Eyes on China, Series 11.0
(2021 Series)
By
MG Paul E. Vallely, US Army (Ret),
Chairman of Stand Up America US Foundation and the China Team
December 2021
How CCP Infiltrated San Francisco’s Art Circle
“The communist specter made arrangements to corrupt both the East and the West, adopting different strategies in different countries. In the East, it committed ruthless slaughter and forced people to accept atheism. In the West, communism took an alternate route: It infiltrated society in covert form, coaxing people into abandoning their traditional faiths and moral values…
Traditional culture shows the path for humans to maintain their morality and gain salvation in the final epoch. But with traditional culture under attack and basic moral truths cast aside, the link between man and the divine has been severed. Man can no longer understand divine instruction, and evil reigns supreme, wreaking havoc in the human realm. When human morality drops below the basic standards required of human beings, the divine must reluctantly abandon humankind, as the devil leads man into the abyss of damnation.”
– from the book “How the Specter of Communism Is Ruling Our World”
The Big Bang from One Drama
Back in 1944, the Chinese Communist Party (CCP) started to crack down on the landlords to achieve its revolutionary goal of crushing the owning class. Mao declared that the class struggle between landlords and tenants was the fierce new conflict dominating the nation. In response, the “Chinese land-reform” was launched at the CCP’s revolutionary base, but the campaign encountered a difficult time to gain much support. The conferences held for condemning landlords often suffered low attendance. In the traditional Chinese society, landlords worked hard and owned more land, naturally they would hire some tenant peasants to help. Traditional Chinese civilians simply could not identify any class struggle in this common, traditional relationship.
How to arouse civilians’ revolutionary spirit? How to arouse their class struggle consciousness? This became an urgent challenge for the CCP back then. To push forward the revolution, a group of communist artists racked their brains and forged a Chinese opera “White-haired Girl”. In 1945, the opera premiered at Yan’an and won an unimaginable success among CCP officials. Soon this opera sent a big bang to the entire society.
The rousing revolutionary drama, claimed to be based on a true story, was in fact a complete twist of the true story. In real life, the young girl’s dad, a tenant peasant was a gambler. He was lazy and in debt. The kind and generous landlord lent a large amount of money to the girl’s dad, but the girl’s dad still lost it all in gambling. Feeling shamed, the girl’s dad committed suicide. The landlord adopted the young girl and treated her well. While the “White-haired Girl” was a local folklore, which had nothing to do with the young girl.
However, to meet the CCP’s revolutionary needs, the communist artists distorted the original story up-side-down and infused the local folklore into the drama. The plot went: the young girl’s dad – a tenant peasant was persecuted by a usurious landlord. No matter how hard the peasant worked, he still could not pay off the debt. The vicious landlord brutally killed the peasant in a debt collection and forcefully took away the young girl to be his concubine. The young girl, after becoming pregnant, ran away and lived miserably in a cave. Her hair turned white. Eventually, only when the CCP’s liberation army came, she was rescued by her former boyfriend, now a CCP soldier. After she returned to the village, she joined the outraged villagers and executed the evil landlord. At the end, the united peasants celebrated a big revolutionary success.
The drama effectively filled the audience with hatred and rage, almost effortlessly turned them into vigilant fighters against the landlords. It was reported that once one outraged soldier in the audience pulled out his gun, almost shot the landlord actor on stage to death. It was common that the aroused audience members stood up during the show, screaming at or throwing rocks at the landlord actor. Even Mao was said to be moved to tears.
Propelled by the show, the bloody, groundless land-reform took off. In the following decade, mass murder of landlords by tenants resulted in 2 to 3 million tragic causalities. And land, the private property of the landlords was “legitimately redistributed” to the peasants. Immensely benefited from the show, the CCP hailed, “Attending the condemning conferences 10 times is not as effective as watching the ‘White-haired Girl’ once.”
Within one show, people’s traditional concepts of landlord were drastically altered. “Landlord” has ever since become the synonym of ruthless, wicked exploiting class that must be mercilessly crushed by the proletariat under suppression. As the show continued to spread, the concept of exploiting class soon expanded to capitalists, small business owners, later scholars to match with the progress of revolution. The show paved the way for the CCP’s revolution by provoking the ordinary civilians to crush the owning class.
This popular red classic, later presented in ballet, movie, and other art forms, has deceived hundreds of millions of Chinese people generation by generation. Just about every Chinese could sing along with the beautiful melodies in the drama. In 2015, the revived version was premiered in Yan’an once again. Its timeless revolutionary theme, “The old society turned humans into ghosts, only the CCP turns the ghosts into humans” cannot serve the CCP better.
This is only one example of how the CCP exploited performing arts to replace the traditional Chinese culture and traditional values with the Communist culture boasting “deceit, hatred, and class struggle”. These communist fake dramas laid a foundation for the CCP to suppress and slaughter the owning class. In a few decades, the 5000-year-old of traditional Chinese culture was vigorously wiped out by the CCP.
CCP’s Global Control of Performing Arts Theaters
The goal of communism is to reform people’s minds and souls, provoke them to become revolutionary by abandoning their traditional faiths and moral values. After such mind transformation, humans are no longer qualified to return to heaven, they could only go to the abyss with the communist specter.
With vast experiences in mind manipulation, the CCP has identified performing arts as the optimal route to alter people’s minds. Throughout human history, performing arts are proven to have the magic power to win over audience’s mind and soul sensationally. The evil exploits it to perfection.
“Culture can change people’s thoughts in subtle way, it is the highest form of conquest. Only by further implementing the ‘Culture Going Global’ strategy, can we obtain favorable position in international competition and control the initiatives” – CCP’s media
Since the CCP joined the WTO in 2001, it quickly looted the global wealth through an unrestricted warfare, including trade war, cyber war, information war, IP war, press war, cultural war and many more. In less than 20 years, communist China rose to power while driving the entire free world into vast trade deficits. Once financially well fed, the CCP is more eager than ever to dominate the world by altering people’s minds and souls.
Today’s so-called traditional Chinese cultural shows staged by the CCP are sham Chinese culture on display. The spiritual element of reverence for heaven is swapped by the communist propaganda of glorifying the party and the leaders. When immersed in such shows, people’s minds become deviously assimilated to the hidden communist messages. These performing arts shows put audience members in dire dangers.
In December 2016, CCP’s Ministry of Culture issued “Belt and Road Agenda for Cultural Development”, laying out its plot to build cultural infiltration along with the economic “Belt and Road” initiative. Also, in 2016, the CCP launched “The Silk Road International League of Theatres”. By 2018, a total of 89 top-tier performing arts theaters in 34 countries, including America, Russia, Spain, France, Germany, etc. were recruited into the league. It does not take a genius to conceive that in the next step, the CCP will be exporting communist shows like “White-Haired Girl” to poison the minds of people around the globe.
The CCP claims in a 2016 report that, “the Silk Road International League of Theaters serves as a large multinational platform for performing arts, which aims to promote culture exchanges. It is estimated that the league of theaters will hold more than 30,000 performances annually, attracting more than 24 million views totally. It will also cooperate with 28 overseas China Cultural Centers to advance art and culture communication.” With more theaters joining the league in the following years, the actual numbers are much higher than these estimated in 2016.
Why San Francisco?
According to the 2012 census, San Francisco has the highest percentage (21%) of Chinese American population out of all American large cities – 630,000 Chinese Americans, only second to the Greater New York. However, the real number is believed to be much higher because a significant percentage of Chinese do not have legal immigration status. As the cultural, political, business, and financial center of Northern California, San Francisco also enjoys a combination of beautiful scenery and nearly perfect weather.
Since 1970s, San Francisco has been chosen to be the overseas headquarter by the Chinese Communist Party (CCP). Over the decades, the CCP has deeply infiltrated the city in all fronts that it has become a base camp for socialists/communists in America.
SF Symphony Became a CCP Target
For over a hundred of years, the classical performances at Davies Symphony Hall and San Francisco Opera House represent the high culture of the city. The audience members, including the upper class and the mainstream of the society, are the most influential group in the city. The CCP understands well that infiltrating this group would be the most effective as it shapes the culture of the city. If successful, the entire city will quickly follow.
Established in 1911, San Francisco (SF) Symphony is one of the leading symphony orchestras in the United States. Since 2001, SF Symphony has been working with the CCP to host the annual Chinese New Year Concert at Davies Symphony Hall. The Chinese Consulate in SF calls the concert “a hallmark of local Chinese New Year celebration” and has provided financial sponsorship since 2005.
Congresswoman Nancy Pelosi was often a VIP at such concerts. Other VIPs include local politicians such as the SF mayor, and well-known Chinese American figures such as Jerry Yang (the former CEO of Yahoo), Cecilia Chiang (whose son is the co-founder of P.F. Chang), and John Chen (CEO of Blackberry). Followed by the concert is a “glamorous” banquet tailored to the high society of San Francisco. The annual concert attracts about 2,700 audience. “Over 50% are Caucasians dressed in Chinese festive costumes”, wrote Chinese Consulate San Francisco.
Nancy Pelosi with San Francisco Symphony President Sato Fisher, Anita Lee (former SF mayor Ed Lee’s wife) at the imperial dinner after 2018 San Francisco Symphony’s Chinese New Year concert.
Communist Music at the Concert
Each year, the Chinese New Year Concert features red music that glorifies the CCP.
This includes “The Butterfly Lovers’ Violin Concerto“, also called “Liang and Zhu” – one of the most featured music pieces by CCP orchestras around the globe.
The music tells the story of young lady Zhu disguised herself as a boy to attend school, where she met Liang and became his best friend. Eventually Zhu revealed her identity and the two fell in love. But Zhu’s family had already arranged a marriage for her. It put the young couple into distress. Later, Liang was heartbroken and passed away. On her wedding day, Zhu walked to Liang’s tomb. The tomb opened, and Zhu threw herself in. Then the young lovers transformed into a pair of butterflies in the sky.
Although the music incorporated some beautiful ancient melodies from Chinese opera to draw in listeners, it is filled with immense anger, hatred, rebellion, struggle, and desperation. Under the communist rule, the tragic romance story was twisted into a condemnation on the old feudal ethics. Exploiting audience’s sympathy towards the young couple in love, the music incites audience’s hatred against traditional values. Naturally, audience would come to appreciate the “liberation and revolution” brought by the communists.
The Chinese New Year Concert also features other music pieces composed by CCP’s composers. For example, the 2014 concert played Good News from Beijing Arrived at a Village on the Border, a popular communist music piece composed in 1977, when “Gang of Four (including Mao’s wife)” were arrested at the end of the Cultural Revolution. The music depicted that Meng ethnic groups in the southwestern region of China became frantically happy upon hearing the news. The fact was that the CCP blamed the “Gang–of–Four” for the catastrophic Cultural Revolution while touting itself being “Forever Great, Forever Glorious, and Forever Correct”. Meanwhile, the CCP uses this piece of music to tout its sovereignty over the ethnic groups.
CCP’s Control of SF Theaters
For years, a Chinese couple named Gorretti and Lawrence Lui have been the top sponsors of the concert and dinner. Extremely active in the high society and art circle of San Francisco, the couple are the son and daughter-in-law of Lui Che Woo—a casino magnate in Macau. Lui Che Woo is also a member of CCP’s Standing Committee of the Chinese People’s Political Consultative Conference.
Gorretti (Chinese name 呂羅婉雯 ) and her husband Lawrence formed Lui
Foundation in 2005 to facilitate the cross-cultural exchange. Gorretti also founded Rose Pak Community Foundation in 2017 in memory of Pak – an ex-powerhouse and CCP’s head spy in San Francisco.
In 2013, Pak orchestrated Ed Lee’s first trip to China shortly after she made Lee the mayor of San Francisco. She took Ed Lee, Willie Brown and other SF city officials to Macao, Beijing, and Shanghai for a VIP trip. The delegation’s first stop was Lui Che Woo’s luxurious casino in Macau, where they met Lui in person for a welcome banquet.
Gorretti currently holds the position of vice president of Board of Governors for SF Symphony. Besides, she occupies one of the eleven seats on the prestigious Board of Trustees for SF War Memorial and Performing Arts Center. This board supervises the operation of the most prominent theaters in the city: SF War Memorial Opera House and SF Davies Symphony Hall.
CCP’s Musicians
Since 2005, Lang Lang, a CCP’s iconic cultural ambassador, has been closely partnering with SF Symphony in many performances. So did another CCP pianist Yuja Wang, often nicknamed “the female version of Lang Lang”.
Self-defined on Facebook as: “an egocentric, shameless prima donna”, Wang seems to be known for her night-club-like attire than her music. Los Angeles Times classical music critic Mark Swed wrote, “it was Yuja Wang’s orange dress for which Tuesday night is likely to be remembered”.
Wang Yuja at Carnegie Hall on Feb. 11, 2019 with Igudesman and Joo.
Wang was touted by the CCP as “a little piano Empress from heaven”. In 2015, the CCP offered Wang the high-profile title of “resident artist at the National Center for Performing Arts (in Beijing)”.
CCP’s Performances at SF Symphony Hall
As the residence company of SF Davies Symphony Hall, SF Symphony has the
privilege to invite CCP’s performing arts troupes to perform at this prestigious venue. As a result, CCP performances have been heavily promoted to the SF Symphony patrons and local media outlets, quietly converting the latter to CCP’s mouthpieces without its own knowledge.
On March 6, 2005, Lang Lang and the 120-member Chinese Philharmonic Orchestra (CPO) performed a sold-out show at SF Davies Symphony Hall. The night after, Chinese Consul General Peng hosted a sumptuous celebration reception where Peng commended, “your tour enhances the world’s understanding of China from the cultural and artistic aspects”. On July 16, 2006, the Beijing Acrobatic Troupe performed with the SF Symphony Orchestra at the Davis Concert Hall, making the first show of its kind.
SF Ballet in CCP’s Hands
SF Ballet – the oldest ballet company in the United States – has also fallen into the
CCP’s hands. This was largely enabled by Yuan Yuan Tan, a principal dancer with SF Ballet since 1997. Her 24-year-long tenure accounts for the longest in the company. In San Francisco, Yuan Yuan Tan’s giant pictures are almost ubiquitous: in the light pole banners featuring ballet, in the gigantic billboards next to the busy 101 highways as the spokesperson for GAP jeans, First Republic Bank; also, as the spokesperson for a famous bakery in Chinese supermarkets. The CCP has made Tan its PR queen in San Francisco.
Over the years, Tan has been touted by CCP as “the national pride”, “Goddess of Ballet”. In 2013, Tan was appointed by CCP’s Ministry of Culture as a consul for “National Research Center for Intercultural Communication of Arts”, a think-tank based in Beijing University. The center recruits’ scholars and artists like Tan to strategize how to push CCP shows globally.
In 2015, over 10 CCP organizations presented Tan “Lifelong Achievement Award for World’s Outstanding Chinese”. Chinese Consulate San Francisco appointed Tan as the Cultural Ambassador for various CCP events. In 2019, Tan was a head figure at “Shanghai Cultural Week” event in San Francisco. In 2014 and 2015, Tan was appointed by the CCP as the Cultural Ambassador for the art festival “Crossing the Pacific Ocean”.
On May 7, 2014, Chinese Consulate San Francisco held a press conference for Tan’s new book, “Ballet and I” at SF Asian Art Museum. The attendees included the Chinese Consul General, and Florence Fong—head of Chinese for Peaceful Unification in Northern California (a communist front group with an agenda of antiTaiwan independence).
On May 7, 2014, Tan Yuan Yuan (third from right) with Chinese Consul General Yuan Nan Sheng (fourth from right), Florence Fong, (fifth from right), head of Chinese for Peaceful Unification-Northern
California, at the press conference for Tan’s new book. (Picture: Chinese Consulate San Francisco website).
SF Opera Goes Hand-in-hand with CCP
On January 12 and 13, 2008, CCP’s western-style opera “Farewell My Concubine” premiered at the San Francisco War Memorial Opera House. Then SF Mayor Gavin Newsom sent congratulations and announced Jan 11th as the “Farewell My Concubine Day in San Francisco”. The show, telling a classic Chinese story in the western form visited America for the first time. Chinese Consul San Francisco Gao proudly announced it as a successful “Ice-breaking Journey”.
Relying on the audience base of San Francisco Opera, the show was said to be a great success. It was also heavily promoted by local media. Joshua Kosman, the music critic of the San Francisco Chronicle even praised it as comparable to Puccini’s Opera “Turandot”. Out of endless historical stories from China, there are many legends of heroes, poets, writers, emperors, etc, but the CCP intentionally chose this tragic love story in which both the concubine and the General committed suicides after losing the battle to serve its eternal theme of “old society turning people into ghosts”.
In the fall of 2008, the CCP’s western-style opera “The Bonesetter’s Daughter” was premiered at San Francisco Opera House. The production of this dark opera was commissioned by San Francisco Opera. Again, the theme was about the interactions between ghost and human in old China. Exploiting the promotion channel of San Francisco Opera, the opera was sold out in 7 consecutive shows.
In the fall of 2016, another CCP’s western-style opera “Dream of Red Chamber”, costing a whopping $3.5 million budget was premiered at San Francisco Opera House, but this time the CCP declared: the show is produced by San Francisco Opera, which was commissioned by a small Chinese foundation in Minnesota. Again, the tragic love story in CCP’s interpretation was about the evil old society turning humans into ghosts. Exploiting the promotion channel of San Francisco Opera, the opera was sold out in 4 consecutive shows.
Lessons Learned
Although the 5000-year-old traditional Chinese culture and the much younger American culture are different in forms, the two share many similarities in essence. Both are based on faith; both venerate the same universal values. Now the CCP has eradicated the traditional Chinese culture in China, the American culture is its next standing target.
Over the years, the CCP has exploited “cultural exchange” to infiltrate high-profile American performing arts companies in San Francisco, in turn poison its high-profile art patrons. The CCP also put the top-tier performing arts theaters in San Francisco as well as around the globe under its control for its further deeper revolution.
What shall we learn from the tragic fall of the city of San Francisco? Will the rest of the American cities follow San Francisco? To safeguard and preserve American culture, every city in the U.S. shall shut down the CCP Cultural Exchange Centers, reject the CCP cultural ambassadors, let the performing arts theaters free of CCP’s control, and say “No” to CCP’s red shows. Please visit the series published by ChinaScope.org for more in-depth analysis:
1. The CCP’s Cultural War (video included) http://chinascope.org/archives/18438 2. Communist China’s Cultural Invasion of the World http://chinascope.org/archives/18295
Released by: Stand Up America US Foundation
Website: www.standupamericaus.org
Contact: suaus1961@gmail.com
