working class Archives - Not Even Past

by Horus Tan

The People’s Commune was both a collective farm and a local institution that managed almost all economic and political activities in rural China. It was introduced in China in 1958 and abolished in 1983. Many scholars suggest that the People’s Commune was unproductive because its remuneration system was too egalitarian. According to James Kai-sing Kung , it offered only “a tenuous link between effort and reward. This weakness of incentives led to extensive free-riding behavior, which was cured only by the eventual replacement of the collectives by family farms.”[1] The Chinese Communist Party today shares this perspective. In its official narrative, the People’s Commune was too unproductive to maintain the subsistence of the peasants, and the abolition of the commune was set into motion by a couple of destitute peasants in 1978 who were attempting to improve their living standard. Joshua Eisenman offers a quite different perspective. In Red China’s Green Revolution, he argues that, instead of being an economic failure, the People’s Commune was successful in modernizing agriculture and promoting agricultural productivity during the 1970s. Some top officials of the Chinese Communist Party, not some poor peasants, abolished the People’s Commune in 1983 for their own political gain instead of its economic performance.

Poster of People’s Commune ca. 1958 (via Flickr)

Eisenman’s foremost conclusion is that the People’s Commune of the 1970s can be considered productive because of its ability to generate investment. Eisenman found that the People’s Commune was not a rigid institution. When it was introduced in 1958, it was indeed a disastrous failure and led to the famine of the Great Leap Forward (1958-1961). However, it experienced a dramatic transformation in the 1960s. By the 1970s, the People’s Commune, which Eisenman called the “Green Revolution Commune,” was successful in raising the agricultural productivity in China. One of the biggest problems agriculture in China faced before the introduction of the People’s Commune was the lack of capital. In a country with scarce capital and an unlimited labor force living just above subsistence level, it was hard to cut consumption and increase saving rates, in order to make productive investments to take advantage of high returns to capital. The People’s Commune of the 1970s extracted agricultural surplus before produce was distributed among the peasants. In other words, the peasants were taxed before they got their income. This system enabled the commune to “reduce consumption and ensure the high savings rates necessary to finance agricultural modernization.” Unlike the People’s Commune of 1958, which invested household savings in poor quality capital and caused the most catastrophic famine in human history, the People’s Commune of the 1970s turned savings into productive investments like agricultural machinery and chemical fertilizer. It kickstarted a continuous development process that produced rapid growth in food production. At the same time, the People’s Commune of the 1970s tolerated the existence of private sideline plots, cottage enterprises, and rural markets. This tolerance helped the peasants maintain their lives above the subsistence level and avoid the over-extraction which took place in the People’s Commune of 1958.

Mao Zedong shakes hands with Peoples commune workers ca. 1958 (via. Wikimedia)

Many scholars suggest that the remuneration system of the People’s Commune allowed the less productive members to be free riders, and made more productive members work less hard for the commune and seek better compensation outside it. In contrast, Eisenman argues that the free rider problem was largely alleviated by Maoist collectivist indoctrination. He argues that the People’s Commune was a kind of religious community, a church of Mao. Through ceremonial behaviors, like the public recitation of Mao’s teachings, the performance of Maoist opera and dance, and the display of Mao’s profile, the People’s Commune created a self-disciplined labor force who prioritized the fulfillment of Maoist collectivist ideology over material wealth. These activities also created a strict political atmosphere in which a nonconformists felt that criticized by the entire commune. Maoist indoctrination was backed up by the People’s Militia—the semiautonomous local military institution nested within the commune. The People’s Militia was controlled by the leaders of the commune to enforce both the commune’s collectivist ideology and its external security. Eisenman points out one additional characteristic that forced peasants to accept the high savings rates. The People’s Commune was not only a collective farm but also an autarkic institution that managed almost all economic and political activities in rural China. This autarky made it almost impossible for the peasants to flee the commune and seek a better life in the world outside.

People’s Commune Canteen ca. 1958 (via Wikimedia)

Eisenman’s second major conclusion is that the abolition of the People’s Commune was carried out by top officials of the Chinese Communist Party. According to the official narrative, the People’s Commune was too unproductive to maintain the subsistence of its members, so eighteen starving peasants in a commune of East China decollectivized their own commune, risking the death penalty on December 24, 1978. The improvement of these peasants’ economic conditions after decollectivization supposedly encouraged the authorities to abolish the People’s Commune. However, Eisenman argues that the fate of the Commune was decided not by its economic performance or by grassroots demands, but rather by the winner of the factional struggle within the Communist Party—Deng Xiaoping. The abolition of the Commune was a deliberate decision taken by these top Party officials to overthrow their pro-commune rivals who were still loyal to Mao’s ideology after Mao’s death. He also shows that there were many local and commune officials who opposed the abolition of the commune and refused to return to household-based agriculture. They did not dismember their commune until they were asked to do so by provincial officials. Some provincial officials admitted that they had to issue orders to stop the local officials from hindering the decollectivization movement.

People’s Commune ca. 1981 (via Wikimedia)

One of the merits of Eisenman’s study is that it offers a very useful approach to help scholars understand the transformation of agriculture in China during the 1960s and 1970s. Famine is one of the most common topics in Chinese history, and agriculture in China still underperformed until the 1960s. But during the 1970s, the situation definitely changed. Between 1962 and 1978, although China was almost completely closed to foreign trade, added almost 300 million people without suffering any massive famine. We can’t understand how Chinese agriculture accomplished this if we do not recognize the contribution of the People’s Commune to agricultural productivity. Eisenman’s study also helps researchers to dispense with their idealization of private property rights. Researchers of collective agriculture in the Soviet Union and Communist China usually are occupied with the underperformance of collective agriculture and the tragedies peasants suffered in the collective farms in these countries. These tragedies sometimes make researchers assume that private property is therefore superior. Eisenman’s study shows that the foremost obstacle faced by agriculture in many developing and underdeveloped countries is the lack of capital rather than the lack of private property rights. Small peasants cannot overcome the lack of capital by just building a closer connection between effort and reward.

[1] James Kai-sing Kung, “Transaction Costs and Peasants’ Choice of Institutions: Did the Right to Exit Really Solve the Free Rider Problem in Chinese Collective Agriculture?” Journal of Comparative Economics 17, no. 2 (June 1993): 486.

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By Sabine Hake

The “proletariat,” imagined to be the most radical, organized, and active segment of the working class, never existed as more than a utopian concept, but it had a profound effect on German society from the founding of Social Democracy in 1863 to the end of the Weimar Republic in 1933. Over the course of seventy years, the idea of a proletariat, often simply equated with the working class, inspired countless treatises, essays, novels, songs, plays, dances, paintings, photographs, and films. All of these works shared the vision of a classless society, conveyed the importance of class unity and solidarity, and, in very concrete ways, contributed to the making of class consciousness.Some of the figures are familiar to scholars of German culture and politics, including Ferdinand Lassalle, Karl Kautsky, Franz Wilhelm Seiwert, Wilhelm Reich, John Heartfield, and Bertolt Brecht. However, the vast majority are unknown working-class poets, artists, musicians, and intellectuals. Today largely forgotten, dismissed, or ignored, these men (and they were mostly men) insisted on the workers’ right to be heard, seen, and recognized. At the time, their contributions gave rise to a rich and diverse culture of political emotions, attachments, commitments, and identifications. Today, these works offer privileged access to the social imaginaries that formed during a crucial period in the history of mass political mobilization. In particular, they reveal what it meant—and even more important, how it felt—to claim the name “proletarian” with pride, hope, and conviction.

The workers’ demands for representation were part of larger political struggles associated with the worker’s movement and the working class, the Social Democratic Party of Germany (the SPD) and the German Communist Party (KPD). Given its formative emotional qualities, however, the proletarian imaginary cannot be dismissed as a mere function of party politics or political ideology. In ways not yet fully recognized, attachment to the figure of the proletarian became the basis of a vibrant alternative public sphere and a thriving socialist culture industry. Moreover, the countless stories and images of pride, hope, fear, rage, joy, and resentment made the worker a compelling figure in larger debates about modern class society and mass politics and contributed to the workers’ remarkable availability to socialist, nationalist, and populist appropriations. Marxist thought may have provided important concepts and theories but the enormous archive of emotions produced in the name of the proletariat forces us today to move beyond ideology critique—and to recognize the power of political emotions and of emotions in politics beyond traditional left-right distinctions.

To give a sense of the scope of this “proletarian” cultural output, let’s take a few examples. The ubiquitous workers’ song books offered compelling models, from the Workers’ Marseillaise to the Communist International, for singing, feeling, and thinking in unison as workers. The Lutheran pastor Paul Göhre edited workers’ life writings with a view toward facilitating cross-class understanding that made workers’ emotions legible to bourgeois readers. Socialist party leaders, like August Bebel spoke about socialism as an emotional experience by describing his attachment to socialism in surprisingly sentimental terms, while Karl Kautsky railed against the dangers of emotional socialism. Kinderfreunde groups, started during the 1920s, organized summer tent cities where working-class children already practiced living in a classless society, in part to help them overcome feelings of inferiority. Communists modeled proper physical and, by extension, political stances, in the Rotes Sprachrohr troupe (Red Megaphone), which used a hard, rigid way of speaking, standing, and moving to equate class struggle with militant masculinity. And communist groups became involved in the sex reform movement and other radical initiatives through the work of Wilhelm Reich, who saw proletarian revolution and full genital health as mutually supportive goals.

Curt Querner, The Agitator (1930). An example of the habitus of militant masculinity favored by the German Communist Party (oil on canvas, Nationalgalerie Berlin. Copyright 2017 Artists Rights Society (ARS), New York/VG Bild-Kunst Bonn).

Aesthetic elements of these works were critical in the making of political emotions. For instance, a strong affinity between melodrama and the proletarian imaginary were represented by the aestheticization of suffering. Personified by the proletarian Prometheus, melodrama prepared the workers for the real hardships of class struggle. Socialist writers of working-class versions of the classic coming of age story, or bildungsroman, made character identification the most powerful vehicle for Bildung in the standard sense of education and in the Marxist sense of class formation. And in the work of the photo-montagist, John Heartfield, modernist techniques could give rise to distinctly proletarian structures of life and create an incubator for revolutionary action by making the violence inherent in montage.

Cover of the journal Süddeutsche Postillon (21:6 1902), with the ideal-typical worker fighting the dragon of capitalism. (Ich bin ein Proletar!/ I Am a Proletarian!,” (With permission of Deutsches Historisches Museum, Berlin.)

While German Studies continues to neglect questions of class, a phenomenon worthy of further commentary (given the German contribution to Marxism and communism), The Proletarian Dream provides the first comprehensive overview of German working-class culture. Is is also is the first account of the culture of socialism that insists on freeing the culture of the workers’ movement from the fetters of ideology critique and recognizing its close connection to popular culture, mass culture, and the culture industry.

As a scholarly subject, the proletariat today may be considered outdated, irrelevant, and slightly peculiar. For me, its alleged obsolescence only confirms what Alexander Kluge once said about his reasons for writing about the proletariat—namely, that it is important not to “allow words to become obsolete before there is a change in the objects they denote.”

Sabine, Hake, The Proletarian Dream—Socialism, Culture, and Emotion in Germany, 1863-1933 (2017).

Several recent monographs in other disciplines address very similar questions in different contexts. The changing meanings of the proletarian in nationalist, regionalist, and anti-colonial movements are particularly obvious in Latin America and Southeast Asia and confirm the centrality of culture, including folk and popular culture, in generating political emotions and forging proletarian identifications:

John Lear’s 2017 book, Picturing the Proletariat, Artists and Labor in Revolutionary Mexico, 1908-1940 , highlights the ways radicalized workers in Mexico drew on indigenous traditions (e.g., Posada’s use of folk traditions in political printmaking) and internationalist iconographies (e.g., the proletarian Prometheus in the German socialist press) to support the struggles of workers in agriculture and industry.

Samuel Perry’s 2014 book, Recasting Red Culture in Proletarian Japan: Childhood, Korea, and the Historical Avant-garde, reconstructs the proletarian moment through the communist appropriation of Japanese woodblock techniques, the didactic goals of proletarian children’s literature, and the political avant-garde’s complicated relationship to their country’s imperialist practices.

Sunyoung Park’s 2015 book, The Proletarian Wave: Literature and Leftist Culture in Colonial Korea, 1910-1945 offers the corresponding Korean perspective, which includes close attention to the conditions of socialist revolution in rural societies and the unique contribution of socialist women writers.

Photo credit: Agitprop performance by the Red Megaphone Troupe (Grupa Rotes Sprachrohr).

Red China’s Green Revolution: Technological Innovation, Institutional Change, and Economic Development under the Commune by Joshua Eisenman (2018)

The Proletarian Dream: Working-class Culture in Modern Germany

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