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星期日, 2月 05, 2017

澳洲價值守護聯盟:致州長的公開信 —— 反對在墨爾本上演“紅色娘子軍”

續去年十月發起反對在墨爾本上演"紅色娘子軍"的簽名活動之後,澳洲價值守護聯盟(Australian Values Alliance,簡稱AVA。曾以舊名 Embracing Australian Values Alliance 或 EAVA 為人所知)今天再次向維州州長發出公開信,反對將紅色娘子軍這類工作洗腦宣傳工具引進澳洲,並再次呼籲警惕共產恐怖主義對澳洲的滲透。

公開信英文原件見附件,以下是本人粗略的中文翻譯:


致州長的公開信 —— 反對在墨爾本上演"紅色娘子軍"


  維多利亞州州長丹尼爾.安德魯斯去年宣布說,他已經邀請了中國歌劇芭蕾舞劇團2017年2月來墨爾本演出《紅色娘子軍》。澳洲價值守護聯盟(AVA)強烈反對州長的這個決定。我們認為這個決定嚴重損害澳洲價值,對我們的社區是攻擊性的冒犯。更糟的是,它成為中國在澳洲進行洗腦政治宣傳的渠道。

  這個紅色芭蕾的背景基於虛擬的小說,描述一名農村婦女吳瓊花在海南島加入紅軍後,對地主南霸天進行報復,對鄉紳進行搶劫和殘殺。其主題是歌頌紅軍的建立。中國紅軍在1930年代是在中國的恐怖主義組織,是現在中國解放軍的前身。

  歷史告訴我們,紅軍犯下了眾多反人類的罪行(見附件一)。更重要的是,紅軍倡導階級仇恨,殘暴殺戮和恐怖主義行為,它是在那個時代中國的 ISIS、納粹黨衛軍和紅色高棉。允許這個紅色芭蕾在墨爾本最著名的劇院演出,就相當於允許恐怖主義組織或納粹德國在我們的土地上展示它們的所為和歡慶它們的成就。

  與宣傳材料所稱的該芭蕾舞歌頌女主角和婦女解放恰恰相反,事實上,在那個時代,很多共產軍隊中的年輕婦女被迫嫁給年紀比她們大得多的高級幹部。著名的例子包括:17歲的康克清嫁給43歲的紅軍總司令朱德,24歲的江青嫁給黨魁毛澤東,25歲的薛明嫁給46歲的紅軍高級將領賀龍,等等。一些年輕婦女甚至被強迫作為在紅軍中的外國人的"臨時妻子"。所有的婚姻與離婚都必須經過"組織"的安排或批准。

  這個紅色芭蕾的主題與編排煽動暴力,鼓勵報復,倡導專制,並讚揚殘殺。中共政權將它們的政治宣傳隱藏在芭蕾舞的形式中,在世界舞台上滲透它們的"軟實力"。

  以藝術形式和文化交流的名義,這個紅色芭蕾是由中共政府資助,以便通過誘導我們的公民接受中共的價值觀來向我們的社區灌輸它們的意識形態,並廣泛滲透進我們生活的其他部分。

  根據我們親身的經歷,澳洲價值守護聯盟非常擔憂在澳洲的中文媒體已經直接或間接地被中共政權滲透,並通過過濾不利於中共政權的媒體信息來實施自我審查。通過在我們大、中、小學系統中快速增長的"孔子教堂"和"孔子學院",我們的教育體系逐步地受制於中國政府的資助。

  無庸贅述,中共以文化藝術形式進行的宣傳令許多澳洲華人極為厭惡,因為紅色芭蕾喚回了他們在連續不斷的各種政治運動和迫害中遭受的痛苦,如"鎮反"、"土改"、反右、文革、天安門大屠殺,等等。許多人的家庭或親友在1950年代到1980年代期間被監禁或殺害。雖然他們可以作為公民在澳洲定居,但紅色芭蕾就像幽靈一樣來到我們家中困擾他們,誤導我們的同胞以形成紅色芭蕾的描述是正常的、值得頌揚的印象。

  我們敦促維州政府反思和吸取這次教訓,警惕無孔不入的中共洗腦宣傳,這種宣傳捕食在我們開放、隨和與容忍的多元文化的社會。我們還敦促維州政府體會部分澳洲華人的感受,因為這個紅色芭蕾令他們厭惡,令他們想起過去遭受的苦痛。

  這在我們開放的社會中仍然是有意義的:我們不歡迎紅色芭蕾所宣揚的極端思維,例如報復、謀殺、階級仇恨。我們必須拒絕對澳洲華人和整個澳洲社會對極具傷害性的紅色芭蕾,

  如果需要了解更多有關紅色芭蕾的信息與評論,或者我們對中共政治宣傳滲透我們社會及其後果的擔憂,請通過電郵地址 info@ava.org.au 或電話 0414 816 751 與澳洲價值守護聯盟聯繫。

緻禮!

澳洲價值守護聯盟發言人 John Hugh  (0414 816 751)


==================================================

附件一:
如斑斕的響尾蛇,如絢麗的罌粟花
——再評芭蕾舞《紅色娘子軍》

孫寶強


  2017年2月15日,芭蕾舞《紅色娘子軍》將在慕爾本的藝術節隆重上演。半年前,此廣告已鋪天蓋地澳中皆知。墨爾本藝術中心首席執行官Claire Spencer說:"墨爾本藝術中心為此次能夠在墨爾本獨家呈現中國芭蕾舞團這一標志性的作品《紅色娘子軍》感到非常榮幸。"

  芭蕾舞《紅色娘子軍》描述了農村婦女吳清華加入紅軍後,對地主南霸天進行复仇,對農村士紳展開搶劫和屠殺的一段歷史。那麼,紅軍究竟是一個什麼樣的組織?


一,打土豪分田地殺無赦

  紅軍在征兵時打出最著名的口號是:"你想有飯吃嗎?你想种地不交租嗎?你想睡地主老財的小老婆嗎??赶快參加紅軍吧!"紅軍著名將領賀龍在參加党的七大時的履歷表上寫著:"1917年底,我曾用兩把菜刀發展到百余人的隊伍……"據《中國觀察》介紹:紅軍從1927年秋收暴動開始,一直是沿襲"打土豪"的辦法來解決軍糧軍餉。他們每到一地,便把那里的地主通通殺掉,奪取他們所有的財富。國民政府人士稱:"紅軍攻陷長沙后,二十八日滿城起火,搶掠財物,見人即殺。而殺人方法,亦倍极慘毒,有生剝其皮者,有投之火中者,以大刀砍殺者尚屬优待……計自二十八日至八月一日,殺人在五千以上,街道河流伏尸為滿。"


二,綁票撕票毫無人性

  1934年12月6日,紅軍方志敏的部下綁架了美國傳教士師達能和史文明夫婦,要求他們付贖金大洋2萬元。傳教士夫妻面對淫威不肯低頭。惱羞成怒的紅軍被拒後,將兩人押往刑場用大刀砍下他們的頭顱。他們還想對僅出生二個月的嬰兒愛蓮也下手,因被他人施救而倖免遇難。方志敏參加紅軍後殺人殺紅了眼,就連一直救濟他全家生活的叔叔都不放過。1925年,他不顧跪地父母的請求,親手砍下了叔叔的頭顱。


三,種植罌粟燒製鴉片

  1944年9月5日,紅軍戰士張思德在安塞縣燒鴉片,因窯洞塌方被砸而身亡。毛澤東譽他"死得重如泰山"。《延安日記》的作者是蘇聯人彼得‧弗拉基米洛夫,當時以共產國際駐延安聯絡員兼塔斯社軍事特派員身份進駐延安。他《延安日記》寫道"......到處在做非法的鴉片交易。例如在茶陵,遠在后方的一二零師部,撥出一間房子來加工原料,制成鴉片后就從這里運往市場。為此,政治局已經任命任弼時為鴉片問題專員。"在捍衛民主的同盟國和堅持獨裁的軸心國交戰之際,紅軍不在前線浴血作戰,卻在大後方燒製鴉片毒害人民,其無恥可見一斑。


四,私通敵寇出賣民國

  2016年11月,日本筑波大學名譽教授遠藤譽撰寫的《毛澤東与日軍共謀的男人》一書在日本出版。作者遠藤根据她收集的中國、台灣、日本三方面資料,來論證中國國民党軍隊抗日時,紅軍領導人毛澤東率領的中共与日本駐上海的特務机關-岩井公館合作打擊國民党的史實。1972年9月27日,日本首相田中角榮(Kakuei Tanaka)訪華,就二次世界大戰中日本侵略中國道歉,紅軍領導人毛澤東說:"感謝日本侵華......八年抗戰中間,我們軍隊發展到了一百二十萬人。"紅軍在歷史最緊急的關頭,幫助邪惡的軸心國對抗同盟國,其罪其惡可圈可點。

  綜上所述,紅軍貫徹的是納粹的極權主義和法西斯主義,紅軍就是ISIS的极端的宗教恐怖組織。芭蕾舞《紅色娘子軍》對暴力的痴迷,對仇恨的膜拜,對強權的頌揚,對殺戮的讚美,已經到了登峰造極的地步。挺胸,跺腳,瞪眼,咬舌;以大腿做機槍,以人體做炸彈,整部芭蕾舞渲染殺人,提倡復仇,完全背離了基督教的宗旨,顛覆了澳洲的立國之本普世價值。

  想當初,多少中國人受了"紅色娘子軍"的荼毒,一個個成了殺人不眨眼的"後義和團";我母親中了"紅色娘子軍"的蠱惑,揭發了要偷渡香港的弟弟,最後她弟弟慘死在中國的"古拉格群島"。

  芭蕾舞《紅色娘子軍》如一條斑斕的響尾蛇,大搖大擺地遊進伊甸園;芭蕾舞《紅色娘子軍》如一朵絢麗的罌粟花,搖曳綻放在慕爾本舞台。這是紅潮的蔓延還是"藝術的交流"?這究竟是澳洲的榮幸,還是澳洲的恥辱?


==============================================

英文原文(附件內容與之相同):

An open Letter to the Premier - Objection to the performance of the Red Detachment of Women Ballet in Melbourne

 

The Victorian Premier, Daniel Andrews, announced last year that he had invited the Chinese Opera Ballet to perform The Red Detachment of Women in Melbourne in February 2017. The Australian Values Alliance (AVA) strongly objects this decision which we consider as grossly inappropriate with regards to the Australian values and is offensive to our community. At worst it has become a channel for the Chinese political propaganda spreading in Australia.

 

The background of the Red ballet is based on a novel that depicts the story of a peasant woman Wu Qinghua, who, after joining the Red Army in Hainan Island, proceeded to carrying out a revenge on her landlord Nan Batian, as well as robbing and brutally killing a number of countryside gentry. The main theme is to celebrate and glorify the formation of the Chinese Red Army which was a terrorist organisation in China in the 1930s and is the origin of the Chinese Liberation Army nowadays.

 

History can tell that the Red Army committed numerous crimes and acted against humanity (Attachment 1). More importantly, the Red Army promoted class hatred, brutal killings and terrorist acts; it was the ISIS, the Nazi SS or the Khmer Rouge in China during that time. Allowing the "Red" Ballet to perform in the Melbourne's most prestige theatre is equivalent to allowing terrorist groups to showcase their work or the Nazi Germany to celebrate their achievements on our land.

 

Contrary to the promotional materials that the ballet celebrates heroine and promotes women freedom, the fact is, during that time, many young women in the Communist army were forced to marry much older senior officers. Famous examples included: 17 years old Kang Keqing married to 43 years old Red Army Commander-in-Chief Zhu De, 24 years old Jiang Qing married to 45 years old party-leader Mao Zedong and 25 years old Xue Ming married to 46 years old senior Red Army commander He Long. Young women were even forced to become 'temporary wives' of foreigners in the Red Army and all marriages and divorces had to be arranged or approved by the 'Party'.

 

The theme and choreography of the Red ballet incite violence, agitate revenge, and advocate autocracy and praise brutal killing as laudable acts. Hidden in the format of ballet, the Chinese Communist regime engages in political propaganda and inserts its 'soft power' in the world stage.

 

In artistic format and in the name of cultural exchange, the Red ballet sponsored by the Chinese Communist state is imposing its ideology on our community by luring our citizens into accepting the Chinese Communists' "values" and infiltration into our other parts of lives.

 

Based on our own experience, the AVA is very concerned that the Chinese media in Australia has been directly or indirectly infiltrated by the Chinese Communist state and had exercised self-censorship by filtering out media information not in favour of the Chinese authority. Our education system has gradually accepted and normalised funding from the Chinese government for the rapid growth of 'Confucian' classrooms and institutes in our tertiary, secondary and primary school systems.

 

Needless to say, many Australian Chinese are disgusted by the Chinese propaganda in the form of culture and arts, as the Red Ballet reminds them of the suffering during successive political campaigns and persecution, such as, the Suppression of  Counter-revolutionaries, the Land Reform, The Anti-Rightist Campaign, the Cultural Revolution, the Tiananmen Massacres and so on. Many have families or friends imprisoned or killed from the 1950s to 1980s. While they can settle in Australia as citizens, the Red Ballet is like a ghost haunting them in our home and misguiding our fellow citizens to form an impression that what the Red Ballet depicts is normal and worth glorifying.

 

We urge that the Victorian government to reflect and learn from this experience and exercise with caution of the exploitation of the Chinese propaganda that preys on our open, easy-going and tolerant multicultural society. We also urge the Victorian government to be sensitive to the feeling of a sector of the Chinese Australians who find this Red Ballet distasteful as it reminds them of their past suffering.

 

It also makes sense in our open society that we do not welcome extreme thinking such as revenge, murder, class hatred that the Red Ballet promotes. We have to reject the Red ballet which is very harmful to Chinese Australians and the Australian society in general.

 

Should we need to provide more information or comment on the Red Ballet or our concern in general on the infiltration of the Chinese political propaganda into our community and its consequences, please contact the AVA on: email info@ava.org.au  or phone 0414 816 751.

 

Regards,

 

 

John Hugh  (0414 816 751)

Spokesman

Australian Values Alliance (AVA, previous known as Embracing Australian Values Alliance)

 

 

 

 


 

ATTACHMENT 1

 

Like a Bright Colourful Rattlesnake, Like a Brilliant Poppy Flower

Further commentary on the ballet The Red Detachment of Women               by Sun Baoqiang

 

As the ballet "The Red Detachment of Women" is scheduled to be performed in the Melbourne's Asia TOPA on 15 February, advertisement of this program had been widely known half a year ago.

 

Claire Spencer, CEO of the Arts Centre Melbourne said that "We are excited to be presenting this flagship production as one of our highlight programs for the inaugural Asia TOPA."

      

The ballet depicted the story of a peasant woman Wu Qinghua, who, after joining the Red Army, proceeded to carrying out a revenge on landlord Nan Batian, as well as robbing and brutally killing other countryside gentry. So, exactly what kind of organisation was the Red Army?

 

 

1.       Merciless killers who targeted the rich in order to possess their lands

Here are a few famous slogans of the Red Army chanted during their recruitment:  "Do you want to have food? Do you want to farm your land without paying rent? Do you want to sleep with the landlords' concubines? If so, don't hesitate to join the Red Army!"

 

When He Long, the famous Red Army's general attended the Party's 7th National Representative Meeting, his resume noted that: "By the end of 1917, we have expanded our force from just two "kitchen knives" to become an army of over one hundred people..."

 

According to the China Examiner, since the Red Army began their violent movement in autumn, 1927, it had rigorously followed the tactic of 'target and kill the rich' in order to feed and pay its army. Each time when they came to a new place, they would kill all the landlords there, followed by capturing all their riches for themselves.

 

After the Red Army captured the Chang Sha City, officials from the National Party government noted: ".... they burned the entire city for twenty-eight days; they looted properties and killed people regardless. Even worse they used extremely cruel and malicious methods of killing - some victims were flayed alive, while others were burnt to death. Those who were chopped to death by broadsword were considered as lucky... By the end of this torturous period, over five thousand people were murdered; all streets and rivers were filled with dead bodies."

 

2.     Kidnapping, murder and utter inhumanity

On 6th of December 1934, Fang Zhimin, a subordinate of the Red Army, kidnapped American Christian missionaries John and Betty Stam and demanded a ransom of $20,000. Though under immense pressure, the missionary couple refused to cooperate. Enraged by their refusal, the Red Army marched the couple to the execution field and beheaded them. They also intended to kill Stams' 2 months old baby, Helen, who was fortunately saved by a third party and remained alive.

 

After Fang Zhimin joined the Red Army, he became so addicted to killing that he even killed his own uncle who gave relief and saved his entire family. In 1925, Fang Zhimin ignored the pleading of his kneeling parents and personally beheaded his own uncle.

 

3.     Poppy cultivation and opium production

On 5th of September 1944 in the Ansai Province, Red Army Zhang Side was killed due to a sudden collapse of cave where he was processing opium production. Mao Zedong praised that his death was "weightier than Mount Tai".

 

Around that time, Peter Vladimirov, the Soviet author of The Vladimirov Diaries, was stationed in Yan'an; headquarter of the Chinese Community Party as a liaison officer for the Communist International. In his Diaries he wrote: "... there is illegal opium trading everywhere. For example, in Chaling which was the home front far away from the battle field, and where the Army Division 120 located, there was a house dedicated especially for the processing of opium products, and from which the opium was delivered to the market. The Politburo had also appointed Ren Bishi as the Commissioner for Opium."

 

During the war between the democratic Allied Forces and the autocratic Axis Powers, the Red Army hid in the home front and produced opium to poison the people, rather than fighting in the blood soaked frontlines, it was apparently shameful of the Red Army.

 

4.     Joining force with the enemy and betraying the Republic of China

In November 2016, Honorary Professor Homare Endo of Tsubaka University, Japan, published the book on "Mao Zedong, the Man who colluded with Japan". Based on original sources from China, Taiwan and Japan, Prof. Endo presented historical findings showing that while the National Party was engaged in resisting the Japanese invasion, the Communist Party, led by its Red Army leader Mao, was working with the Japanese special unit, Iwai Koukan, stationed in Shanghai, to undermine the power of the National Party.

 

The Prime Minister of Japan, Kakuei Tanaka visited China on 27th of September 1972. When he apologised for Japan's invasion of China during the World War II, the Red Army head Mao Zedong, said: "Thank you Japan for invading China... during the eight years of Sino-Japanese war, our army expanded to 1.2 million people." The Red Army's most critical moment in history was joining forces with an evil autocratic nation to fight against fellow countrymen. Such crime and evil was so blatant, and evident.

 

In summary, the Red Army resembled today's extremist or ISIS like group as they implemented the autocratic Nazism and Fascism. The main theme of the ballet 'The Red Detachment of Women' embraces obsession of violence, worship of hatred, glorification of autocratic power, and justification of killing as laudable acts.

 

The choreography of puffing-out chests, stomping feet, glaring eyes, and clenched teeth; lifting legs to imitate machine guns and bombs, the entire ballet encourages killing, promotes vengeance, turns away from core Christian beliefs, and is contaminating  the universe values which are embraced by Australia.

 

I remember the time when many Chinese were lured by the "Red" ballet.  One by one, they became the cold blooded "post Boxers' who dared to kill regardless. My mother was one of them who were captivated by the "Red" ballet. At the time, she reported to the authority about her brother who tried to escape to Hong Kong. In the end my uncle died tragically in the China's Gulag Archipelago.

 

The "Red" ballet is like a bright colourful rattlesnake, slithering into the Garden of Eden; it is also like a brilliant poppy flower, swaying and blooming on the Melbourne's theatre stage. Is this an expansion of the "Red Tide" to Australia or is this just an "Exchange of Art"? Is this really an honour for Australia to have this ballet in our land, or is this actually a shame for Australia to comply with the values this ballet intends to present?

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