Tan Yifan

    cicitan2011@gmail.com

    WHEN female Chinese comedian Jia Ling publicly apologized on July 18 for bantering about Hua Mulan, a legendary Chinese patriotic heroine, many netizens left supportive comments on her microblog and expressed their disappointment and outrage at an institution that forced her to say sorry for “uglifying” the historical figure.

    A few days later, a similar controversy befell Chinese director Chen Kaige, who was also demanded to apologize for “vilifying” Taoists in his newly screened movie “Monk Comes Down the Mountain.” But Chen hasn’t responded to the demand.

    It is rare for Chinese entertainers to be harshly criticized for “improper” amusement. In fact, starting in the 1980s, Chinese viewers have enjoyed various humor brought by comedy shows, stand-up comedies, movies and TV dramas. The most commonly taunted objects of comedy shows and stand-up comedies are petty officials while some historical or fiction characters are mocked in films or TV shows.

    Famed monk Xuan Zang, who brought the Buddhist sutra to China from ancient India in Tang Dynasty (618-907), is often depicted as a craven, nagging, paranoid individual in several films and TV shows while Lu Su, a famed strategist in the Three Kingdoms period (220-280), is characterized as a dull, useless adviser on the TV dramatization of “The Romance of the Three Kingdoms” (1994).

    The once-popular Chinese comedian Zhao Benshan earned laughter for making fun of uneducated or disabled people.

    When did the Chinese lose their sense of humor?

    Jia was criticized for turning Mulan into a gluttonous, obese, lazy and amorous girl even though legend says she was a responsible woman who took her aging father’s place in the army and bravely fought invading enemies. Chen was denounced for secularizing Taoism and making Taoists bend the knee to Buddhists.

    Many believe Jia’s criticism originated from the Mulan Research Institute in Yu Cheng, Henan Province, who only wanted to gain attention by attacking Jia. Huangpo Subdistrict in Wuhan City even invited Jia to visit the “real” Mulan’s hometown in a bid to promote its tourism. In fact, the institute and the city of Wuhan don’t seem to care about Jia’s jokes but are looking for an easy way to cash in on Jia’s success.

    As for Chen’s critics, it was clarified that the demand was made by a famed Taoist but not the Taoist Association.

    From a marketing angle, all of the “critics” involved have somehow benefitted from the incidents — they all attracted public attention. But from an artistic angle, the accusers could deter performers from creating unique and bold works.

    Both viewers and artists today seem to be confused about the bottom line of creativity. If we have to zip our mouths and think twice before we crack a joke, where is the fun? Censorship of art in China has already made life difficult for artists. Are they not allowed to make harmless jokes? Or are we supposed to feel guilty for watching silly programs all day long?

    (The author is a Shenzhen Daily editor.)