Gender

PDI-P, the political party in Indonesia with the most Chinese parliamentarians and heads of local government held a virtual Lunar New Year party to usher in the Year of the Ox. Party members paid tribute to Ibu Megawati Sukarnoputri, general chairperson of the party and former Indonesian president. How did this party put itself forward as the strongest guardian of Chinese interests in Indonesia? Leo Suryadinata listens in.

A mischievous saying goes that there are no ugly women, only lazy women. The care one puts into one’s beauty regime determines the beauty standards she can attain. But in the days of ancient China, such effort went to extremes: young girls were forced to have their feet bound. After tremendous pain in pursuit of mignon dainty feet, they attained short yet ironically bulbous “golden lotuses”. Are such unreasonable demands of beauty foisted on women by men, or a shackle that women put on themselves? If it seems unimaginable that foot-binding continued in China for a thousand years, just think of the pain some go through in modern cosmetic surgery.

Nothing but Thirty, a Chinese television series that hit the sweet spot among a largely female audience last year, seeks to dispel stereotypes about women. Rather than having to fulfil all her obligations by 30, a woman is just embarking on her life’s adventure. How freeing, this thought. However, in a society trapped by deep-seated expectations of women as a wife and mother, such dramas provide but a moment’s respite from the perpetual stereotypes of being a woman in China.

They are well-educated and economically independent with broad interests — and they are not getting married. Why do women account for the majority of singles in China's big cities? What are their thoughts on marriage and love? Zaobao correspondent Chen Jing explores the world of single women in China.

The little-known Qian Shan Shili had the opportunity to travel in the days of upheaval at the end of the Qing dynasty and at the dawn of a new republic. She was the first woman to record her thoughts in two travelogues and felt strongly that China’s new education system paled in comparison with that of other countries such as Japan. She concluded that education should have the aim of building critical-thinking men and women rather than just nurturing a crop of scholars with exceptional talent. After all, she notes, without citizens, how can there be talents? And without citizens, there can certainly be no society. These are wise words, says cultural historian Cheng Pei-kai, that remain relevant even today.

For China to spread its culture abroad successfully, the China story needs to be modernised, says Wu Guo. Ancient Chinese history and literature may be too daunting, while mooncakes and fan dances may be too superficial. People want to know what the Chinese man on the street thinks about, and what his culture of today is. Contemporary cultural products such as idol dramas and pop groups may do the trick, but so would down-to-earth insight into the lives of Chinese people. Often, just a peek into the everyday is enough to know we’re all not so different after all.

Heroes in Harm's Way, a Chinese television series based on the Covid-19 pandemic, has drawn flak for inaccurate portrayals and gender discrimination. While the depiction of such a catastrophic event would have touched many a raw nerve in any case, the drama’s lack of finesse in telling China’s story has offended not only those outside China, but those within China as well, especially the young. Writ large, those running China’s inability to frame a credible narrative will only see them lose their cachet at home and abroad.

The fan economy is a huge business in China, driven mostly by young women in their 20s. But while these fans are willing to spend money on their idols, some chalk up mountains of debt to feed their passion. Given that the idols are endlessly trotted out on a conveyor belt and few escape the cookie cutter, how long can the fan economy last?

Hit Chinese television series Nothing but Thirty has struck a chord with scores of working women in China, says young academic Lorna Wei. Unlike one-dimensional portrayals of women in previous dramas, this one seeks to give women in China a voice as she copes with trials in work and in love. If this is art imitating life, it seems that Chinese society is becoming more like any other modern, in fact, westernised, society we see today. Only entrenched attitudes about their roles in society can keep women back as they seek a better future for themselves.