Guo Degang’s Counter-Official Xiangsheng Performance

Abstract

In this chapter, we focus on examining Guo Degang’s xiangsheng performance that bears a strong counter-official flavour. From the beginning of the CCP’s rule on mainland China, xiangsheng, together with other popular folk art performing genres have been enlished and co-opted by the state interests to conduct mass mobilisation, education and propaganda in order to serve its political goals, although there were many efforts that had been attempted by writers and performers to disengage xiangsheng from its political functions and obligations. However, even in recent times, official xiangsheng performers still take the opportunity, such as that offered by the annual China Central Television (CCTV) Spring Festival Gala, to spread the state propaganda rhetoric. In sharp contrast to these official xiangsheng performances, Guo Degang’s works revolve around sensitive and controversial social issues and problems. In other words, Guo Degang’s xiangsheng performances are directed towards many non-harmonious elements of contemporary Chinese society and which are in obvious conflict with the official rhetoric of the CCP. Instead of spreading and promoting the glorious achievements of the government, Guo Degang ferrets out the malaise and injustice in Chinese society.