that were led and directed in a very finely detailed and calibrated way from the highest levels, mobilizing artists in that process, and other things where you gave a lot more expression to a lot more creativity and experimentation, and you let a lot of that go on, and then you sifted through it and saw what was coming forward that was positive, and learning from different attempts in which people were struggling to bring forward something new that would actually have a revolutionary content, or even that wouldn’t but needed to nevertheless be part of the mix so that people could learn from and criticize various things and decide what it was they wanted to uphold and popularize and what they didn’t.
So I think there’s more to be learned there.”
The author claims this is an armchair criticism on the innovation of a great revolutionary,whatever maybe the shortcomings.
In fact the opera composed by Chiang Ching which she directed was one of the greatest developments in revolutionary art. In fact Chiang Ching brilliantly applied dialectics and
Avakian adopts an idealistic view.
Again quoting Avakian
“I also think there was a third dimension to this. There was an element, even in Mao—and I’ve criticized this, you know, it’s controversial, but I’m criticizing something that [has been pointed to] in various things I’ve written or talks I’ve given, in particular one called Conquer the World?6—that there was a tendency, even in Mao, toward a certain amount of nationalism.
And I think this carried over into some of the ways in which intellectuals and artists who had been trained in and were influenced by or had an interest in Western culture—there was somewhat of a sectarian attitude toward some of that.
You know, Mao had this slogan: we should make the past serve the present and foreign things serve China.
Well, in my opinion, that—particularly the second part of that—is not exactly the right way to pose it.
It’s not a matter of China and foreign things, it’s a matter of—whether from another country, or from China, or whatever country art comes from—what is its objective content?
Is it mainly progressive or is it mainly reactionary?
Is it revolutionary or counter-revolutionary? Does it help propel things in the direction of transforming society toward communism or does it help pull things back and pose obstacles to that?
And I think that formulation, even the formulation of “foreign things serve China”—while it has something correct about it, in not rejecting everything foreign, let me put it that way—has an aspect of not being quite correct and being influenced by a certain amount of nationalism, rather than a fully internationalist view [with regard to] even the question of culture.”
The author finds this analysis that Mao was nationalistic as baseless as Mao strived to promote proletarian Internationalism and class outlook
















