The People’s Daily has recently reported that Beijing officials intend to create a China Music Village in the city’s Pinggu District. Some estimates suggest that the project will encompass 10 square kilometres, take 10 years to construct, and cost over US$2.3 billion. The project will include the construction of an industrial base dedicated to the manufacture of musical instruments, studio facilities, a commercial centre, an arena, music schools and hotels.
This project is illustrative of China’s efforts to develop soft power through promoting its culture. It is ultimately self-defeating. The creation of soft power cannot be led from the top, constructed and exported like an industrial product. It’s organic, an almost inadvertent side-product of a society’s values and how it conducts itself. If people consider this attractive, it endows its society of origin with soft power.
Compare the contrived, top-down Chinese approach with, say, the U.S. Despite Beijing’s focus on increasing China’s cultural attractiveness and soft power, it has yet to develop anything as attractive as Levi’s jeans, rock and roll or the iPod, all cultural products that have nothing to do with U.S. government policies. It seems unlikely that a government bureaucracy could marshal such creativity.
Indeed, the more contrived China’s approach to soft power seems, the less attractive it is. Consider, for example, the 2008 Olympics. Intended to be China’s ‘coming out’ party, announcing its arrival as a truly powerful nation, it was dogged with stories of black jails, inadequate compensation for those whose property was destroyed in order to construct the infrastructure required for the games, and the Sanlu tainted milk cover-up. In comparison, the news that the little girl who performed Ode to the Motherland at the opening ceremony was replaced with a cuter child who mimed her performance was comical.
In short, the CCP’s insistence on crafting an official narrative rather than embracing the multitude of stories that reflect different facets of China has obstructed the development of Chinese soft power. The more it tries to control the narrative, the less appealing, even sinister, its efforts seem.
The success of K-Pop in general, and PSY’s Gangnam Style in particular, has prompted debate in China about whether it could ever create such a phenomenon. Given that Chinese artists still face constraints, and the improbability of a Chinese government department ever encouraging something so ridiculous and satirical, it seems unlikely that the Chinese music industry will enjoy a similar cross-over hit in the near future.






