Glimpses of the early 1960s’ cultural revival in response to desperation
Liu Shaoqi visits Hunan, 1961.
The disastrous consequences of the Great Leap Backward have been documented by several scholars. But between 1961 and 1965, as the CCP retreated briefly from extreme policies in a brief lull before the Four Cleanups campaign, traditional (incuding ritual) culture revived significantly throughout the countryside. I’ve documented this fleeting revival for my main fieldsites in Hebei (Plucking the winds ch.5) and Shanxi (Daoist priests of the Li family, ch.5), and it often features in my accounts of local ritual—note also the Maoism tag.
Apart from talking with people who can recall the period, documents by the provincial Bureaus of Culture from the late 1950s–early 1960s make an unlikely but fruitful source. While they are prescriptive decrees calling for further suppression of a gamut of “superstitious” activities, they thereby show how prevalent such practices were becoming—precisely in response to the desperation of the Leap.
Mao Zedong, Peng Dehuai, and Liu Shaoqi were all natives of Hunan. On 11th May 1959 Liu wrote to Chairman Mao after spending a month investigating the region of his birth:
According to comrades from the provincial Party committee, 40% of all houses in Hunan have been destroyed. Besides this there is also a portion that has been appropriated by state organs, enterprises, communes, and brigades.
On a visit to Mao’s home village in Shaoshan before the fateful Lushan conference of summer 1959, the Chairman himself had hinted at a partial retreat from the more radical policies of the Leap. Peng Dehuai went on to confront him at the fateful Lushan conference of summer 1959:
When Peng had gone back to his home in Xiangtan, he found abuse and suffering everywhere, from farmers forced to practice close cropping to cadres tearing down houses in the iron and steel campaign. Visiting a retirement home and a kindergarten, he saw nothing but misery, the children in rags and the elderly crouched on bamboo mats in the freezing winter. Even after his visit he continued receiving letters from his home town about widespread starvation.
Becker notes that in the anti-Peng hysteria that followed the conference, Hua Guofeng personally supervised the brutal persecution of Peng’s family who lived in the Xiangtan region. Provincial leader Zhou Xiaozhou, who had tried to blunt the impact of extreme leftist policies, was purged, and the madness only escalated.
The number of people per room in Hunan doubled during the years of the Great Leap Forward, as entire families crowded into a single room the size of a wardrobe—despite the space created by the loss of several million to starvation.
Ambitious yet misguided irrigation and land reclamation projects further depleted the environment. People were beaten to death in 82 out of 86 counties and cities. As investigating teams dispatched to the countryside reported:
In Daoxian county many thousands perished in 1960, but only 90% of the deaths could be attributed to disease and starvation. […] Having reviewed all the evidence, the team concluded that 10% had been buried alive, clubbed to death or otherwise killed by Party members or militia. In Shimen county, some 13,500 died in 1960, of whom 12% were “beaten or driven to their deaths”.
Dikötter cites reports from 1961:
In Yuanling county, testicles were beaten, soles of feet were branded, and noses were stuffed with hot peppers. Ears were nailed against the wall. In the Liuyang region, iron wires were used to chain farmers.
Liu Shaoqi returned to Hunan in 1961 in a widely-reported trip (online, see e.g. here):
Determined to avoid the large retinue of bodyguards and local officials that inevitably came with every visit from a top dignitary, Liu set off on 2nd April 1961 from Changsha, travelling in two jeeps in the company of his wife and a few close assistants, bowl and chopsticks tucked away in light luggage, ready for a Spartan regime in the countryside. Soon the convoy came across a sign announcing a giant pig farm. On closer inspection, it turned out that the farm consisted of no more than a dozen scrawny hogs foraging in the mud. Liu decided to spend the night in the fodder store, and his assistants combed the place in vain for some rice straw to soften the plank beds. Liu noted that even the human excrement piled up for fertilizer consisted of nothing but rough fibre, another telltale sign of widespread want. Nearby a few children in rags were digging for wild herbs.
Liu Shaoqi’s fears were confirmed over the following weeks, however difficult it was to get wary farmers to tell the truth. In one village where he stopped on his way home, he found that the number of deaths had been covered up by local leaders, while an official report drew a picture of everyday life which had nothing to do with the destitution Liu saw on the ground. He clashed with the local boss, who tried to steer the team away from speaking with villagers. He tracked down a cadre who had been dismissed as a rightist in 1959: Duan Shicheng spoke up, explaining how the brigade had earned a red flag during the Great Leap Forward. To protect their privileged status, Duan explained, local leaders had systematically persecuted anybody who dared to voice a dissenting view. In 1960 a meager crop of 360 tonnes of grain was talked up to 600 tonnes. After requisitions villagers were left with a paltry 180 kilos, out of which seed and fodder had to be taken, leaving a handful of rice a day.
In his home village Tanzichong, friends and relatives were less reluctant to speak out. They denied that there had been a drought the year before, blaming cadres instead for the food shortages. “Man-made disasters are the main reason, not natural calamities.” In the canteen cooking utensils, dirty bowls and chopsticks were tossed in a pile on the floor. A few asparagus leaves were the only vegetable available, to be prepared without cooking oil. Liu was shaken by what he saw. A few days later, he apologized to his fellow villagers in a mass meeting: “I haven’t returned home for nearly forty years. I really wanted to come home for a visit. Now I have seen how bitter your lives are. We have not done our jobs well, and we beg for your pardon.” That very evening the canteen was dissolved on Liu’s orders.
A committed party man, Liu Shaoqi was genuinely shocked by the disastrous state in which he found his home village. He had dedicated his every waking moment to the party, only to find that it had brought widespread abuse, destitution, and starvation to the people he was meant to serve.
Becker also describes Liu Shaoqi’s visit to Hunan:
In the Hengyang district “nearly an entire production team had died of hunger, and there was no one left with the strength to bury the bodies. These were still lying scattered about in the fields from which they had been trying to pull enough to stay alive.” Yet when Liu Shaoqi and his wife, Wang Guangmei, visited Hunan to see for themselves, local leaders went to extraordinary lengths to try and deceive them. Along the road leading to Liu’s home town of Ningxiang, starving peasants had torn the bark off the trees to eat, so officials plastered the tree trunks with mud and straw to conceal the scars. […] Liu only managed to discover the truth in the village where he had been born, Ku Mu Chong, when some villagers dared to tell him that twenty of their number had starved to death, including a nephew of Liu’s, and that a dozen more had fled.
With all this in mind, it may seem almost perverse to turn our attention to expressive culture. Doubtless in some areas upon the 1949 Liberation, traditional culture was virtually stamped out, quite abruptly, only reviving after the collapse of the commune system from the late 1970s. Even where traditional genres survived relatively unscathed in the early 1950s (in 1956 Yang Yinliu’s team found rich material on his fine fieldtrip to Hunan, and his report contains no hint of the impending disaster), one might suppose that they would have declined further as collectivization intensified. We might doubt the ability of performance genres to survive through the famine following the 1958 Leap. Indeed, in many regions, irrespective of any official prohibitions, it may seem inconceivable that people could even have the strength to observe traditional cultural practices (see e.g. here, under “Religion and culture”).
On the contrary, it seems that it was precisely the desperation of the times that prompted (on the economic front) a revival of folk performing groups and (in the sphere of belief) a renewed emphasis on traditional ritual. With no food or shelter in their home villages, people resorted to extreme measures. Migration was a traditional response to adversity; Hunan peasants often crossed the border into Hubei (cf. the flight of Yanggao dwellers to Inner Mongolia: Daoist priests of the Li family, pp.120–21).
For the condition of folk performance activity in the early 1960s, apart from talking with people who recall the period, official documents in the Appendices of several of the provincial volumes of the monographs on opera and narrative-singing in the Anthology make an unlikely but revealing source, containing documents from imperial, Republican, and Maoist times, often relating to prohibitions (for all three periods!).  Often they inadvertently reveal “negative material” in discussing the desperate revival of folk and ritual groups from the late 1950s, reminding us that even through all the traumas of campaigns and collectivization, traditional genres “obstinately“, however tenuously, kept active.
A series of detailed documents from the Hunan Bureau of Culture between 1957 and 1965 gives a remarkably frank impression of a far-from-stable socialist society. 
A document from September 1961 innocuously prescribes a systematic project on the province’s rich heritage of local opera, specifically calling for impartial documentation irrespective of “feudal” and “superstitious” elements. Doubtless they benefitted from the model established by Yang Yinliu on his 1956 fieldwork. A lengthier document from March 1962 explicitly includes the diverse genres of narrative-singing in the project.
By October the Bureau of Culture was discussing the registration of “folk professional scattered artists” (minjian zhiye lingsan yiren 民间职业零散艺人) that they had initiated in 1957. They note the recent growth of such performers along with state cutbacks and the arrival of migrant groups; some belonged to the “five black categories”, performing “unhealthy” items.
With new campaigns for Socialist Education, the tide was turning: by April 1963, prompted by a central decree from Beijing, the Bureau of Culture issued a ban on the performance of “ghost operas”, which had grown “in the last couple of years”. For rural and urban Hunan they describe an increase of funeral elegies and rituals, offering incense and worshipping the Buddha, constructing temples, and inviting opera groups for rituals to invite the gods and redeem vows,  all encouraging the spread of anti-revolutionary elements and reactionary sects (fandong huidaomen).
A draft discussion from 1964 elaborates further on how to register folk performers, mentioning over 12,000 rural scattered semi-professional artists (performing opera, shadow-puppetry, marionettes, and narrative-singing), some of whose groups “have become hiding places for class enemies, their programmes mostly spreading feudal superstition and capitalism.”
Despite (or because of) the rising tide of political campaigns, a lengthy supplement from August 1965 reveals continuing issues:
Under “Severe situation” (pp.622–3), problems are listed under five headings, all with detailed examples:
- Performing bad [feudalistic, superstitious, capitalistic] programmes, long prohibited but still rife, “poisoning people’s thinking”. This was a problem among the state troupes as well as folk groups: from the founding in November 1963 of the No.2 Marionette Troupe in Xinshao county to September 1964, 84 of their 103 performances were deemed “superstitious”.
- People abandoning production to take up itinerant performance. Of 96 shadow-puppet artists in one district, 21 took it up before Liberation, 17 from Liberation to 1958, but 58 since 1958—and those taking it up since Liberation were mostly strong young men, badly needed to help agriculture recover from the disasters of the years of hardship. In Lixian county,  the senior yugu performer Cheng Dengyun’s oldest son (33) was a production-team chief, his second son (28) team accountant, his third son a strong worker, but from 1961 they all took up yugu and abandoned production.
Left: daoqing/yugu performers in Hengyang municipality, 1956.
Right: yugu, undated photo from Zhongguo quyi zhi, Hunan juan.
Yugu 渔鼓, related to daoqing 道情 and shadow-puppetry, is one of the most widespread genres of narrative-singing around Hunan and nearby provinces, using a distinctive drum made from a bamboo tube. The separate Anthology item on the genre introduces the early and later history of yugu, giving useful leads for the various regional styles.  But the 1964 document valuably supplements the largely official picture of yugu modernizing under the avuncular guidance of the Party. Online, besides more glossy official versions, you can find some excerpts from recent funerary performances, like this from Qidong county.
- Exorbitant charges. In a case from 1963, two shadow-puppeteers from a commune in Hengnan county performed an opera to redeem a vow; apart from a ticket price [??] of 6 yuan, they also demanded a dou of “holy rice” and 2 jin of oil; at the end they gave a commune cadre a statue of the deity Guanyin and demanded a further 2 yuan as a donation.
- Taking disciples, exploitative hiring practices—again showing the persistence of pre-revolutionary traditions.
- Harbouring bad elements and carrying out anti-revolutionary activities; examples are given of puppeteers performing anti-Communist propaganda.
For local religious life over the Maoist era I haven’t yet sought documents from the Bureau of Religious Affairs, or indeed the archives of the Public Security Bureau, but one might expect revealing results there too.
* * *
Having endured yet more traumas in the Cultural Revolution, such genres, mostly based on ritual practice, revived spectacularly after the collapse of the commune system in the late 1970s. But we can now see that the revival was not some miraculous atavistic re-imagining after three decades of silence: it took up a thread that had never been erased. Indeed, there was even a certain very limited activity through the Cultural Revolution decade. Equally, the wealth of research since the 1980s didn’t spring from a vacuum: it built on the brave work of scholars under Maoism.
Studies of expressive culture under Maoism are often narrowly based on central policy towards “the arts”. Candid documents like those discussed here reveal not only regional policy but—more interestingly—the real situation on the ground, even if they were seeking to “correct” it. Thus the Party refutes its own simplistic narrative that “feudal superstition” was abruptly suppressed after Liberation—a claim that is rarely challenged even by scholars outside China .
So the study of Maoism, expressive culture, and people’s lives should go hand in hand.
For more recent social issues in rural Hunan, see here.
 The material here is based on Jasper Becker, Hungry ghosts and Dikötter, Mao’s great famine, consulting the indexes under Hunan. The famine in some provinces, notably Henan, was considerably worse: I won’t attempt to summarize the abundant material here, but again it is described by Becker, Dikötter, et al. For refs. to Henan folk opera troupes begging during the famine, see Zhongguo quyi zhi, Henan juan, pp.735–40. For the great famines of Ukraine and China, see here.
 Zhongguo xiqu zhi 中国戏曲志 and Zhongguo quyi zhi 中国曲艺志; cf. pp.329–30 of my “Reading between the lines: reflections on the massive Anthology of folk music of the Chinese peoples”, Ethnomusicology 47.3 (2003). For a recent discussion of sources on Maoism, see Sebastian Veg (ed.), Popular memories of the Mao era: from critical debate to reassessing history (2019).
 Zhongguo quyi zhi, Hunan juan, pp.614–25.
 Zhongguo quyi zhi, Hunan juan, pp. 67–74; for its music, see pp.275–300, and Zhongguo quyi yinyue jicheng, Hunan juan.