PREMIUM NEWSLETTER | ISSUE #38

Dear Reader,

October 1st marked the 75th anniversary of the founding of the People’s Republic of China. Flags, hearts, balloons—National Day celebrations turned Chinese social media red.

Among the key players in leading the propaganda around National Day was People’s Daily, the official newspaper of the Communist Party of China. To commemorate the occasion, People’s Daily published a column titled “Today’s China, Tomorrow’s China” (今天的中国，明天的中国)¹, outlining a clear vision for the future and emphasizing China’s rise under the Party’s leadership.

The article highlighted how hard work and perseverance are crucial to achieving the ‘China Dream,’ with national unity being the driving force behind the country’s continued progress. It also stressed the pivotal role of China’s youth in shaping the future of the nation.

The article was accompanied by four posters, each conveying a specific message:

“Today’s China is a China where dreams are continuously realized” (今天的中国是梦想接连实现的中国)
“Today’s China is a China full of vibrancy and vitality” (今天的中国是充满生机活力的中国)
“Today’s China is a China that carries on the national spirit” (今天的中国是赓续民族精神的中国)
“Today’s China is a China closely connected to the world” (今天的中国是紧密联系世界的中国)

A related hashtag, “75th Anniversary of the Founding of the People’s Republic of China” (#新中国成立75周年#), received over 590 million views on Weibo.

But People’s Daily also put out a much simpler message, posting the hashtag: “I Love You, China” (#我爱你中国#).

This hashtag was accompanied by an online poster featuring the Chinese characters for “China.” The characters in the picture are shaped by various symbols representing both traditional and modern China, from lanterns and Tiananmen to rockets and railways. That post was shared over six million times.

The immense popularity of the poster and the “I Love You China” hashtag page, initiated by People’s Daily and garnering over eight billion views through the times, highlights the strength of Party-led propaganda in the social media era.

 
A Major Shift
 

A few days ago, De Balie, a cultural venue in Amsterdam, hosted an event focused on how Chinese state propaganda has evolved, coinciding with the 75th anniversary of the People’s Republic of China. As a participant in the discussion, I’ve recently been reflecting on the nature of Chinese propaganda in the digital age.

Propaganda has always been a key element of the Party’s strategy—not just for the past 75 years, but for over a century. Since the founding of the Central Propaganda Department in 1924, three years after the establishment of the Communist Party, propaganda has played a central role in shaping official narratives. China’s propaganda system exerts significant influence over nearly every major medium involved in disseminating information within the country, from news outlets and educational institutions to cultural organizations, artistic circles, and literary institutions.²

China’s rapid digitalization and the rise of social media posed significant challenges for officials in disseminating propaganda, particularly in the early 2010s when there was an explosion of self-media, app culture, and intense celebrity idolization. Amid this cacophony of new media channels, Party propaganda was increasingly overlooked as people’s attention shifted to what they found more engaging, such as movie stars and other celebrities representing new, exciting lifestyles.³

This was not the first ‘disruptive force’ the Party Propaganda Department had to confront. (Side note: Chinese officials, aware of the negative connotations of ‘propaganda’ in English—though it’s a neutral term in Chinese, 宣传—later changed its English name to the ‘Publicity Department.’)

As Stefan Landsberger notes in Chinese Propaganda Posters,⁴ the Party’s well-established system for propaganda and political education faced similar challenges in the 1980s following the Open Door policy. This policy significantly transformed Chinese society, bringing a wave of foreign cultural and lifestyle influences and accelerating the spread of electronic media.

Although the spread of non-official media and information may have disrupted the central messaging dynamics of the Propaganda Department in the 1980s, the growing presence of radio and television sets in people’s homes also allowed Party leaders to shift their focus from propaganda posters to new media as a means of communicating political messages.⁵

A similar shift has occurred over the past seven to eight years when it comes to social media. Initially, propaganda authorities struggled to convey official messages on Weibo and other emerging digital platforms, but in 2017, China’s propaganda system saw a pivotal change in its approach to domestic social media, particularly on Weibo.

Instead of trying to pull young people into traditional Party narratives, it began weaving propaganda directly the fabric of social media itself —blending politics seamlessly into the digital content young audiences were already engaging with.

No three-and-a-half-hour speech, but a three-and-a-half minute video. In 2017, Chinese state media explained China’s new strategies through catchy rap music and trendy graphics. Read more.

2017 was a pivotal year for Chinese propaganda with three major events: the One Belt One Road (OBOR) Summit, the 19th Party Congress, and the APEC Summit. For each occasion, publicity authorities launched distinctive, high-profile campaigns.

The OBOR Summit featured several high-production videos with catchy tunes, often starring foreigners (though some found them awkward). The 19th Party Congress saw a flood of new propaganda videos and initiatives, including a clapping game produced by Tencent that allowed users to applaud Xi Jinping’s speech. Meanwhile, the APEC Summit videos saw a manga-style version of Xi Jinping, portraying him as lovable and approachable.

 
Hashtagification of Propaganda
 

Propaganda departments in China have adapted various strategies over the past few years to make official Party narratives more appealing by adjusting to the fast-paced, fleeting, and trendy nature of China’s social media environment. I’d call this the ‘hashtagification’ of Chinese propaganda—turning political messaging into viral trends by embedding it in hashtags and social media content. These are essentially hashtag-driven narratives that netizens can easily engage with and share.

Within this movement, I see six major strategies of digital propaganda emerging on Weibo and other social apps, such as Douyin, from 2017 to 2024.

📌 1. Old Message, New Media: Revival of Classic Propaganda

The types of posts that People’s Daily shares around National Day and other celebrations often echo classic nationalist messages about unity and national pride. This is part of a broader strategy within China’s social media propaganda, focusing on strong, simple messages that, at their core, are not much different from the political narratives promoted in previous decades. However, these messages are now disseminated through modern channels, using more sophisticated techniques and production methods. These can include online posters, as well as music or high-quality videos (example).

📌 2. Double Agenda: Foreign-Facing Propaganda with Domestic Goal

Although there’s traditionally been a clear distinction between domestic propaganda and waixuan (“external propaganda”), the past few years have seen the rise of a new kind of propaganda. It appears to target an international audience but is actually aimed at bolstering domestic support and reinforcing a positive image of China. Assertive or aggressive videos and posts, supposedly directed at foreign viewers, are often used to stir national pride at home. A good example of this is the Xinhua video series featuring Young Lady Guoshe (国社小姐姐), whose real name is Wang Dier (王迪迩), an anchor for Xinhua who previously worked for CCTV. If you’re unsure what this looks like, check the full clip here.

📌 3. Grassroots ‘Propaganda’ in Official Communication

Over the past few years, particularly during the Covid period, official channels began repurposing satirical online artworks created by independent artists or popular nationalistic influencers as a form of national propaganda. Much of this art was produced by Chinese cartoonists and artists, mocking Western hypocrisy and political leaders. These pieces were then retweeted and widely shared by official Chinese channels, amplifying domestic support and fueling anti-Western sentiment. You can read more about this trend here.

‘Investigate Thoroughly! Except Here’ (‘彻查！除了这儿’) satirical illustration by artist 半桶老阿汤 / Half Can of Old Soup in response to US calls for investigation into the origins of Covid in China while ignoring a possible link with Fort Detrick. This post was shared by the Communist Youth League on social media.

📌 4. Tech-Driven Party Messages

The use of advanced technologies such as artificial intelligence, virtual reality, and gamification by Chinese state media serves a dual purpose: reinforcing the Party’s messaging while simultaneously showcasing China’s digital innovation. By integrating technology with propaganda, the Party’s message becomes more engaging and interactive, while also projecting China as a leading tech power. For instance, in recent years, the annual CCTV New Year’s Gala has become a platform to display China’s cutting-edge digital technologies on stage. Online, tech and propaganda are frequently intertwined, such as in the aforementioned clapping game by Tencent. Other examples include virtual newsreaders for state media and the ‘Study Xi app’ (Xuexi Qiangguo), which allows users to earn points for engaging with official Party content. You can read more about these innovations here and here.

📌 5. Pop Culture Propaganda

By ‘Pop Culture Propaganda,’ I refer to the blending of propaganda with pop culture in various ways. One example is the use of Chinese celebrities to promote official Party messages, such as the 2017 campaign for China’s New Era (hashtag: ‘Give A Shout-Out to the New Era‘) or the Social Credit song launched by the Communist Youth League. Another form of this propaganda involves colorful and cute animations and cartoons that primarily appeal to younger generations. These often incorporate Japanese influences, like anime and manga, which are especially popular among Chinese youth, making propaganda more accessible and attractive. Currently, many manga-themed propaganda-style images are circulating, blurring the lines between fan-made content and official productions (as mentioned in point 3!).

Official or not? Official channels sometimes share non-official digital art on their pages, while everyday netizens often post official “pop propaganda” on their own accounts (Images via Weibo).

📌 6. Guerrilla Propaganda: Coordinated, Multi-Front Engagement Across Media & Influencers

A final technique I’ve observed on Chinese social media since 2016-2017 is topic-centered propaganda that is spread simultaneously across multiple platforms. In these campaigns, social media, local authorities, businesses, and influencers collaborate to create a coordinated wave of messaging. A notable example is the 2021 Xinjiang cotton campaign, which followed H&M and the Better Cotton Initiative’s boycott of Xinjiang cotton over alleged human rights abuses. In response, a massive pro-Xinjiang cotton campaign erupted on Weibo, with state media, Baidu, e-commerce platforms, and celebrities uniting to cancel H&M and support Xinjiang-sourced cotton. The campaign was highly effective, with the hashtag “Wo Zhichi Xinjiang Mianhua” (“I Support Xinjiang Cotton” #我支持新疆棉花#) receiving over 8 billion views on Weibo—comparable to the “I Love China” hashtag.

Propaganda posters by People’s Daily at the time of the Xinjiang cotton controversy. The posters say “Xinjiang Mianhua” (Xinjiang cotton) in a similar font to the H&M logo, the “H” and “M” within ‘mianhua‘ being identical to the H&M letters.

What’s particularly interesting about propaganda in China’s social media era is that, unlike previous periods, it’s no longer a one-way street from billboard to pedestrian or from TV screen to viewer. Social media is inherently interactive, and despite the overwhelming presence of official accounts on platforms like Weibo, WeChat, and Douyin, there are still over a billion individual social media users in China who can choose to scroll away, mute, or ignore these messages.

While the line between state media and other accounts is increasingly blurred, state propaganda continues to compete for attention in a dynamic and vibrant online culture.

 
Stefan Landsberger – In Memoriam
 

There is so much more to say about all of this, and it only highlights how multi-faceted and complex the topic of propaganda in China truly is.

No one understood this better than sinologist Prof. Dr. Stefan Landsberger. I was shocked and deeply saddened to hear of his sudden passing this week. Coincidentally, I received the news while working on this newsletter, with his beautiful Chinese Propaganda Posters book open on my lap.

If you’re not familiar with his name, you might have come across his work if you’ve ever read anything about Chinese propaganda. Landsberger was a leading authority on the subject, having spent decades—since the late 1970s—collecting an extensive array of posters and conducting thorough research in the field. His collection grew to become one of the largest private collections of Chinese propaganda posters in the world.

Landsberger was an Associate Professor of Contemporary Chinese History and Society at Leiden University. In that role, he also taught me Chinese Modern History when I was an undergraduate there. He was a dedicated teacher—often critical, which made him intimidating to some students—but deeply appreciated by most for his brutal honesty and his immense passion for Chinese history and modern Sinology.

One memory from 2018 stands out. I was in China as a post-graduate student and took a taxi on a cold and rainy January night in Beijing. During the ride, I struck up a conversation with the driver, who asked me where I was from. When I told him I was Dutch, he proudly shared that he had a Dutch friend—one of his dearest, he said, whom he’d known since the early 1980s. That intrigued me, as I’d never heard anything like that from a Beijing taxi driver before. As we continued talking, he mentioned that his friend was a teacher and then showed me a photo on his phone of them together. I was surprised to see that the man in the picture, smiling warmly beside the taxi driver, was none other than my own teacher Stefan Landsberger.

In a city of 21 million people, I had somehow hailed a cab driven by one of Landsberger’s oldest friends in the city, whom he had known since he was a student in Beijing. I shared this story with Dr. Landsberger later through WeChat—it made him laugh. This chance encounter left a lasting impression on me, not just because of the coincidence, but because it spoke volumes about Landsberger’s enduring love for China and his ability to cultivate deep, lasting friendships. It showed his loyalty, not just to his work and research but to the people and connections he built over decades.

Landsberger will be greatly missed. His contributions to the growing body of work on Chinese propaganda are invaluable. This ever-evolving phenomenon can only be fully understood by examining both its current trends and its historical roots—and Landsberger’s work will forever be foundational in that effort, helping to better understand “Today’s China, Tomorrow’s China.”

My thoughts are with his family and friends during this difficult time.

Best,
Manya Koetse
(@manyapan)

¹ Ren Ping, “今天的中国，明天的中国” [Today’s China, Tomorrow’s China], People’s Daily, September 29, 2024, https://weibo.com/ttarticle/p/show?id=2309405083853533610297
² David Shambaugh, “China’s Propaganda System: Institutions, Processes and Efficacy,” The China Journal 57 (2007):27-28.
³ See Willy Lam quoted in Yi-Ling Liu, “Chinese Propaganda Faces Stiff Competition from Celebrities,” AP News, October 23, 2017, https://apnews.com/article/1616c60ab01d43caae024d34cb98d532 (accessed October 12, 2024).
⁴ Stefan Landsberger, Chinese Propaganda Posters: From Revolution to Modernization (Amsterdam: The Pepin Press, 2001): 11.
⁵ Landsberger, Chinese Propaganda Posters, 15.

PS: If you’re a loyal reader of Weibo Watch, you might have noticed I’ve been trying out some changes in the newsletters lately to deliver more frequent updates while balancing things on the site. Don’t worry if this edition is missing the hot topics section—it’s not going anywhere! But if there’s anything you’d love to see in the newsletters moving forward, please let me know. Your feedback really helps with planning future editions.

What’s New

Golden Week | China celebrated its National Day Holiday earlier this month. This week-long holiday, also known as the Golden Week, is a popular time for trips, travel, and sightseeing. On Chinese social media, it has become somewhat of a tradition to post about just how busy it is in China’s various sightseeing spots. This is often done by using hashtags including “人人人人[place]人人人人.”

Being Watched | Could it be that someone is watching you while you think you’re all alone in your private hotel room? Without realizing it, some guesthouses or hotels may have hidden cameras secretly recording their guests. This issue has long been a source of concern in China and has recently become a hot topic again. The Chinese Douyin and Weibo blogger @ShadowsDontLie (@影子不会说谎), an ‘anti-fraud’ influencer, has made it his mission to expose hidden cameras in guesthouses. The controversy following his recent discoveries are perhaps just a tip of the iceberg – we’ll follow up on this story soon. Meanwhile, check out the full story here.

For the Clicks |The debate over influencers performing dangerous stunts for clout is ongoing in the West, but it has also recently gained attention in China after another motorcycle influencer was killed in a crash.

China’s Image | On October 10, 2024, De Balie hosted an event discussing how China portrays itself to its citizens and the world, marking the 75th anniversary of the People’s Republic. The panel explored the evolution of Chinese state propaganda, the public’s response, and how the emergence of digital China has reshaped the landscape. Speakers included Ardi Bouwers, Florian Schneider, Qian Huang, and myself (Qian and I appear in the second half). You can watch the full event here.

A Chinese female motorcyclist from Suzhou, known as “Shigao ProMax” (@石膏ProMax) on Douyin, tragically passed away this week following a motorcycle crash in Suzhou’s Wujiang District.

The incident occurred in the late afternoon of September 29, when the 19-year-old Shigao, whose real name was Yang Huizi (杨惠子), was a passenger on the motorcycle, with her (male) friend driving the vehicle.

As the motorcycle collided with a car emerging from a side intersection, Yang was thrown off the back, propelled several meters through the air before landing on the road. Although she was reportedly wearing a helmet, it cracked during the crash, and she sustained a severe head injury.

A video circulating on social media shows the aftermath of the accident, with the motorcycle driver lying on the road and Yang Huizi a few meters away, initially attempting to crawl before collapsing (warning for graphic content). Despite rescue efforts, she later died in the hospital. The current condition of Yang’s friend, the rider, remains unclear.

Screenshot of the scene of the accident.

Yang had nearly 80,000 fans on Douyin, where she posted her first video in December 2019. By September 2024, she had shared a total of 1,298 videos.

On Weibo, many commenters voiced concern over how the news was headlined, criticizing the emphasis on her gender in the hashtag. The hashtag “Famous Female Rider Shi Gao Dies in Traffic Accident” (#网红女骑士石膏发生车祸身亡#) garnered over 170 million views on Weibo on Tuesday. Many commenters felt the headline made it seem as if the young woman had crashed the motor herself, while she was merely a passenger.

Others, however, see this trending news as an opportunity to highlight the risky behavior of motorcyclists, who not only endanger their own lives by speeding but also jeopardize the safety of others by showing off in traffic and driving recklessly.

Especially female influencers/motorcyclists are criticized for careless driving while flaunting their looks for social media posts.

(See example video here)

Over the past years, the death of multiple motorcycle influencers have made Chinese headlines. In 2022, a popular Douyin influencer and motorcyclist known as “Xiaoyu Loves Eating Fish” (@小鱼爱吃鱼) died in a collision after riding in the wrong lane. She was instantly killed on the spot. Xiaoyu had gained attention for her risky driving behavior, often wearing short skirts, tight leggings, or other revealing outfits instead of proper motorcycle gear.

“Xiaoyu Loves Eating Fish,” images via Tencent News

In 2023, two young girls—one 16 and the other 21—tragically lost their lives after their motorcycle crashed into a pillar. They were speeding and, apart from wearing helmets, were dressed in skirts and stockings with no additional protective gear. Both died instantly. The 16-year-old, known as An’an (安安), was a social media influencer. Her followers had previously warned her about her reckless behavior. She rode a motorcycle without a license.

An’an’s social media profile.

Within one year alone, from October 2022 to September 2023, at least seven motorcycle influencers made headlines in China after losing their lives in traffic accidents. Some bloggers blame the intense competition for online attention for these accidents, as influencers pull dangerous stunts and push the boundaries to gain more likes and followers.

Posting a video of a woman posing for a video while riding a motorcycle, the popular Weibo content creator HuangXiPao (@黄西炮) wrote: “So many female motorcycle influencers have died, yet it doesn’t stop others from still posing on the road for photos! Is this trend really that profitable?”

(See video here)

One commenter expresses frustration over how news about motorcycle influencers consistently reaches the top trending lists, while other serious incidents, such as the big stabbing incident that happened in Shanghai this week, seem to be kept off the hot lists. “Every time a female motorcycle influencer dies, it makes the trending lists. Meanwhile, three people are dead and 18 injured in Shanghai! Yet you’ve completely suppressed the search term (…) What is this about?!”

News about the motorcycle incident is also a reason for official channels to remind netizens about road safety. The official China Police account shared photos of the incident, stating: “Raise safety awareness and take responsibility for your life.”

Also read: What Went Wrong in Suzhou Acrobatic Show? Fatal High-Altitude Fall Triggers Discussions on Safety Measures

By Manya Koetse
(follow on X, LinkedIn, or Instagram)

Spotted a mistake or want to add something? Please let us know in comments below or email us. First-time commenters, please be patient – we will have to manually approve your comment before it appears.

©2024 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com.

Follow What’s on Weibo on