China’s recent push to Sinicize the art and literature of ethnic minorities marks a disturbing escalation in its ongoing efforts to undermine and assimilate diverse cultural identities within its borders. Pan Yue, the head of the National Ethnic Affairs Commission, recently criticized ethnic minority works that fail to emphasize a unified Chinese national identity, singling out Tibetan and Uyghur cultural expressions as particularly problematic.
In a speech at the Junma (Steed) Ethnic Minority Literary Awards, Pan Yue highlighted a “disconcerting trend” where ethnic minority artworks reflect Western multicultural influences. He condemned these works as “self-centred” and disconnected from the broader narrative of Chinese progress. Pan’s comments reveal the Chinese Communist Party’s (CPC) intention to manipulate cultural outputs to serve its agenda of creating a monolithic national identity.
A significant target of Pan’s criticism was a Tibetan-language movie that focused on spiritual aspects without crediting the CPC for infrastructure developments in the region. Although he did not name the movie, it was apparent that he referred to Zhang Yang’s 2015 film, Paths of the Soul, which portrays a group of Tibetan pilgrims’ journey to Mount Kailash. Pan’s attack on this work underscores the CPC’s disdain for any cultural expression that highlights ethnic identity or spiritual traditions independent of state propaganda.
Pan’s remarks are not isolated but are part of a broader strategy initiated by President Xi Jinping. Since 2014, Xi’s policy towards ethnic minorities has been encapsulated by the slogan “community of the Chinese nation,” which prioritizes national unity over ethnic diversity. This policy directly contradicts the rich multicultural fabric of China, historically comprising various ethnic groups like the Tibetans, Uyghurs, Mongolians, Manchus, and Hui.
The CPC’s approach includes rewriting history to fit its narrative of unity. Pan criticized narratives that suggest regions like Tibet, Yunnan, Guizhou, and Guangxi had distinct historical identities separate from the Chinese nation. By insisting that these groups have always been integral to Chinese civilization, the CPC aims to erase their unique historical and cultural legacies.
Pan’s speech also included a call to filmmakers and authors within minority communities to produce works that align with the CPC’s nationalistic narrative. This directive is a clear attempt to co-opt ethnic minority artists into the state’s propaganda machine, using their cultural expressions to reinforce the CPC’s version of history and identity.
The Sinicization policy is not merely about cultural suppression; it is part of a broader campaign of assimilation and control. In Tibet, the CPC’s policies include the mass internment of Tibetan children in boarding schools where they are indoctrinated with Chinese culture and language, cutting them off from their Tibetan heritage. Similar tactics are employed in Xinjiang against the Uyghurs, where reports of forced labor, re-education camps, and other human rights abuses have constantly drawn international condemnation but it seems that the Communist Party of China will continue to breach such ethical boundaries.
