China in Ten Words

Yu Hua discusses the concept of “copycatting” in contemporary China, exploring its various manifestations and implications, and the societal factors that have contributed to its rise. He begins by tracing the origins and evolving meanings of the Chinese word for “copycat,” which has come to represent not only imitation and counterfeiting but also a spirit of rebellion against authority. Yu Hua argues that the copycat phenomenon has penetrated every aspect of Chinese life, from consumer products and entertainment to politics and social interactions, becoming one of the most commonly used words in the country today.

To illustrate the pervasiveness of copycatting, Yu Hua provides several examples, such as the proliferation of knockoff cell phone brands like “BlockBerry” which feature President Obama as their spokesman, the appearance of Mao Zedong impersonators in various contexts, and the creation of parody TV programs and news reports that mock the rigidity and dogmatism of official media. He suggests that these instances represent a grassroots challenge to the elite, since the copycat phenomenon embodies an anarchist spirit that allows for plagiarism, piracy, burlesque, and parody to gain a degree of respectability in public opinion.

Yu Hua attributes the rise of copycatting to China’s “lopsided” development over the past few decades, particularly in the wake of the Tiananmen protests (189). While economic reforms have progressed rapidly, political reforms have stagnated, leading to a society full of contradictions: Dogmatism and conservatism coexist alongside anarchism and radicalism. Yu Hua argues that the copycat phenomenon is an inevitable consequence of these social tensions, reflecting both the progress and regression of Chinese society. The imbalance has created an environment in which the copycat phenomenon can thrive, as people seek to navigate and challenge the inequalities and absurdities of their social reality. He likens it to an inflammation in the social fabric, fighting infection but also potentially leading to “swelling, pustules, ulcers, and rot” (192).

Drawing parallels between the current copycat trend and the Cultural Revolution of the 1960s, Yu Hua notes that both represent a form of rebellion. Just as the Cultural Revolution saw the sudden appearance of numerous rebel headquarters challenging traditional power structures, the 1980s witnessed the rapid emergence of private businesses that assailed the monopoly of the state-owned economy. He compares the resilience of these private enterprises to grassland which, though burned by wildfire, is never destroyed and grows again when the spring winds blow.

Yu Hua also describes how China’s newly wealthy have embraced a copycat aristocratic lifestyle, complete with luxury villas, expensive consumer goods, and a superficial embrace of Western culture. This trend, he notes, has given rise to a host of institutions catering to the aspirations of the nouveau riche, from aristocratic schools and kindergartens to aristocratic stores and restaurants.

Finally, he shares his personal experience as a “copycat dentist” in his youth, working alongside his mentor, “Gaffer Shen,” in a small-town clinic. With minimal training, Yu Hua was tasked with extracting teeth, gradually taking on more responsibility as his skills improved. He notes that it is only with the emergence of new vocabulary in contemporary China that he can accurately describe his former role to Western journalists, having previously struggled to find the right words to capture his unique position.

Yu Hua presents copycatting as a complex and multifaceted phenomenon, one that reflects both the progress and regression of Chinese society. While acknowledging its positive aspects, such as its challenge to authority and monopoly, he also highlights its negative implications, including moral bankruptcy and a blurring of the lines between the authentic and the counterfeit.