Revolution vs. rebellion?

Jet Li, Takeshi Kaneshiro and Andy Lau in Warlords (2007), set amidst the Taiping Rebellion.

"Of all the nations that have attained a degree of civilisation, the Chinese are the least revolutionary and the most rebellious."

Thomas Taylor Meadows, The Chinese and their Rebellions, Viewed in Connection with their National Philosophy, Ethics, Legislation and Administrations (London, 1855), 25.

Meadows had been British consul to China, and his strange book is largely a proposal that the Chinese imperial examinations should serve as a model for creating a meritocratic civil service for Britain. For Meadows the long stability of the form of the Chinese imperial state (in spite of changing dynasties) was due largely to the creation of the class of scholar-bureaucrats which the examinations fostered.

His statement above, however, is of interest to me since it might prompt some of the problems which would dog an understanding of kung fu cinema as a cinema with something to say to revolutionaries. Might we not say the same thing about these films as Meadows does about China: that they are the apotheosis of rebellion, but that they are not the least bit revolutionary?

But Meadows's book is brought up here as a place where contradictions and problems might gravitate to the point of hyperdensity at which they go supernova. Meadows's statement, after all, hits us with the historical equivalent of dramatic irony. How could one say such a thing about the land that gave us Mao, and exported Marxist guerilla insurgency not only across Asia but also the world? Since Meadows wrote, where has been more revolutionary than China, that great idol of the revolts of 1968? To make such a statement as Meadows nowadays would seem at the very least to require a rather complex redefinition of what counts as radical or revolutionary. (Mao as a kind of a latter-day Confucian…) But I would argue that the question of what counts as properly radical is, in any case, something that needs to be made problematic.

For Meadows, the distinction is simple enough. He glosses his argument thus:

"Revolution is a change in the form of government and of the principles on which it rests: it does not necessarily imply a change of rulers. Rebellion is a rising against the rulers which, far from necessarily aiming at a change of governmental principles and forms, often originates in a desire of preserving them intact. Revolutionary movements are against principles; rebellions against men" (25).

In the light of such criteria, at first glance there is a lot of common sense in Meadows's assessment, even if China was, as he was writing, undergoing one of the biggest and most awful civil wars that history has given us: the Taiping Rebellion in which at least 20 million people lost their lives. From an English perspective, in 1855, and in contrast to the European upheavals of the previous decade, with all the radical theory that fuelled these – this is the decade, after all, in which the Communist Manifesto was written – China's turmoil might have seemed rather backward, and lacking in the genuine revolutionary impetus of the thoroughgoing critiques proposed by Marx and the like. Hong Xiquan (in spite of his millennial theology) could easily be imagined by Westerners as simply a man who intended to set himself up as an alternative Emperor in the stead of the Qing dynasty, and who would be expected to rule in just the same way that they, and the dynasties of the preceding two thousand years, had always done.

Marx himself would seem to concur in his articles on the Taiping uprising in Die Presse:

"Some time before the tables began to dance, China--this living fossil--started revolutionizing. By itself there was nothing extraordinary in this phenomenon, since the Oriental empires always show an unchanging social infra-structure coupled with unceasing change in the persons and tribes who manage to ascribe to themselves the political super-structure" (cited by Daniel Little, "Marx and the Taipings," Understanding Society, Blogger.com at Feb 13 2009 (accessed 8 April 2011).)

With the image of dancing tables – it also figures in a footnote to Chapter 1 of Capital – Marx is referring to the craze in the 1850s for seances, nicknamed at the time "table turning," an enthusiasm he suggested was a substitute for rebellion, emerging in the context of the blocked desires created by the defeat of the 1848 uprisings. Chiming with such spinning tables, the 'revolutionising' of China in the Taiping uprising becomes an empty rotational spectacle, rather than any meaningful turning of history's wheels, and the European fascination with the phenomenon is, like that of the occult, a mere pathological symptom of the impossibility of real rebellion at home.

But Marx's and Meadows's judgements alike are coloured by an orientalism which – as Daniel Little notes in an interesting blog post on Marx and the Taiping – imagines the East as eternal and the West as the locus solus of historical change. Little notes that Marx's usual acuity with regard to class is missing in his discussions of China, and any proper examination of the Taiping movement – its social programme, for example, or the reasons why a peasantry flocked to it – are foreclosed, and that recent scholarship has done much to complexify such a vision of the Taiping as merely aiming to replace one Emperor with another.

In this regard, and especially in the light of the nationalist and communist revolutions of the twentieth century, China's history might start to look much more revolutionary than merely rebellious. Were the peasant revolts that echoed through its histories, from the "yellow turbans" of 184-205 AD that ended the rule of the Han dynasty to the Boxer Rebellion at the dawn of the twentieth century, only about restoring and rejuvenating the order of the status quo, or can they be seen as involving radical social projects? The yellow turbans, famously, were a Taoist sect which espoused equal rights and equal distribution of land. (Terry Kleeman, in his book Great Perfection has documented a similar utopian and millennial Taoist sect which held out as a separate state across much of present-day Sichuan for over half a century in the tumultuous fourth century AD.) As Little notes, whilst Marx and Meadows saw nothing truly revolutionary in the Taipings, for Mao they figured as heroic forebears engaged in a proto-communist endeavour.

The historical ironies that surround Meadows's remarks, then, as they are visible from this end of the twentieth century, point to a certain problematic which was already in place at the time they were written. The attractive neatness of the formula has the hallmark of a simplification through which history is made malleable to ideological manipulation. The easy dichotomy between rebellion and revolution hides a surreptitious set of distinctions between what is or is not "essential" or "fundamental" in change (and what are merely superficial alterations); and, we might add, recent scholarship would suggest that the judgment about these things may well be much more culturally and historically relative than either Marx or Meadows imagined when they were writing.

Raising this, of course, at the current early stage in proceedings of this research, is more to lay out a question than provide an answer as to how we might deconstruct or dialecticise this pair of terms, how they might play out in Chinese history, and how the impetus for 'rebellion' and 'revolution' may be at stake in martial art films. This is all work to be done. The usual assumption (as I note above) would tend to be that martial arts movies are only "rebellious" (seen as a bad, watered-down, unproductive thing, mere table-turning, if you like, spectacle and not substance) rather than in any sense being truly "revolutionary" (in the sense of opening on to "real change"). There are, of course exceptions: Vijay Prashad and M.T. Kato both find in Bruce Lee an authentic revolutionary hero – Kato even talks about a kung fu "cultural revolution". But in these, just as in the case of those who think that martial arts films never amount more than pseudo-revolutionary posturing, there is the mobilisation of this pair of terms to come to a judgment about the political meaning of the kung fu genre or its particular films and stars.

Of course, there are wider stakes too. The discourses of or around "popular culture" and its value more generally have revolved around this point of whether it has seeds of revolutionary (real, fundamental, meaningful) change, or whether it only involves those surface novelties which allow capitalism to remain, under the surface, always the same. (If some might view martial arts films as all rebellion and no revolution, this is only because this is an attitude generally taken up towards popular culture more generally.) These issues, then, lay at the heart of the discipline of Cultural Studies (and its debates with its opponents on the left), and more generally around the New Left movement from which it emerged, as it tried to rethink a radical but more 'democratic' politics in the face of existing totalitarian socialisms. It also haunts the current returns (in Zizek and others, for example) to a position which sees in the New Left (and its investments in the popular) suspiciously liberal traits.

Some Quotes from Frantz Fanon

Bruce Lee with Nunchaku in Way of the Dragon (1972)

A while back at the University I gave a lecture on Bruce Lee and the Postcolonial. Here are some quotations from Frantz Fanon's Wretched of the Earth that chime with my theme:

"And it is clear that in the colonial countries the peasants alone are revolutionary, for they have nothing to lose and everything to gain. The starving peasant, outside the class system is the first among the exploited to discover that only violence pays. For him there is no compromise, no possible coming to terms; colonization and decolonization are simply a question of relative strength."

“[In the colonial situation,] the dreams of the native are always of muscular prowess; his dreams are of action and aggression. I dream I am jumping, swimming, running, climbing; […] that I span a river in one stride, or that I am followed by a flood of motor cars which never catch up with me. […] The native’s muscles are always tensed. You can't say that he is terrorized, or even apprehensive. He is in fact ready at a moment’s notice to exchange the role of the quarry for that of the hunter” (40).

“[In the colonial situation,] at the level of individuals, violence is a cleansing force. It frees the native from his inferiority complex, and from his despair and inaction; it makes him fearless and restores his self respect” (74).

“Violence […] is Man recreating himself.” Sartre, in his Preface to the book, p.18.

Peasant weapons

The above image is from Paulus Hector Mair's sixteenth-century encyclopedia of German martial arts. (A number of such Fechtbücher were produced during the late middle ages and early Renaissance). As well as including instructions for knightly techniques, Mair's encyclopedia discusses peasant weapons such as scythes, sickles and cudgels (pictured above).

For scans of the first two volumes see:

http://mdz10.bib-bvb.de/~db/bsb00006570/images/index.html

http://mdz10.bib-bvb.de/~db/bsb00007894/images/index.html

There are youtube clips of reconstructions of some of the techniques described by Mair for European peasant weaponry at:

http://www.youtube.com/watch?v=3-cgClKJbGg

http://www.youtube.com/watch?v=ef9Xuzu3aa0

In the Chinese martial arts, there are also, of course, a number of weapons that derive not from military use, but from peasant tools: scythes, spades, staffs, knives, hoes, rakes, and, of course, rice flails – the iconic nunchaku of Bruce Lee derives from the Okinawan version of this last tool, and as M.T. Kato points out in From Kung Fu to Hip Hop: Globalisation, Revolution and Popular Culture (New York: SUNY Press, 2007), the development of the nunchaku as a weapon harks back to the ban on the native population carrying bladed weapons under Japan's occupation of Okinawa during the seventeenth century (pp.42-3).

Such weapons, then, were adaptations used for village self-defence, and speak of an 'other' martial art, aside from that created by the military. Kato even goes as far as to argue for two opposing categories: the officially-instituted, drilled, imperialist martial arts of order and discipline such as judo or the samurai sword on the one hand, and a more improvisatory and informal decolonising martial arts of resistance or revolt on the other – 'martial arts from below' as it were. (Of course, such an opposition seems to beg for deconstruction or dialecticisation...)

Monkey: What is that thing?

Pigsy: This? It was made for me by Lao Tzu.

Monkey: The Venerable Lao?!

Pigsy: It was to comepensate me for this incarnation. It's my muck rake...

Braudel on revolt in the late European middle ages

The following passage is from Fernand Braudel's Civilization and Capitalism, vol. 2:

Yves-Marie Bercé has found evidence of five hundred revolts among the peasants of Aquitaine alone, between 1590 and 1715. Records relating to a hundred or so German towns from 1301 to 1550 reveal 200 clashes with authority, some accompanied by bloodshed. In Lyons, in the 357 years between 1173 and 1530, 126 were marked by disturbances (rather more than one year in three). We may call these incidents or disturbances – though some of them were so powerful and violent that only the word revolution really does justice to them. On a European scale, during the five centuries covered by this book, there were tens of thousands of incidents – not all of them classified properly and some still lying hidden in the archives. The research so far undertaken does however make it possible to draw some conclusions – some with confidence in the case of peasant revolts, but with much greater risk of error in the case of workers' risings, which were essentially an urban phenomenon.

A great deal of work has been done on peasant revolts in France, following Boris Porchenev's revolutionary book. But it is obvious that France was not alone in this respect, even if the attention it has attracted from historians makes the French case exemplary. From the material so far assembled at any rate, an unmistakeable picture emerges: the peasant community was in perpetual conflict with its oppressors: the state, the landlord, external circumstances, hard times, armed troops, and anything that threatened or even impeded the village community which was the condition of its liberty. And in peasant eyes, all these foes were combined. When in 1530, a local nobleman sent his pigs to root in the common woodland, a little village of the Neapolitan county of Nolise rose up in defence of its grazing rights with the cry 'Viva il popolo et mora il signore' ('Long live the people and death to the master!'). Hence the uninterrupted series of incidents revealing the traditional mentality and special conditions of peasant life, right down to the nineteenth century. If, as Ingmar Bog has remarked, one is looking for an illustration of 'the long term' with its repetitions, its revivals and monotonous patterns, the history of peasants provides any number of perfect examples.

A first reading of this massive literature leaves one with the impression that all this agitation, while never dying down, rarely achieved anything. To rebel was 'to spit in the sky': the jacquerie of 1358 in the Ile-de-France; the English Peasant's revolt of 1381; the Bauernkrieg of 1525; the salt-tax rebellion by the communes of Guyenne in 1584; the violent Bolotnikov rising in Russsia in 1614; the great peasant war that shook Naples in 1647 – all these furious outbursts regularly failed. So too did the minor rebellions which unwaryingly relayed each other. The established order could not tolerate peasant disorder which, in view of the predominance of agriculture, might undermine the very foundations of society and economy. State, nobles, bourgeois property owners, even the Church and certainly the towns were almost constantly in league against the peasant. Flames were nonetheless smouldering under the ashes.

The failures were not [...] as complete as they appeared. The peasant was always rudely brought to heel it is true, but more than once progress was made as a result of rebellion. The 'Jacques' of 1358 did after all secure the liberty of the peasantry in the Paris region. The desertion, then repopulation of this key region cannot entirely explain the process whereby this liberty was won, recaptured and maintained. Was the Bauernkrieg of 1525 a total failure? Not necessarily. The peasant rebels between the Elbe and the Rhine did not, like their brothers beyond the Elbe, become new serfs: they preserved their liberties and ancient rites.(494-6)

In lieu of an introduction

I've tried to sit down and write an introduction to this blog a few times. However, each time, it becomes long and unweildy – and I can not imagine an internet reader ploughing their way through what I have written.

So this is written in lieu of an introduction. I'll have to carry out this full task elsewhere, probably in a series of posts, and I'll mark them as a "thread" – with a name like "starting points." The problem is that for me, there are just too many starting points for this project to get to grips with all at once. It's origins spread out like the root of a tree.

However, basically, the project perhaps starts with a kind of a problem, rather than an answer. it's a research project in search of a question, if you like.

It started for me with a collision of two things.

First, I was reading Fernand Braudel's trilogy of books Capitalism and Material Life 1400-1800. This is a magisterial reading of the early history of capitalism, before its modern-day industrial manifestations. Braudel charts capitalism's slow growth, and its transformation of everyday ways of life. One thing (amongst many) that struck me was Braudel's description of the countryside and towns of the European middle ages and early modernity as heaving with perpetual unrest harbouring uprisings at a rate that perhaps even puts the twentieth-century in the shade. This contrasted with a "common-sense" understanding that I had – one which is supported in such accounts as Thompson's famous Making of the Working Class – that it was only the with the industrial revolution and its experiences of labour that a "revolutionary" political consciousness of class, exploitation, and of ordinary people's abilities to change their fate and the composition of their society developed.

At the same time as reading Braudel, I was watching quite a few kung fu movies – these have become, for me, something of a passion! The motif of revolting peasants from Braudel seemed to resonate with what I saw on screen. Revolt is a key theme within the kung fu genre, as is the problem, generally, of resisting tyranny and exploitation. The settings of kung fu films often involve a (fantasised) past – like Westerns, they obsess on that moment of transition between the modern and a world before modernity has fully arrived. They are primarily rural in setting, and so what we see so often in them are peasants in revolt.

This juxtaposition is more beset with problems than with any immediate solution – so many problems that in this introduction I can hardly even start to sketch out their outline, so will save this for later posts, too.

However, around the meeting of a Braudellian history of the longue durée of capitalism and martial arts cinema a number of fascinating issues/questions seem to intersect:

1. Does this collision help think traditions of revolution and revolt as stretching back into the (pre-industrial) past, and stretching forward into our own (post-industrial) present and its future?

2. Might popular culture (in spite of its highly Spectacularised and ideological nature) harbour cultural memories of such traditions, and are there resources in it for (future) popular movements?

3. What would kung fu films have to add to our thinking of the questions of revolutionary – or for that matter imperialist/capitalist/authoritarian/etc. – violence? (such questions of the ethical and practical nature of violence in revolt have been very much in the air in left-wing circles of late, for example in the writings of Badiou or Zizek; such debates seem to me, intuitively, to have much to do with the strange and double-edged histories of martial arts as on the one had military technologies of domination, and on the other a matter of traditional forms of popular defence and struggle...)

4. I'm also interested in the theme of work/labour, which is, of course, at the heart of Marxist analyses of capitalism and of its forms of exploitation. It's also, I think, an important and little-discussed theme in kung fu films. This is, however, probably something – like much I've said here – that remains, necessarily at this stage, at the level of suggestion rather than argument: it is something that the unfolding research of which this blog is a part will have to persuade people...