On November 29, 2012, in one of his first appearances as the General Party Secretary of the People’s Republic, Xi Jinping defined “China’s Dream”, saying, “everyone is debating what China’s Dream is. I think that since the modern era, the greatest dream of the Chinese nation has been the renaissance of the Chinese people (大家都在讨论中国梦。我认为，实现中华民族伟大复兴，就是中华民族以来最伟大的梦想。).”
In support of Xi Jinping’s exhortation, the walls surrounding Shenzhen’s construction sites have been covered in posters that define this dream in terms of Chinese tradition. Visually, this is achieved through folk paintings of children learning to use a calligraphy brush or symbols of new year’s prosperity. However, given that folk nationalism was such an important part of early Maoism, these posters also reference the joys of labor and strengthening the country.
Shenzhen’s take on the campaign interests me because the posters reference Maoism indirectly through a visual rhetoric that reiterates 1950s folk nationalism. Traditional activities and visual styles further evoke a nostalgia for the good old days. Moreover, these posters explicitly celebrate Confucianism. All this to say, the current Shenzhen interpretation of Xi Jinping’s Chinese Dream takes the form of nostalgia for a past that ever happened creates a Chinese identity that is explicitly cultural, rather that political.
I’m not sure if Shenzhen’s take on China’s Dream is the same as in other cities. A quick google of 中国梦, for example, brings up illustrations that are more scientific and futuristic that these colorful posters. Thus, there is something determinedly anti-socialist realism in the Shenzhen campaign, which might lead us to think that Shenzhen’s leaders are ambivalent about the Party. Certainly, it leaves me wondering just how far the current regime will distance itself from its former incarnations in order to maintain hegemony without sharing power.
Examples of these posters, below: