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Punjabi literature
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Punjabi literature, specifically literary works written in the Punjabi language, is characteristic of the historical Punjab of India and Pakistan and the Punjabi diaspora. The Punjabi language is written in several scripts, of which the Shahmukhi and Gurmukhī scripts are the most commonly used in Pakistan and India, respectively.
Contents
[hide]
1 Medieval era
2 Mughal and Sikh periods
3 British Raj era
4 Post-Independence
4.1 Western Punjab (Pakistan)
4.2 Eastern Punjab (India)
5 Diaspora Punjabi literature
6 Genres
7 See also
8 References
9 External links
Medieval era[edit]
The earliest Punjabi literature is found in the fragments of writings of the 11th Nath yogis Gorakshanath and Charpatnah which is primarily spiritual and mystical in tone.[1] Notwithstanding this early yogic literature, the Punjabi literary tradition is popularly seen to commence with Fariduddin Ganjshakar (1173–1266).[2] whose Sufi poetry was compiled after his death in the Adi Granth.
Mughal and Sikh periods[edit]
Great Punjabi poet Waris Shah
The Janamsakhis, stories on the life and legend of Guru Nanak (1469–1539), are early examples of Punjabi prose literature. Nanak himself composed Punjabi verse incorporating vocabulary from Sanskrit, Arabic, Persian, and other South Asian languages as characteristic of the Gurbani tradition. Punjabi Sufi poetry developed under Shah Hussain (1538–1599), Sultan Bahu (1628–1691), Shah Sharaf (1640–1724), Ali Haider (1690–1785), Saleh Muhammad Safoori and Bulleh Shah (1680–1757). In contrast to Persian poets, who had preferred the ghazal for poetic expression, Punjabi Sufi poets tended to compose in the Kafi.[3]
Punjabi Sufi poetry also influenced other Punjabi literary traditions particularly the Punjabi Qissa, a genre of romantic tragedy which also derived inspiration from Indic, Persian and Quranic sources. The Qissa of Heer Ranjha by Waris Shah (1706–1798) is among the most popular of Punjabi qisse. Other popular stories include Sohni Mahiwal by Fazal Shah, Mirza Sahiba by Hafiz Barkhudar (1658–1707), Sassi Punnun by Hashim Shah (1735?–1843?), and Qissa Puran Bhagat by Qadaryar (1802–1892).
Heroic ballads known as Vaar enjoy a rich oral tradition in Punjabi. Prominent examples of heroic or epic poetry include Guru Gobind Singh's in Chandi di Var (1666–1708). The semi-historical Nadir Shah Di Vaar by Najabat describes the invasion of India by Nadir Shah in 1739. The Jangnama, or 'War Chronicle,' was introduced into Punjabi literature during the Mughal period; the Punjabi Jangnama of Shah Mohammad (1780–1862) recounts the First Anglo-Sikh War of 1845–46.
British Raj era[edit]
Amrita Pritam
The Victorian novel, Elizabethan drama, free verse and Modernism entered Punjabi literature through the introduction of British education during the Raj. The first Punjabi printing press (using Gurmukhi font) was established through a Christian mission at Ludhiana in 1835, and the first Punjabi dictionary was published by Reverend J. Newton in 1854.
The Punjabi novel developed through Nanak Singh (1897–1971) and Vir Singh. Starting off as a pamphleteer and as part of the Singh Sabha Movement, Vir Singh wrote historical romance through such novels as Sundari, Satwant Kaur and Baba Naudh Singh, whereas Nanak Singh helped link the novel to the storytelling traditions of Qissa and oral tradition as well as to questions of social reform.
The novels, short stories and poetry of Amrita Pritam (1919–2005) highlighted, among other themes, the experience of women, and the Partition of India. Punjabi poetry during the British Raj moreover began to explore more the experiences of the common man and the poor through the work of Puran Singh (1881–1931). Other poets meanwhile, such as Dhani Ram Chatrik (1876–1957), Diwan Singh (1897–1944) and Ustad Daman (1911–1984), explored and expressed nationalism in their poetry during and after the Indian freedom movement. Chatrik's poetry, steeped in Indian traditions of romance and classical poetry, often celebrated varied moods of nature in his verse as well as feelings of patriotism. Brought up on English and American poetry, Puran Singh was also influenced by Freudian psychology in his oftentimes unabashedly sensuous poetry.
Modernism was also introduced into Punjabi poetry by Prof. Mohan Singh (1905–78) and Shareef Kunjahi. The Punjabi diaspora also began to emerge during the Raj and also produced poetry whose theme was revolt against British rule in Ghadar di Gunj (Echoes of Mutiny).[4]
Post-Independence[edit]
Western Punjab (Pakistan)[edit]
Najm Hossein Syed, Fakhar Zaman and Afzal Ahsan Randhawa are some of the more prominent names in West Punjabi literature produced in Pakistan since 1947. Literary criticism in Punjabi has also emerged through the efforts of West Punjabi scholars and poets, Shafqat Tanvir Mirza, Ahmad Salim, and Najm Hosain Syed (b. 1936).
The work of Zaman and Randhawa often treats the rediscovery of Punjabi identity and language in Pakistan since 1947. Ali's short story collection Kahani Praga received the Waris Shah Memorial Award in 2005 from the Pakistan Academy of Letters. Mansha Yaad also received the Waris Shah Award for his collection Wagda Paani in 1987, and again in 1998 for his novel Tawan TawaN Tara, as well as the Tamgha-e-Imtiaz (Pride of Performance) in 2004. The most critically successful writer in recent times has been Mir Tanha Yousafi who has won the Massod Khaddar Posh Trust Award 4 times, and has had his books transliterated into Gurmukhi for Indian Punjabi readers.
Urdu poets of the Punjab have also written Punjabi poetry including Munir Niazi (1928–2006).
The poet who introduced new trends in Punjabi poetry is Pir Hadi abdul Mannan. Though a Punjabi poet, he also wrote poetry in Urdu.
Eastern Punjab (India)[edit]
Dr. Surjit Patar, an prominent Punjabi writer, poet and lecturer at Guru Nanak Dev University
Amrita Pritam (1919–2005), Jaswant Singh Rahi (1930–1996), Shiv Kumar Batalvi (1936–1973), Surjit Patar (1944–) and Pash (1950–1988) are some of the more prominent poets and writers of East Punjab (India). Pritam's Sunehe (Messages) received the Sahitya Akademi in 1982. In it, Pritam explores the impact of social morality on women. Kumar's epic Luna (a dramatic retelling of the legend of Puran Bhagat) won the Sahitya Akademi Award in 1965. Socialist themes of revolution meanwhile influenced writers like Pash whose work demonstrates the influence of Pablo Neruda and Octavio Paz.
Punjabi fiction in modern times has explored themes in modernist and post-modernist literature. Punjabi culture. Moving from the propagation of Sikh thought and ideology to the themes of the Progressive Movement, the short story in Punjabi was taken up by Nanak Singh, Charan Singh Shaheed, Joshua Fazal Deen, and Heera Singh Dard. Women writers such as Ajit kaur and Daleep Kaur Tiwana meanwhile have questioned cultural patriarchy and the subordination of women in their work. Hardev Grewal has introduced a new genere to Punjabi fiction called Punjabi Murder Mystery in 2012 with his Punjabi novel "Eh Khudkushi Nahin Janab! Qatl Hai" (published by Lahore Books). Kulwant Singh Virk (1921-1987) won the Sahitya Akedemi award for his collection of short stories “Nave Lok” in 1967. His stories are gripping and provide deep insight into the rural and urban modern Punjab. He has been hailed as the “emperor of Punjabi short stories”.
Modern Punjab drama developed through Ishwar Nanda's Ibsen-influenced Suhag in 1913, and Gursharan Singh who helped popularize the genre through live theatre in Punjabi villages. Sant Singh Sekhon, Kartar Singh Duggal, and Balwant Gargi have written plays, with Atamjit has also been awarded the Sahitya Akademi Award in 2010 for his play Tatti Tawi De Vich.
Diaspora Punjabi literature[edit]
See also: British Punjabi writers
Punjabi diaspora literature has developed through writers in the United Kingdom, Canada, Australia, and the United States, as well as writers in Africa such as Ajaib Kamal, born in 1932 in Kenya, and Mazhar Tirmazi, writer of famous song "Umraan Langhiyan Pabhan Bhaar." Themes explored by diaspora writers include the cross-cultural experience of Punjabi migrants, racial discrimination, exclusion, and assimilation, the experience of women in the diaspora, and spirituality in the modern world. Second generation writers of Punjabi ancestry such as Rupinderpal Singh Dhillon (writes under the name Roop Dhillon) have explored the relationship between British Punjabis and their immigrant parents as well as experiment with surrealism, science-fiction and crime-fiction. Other known writers include Sadhu Binning and Ajmer Rode (Canada), Mazhar Tirmazi, Amarjit Chandan, Harjeet Singh Atwal and Surjit Kalsi. The most successful writer has been Shivcharan Jaggi Kussa.
Genres[edit]
Currently Punjabi writing can be split between the following genres
Punjabi Qissa (Waris Shah)
Traditional poetry (Surjit Paatar)
Naxalite poetry (Paash, Amarjit Chandan)
Lyrical poetry (Rajvinder Singh)
Punjabi haiku (Amarjit Chandan)
Yatharthvaad (Realism)
Pachmi Paryatharvaad (surreal, fantasy, imaginative) Roop Dhillon
Parvasi (émigré) Sadhu Binning
Viang (satire) Jagjit Singh Komal
Punjabi Murder Mystery Hardev Grewal
See also[edit]
Literature portal
List of Punjabi authors
List of Punjabi language poets
References[edit]
Jump up ^ (citation: Encyclopaedia of Indian Literature)
Jump up ^ Encyclopaedia of Indian Literature (Vol. 2), Sahitya Akademi, p. 1263
Jump up ^ http://www.apnaorg.com/poetry/bullahn/
Jump up ^ Gill, Tejwant Singh, "Reading Modern Punjabi Poetry: From Bhai Vir Singh to Surjit Patar" in Journal of Punjab Studies (Spring-Fall 2006, Volume 13, No. 1 &2).
External links[edit]
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Welcome to the Jungle
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article is about the Guns N' Roses song. For other uses, see Welcome to the Jungle (disambiguation).
"Welcome to the Jungle"
U.S. single picure sleeve
Single by Guns N' Roses
from the album Appetite for Destruction
B-side
"Whole Lotta Rosie (live)/Mr. Brownstone" (US)
"Nightrain" (UK)
Released
September 28, 1987
October 24, 1988 (2nd release)
Format
7-inch single
12-inch single
12-inch picture disc
CD single
Recorded
June 19, 1987
Genre
Heavy metal[1]
Length
4:31
Label
Geffen
Songwriter(s)
Axl Rose
Slash
Producer(s)
Mike Clink
Guns N' Roses singles chronology
"It's So Easy" / "Mr. Brownstone"
(1987) "Welcome to the Jungle"
(1987) "Sweet Child o' Mine"
(1988)
Appetite for Destruction track listing
"Welcome to the Jungle"
(1) "It's So Easy"
(2)
Audio sample
file
help
"Welcome to the Jungle" is a song by American rock band Guns N' Roses, featured on their debut album, Appetite for Destruction (1987). It was released as the album's second single initially in the UK in September 1987 then again in October 1988 this time including the US, where it reached number seven on the Billboard Hot 100[2] and number 24 on the UK Singles Chart.[3]
On the 1987 release, the Maxi Single format was backed with a live version of AC/DC's "Whole Lotta Rosie", the band's debut single "It's So Easy" and Bob Dylan's "Knockin' On Heaven's Door". In 2009 "Welcome to the Jungle" was named the greatest hard rock song of all time by VH1.[4]
Contents
[hide]
1 Background and composition
2 Reception
3 Music video
4 Live performances
5 Use in media
6 Track listings
7 Personnel
8 Charts
9 Notes
10 External links
Background and composition[edit]
Axl Rose wrote the lyrics while visiting a friend in Seattle.[5] "It's a big city, but at the same time, it's still a small city compared to L.A. and the things that you're gonna learn. It seemed a lot more rural up there. I just wrote how it looked to me. If someone comes to town and they want to find something, they can find whatever they want."[6] Rhythm guitarist Izzy Stradlin summarises the song as "about Hollywood streets; true to life."[7]
Slash describes the development of the music of "Welcome to the Jungle" in his self-titled autobiography. As the band was trying to write new material, Axl remembered a riff Slash had played while he was living in the basement of Slash's mother's house. He played it and the band quickly laid down the foundations for the song, as Slash continued coming up with new guitar parts for it. He credits Duff McKagan as coming up with the breakdown. Duff contradicts this in his autobiography, It's So Easy (and other Lies), saying it was from a song called "The Fake" that he wrote in 1978 for the Vains, a punk band he was in.[8] He also said it was the first song he ever wrote, and that it was later released as a single by the band.[8] According to Slash, the song was written in approximately three hours.[9]
Rose claimed inspiration for the lyrics came from an encounter he and a friend had with a homeless man while they were coming out of a bus into New York.[10] Trying to put a scare into the young runaways, the man yelled at them, "You know where you are? You're in the jungle baby; you're gonna die!"[10][11]
Reception[edit]
Martin Popoff included the song at number nineteen in his book The Top 500 Heavy Metal Songs of All Time;[12] it was ranked the second "greatest metal song" by VH1;[13] it appeared at #467 on Rolling Stone' "500 Greatest Songs of All Time" list,[14] it appeared as number seven hundred and sixty-four on Q's "1001 Best Songs Ever" chart;[7] and the song was named the "greatest song about Los Angeles" in a poll in Blender.[15] In 2009 it was named the greatest hard rock song of all time by VH1.[4] In 2009 the readers of Rolling Stone Magazine rated it the greatest sports anthem.[16]
Music video[edit]
Geffen Records was having a hard time selling the video to MTV. David Geffen made a deal with the network, and the video was aired only one time around 5:00AM on a Sunday morning.[17] As soon as the video was aired, the networks received numerous calls from people wanting to see the video again.
In spite of the early morning airtime, the song's music video caught viewers' attention and quickly became MTV's most requested video. The video in question begins with a shot of Axl Rose disembarking a bus in Los Angeles and a drug dealer (portrayed by Izzy) is seen trying to sell his merchandise while Rose rejects it. As Rose stops to watch a television through a store window, clips of the band playing live can be seen and Slash can also be seen briefly, sitting against the store's wall and drinking from a clear glass bottle in a brown paper bag. By the end of the video Rose has transformed into a city punk, wearing the appropriate clothing, after going through a process similar to the Ludovico technique.
During an interview with Rolling Stone magazine about the music video, Guns N' Roses' manager at the time, Alan Niven, said that he "came up with the idea of stealing from three movies: Midnight Cowboy, The Man Who Fell to Earth and A Clockwork Orange."[18]
Live performances[edit]
"Welcome to the Jungle" is often used as the opener at Guns N' Roses concerts, being played at almost every show on the Appetite for Destruction Tour and Use Your Illusion Tour. From 2001-2007, on the Chinese Democracy Tour, "Welcome to the Jungle" was used exclusively as the show opener, until 2009, when it was replaced by "Chinese Democracy". It now occupies the second spot on the setlist. When performed live, the song often begins with the line: "Do you know where the fuck you are? You're in the jungle baby! Wake up! Time to Die!", in reference to the song's bridge.[citation needed]
The song was used as the concert introduction during Shakira's world tour, the Tour of the Mongoose.[citation needed] Australian rock band Mammal frequently cover "Welcome to the Jungle" live, incorporating the first verse and chorus of the song as part of their own song, "Inciting". Pink performed the song at her 2003 Try This Tour.[citation needed]
Use in media[edit]
The song was featured in the music video game Guitar Hero III: Legends of Rock,[19] along with an in-game representation of Slash, who becomes unlocked as a playable character after defeating him in a guitar battle.
The song was also featured in the video game Grand Theft Auto: San Andreas on the fictional radio station "Radio X" (singer Axl Rose voices a radio DJ in the game on a separate station).[20]
Track listings[edit]
All songs credited to Guns N' Roses except where noted
UK 1987 7" vinyl (GEF 30)
No.
Title
Writer(s)
Length
1. "Welcome to the Jungle" 4:30
2. "Whole Lotta Rosie" (Live AC/DC cover) Angus Young, Malcolm Young, Bon Scott 5:29
Total length: 9:59
UK 1987 12" vinyl (GEF 30T); 12" picture disc (GEF 30TP)
No.
Title
Writer(s)
Length
1. "Welcome to the Jungle" 4:30
2. "Whole Lotta Rosie" (Live AC/DC cover) Young, Young, Scott
3. "It's So Easy" (live) Guns N' Roses, West Arkeen
4. "Knockin' on Heaven's Door" (Live Bob Dylan cover) Bob Dylan
US 1988 7" vinyl (927 759-7)
No.
Title
Writer(s)
Length
1. "Welcome to the Jungle" 4:30
2. "Mr. Brownstone" Izzy Stradlin 3:46
Total length: 8:17
UK 1988 7" vinyl (GEF 47)
No.
Title
Length
1. "Welcome to the Jungle" 4:30
2. "Nightrain" 4:29
Total length: 9:00
UK 1988 12" vinyl (GEF 47T); 12" poster bag (GEF 47TW); 12" picture disc (GEF 47TP);12" patch (GEF47TV); 3" CD (GEF 47CD)
No.
Title
Length
1. "Welcome to the Jungle" 4:30
2. "Nightrain" 4:29
3. "You're Crazy" (Acoustic Version) 4:10
Total length: 13:10
Personnel[edit]
W. Axl Rose – lead vocals
Slash – lead guitar
Izzy Stradlin – rhythm guitar, backing vocals
Duff McKagan – bass guitar, backing vocals
Steven Adler – drums, percussion
Charts[edit]
Chart (1987–1988)
Peak
position
Australia (ARIA)[21]
41
Finland (The Official Finnish Charts)[22]
13
Ireland (IRMA)[23]
14
Netherlands (Single Top 100)[24]
84
New Zealand (Recorded Music NZ)[25]
6
UK Singles (Official Charts Company)[26]
24
US Billboard Hot 100[27]
7
US Mainstream Rock (Billboard)[28]
37
Notes[edit]
Jump up ^ "6 Glam-Metal Albums You Need to Own". October 3, 2014.
Jump up ^ "Artist Chart History - Guns N' Roses". Billboard. Retrieved 2008-12-17.
Jump up ^ "Guns N' Roses". Chart Stats. Retrieved 2008-12-17.
^ Jump up to: a b "spreadit.org music". Retrieved February 7, 2009.
Jump up ^ "AXL ROSE & GNR Articles : Hit Parader March 1988".
Jump up ^ "The Spaghetti Incident". hem.passagen.se. Retrieved 2008-12-17.
^ Jump up to: a b "Welcome To The Jungle". Here Today... Gone To Hell!. Retrieved 2008-12-17.
^ Jump up to: a b McKagan, Duff; Mohr, Tim (2010). It's So Easy (and other Lies). New York: Simon & Schuster. pp. 42–43, 97.
Jump up ^ Bozza, Anthony; Slash (2007). Slash. New York: Harper Entertainment. pp. 108–109.
^ Jump up to: a b "Just a Little Patience". Spin. July 1999. Retrieved December 19, 2011.
Jump up ^ Brown, Lane (August 26, 2008). "Exclusive Excerpt: Stephen Davis's 'Watch You Bleed: The Saga of Guns N' Roses'". Vulture.com. Retrieved May 4, 2015.
Jump up ^ "Top500_Heavy_Metal_Songs.html".
Jump up ^ "40 greatest metal songs (40 - 31)". VH1. Retrieved 2008-12-18.
Jump up ^ [1] Archived June 30, 2009, at the Wayback Machine.
Jump up ^ "Welcome To The Jungle Tops Los Angeles Songs Poll". December 11, 2006.
Jump up ^ "Music - New Music News, Reviews, Pictures, and Videos".
Jump up ^ Tom King, The Operator: David Geffen Builds, Buys, and Sells the New Hollywood, p. 430, Broadway Books (New York 2001).
Jump up ^ "News".
Jump up ^ "Guitar Hero 3 Setlist Revealed". PC World. 2007. Retrieved 2008-07-28.
Jump up ^ Tor Thorsen (2004-10-26). "Full San Andreas soundtrack details". Game Spot. Archived from the original on 2007-09-30. Retrieved 2009-12-17.
Jump up ^ "Australian-charts.com – Guns N' Roses – Welcome to the Jungle". ARIA Top 50 Singles. Retrieved March 25, 2017.
Jump up ^ Pennanen, Timo. Sisältää hitin: levyt ja esittäjät Suomen musiikkilistoilla vuodesta 1972. Otava Publishing Company Ltd, 2003. ISBN 951-1-21053-X
Jump up ^ "The Irish Charts – Search Results – Guns N' Roses". Irish Singles Chart. Retrieved March 25, 2017.
Jump up ^ "Dutchcharts.nl – Guns N' Roses – Welcome to the Jungle" (in Dutch). Single Top 100. Retrieved March 25, 2017.
Jump up ^ "Charts.org.nz – Guns N' Roses – Welcome to the Jungle". Top 40 Singles. Retrieved March 25, 2017.
Jump up ^ "Guns N' Roses: Artist Chart History". Official Charts Company. Retrieved March 25, 2017.
Jump up ^ "Guns N' Roses Chart History (Hot 100)" Billboard. Retrieved March 25, 2017.
Jump up ^ "Guns N' Roses Chart History (Mainstream Rock)" Billboard. Retrieved March 25, 2017.
Davis, Stephen (2008). Watch You Bleed: The Saga of Guns N' Roses. Gotham Books. ISBN 978-1-59240-377-6.
External links[edit]
"Welcome to the Jungle" music video at VH1 Classic
Complete Guide to GN'R 'Welcome to the Jungle' at Ultimate-Guitar.com
Lyrics of this song at MetroLyrics
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Ek Hazaaron Mein Meri Behna Hai
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Ek Hazaaron Mein Meri Behna Hai
Genre
Indian soap opera
Drama
Romance
Created by
Cinevistaas Limited
Directed by
Santram Verma
Kaushik Ghatak
Vikram Labhe
Ajit Kumar
Rahul Agarwal
Noel Smith
Creative director(s)
Pinky Shah
Ameeta Devadiga
Pritish Das
Starring
See Below
Opening theme
Ek Hazaaron Mein Meri Behna Hai By [[Shreya
Ghoshal]]
Country of origin
India
Original language(s)
Hindi
No. of seasons
1
No. of episodes
515
Production
Producer(s)
Prem Kishan
Sunil Mehta
Production location(s)
Rishikesh
Chandigarh
Mumbai
Cinematography
Mahesh Talkad
Sanjay Malwankar
Danny
Editor(s)
Nirmala John
Running time
Approx. 21 minutes
Release
Original network
Star Plus
Picture format
576i (SDTV)
HDTV 1080i
Original release
3 October 2011 – 13 September 2013
Ek Hazaaron Mein Meri Behna Hai (English: My Sister is One in a Thousand) is a daily Indian soap opera that aired on STAR Plus from 3 October 2011 to 13 September 2013, when it got replaced by the mythological series Mahabharat. It is loosely based on Jane Austen's novel Sense & Sensibility.
The show was very popular amongst the viewers and was dubbed into even regional languages Telugu as Chigurakulalo Chilakamma on Star Maa and in Tamil as Deivam thandha en thangai on Star Vijay and has been popular due to the intense storyline. The show starred Krystle D'Souza, Karan Tacker, Nia Sharma and Kushal Tandon.
Contents
1 Plot Summary
2 Casting, production and distribution
3 Cast
3.1 Main cast
3.2 Recurring cast
3.3 Guest stars
4 Awards and nominations
5 References
6 External links
Plot Summary[edit]
Jeevika Chaudhary (Krystle D'Souza) and Maanvi Chaudhary (Nia Sharma) are two orphan sisters living in Rishikesh with their great grandmother, grandmother, uncle, aunt and cousin while Viren Singh Vadhera (Karan Tacker) and Viraat Singh Vadhera (Kushal Tandon) are two brothers hailing from an elite family of lawyers in Chandigarh.
The two sisters are inseparable though their outlook towards life is totally different. Maanvi loves and respects Jeevika as though she's her mother. A marriage proposal comes for Jeevika. Viren and Jeevika like each other at first sight while Viraat and Maanvi are at odds with each other. Jeevika and Viren's wedding is fixed and the preparations start, by then a misunderstanding crops up as Viren gets to know Jeevika likes Dr. Mannan. He thinks of calling-off his wedding with Jeevika. But fact is Jeevika likes Viren and upon knowing this, Viraat and Maanvi helps the couple meet and confess love for each other. Following this, Viren and Jeevika gets married and they leave for Chandigarh. The couple live in happiness but the Sisters miss each other very much. Viren brings Maanvi to Chandigarh to cheer up Jeevika on her Birthday. During her stay, Maanvi gets to know Inder Vadhera (Viren&Viraat's uncle) is also a worthy Lawyer but diffident, so she supports him to be active and gain his own Identity but the family unsure of his abilities accuses Maanvi for interference and even sends her to Rishikesh. Viraat criticises his aunt Swamini for insulting Maanvi, whom he considers as a friend, for no fault of hers. Inder follows Maanvi's advise, takes up the case and later wins it too, thus Maanvi gets vindicated. Vadhera family realizes it's mistake, apologises to Maanvi and invites her to visit Chandigarh. During Maanvi's stay in Chandigarh, Viraat starts falling for her but his Ex Girlfriend Maya reappears much to his chagrin. As Swamini dislikes Maanvi she promotes Maya and even cajoles Maanvi to play cupid between the two. Maanvi readily agrees to help Maya impress Viraat. Thus Viraat and Maya come together. By then Maanvi comes to know she has blood cancer and returns to Rishikesh. Viren doubts Maya' intentions and alerts Viraat to test Maya. Viraat follows his advise and is shocked to know Maya is only after his money, status and not love. Thus Viraat feels cheated by her again and breaksup with her.
Viren helps Viraat to recover and soon Virat realises Maanvi is his truelove, goes to Rishikesh to propose her. He will not be able to express his feelings for Maanvi as series of events happen, one in which Jeevika gets grievously injured, need blood and only Maanvi can save her as both sisters have same rare blood group but Maanvi refuses to donate blood to her sister. This surprises everyone and Viren berates Maanvi for her 'selfish' attitude, upon insistence she reveals of her ailment to Viraat on the condition that he wouldn't reveal to Jeevika and Viren. Viraat is heart broken but determined to help Maanvi in her treatment. Later, Vadhera family too gets to know about Maanvi, helps her get treatment in Mumbai. Viraat and Jeevika accompany her. Viraat comforts Maanvi during her treatment, love for Viraat blossoms in Maanvi too but decides not to express due to her unpredictable life. Turn of events makes Viraat declare to Vadhera family of his love for Maanvi openly but they disapprove. Maanvi, unaware of Viraat' feelings for her until then, feels embarrassed in front of the family and returns to Rishikesh. When Viraat comes to know Maanvi too loves him, he landsup in Rishikesh to make her confess her love. Soon Maanvi confess her love to Viraat, so too Vadhera family approves their love. Two Families meet to celebrate Viraat-Maanvi's Roca and Engagement. Later, Maanvi's health deteriotes and Doctors declare only bone marrow transplant can save her. Jeevika who by then is Pregnant decides to abort her baby to save Maanvi, as she is her only perfect bone marrow match. A fight breaksup between sisters as Maanvi rejects Jeevika's plan to abort child inorder to save her. Jeevika feigns truce but actually becomes secret donor of bone marrow to Maanvi. Thus Jeevika's sacrifice saves Maanvi. Maanvi gets operated successfully and soon, Viraat and Maanvi gets married.
Vadhera family welcomes new "Bahu" Maanvi. Karan who claims to be Swamini's estranged son enters the family. Vadheras are happy but Karan has ill intentions to ruin them. Maanvi comes to know Karan's 'mission' and alerts the family but they snub her. Viraat, Maanvi participates in Singing competition show, Sur-Sartaaz of India, here too Karan spreads false news of Viraat-Maanvi divorce. This leads to almost their separation but the duo save their marriage by opting out of the show in the finale. Karan defends his actions while Swamini blames Maanvi of targeting her 'innocent' son. Later, Jeevika too learns about Karan, trails him to his Bunglow to counter him. Maanvi too joins her, Karan misbehaves with Jeevika and try to strangulate Maanvi and in the melee Jeevika shoots him in self-defence. Viraat arrives on the scene and takes the blame on himself to save Jeevika and gets imprisonment. Swamini, miserable in her son's death accuses Viraat as Jeevika is under Maanvi's promise not to reveal truth. However out of guilt she confides to Viren. In the court Viren saves both Jeevika and Viraat from punishment as new investigations reveal the real killer is Jaiswal, Viren's long time foe. Thus Jaiswal is found guilty and imprisoned. Vadhera family feels relieved.
Viraat restarts his music career but a terrible fight breaks between the brothers when Viraat comes to know Viren helped him get the music album contract. Thus in rage, Viraat decides to leave the home and distraught Maanvi follows him. Vadheras stays in gloom as Viraat and Maanvi struggles initially to earn a decent living. Nevertheless, the couple withstand and support each other to face the challenge and soon Viraat wins music album contract on his own and thus returns to the family home. Vadhera family welcomes them andin joy with news of Maanvi's pregnancy. At the same time they come to know Jeevika can no longer become pregnant. Later, Jeevika and Viren opts for surrogacy to get their child and "Vidhi" enters the family as surrogate mother.
Jeevika and Maanvi's father, who left them in their childhood, appears one day. Maanvi, though shocked, very happy to find that her father is alive. But Jeevika's anger towards father surprises Maanvi. She questions, gets shocked to learn her own father was the reason of her mother's death i.e., she commits suicide after learning her husband cheated on her. evertheless, Maanvi believes that her father should be forgiven as he realized his mistakes and should be given another chance. Initially Jeevika is rude to her father but forgives him when she knows that he is very ill. They reconcile. Show takes 3 months leap. Maanvi and VIdhi goes into labour, deliver girl babies. In the last episode, naming ceremony of the babies where Viren and Jeevika name their daughter, Maansi while Viraat and Maanvi name their daughter, Jhanvi. During the celebrations, Jeevika comes to know that she's pregnant. Vadhera and Chaudhary families live happily ever after.
Casting, production and distribution[edit]
The show is produced and directed by Siddharth Malohtra of Cinevistaas Limited. Krystle D'Souza was cast to play Jeevika Chaudhary along with Nia Sharma as Maanvi Chaudhary.[1] Karan Tacker and Kushal Tandon both were finalised to play the main male leads.[2] Abhinav Shukla was roped to play the 3rd main lead opposite Krystle. Other supporting cast included Seema Kapoor, Anju Mahendru, Manasvi Vyas, Anupam Bhattacharya, Divyajyotee Sharma, Gaurav Kumar, Deep Dhillon and Tarla Joshi were other supporting roles. Seema played a strict women and the main antagonist but later her character turned positive.[3]
Cast[edit]
Main cast[edit]
Actor/Actress
Role
Notes
Timeline
Krystle D'Souza Jeevika Viren Singh Vadhera née Chaudhary Manvi's elder sister, Viren's wife 2011-13
Nia Sharma Manvi Virat Singh Vadhera née Chaudhary Jeevika's younger sister, Virat's wife 2011–13
Karan Tacker Viren Singh Vadhera Virat's elder brother and Jeevika's husband 2011–13
Kushal Tandon Virat Singh Vadhera Viren's younger brother and Manvi's husband 2011–13
Recurring cast[edit]
Actor/Actress
Role
Notes
Timeline
Seema Kapoor Swamini Vadhera Viren and Virat's Aunt 2011–13
Indu Verma Vanshika Singh Vadhera Viren and Virat's mother 2011–13
Deep Dhillon Vijay Singh Vadhera Viren and Virat's Grandfather 2011–13
Anupam Bhattacharya Inder Singh Vadhera Viren and Virat's uncle; Kadambari’s husband 2011–13
Manasvi Vyas Kadambari Inder Singh Vadhera Viren and Virat's aunt; Inder’s wife 2011–13
Nikunj Pandey Shlok Singh Vadhera Inder and Kadambari's son 2011–13
Anju Mahendru Beeji Manvi and Jeevika's grandmother 2011–13
Tarla Joshi Badi Beeji Jeevika and Manvi's great grandmother 2011–13
Mohit Chauhan Madan Chaudhary Jeevika and Manvi's uncle 2011–13
Divyajyotee Sharma Pinky Madan Chaudhary Jeevika and Manvi's aunt; Madan’s wife 2011–13
Imran Khan Mahesh Chaudhary Jeevika and Manvi's father 2013
Gaurav Kumar Dabindar Singh Chaudhary (Dabbu) Jeevika and Manvi's brother; Madan and Pinky’s son; Sweety’s husband 2011–13
Lavina Tandon Sweety Dabindar Singh Chaudhary Dabbu's wife 2013
Abhinav Shukla Dr. Manan Chaudhary’s family doctor 2011–12
Sehban Azim Karan Shekhawat Swamini's son – (dead) 2012–13
Nikunj Malik Maya Virat's ex-lover 2012
Abir Goswami Rajiv Talwar 2012
Apurva Agnihotri Judge of the singing competition 2012
Shilpa Saklani Judge of singing competition 2012
Puneet Sachdev Vikram Viren’s friend 2013
Ranjeev Verma Vikram’s Father 2013
Kajal Pisal Riya Malik/Sheetal Sambhav's wife / lover 2013
Karan Suchak Sambhav Malik Viren's friend 2013
Neeraj Malviya Harshad/Shashank Viren's friend and Vidhi's ex-husband 2013
Neha Gosain Vidhi Harshad's ex-wife; Viren and Jeevika’s surrogate 2013
Simran Natekar Young Jeevika Chaudhary 2012
Guest stars[edit]
Ragini Khanna and Jay Soni as Suhana and Ishaan from Sasural Genda Phool
Kunwar Amar (2011) from Dil Dostii Dance special performance on Bole Chudiyan
Shakti Mohan (2011) from Dil Dostii Dance special performance on Bole Chudiyan
Shantanu Maheshwari (2011) from Dil Dostii Dance special performance on Bole Chudiyan
Sneha Kapoor (2011) from Dil Dostii Dance special performance on Bole Chudiyan
Archi Pratik (2011) from Dil Dostii Dance special performance on Bole Chudiyan
Alisha Singh (2011) from Dil Dostii Dance special performance on Bole Chudiyan
Amar Gowda (2011) from Dil Dostii Dance special performance on Bole Chudiyan
Vinti Idnani (2011) from Dil Dostii Dance special performance on Bole Chudiyan
Macedon D'mello (2011) from Dil Dostii Dance special performance on Bole Chudiyan
Samentha Fernandes (2011) from Dil Dostii Dance special performance on Bole Chudiyan
Suzanne Bernert (2013) as Liz Love Interest of Deep Dhillons' Character
Awards and nominations[edit]
Year
Award Ceremony
Category
Recipient
Result
2012 Star Parivaar Awards Nayi Soch Kirdaar Nia Sharma Won
Favourite Behen Krystle D'Souza
Favourite Pati Karan Tacker
Favourite Jodi Kushal Tandon & Nia Sharma Nominated
Favourite Bhabhi Krystle D'Souza
Favourite Patni Krystle D'Souza
Favourite Behen Nia Sharma
Favourite Sasur Deep Dhillon
Indian Telly Awards Fresh New Face(Male) Kushal Tandon Won
Zee Gold Awards Gold Debut(Male) Kushal Tandon Won[4]
Most Fit Actor Karan Tacker
Most Fit Actress Krystle D'Souza
Best Fiction Show Prem Kishan & Sunil Mehta Nominated
People's Choice Awards India Favourite New TV Drama Prem Kishan & Sunil Mehta
Indian Television Academy Awards Best Actress-Drama(Popular) Nia Sharma Won[5]
Best Actor-Drama(Popular) Kushal Tandon Nominated[6]
Best Serial(Popular) Prem Kishan & Sunil Mehta
Best Actress-Drama(Jury) Krystle D'Souza
Best Serial-Drama(Jury) Prem Kishan & Sunil Mehta
GR8 Performer of the Year Karan Tacker
Best Director-Drama(Jury) Santaram Verma
Best Teleplay(Jury) Bhavini Iyer & Zama Habib Won
2013 Star Parivaar Awards Favourite Pati Karan Tacker Nominated
Favourite Bahu Krystle D'Souza Nominated
Favourite Bhabhi Krystle D'Souza Nominated
Indian Telly Awards Best Ensemble Cinevistaas Limited Won
Best Actress in a Leading Role Nia Sharma Nominated
Best Drama Series Cinevistaas Limited Nominated
Kalakar Awards Best Jodi Karan Tacker & Krystle D'Souza Won
References[edit]
Jump up ^ "Krystle and Nia Sharma to play leads in Cinevistaas' next". Metro Masti. Retrieved 27 September 2011.
Jump up ^ "Karan Tacker and Kushal Tandon to play them ain male leads in Star Plus next". Metro Masti. Retrieved 16 September 2011.
Jump up ^ "Seema Kapoor (Vasu of Bidaai) to play an antagonist in Star Plus Ek Hazaaron". Metro Masti. Retrieved 2 October 2011.
Jump up ^ Winners & Nominees of 5th Boroplus Gold Awards, 2012
Jump up ^ "IndianTelevisionAcademy.com". Archived from the original on 21 October 2013. Retrieved 18 March 2016.
Jump up ^ "The ITA Awards 2012 – Popular Top-5". Archived from the original on 29 October 2013.
External links[edit]
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Red Guards
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This article is about the mass social movement in China. For other uses, see Red Guards (disambiguation).
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Red Guards (simplified Chinese: 红卫兵; traditional Chinese: 紅衛兵; pinyin: Hóng Wèibīng) were a student mass paramilitary social movement mobilized by Mao Zedong in 1966 and 1967, during the Cultural Revolution.[1] According to a Red Guard leader, the movement's aims were as follows:
Chairman Mao has defined our future as an armed revolutionary youth organization...So if Chairman Mao is our Red-Commander-in-Chief and we are his Red Guards, who can stop us? First we will make China Maoist from inside out and then we will help the working people of other countries make the world red...And then the whole universe.[2]
Despite being met with resistance early on, the Red Guards received personal support from Mao, and the movement rapidly grew. Mao made use of the group as propaganda and to accomplish goals such as destroying symbols of China's pre-communist past, including ancient artifacts and gravesites of notable Chinese figures. However, the government was very permissive of the Red Guards, who were even allowed to inflict bodily harm on people viewed as dissidents. The movement quickly grew out of control, frequently coming into conflict with authority and threatening public security until the government made efforts to rein the youths in. The Red Guard groups also suffered from in-fighting as factions developed among them. By the end of 1968, the group as a formal movement had dissolved.
Contents
[hide]
1 Origins
2 Role in the Cultural Revolution
2.1 Attacks upon the "Four Olds"
2.2 Clashes with the PLA
3 Factionalism within the Red Guards
4 Suppression by the PLA (1967-1968)
5 Rustification
6 Historiography
7 In popular culture
8 See also
9 Notes
10 References
Origins[edit]
The first students to call themselves "Red Guards" in China were a group of students at the Tsinghua University Middle School who were given the name Red Guards to sign two big-character posters issued on 25 May – 2 June 1966.[3] The students believed that the criticism of the play Hai Rui Dismissed from Office was a political issue and needed greater attention. The group of students, led by Zhang Chengzhi at Tsinghua University Middle School and Nie Yuanzi at Peking University, originally wrote the posters as a constructive criticism of Tsinghua University and Peking University's administration, who were accused of harboring intellectual elitism and bourgeois tendencies.[4]
The Red Guards were denounced as counter-revolutionaries and radicals by the school administration and fellow students, and were forced to secretly meet amongst the ruins of the Old Summer Palace. Nevertheless, Chairman Mao Zedong ordered that the manifesto of the Red Guards be broadcast on national radio and published in the People's Daily newspaper. This action gave the Red Guards political legitimacy, and student groups quickly began to appear across China.[5]
Due to the factionalism already beginning to emerge in the Red Guard movement, Liu Shaoqi made the decision in early June 1966 to send in Communist Party of China (CPC) work teams.[3] These work groups were led by Zhang Chunqiao, head of China's Propaganda Department, and were the attempt by the Party to keep the movement under its control. Rival Red Guard groups led by the sons and daughters of cadres were formed by these work teams to deflect attacks from those in positions of power towards bourgeois elements in society, mainly intellectuals.[5] In addition, these Party-backed rebel groups also attacked students with 'bad' class backgrounds (these included the children of former landlords and capitalists).[5] These actions were all attempts by the CPC to preserve the existing state government and apparatus.[3]
Mao, concerned that these work teams were hindering the course of the Cultural Revolution, dispatched Chen Boda, Jiang Qing, Kang Sheng, and others to join the Red Guards and combat the work teams.[4] In July 1966, Mao ordered the removal of the remaining work teams (against the wishes of Liu Shaoqi) and condemned their 'fifty days of White Terror'.[6] The Red Guards were now free to organise without the restrictions of the Party and, within a few weeks, on the encouragement of Mao's supporters, Red Guard groups had appeared in almost every school in China.[7]
Role in the Cultural Revolution[edit]
Mao expressed personal approval and support for the Red Guards in a letter to Tsinghua University Red Guards on 1 August 1966.[8] He gave the movement a more public boost at a massive rally on 18 August at Tiananmen Square. Mao appeared atop Tiananmen wearing an olive green military uniform, the type favored by Red Guards, but which he had not worn in many years.[8] He personally greeted 1,500 Red Guards and waved to 800,000 Red Guards and onlookers below.[8]
The rally was led by Chen Boda, and Lin Biao gave a keynote speech.[8] Red Guard leaders led by Nie Yuanzi also gave speeches.[8] A high school Red Guard put a red arm band enscribed with the characters for "Red Guard" on the Chairman, who stood for six hours.[8] The 8-18 rally, as it was known, was the first of eight receptions the Chairman gave to Red Guards in Tienanmen in the fall of 1966. It was this rally that signified the beginning of the Red Guards' involvement in implementing the aims of the Cultural Revolution.[9]
A second rally, held on 31 August, was led by Kang Sheng and Lin Biao also donned a red arm band. The last rally was held on 26 November 1966. In all, the Chairman greeted eleven to twelve million Red Guards, most of whom traveled from afar to attend the rallies[8][10] including one held on National Day 1966, which included the usual civil-military parade.
Attacks upon the "Four Olds"[edit]
Main article: Four Olds
The remains of Ming dynasty Wanli Emperor at the Ming tombs. Red Guards dragged the remains of the Wanli Emperor and Empresses to the front of the tomb, where they were posthumously "denounced" and burned.[11]
The 11th Plenum of the CPC Central Committee had ratified the 'Sixteen Articles' in August 1966, a document that stated the aims of the Cultural Revolution. It also highlighted the role students would be asked to play in the movement. After the 18 August rally, the Cultural Revolution Group directed the Red Guards to attack the 'Four Olds' of Chinese society (old customs, old culture, old habits and old ideas). For the rest of the year, Red Guards marched across China in a campaign to eradicate the 'Four Olds'. Old books and art were destroyed, museums were ransacked, and streets were renamed with new revolutionary names and adorned with pictures and the sayings of Mao.[12] Many famous temples, shrines, and other heritage sites in Beijing were attacked.[13]
The Cemetery of Confucius was attacked in November 1966 by a team of Red Guards from Beijing Normal University, led by Tan Houlan.[14][15] The corpse of the 76th-generation Duke Yansheng was removed from its grave and hung naked from a tree in front of the palace during the desecration of the cemetery.[16] Attacks on other cultural and historic sites happened between in 1966 and 1967. One of the greater damages was to the Ming Dynasty Tomb of the Wanli Emperor in which his and the empress’s corpses along with a variety of artifacts from the tomb were destroyed by student members of the Red Guard. Between the assaults on Wan Li and Confucius’ tombs alone, more than 6618 historic Chinese artifacts were destroyed in the desire to achieve the goals of the Cultural Revolution.[17]
The property of individuals was also gone after by Red Guard members as well if considered to represent one of the Four Olds. Commonly religious texts and figures would be confiscated and burned. Other times items of historic importance would be left, but defaced, with examples such as Qin Dynasty scrolls having their writings partially removed and stone and wood carvings having the faces and words carved out of them. Re-education came alongside the destruction of previous culture and history, throughout the Cultural Revolution schools were a target of Red Guard groups to teach both the new ideas of the Cultural Revolution; as well as to point out what ideas represented the previous era idealizing the Four Olds. For example, one student, Mo Bo, described a variety of the Red Guards activities taken to teach the next generation what was no longer the norms.[18] This was done according to Bo with wall posters lining the walls of schools pointing out workers who undertook “bourgeois” lifestyles. These actions inspired other students across China to join the Red Guard as well. One of these very people, Rae Yang, described how these actions inspired students. Through authority figures, such as teachers, using their positions as a form of absolute command rather than as educators gave students a reason to believe Red Guard messages.[19] In Yang’s case it is exemplified through a teacher using a poorly phrased statement as an excuse to shame a student to legitimize the teachers own position.
Attacks on culture quickly descended into attacks on people. Ignoring guidelines in the 'Sixteen Articles' that stipulated that persuasion rather than force were to be used to bring about the Cultural Revolution, officials in positions of authority and perceived 'bourgeois elements' were denounced and suffered physical and psychological attacks.[12] On August 22, 1966, a central directive was issued to stop police intervention in Red Guard activities.[20] Those in the police force who defied this notice were labeled "counter-revolutionaries." Mao's praise for rebellion was effectively an endorsement for the actions of the Red Guards, which grew increasingly violent.[21]
Public security in China deteriorated rapidly as a result of central officials lifting restraints on violent behavior.[22] Xie Fuzhi, the national police chief, said it was "no big deal" if Red Guards were beating "bad people" to death.[23] The police relayed Xie's remarks to the Red Guards and they acted accordingly.[23] In the course of about two weeks, the violence left some one hundred teachers, school officials, and educated cadres dead in Beijing's western district alone. The number injured was "too large to be calculated."[22]
The most gruesome aspects of the campaign included numerous incidents of torture, murder, and public humiliation. Many people who were targets of 'struggle' could no longer bear the stress and committed suicide. In August and September 1966, there were 1,772 people murdered in Beijing alone. In Shanghai there were 704 suicides and 534 deaths related to the Cultural Revolution in September. In Wuhan there were 62 suicides and 32 murders during the same period.[24]
Intellectuals were to suffer the brunt of these attacks. Many were ousted from official posts such as university teaching and allocated manual tasks such as "sweeping courtyards, building walls and cleaning toilets from 7am to 5pm daily" which would encourage them to dwell on past "mistakes".[25] An official report in October 1966 reported that the Red Guards had already arrested 22,000 'counterrevolutionaries'.[26]
The Red Guards were also tasked with rooting out 'capitalist roaders' (those with supposed 'right wing' views) in positions of authority. This search was to extend to the very highest echelons of the CPC, with many top party officials, such as Liu Shaoqi, Deng Xiaoping and Peng Dehuai being attacked both verbally and physically by the Red Guards.[27] Liu Shaoqi was especially targeted, as he had taken Mao's seat as Chairman of the People's Republic following the Great Leap Forward. Although Mao stepped down from his post as a sign of accepting responsibility, he was angered that a capitalist roader like Liu could take the reins of communist China.
Clashes with the PLA[edit]
The Red Guards were not completely unchallenged. The Red Guards were not permitted to enter Zhongnanhai, the Forbidden City, or any military facility which was tasked with classified information (i.e. special intelligence, Nuclear Weapons development). Several times, Red Guards attempted to storm Zhongnanhai and the 8341 Special Regiment, who were responsible for Mao's security, fired upon the Red Guards.[28]
When Jiang Qing promoted the idea that the Red Guards should "crush the PLA" and Lin Biao being seemingly supportive of her plans (such as allowing Red Guards to loot barracks) while at the same time oblivious to the ongoing chaos the PLA had to deal with, several military commanders disregarded their chain of command and attacked Red Guards whenever their bases or people were threatened. When Red Guards entered factories and other areas of production, they encountered resistance in the form of worker and peasant groups who were keen to maintain the status quo.[28] In addition, there were bitter divisions within the Red Guard movement itself, especially along social and political lines. The most radical students often found themselves in conflict with more conservative Red Guards.[10]
The leadership in Beijing also simultaneously tried to restrain and encourage the Red Guards, adding confusion to an already chaotic situation. On the one hand, the Cultural Revolution Group reiterated calls for non-violence. On the other hand, the People's Liberation Army was told to assist the Red Guards with transport and lodging, and help organize rallies.[10] By the end of 1966, most of the Cultural Revolution Group were of the opinion that the Red Guards had become too much of a political liability.[10] The campaign against 'capitalist-roaders' had led to anarchy, the Red Guards' actions had led to conservatism amongst China's workers, and the lack of discipline and the factionalism in the movement had made the Red Guards politically dangerous.[29] 1967 would see the decision to dispel the student movement.
Factionalism within the Red Guards[edit]
"Enveloped in a trance of excitement and change", all student Red Guards pledged their loyalty to their beloved Chairman Mao Zedong.[1] Many worshipped Mao above everything and this was typical of a "pure and innocent generation".[30] Excited youths took inspiration from Mao's often vague pronouncements, generally believing the sanctity of his words and making serious efforts to figure out what they meant. Factions quickly formed based on individual interpretations of Mao's statements. All groups pledged loyalty to Mao and claimed to have his best interests in mind, yet they continually engaged in verbal and physical skirmishes all throughout the Cultural Revolution.[citation needed]
Youth from families with party-members and of revolutionary origin joined conservative factions. These factions focused on the socio-political status quo, keeping within their localities and working to challenge existing distributions of power and privilege.[31] Those from the countryside and without ties to the Chinese Communist Party often joined radical groups who sought to change and uproot local government leadership.[32]
The primary goal of the radicals was to restructure existing systems to benefit those of poorer backgrounds, as supposed capitalist roaders were corrupting the Socialist agenda. Primarily influenced by travel and a freer exchange of ideas from different regions of China, more joined the radical, rebel factions of the Red Guards by the second half of the Cultural Revolution.[32]
Some historians, one being Andrew Walder, argue that individuals and their political choices also influenced the development of Red Guard factions all across China. Interests of individuals, interactions with authority figures, and social interactions all altered identities to forge factions that would fight for new grievances against "the system".[31] Following Mao Zedong's idea of permanent revolution, the factions and their identities continually evolved as new ideas and people were brought in. Ultimately, the struggle between factions led to the chaotic civil-war-like atmosphere which foiled Mao's original intent to have the people carry out an orderly permanent revolution against the existing regime.
Suppression by the PLA (1967-1968)[edit]
By February 1967, political opinion at the center had decided on the removal of the Red Guards from the Cultural Revolution scene in the interest of stability.[33] The People's Liberation Army (PLA) forcibly suppressed the more radical Red Guard groups in Sichuan, Anhui, Hunan, Fujian, and Hubei provinces in February and March. Students were ordered to return to schools; student radicalism was branded 'counterrevolutionary' and banned.[34] There was a wide backlash in the spring against the suppression, with student attacks on any symbol of authority and PLA units. An order from Mao, the Cultural Revolution Group, the State Council, and the Central Military Affairs Committee of the PLA on 5 September 1967 instructed the PLA to restore order to China.[35]
The PLA violently put down the national Red Guard movement in the year that followed, with the suppression often brutal. A radical alliance of Red Guard groups in Hunan province called the Sheng Wu Lien was involved in clashes with local PLA units, for example, and in the first half of 1968 was forcibly suppressed.[36] At the same time the PLA carried out mass executions of Red Guards in Guangxi province that were unprecedented in the Cultural Revolution.[36]
The final remnants of the movement were defeated in Beijing in the summer of 1968. Reportedly, in an audience of the Red Guard leaders with Mao, the Chairman informed them gently of the end of the movement with a tear in his eye. The repression of the students by the PLA was not as gentle.[37] After the summer of 1968 some more-radical students continued to travel across China and play an unofficial part in the Cultural Revolution, but by then the movement's official and substantial role was over.
Rustification[edit]
Main article: Sent-down youth
From 1962 to 1979, 16 to 18 million youth were sent to the countryside to undergo re-education.[38][39]
Sending city students to the countryside was also used to defuse the student fanaticism set in motion by the Red Guards. On December 22, 1968, Chairman Mao directed the People's Daily to publish a piece entitled "We too have two hands, let us not laze about in the city", which quoted Mao as saying "The intellectual youth must go to the country, and will be educated from living in rural poverty." In 1969 many youth were rusticated.[40] Many students could not deal with the harsh life and died in the process of reeducation.[41]
Historiography[edit]
The Red Guards and the wider Cultural Revolution are a sensitive and heavily censored chapter in China’s history. Official government mentions of the era are rare and brief.[42]
In popular culture[edit]
Allen Ginsberg refers to "Red Guards battling country workers in Nanking" in the first line of his poem "Returning North of Vortex," included in the collection The Fall of America: Poems of These States.
In The Last Emperor, the Red Guard appeared near the end of the film humiliating the prison warden who treated the Emperor of China Puyi kindly.
The 1967 Nick Carter spy novel The Red Guard features scenes involving Red Guards in Shanghai during the Cultural Revolution
The film To Live has the Red Guards appearing in a few scenes, showing their various types of activity.
In Farewell My Concubine, the Red Guards humiliate Cheng Dieyi and Duan Xiaolou as they try to overthrow the old society.
In the film The Blue Kite, Tei Tou's classmates are shown wearing the red scarves of the red guards, and the film ends with the red guards denouncing his stepfather.
Jung Chang's autobiography Wild Swans describes the atrocities committed by the Red Guards.
Nien Cheng's memoir Life and Death in Shanghai describes Red Guard activities in Shanghai during the Cultural Revolution.
In Hong Kong, TVB and ATV often depicted the brutality of the Red Guards in films and television dramas. They are rarely portrayed in film and television programs produced in mainland China.
The video game Command & Conquer: Generals misleadingly named the Chinese standard infantry unit the "Red Guard", that ensured the game's ban in China.
The novel about the Cultural Revolution, Red Scarf Girl by Ji-Li Jiang, prominently features the Red Guards. The main character often wishes she could become one.
In the book Son of the Revolution, the main character, Liang Heng, becomes a red guard at age 12, despite the years of persecution he and his family received from them.
In the autobiography Gang of One, Fan Shen provides first hand accounts of his youth as a Red Guard.
Li Cunxin makes repeated reference to the Red Guards in his autobiography, Mao's Last Dancer.
In the book Red Flower of China, Zhai Zhenhua recounts her time as a Red Guard.
Yang Rae recounts her time in the Red Guards and in the countryside in Spider Eaters.
In the novel Frog by Mo Yan, Red Guard is mentioned on several occasions, like public prosecution.
Members of the Red Guard are featured prominently in the novel The Three-Body Problem by the Chinese novelist Liu Cixin.
See also[edit]
Gang of Four
Morning Sun (film)
Kim Il-sung Socialist Youth League
Quotations from Chairman Mao Tse-tung
Notes[edit]
^ Jump up to: a b Teiwes
Jump up ^ Woei Lien Chong, China's great proletarian Cultural Revolution: master narratives and post-Mao counter narratives, page 105, published 2002
^ Jump up to: a b c Chesneaux, p. 141
^ Jump up to: a b Jiaqi, Yan; Gao Gao. Turbulent Decade: A History of the Cultural Revolution. University of Hawaii Press. pp. 56–64. ISBN 0-8248-1695-1.
^ Jump up to: a b c Meisner, p. 334
Jump up ^ Meisner, p. 335
Jump up ^ Meisner, p. 366
^ Jump up to: a b c d e f g (Chinese) 倪天祚, "毛主席八次接见红卫兵的组织工作" 中国共产党新闻网 2011-04-07
Jump up ^ Van der Sprenkel, p. 455
^ Jump up to: a b c d Meisner, p. 340
Jump up ^ "China's reluctant Emperor", The New York Times, Sheila Melvin, Sept. 7, 2011.
^ Jump up to: a b Meisner, p. 339
Jump up ^ Esherick, Joseph, Paul Pickowicz, Andrew George Walder (2006). The Chinese cultural revolution as history. Stanford University Press. p. 92. ISBN 0-8047-5350-4. CS1 maint: Multiple names: authors list (link)
Jump up ^ Ma, Aiping; Si, Lina; Zhang, Hongfei (2009), "The evolution of cultural tourism: The example of Qufu, the birthplace of Confucius", in Ryan, Chris; Gu, Huimin, Tourism in China: destination, cultures and communities, Routledge advances in tourism, Taylor & Francis US, p. 183, ISBN 0-415-99189-7
Jump up ^ Asiaweek, Volume 10
Jump up ^ Jeni Hung (April 5, 2003). "Children of confucius". The Spectator. Retrieved 2007-03-04.
Jump up ^ "Burn, loot and pillage! Destruction of antiques during China's Cultural Revolution". AFC China. February 10, 2013.
Jump up ^ bo, Lo (April 1987). "I Was a Teenage Red Guard". New Internationalist Magazine.
Jump up ^ Yang, Rae (1997). Spider Eaters. University of California Press. p. 116.
Jump up ^ MacFarquhar, Roderick and Schoenhals, Michael. Mao's Last Revolution. Harvard University Press, 2006. p. 124
Jump up ^ MacFarquhar & Schoenhals; pp. 515
^ Jump up to: a b MacFarquhar, Roderick and Schoenhals, Michael. Mao's Last Revolution. Harvard University Press, 2006. p. 126
^ Jump up to: a b MacFarquhar, Roderick and Schoenhals, Michael. Mao's Last Revolution. Harvard University Press, 2006. p. 125
Jump up ^ MacFarquhar & Schoenhals; p. 124
Jump up ^ Howard, p. 169.
Jump up ^ Karnow, p. 209
Jump up ^ Karnow, p. 232 and 244
^ Jump up to: a b Meisner, p. 339-340
Jump up ^ Meisner, p. 341
Jump up ^ Chan
^ Jump up to: a b Walder
^ Jump up to: a b Chan, pg. 143
Jump up ^ Meisner, p. 351
Jump up ^ Meisner, p. 352
Jump up ^ Meisner, p. 357
^ Jump up to: a b Meisner, p. 361
Jump up ^ Meisner, p. 362
Jump up ^ Riskin, Carl; United Nations Development Programme (2000), China human development report 1999: transition and the state, Oxford University Press, p. 37, ISBN 978-0-19-592586-9
Jump up ^ Bramall, Chris. Industrialization of Rural China, p. 148. Oxford University Press (Oxford), 2007. ISBN 0199275939.
Jump up ^ Shu Jiang Lu, When Huai Flowers Bloom, p 115 ISBN 978-0-7914-7231-6
Jump up ^ "Up to the mountains, down to the villages (1968)". chineseposters.net. Retrieved 2017-02-13.
Jump up ^ "Bowed and Remorseful, Former Red Guard Recalls Teacher’s Death", New York Times, Chris Buckley, January 12, 2014.
References[edit]
Chan, A; 'Children of Mao: Personality Development and Political Activism in the Red Guard Generation'; University of Washington Press (1985)
Chesneaux, J; 'China: The People's Republic Since 1949'; Harvester Press (1979)
Howard, R; "Red Guards are always right". New Society, 2 February 1967, pp169–70.
Karnow, S; 'Mao and China: Inside China's Cultural Revolution'; Penguin (1984)
Meisner, M; 'Mao's China and After: A History of the People's Republic Since 1949'; Free Press (1986)
Teiwes, F; "Mao and His Followers". A Critical Introduction to Mao Zedong; Cambridge University Press (2010)
Van der Sprenkel, S; The Red Guards in perspective. New Society, 22 September 1966, pp455–6.
Walder, A; 'Fractured Rebellion: the Beijing Red Guard Movement'; Harvard University Press (2009)
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