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competitions, have imposed a ban on discussing themes related to death, sorrow, loneliness, decadence, and supernatural beliefs. Recent examples illustrate this phenomenon, such as when the feminist song "母系社会" 'matriarchy' were performed with drastically altered lyrics, replacing potentially sensitive words with more innocuous ones, such as changing"着床" to "擦窗" 'Going Bed Turns into Window
Cleaning' to remove any counter narratives. These changes not only impact artistic freedom but also generate controversy and debate among both artists and audiences, as they significantly deviate from the original meaning of the songs. It is a reflection of the broader control that the Chinese authorities exert over cultural and creative expressions, limiting freedom and creativity while reinforcing a sanitized and government-approved narrative.
280:, considered hypocritical and propagandistic by fans. GAI's pre-mainstream music and image, exemplified in songs such as 2015's 'Gangsta', was rapped in Sichuan dialect that reflected the authentic reality of his troubled experiences as a poor, marginalized migrant growing up in Neijiang and depicts drug use, prostitution, gambling, gang warfare, police brutality, human trafficking, and in the intense music video shows the bodies of several tattooed men, including GAI, smoking. In 2016–17, GAI wrote a series of songs that softened his earlier controversy whilst maintaining intensity and authenticity, and more clearly highlighted his moral values of
132:, avoiding politically sensitive topics and themes in their music to avoid government reprisals. Additionally, there were significant crackdowns on live performances, with artists being forced to gain licenses to perform live and go through an authorisation process which included presenting their lyrics to authorities such as the Bureau of Culture. Multiple artists had concerts and tours canceled arbitrarily, and the Chinese rock scene was particularly targeted because of its allegedly rebellious nature and subversive messaging through artists' long hair, musical lyrics, and performances.
199:. Cui visited the student protestors at Tiananmen Square, giving a concert to support the hunger strikes fifteen days before the government crackdown. The song has become highly politicized because of its association with the protests, widely interpreted as expressing the younger generation's anger over their lack of freedom and rights. However, Cui has denied that the song is about the government, calling it "just a love song" though 'Nothing to My Name' has kept its controversial status in the eyes of the Chinese government. In 2014,
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commemorations of the 1989 Tiananmen Square incident, as well as a song titled "人民不需要自由" (The People Don't Need
Freedom), satirizing the strict governmental control and a repressed society. As a result, Zhi's music works and personal pages related to him have disappeared from online music media. On April 3, 2019, the Sichuan Provincial Department of Culture and Tourism announced that they halted an artist's plan to conduct a series of concert tour performances in
161:, there has been a surge in increasingly rigorous censorship measures. The 'Xi Jinping Era' has brought about a pronounced crackdown on music that challenges the Communist Party's authority, criticizes government policies, or addresses sensitive political issues, resulting in significant consequences for artists and songs that diverge from the government's prescribed guidelines. Additionally, there is a renewed emphasis on the promotion of
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endured protracted governmental regulation and surveillance. This oversight transcends the mere confinement of content and encompasses a myriad of determinants, such as lyrical content, artistic expression, and the very appearance of musicians themselves. Chinese music censorship has evolved over the years, with different eras marked by varying levels of control, specific ideologies and policies, as well as the advancement in technology.
25:
276:, the other co-winner of The Rap of China in 2017, survived the hip-hop censorship by "sacrificing artistic independence and subjecting to public acceptability and political correctness," releasing three patriotic songs after the ban, such as 2019's 'Long! Live! China!', which holds a 3.8/10 rating on China's major review-aggregation website,
270:(SARFT) declared the authority's intention to prohibit tattooed artists and hip-hop culture on television broadcasting. Although hip-hop has continued as a significant cultural force in China, it is controlled by Xi's cultural tone of "decency" that "reflect Chinese spirit, and guide the general public in the positive direction".
95:(PRC), the Chinese government and musical artists were consistently in line with one another; with the government specifically calling for the production of socialist propaganda and artists responding by creating music praising the revolutionary spirit of the time period and professing their hopes for the future. During the
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of online music licensing and distribution also became more pronounced, with songs required to receive pre-approval before being made publicly accessible. While the government retained control over online content, this period represented a phase of relative openness within an evolving cultural and technological landscape.
99:(1966–1976), practically all forms of music deemed not communist and upholding the PRC was banned in efforts to purge capitalistic messaging, with some artists even facing imprisonment and violence. The legacy of censorship and government control from this particular period have influenced the music industry ever since.
310:. In contrast, the music video for GAI's 'The Great Wall' shows him wearing sportswear brand Li-Ning with 'China' printed on the front of the jacket, his tattoos concealed, his mannerisms more restrained, standing on top of the Great Wall of China with the lyrics distinctly praising a nationalistic, patriotic outlook.
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in 1990. He and his producers were restrained by music publishing laws in the 1980s, bypassing them by issuing Cui's cassettes through companies in Taiwan and Hong Kong. This helped him to circumvent political censorship, but was used to a lesser extent after independent record labels were allowed to
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After this sudden rise to the mainstream, hip-hop faced a ban in China, when the co-winner of The Rap of China in 2017, PGOne, became embroiled in an affair scandal, leading to public discussion of lyrics from his 2015 song 'Christmas Eve' that were deemed to be misogynistic and encouraging of drug
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due to 'improper behavior', which indirectly referred to Lizhi, and it was speculated the cancellation is in fear of any commentary for the approaching 30th anniversary of the
Tiananmen massacre. His official accounts on Chinese social media platforms WeChat and Weibo, under the name "南京李志" (Li Zhi
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underscored the government's efforts to assert control in the digital sphere. The emergence of the "Great
Firewall of China" during this era imposed restrictions on access to foreign websites and services, with implications for the availability of music and music streaming platforms. The regulation
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is an independent folk singer whose music has delved into sensitive topics within mainland China, resulting in censorship. His works often include deep reflection on reality and major political movevents. This includes songs like "广场" (Square) and "1990年的春天" (Spring of 1990), which can be seen as
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in 1981, a series of economic/market reforms were pursued, with the aim of 'opening up' China and liberalizing. With the government more focused on economic policymaking than cultural production, popular music was able to diversify away from solely socialist messaging and became more widespread
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As the influence of digital platforms and the internet has grown, the
Chinese government has encountered new challenges in regulating music content and the methods of censorship have shifted within the increasingly interconnected world. During this era, there emerged a noteworthy shift towards
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Chinese music censorship constitutes a multifaceted and enduring phenomenon that has wielded a substantial influence in molding the cultural milieu of China. Spanning across a spectrum of musical genres, from time-honored folk tunes to contemporary pop and rock, the realm of music in China has
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and removal, primarily targeting material considered politically sensitive, explicit, or subversive. Such measures reflected the government's evolving strategies to adapt to the digital age while maintaining oversight of cultural expression. A key development was the introduction of real-name
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In China's entertainment industry, there is a growing phenomenon of altering music lyrics in TV shows and live performances. This trend is driven by a set of unspoken rules that seek to promote a more positive and censor-friendly atmosphere. Chinese TV shows, particularly variety and singing
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has existed as an underground subculture in China since the 1980s, and the 2000s onwards saw the integration of 'soft' hip hop sounds and aesthetics in popular music, including propaganda promoting Xi
Jinping's political doctrines in a 2016 animation published by
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culture into the commercial mainstream of China, a broadly rebellious culture that the
Chinese Ministry of Culture blacklisted dozens of songs from in 2015 for content that they claimed would encourage obscenity, violent crime and immorality.
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amongst the masses. Much of the music in China during the 1980s originated in Hong Kong and Taiwan through the smuggling and spread of cassettes, and this music was then reproduced by mainland
Chinese artists. During this time period the
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registration requirements on online platforms in 2012, which mandated that users register with their actual identities. This provided authorities with the means to monitor users' activity, including the sharing of music. This focus on
128:, the Chinese government clamped down on music that had any connection to the pro-democracy movement. Pro-democracy anthems were strictly banned and multiple artists faced state pressure and prosecution. Many artists engaged in
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After the
Tiananmen Square incident, it has been claimed that Cui was banned from performing in Beijing from 1989 to 2007 but was still allowed to make a select few performances, such as an organized tour to promote the
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and nationalist sentiments within music, underscoring the extent of ideological conformity expected during this era. The emphasis is specifically on themes of patriotism, social harmony, and adherence to party ideology.
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207:. Cui's manager, You You, announced that Cui had quit the show because he did not want to sing another song. Cui subsequently received praise for refusing to comply with China's censorship measures.
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of
Nanjing), have also been subject to censorship. Music websites in mainland China, such as QQ Music, NetEase Cloud Music, and Douban Albums, have removed Li Zhi's works and pages.
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acknowledging the necessity of digital technology, resulting in a discernible, though relative, relaxation of control measures in comparison to the immediately post-Tiananmen era.
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The initial rise of digital music services in the 1990s prompted the government to implement measures aimed at monitoring and controlling online music content. This included
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620:"Bed Turns into Window Cleaning: 'Mother's Society' Undergoes Lyric Changes in Chinese Variety Show". United Daily News. 19 October 2020.
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487:'China's Music Industries: Top Down in the Bottom Up Age', in Business Innovation and Disruption in the Music Industry
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390:"Popular music censorship under Chinese societies: selected Canto-pop case studies in China, Hong Kong and Singapore"
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refused Cui Jian permission to sing 'Nothing to My Name' on the state broadcaster's annual gala show celebrating the
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548:"Hip-Hopping Over the Great Firewall of China: Authenticity, Language and Race in the Global Hip Hop Nation"
754:"Chinese Singer Li Zhi, Who Wrote Songs Commemorating June 4th, Gets Pulled Down from All Online Platforms"
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655:"Godfather' of China rock Cui Jian performs popular Tiananmen movement songs at low-key Guangzhou concert"
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that states a Knowledge (XXG) editor's personal feelings or presents an original argument about a topic.
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448:"Music, Memory, and Nostalgia: Collective Memories of Cultural Revolution Songs in Contemporary China"
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874:"Rapper GAI, Style and Hegemony in China: Examining a Transformation from Jianghu Liu to Xinhua Liu'"
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784:"From underground to mainstream and then what? Empowerment and censorship in China's hip-hop music"
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scene flourished for a short period, as well as love songs sung by pop stars. Following the 1989
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306:)(self-discipline to fulfill family and national duties), rooted in Chinese literary and
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673:"Cui Jian: Extolling Idealism Yet Advocating for Freedom Through Rock Music in China"
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use. Following the scandals, various national institutions denounced PGOne, and the
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352:"Navigating and Circumventing (Self)censorship in the Chinese Music Scene"
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525:"Real-name registration rules and the fading digital anonymity in China"
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703:"Chinese rock star Cui Jian quits new year show over Tiananmen song"
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Public Pledge on Self-Discipline for the Chinese Internet Industry
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567:""Do you Freestyle?". The Roots of Censorship in Chinese Hip-hop"
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837:"Real and Hypocrisy: The "Moral Turn" in Chinese Hip Hop Music"
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1977-1995: Deng Xiaoping & open reform to Tiananmen Square
18:
732:"Singer Li Zhi Faces Ban for 'Misbehavior' as June 4th Nears"
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1949-1976: Formation of the PRC & the Cultural Revolution
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personal reflection, personal essay, or argumentative essay
510:"Silence is golden: China tightens screws on online music"
632:"Taiwanese Singer Outraged by China Changing Song Lyrics"
195:' (一无所有) has been called the unofficial anthem for the
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1995-Present: Rise of the internet and Xi Jinping era
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State Administration of Radio, Film, and Television
157:Under the more recent leadership of President
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111:in 1976 and the replacement of his successor
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878:International Communication Research Journal
677:International Communication Research Journal
734:. Voice of America. APN News. 14 April 2019
1246:Silenced: China's Great Wall of Censorship
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65:Learn how and when to remove this message
955:Burning of books and burying of scholars
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1262:Party media takes the party's last name
422:The Oxford Handbook of Music Censorship
394:Asian Education and Development Studies
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788:South-North Cultural and Media Studies
599:"The current clear sky is a dirty one"
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601:. Civil Rights & Livelihood Watch
512:. NBC News. Reuters. 9 November 2015.
425:. Oxford Academic. pp. 342–271.
170:Examples of music censorship in China
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756:. Central News Agency. 12 April 2019
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237:GAI, PGOne, & Chinese hip-hop
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1159:Television programme censorship
1120:Restrictions on geographic data
782:Luo, Mengyu (19 October 2020).
368:10.4000/chinaperspectives.10107
91:Following the formation of the
989:Censorship of displaying blood
835:Shimin, Zhang (27 July 2023).
653:Lai, Catherine (6 June 2018).
584:10.4000/chinaperspectives.7888
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197:1989 Tiananmen Square protests
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1016:Censorship of Winnie-the-Pooh
800:10.1080/02560046.2020.1830141
849:10.1007/978-3-031-21955-9_14
350:Amar, Nathan (1 June 2020).
446:Bryant, Lei Ouyang (2005).
163:traditional Chinese culture
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634:. Taiwan News. 5 July 2020
216:exist from the mid-1990s.
93:People's Republic of China
1058:Internet real-name system
490:. Edward Elgar Publishing
126:Tiananmen Square protests
16:Music Censorship in China
1072:List of blocked websites
529:Washington International
388:Man, Ivy (August 2020).
201:China Central Television
1208:Censorship in Hong Kong
657:. Hong Kong Free Press.
1094:Illegal flower tribute
1044:Green Dam Youth Escort
962:List of censored books
419:Yang, Hon-Lun (2018).
45:by rewriting it in an
1051:Golden Shield Project
565:Amar, Nathan (2018).
1231:Document Number Nine
996:List of banned films
969:Literary inquisition
872:Zhaoxi, Liu (2019).
841:Global Hiphopography
552:Bard Digital Commons
546:Maino, M.F. (2021).
484:Morrow, Guy (2016).
1290:Censorship of music
1285:Censorship in China
1007:Internet censorship
931:Censorship in China
320:Censorship in China
249:. In 2017 the show
175:Entertainment shows
151:online surveillance
107:After the death of
97:Cultural Revolution
1104:Wikimedia projects
571:China Perspectives
523:Lee, J.A. (2015).
356:China Perspectives
247:Xinhua News Agency
193:Nothing to My Name
47:encyclopedic style
34:is written like a
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1138:Censorship abroad
858:978-3-031-21954-2
709:. 18 January 2014
432:978-0-19-973316-3
308:Confucian culture
146:content filtering
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55:November 2023
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32:This article
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1254:The Three Ts
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1238:Naming taboo
1189:
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1037:Great Cannon
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362:(2): 25–33.
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122:Chinese rock
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938:By industry
888:15 November
843:: 337–364.
813:15 November
794:(6): 1–12.
760:15 November
738:15 November
713:15 November
687:15 November
638:15 November
605:15 November
494:15 November
469:15 November
399:15 November
373:15 November
213:Asian games
113:Hua Guofeng
1279:Categories
1023:Euphemisms
326:References
159:Xi Jinping
109:Mao Zedong
1086:Dragonfly
884:(2): 2–16
808:226346662
683:(1): 3–20
464:199540772
191:'s song '
1215:Internet
1192:incident
460:ProQuest
314:See also
189:Cui Jian
184:Cui Jian
82:Timeline
1180:Related
300:Chinese
288:Chinese
283:jianghu
242:Hip-hop
230:Sichuan
41:Please
1130:Others
1079:Google
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302::
296:jiaguo
290::
278:Douban
225:Li Zhi
220:Li Zhi
1188:2013
804:S2CID
255:iQiyi
115:with
890:2023
853:ISBN
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762:2023
740:2023
715:2023
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607:2023
535:(1).
496:2023
471:2023
427:ISBN
401:2023
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360:2020
845:doi
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579:doi
364:doi
274:GAI
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334:^
304:家国
292:江湖
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