Author’s Note: Disgruntled office clerk – Li Hongzhi – is the frontman for a not too sophisticated CIA operation designed to attack the government of Mainland China. He is not alone in this role, as there remains a small cadre of diasporic Chinese dissidents who work for the CIA and are seen as the acceptable face of ethnic ‘Chineseness’ in the West. However, Li Hongzhi is the chosen ‘face’ that holds it all together and through which a four-sided logic (tetralemma) is in operation. Although the Falun Gong Cult is presented as a movement that occurred within Mainland China in the mid-1990’s, the fact that certain individuals claimed to be practising its distorted ‘qigong’ exercises in the US at exactly the same time, demonstrates its Western (and racist) origin. Falun Gong Cult activities were created in the US from an incomplete knowledge of traditional Chinese culture and exported to China – where the Western media deliberately ‘inverts’ its history and presents the falsehood that it developed in China. This Eurocentric distortion of Chinese culture could never have developed within ethnic Chinese culture. As matters stand, the US-CIA nexus is at a lost of what to do to bring down the Communist Party of China, as the Falun Gong Cult (c. 1996), The Epoch Times (2000), The New Tang Dynasty TV Station (2001), and the Shen Yun Performing Arts Group (2006), are all failing to provide the in-roads into China that the racist CIA ideologues had hoped would happen. There is a ‘real’ history to China and this article conveys it. ACW (24.5.2018)
US interference in the internal affairs of China dates back hundreds of years (either directly or indirectly), as North America was active in the European ‘carve-up’ of China in the 19th century, ascribing a heroic role to itself, as its military joined an international effort to put down the indigenous Boxer Uprising (1898-1901), a Chinese peasant movement premised upon the rejection of European and Japanese imperialism, and the emphasising of distinctly ‘Chinese’ spiritual and martial modes of cultural expression. This military invasion of China was intended to ‘protect’ the colonies and protectorates already in the hands of foreigners throughout China, and prevent any Chinese self-assertion and self-determination following hundreds of years colonial oppression. This orgy of Eurocentric violence culminated in a massacre of innocent Chinese men, women and children in Beijing, carried-out by the troops of the US, UK, Czarist Russia and Japan (amongst many others). The racist Hollywood film ’55 Days in Peking’ depicts this destruction of humanity very much in the manner it depicted and glorified the murder of Native American Indians living in North America. As well as this mass murder, Western and Japanese troops carried-out the mass rape of Chinese women and girls in untold numbers (this includes incidence of men and boys also being raped).
As America’s role in the world started to gain momentum during the 20th century, it was important to keep China militarily weak and unable to compete equally in the international community. This is why the US was happy to back the Nationalist take-over of China in 1911 (which destroyed the old imperial system), and tirelessly worked to expel any and all leftwing elements from within it. In a very real sense, this Western manufactured dichotomy within the Nationalists helped to generate the conditions that led to the creation of the separate Communist Party of China (CPC) in the early 1920’s. This drove the US to back the rise of the ultra-rightist (and Christian) dictator Chiang Kai-Shek – who orchestrated the Shanghai Massacre of Communists in 1927, and the destruction of the Shaolin Temple in 1928. Following Japan’s military operations out of its Manchurian bases in 1931, the US embarked upon directly assisting the Nationalist government with military equipment and training. This US-trained and equipped army would become the de facto military force of the Nationalists – fighting with a varying efficiency against the Japanese and the Chinese Communists up until around 1948/49, when Chiang Kai-Shek took the remnants of the Nationalist regime and invaded the island of Taiwan (murdering and subjugating its indigenous people with US support).
Since 1949, the US has used Taiwan as a spring-board into Mainland China, and an area from which to interfere in the region. By taking advantage of China opening-up in the 1980’s, the US agitated with agents and disinformation which culminated in the Tiananmen Incident of 1989. Whereas hundreds of thousand of Chinese people came out onto the streets to support the Communist Party of China – the BBC and other Western media deliberately pursued a US initiative (backed by Reagan and Thatcher) which falsely presented the protests as ‘anti-Communist’, and made unfounded allegations of mass murder. This lie was revealed as such with the ‘Wiki-leaks’ revelations released in 2011 (Wikileaks: No Bloodshed in Tiananmen), which revealed the US-British collusion to attempt a coup in China by asserting atrocities of every kind. Although a myth, the US (and its CIA) have used this idea to influence Western opinion about China (adding the equally fallacious myth that China is not Communist), when it is the Chinese people who have historically been the victims of Western, Japanese and fascistic violence throughout its recent history. As China survived this coordinated attack in 1989, (in a manner which the Soviet Union did not), the US had to find a new way to destabilise China – this is where Li Hongzhi and his Falun Gong Cult enters the world stage.
Li Hongzhi could not have founded the Falun Gong Cult on his own initiative, as its premise is entirely composed of Eurocentric, racist misrepresentations of what China might look like from a typical (ignorant) US perspective. Li Hongzhi is a frontman for this US derived incursion into China. The Falun Gong Cult started to be noticed for its brain-washing and criminality in China around the mid-1990’s. Certain restrictions against its activities were brought into law, until it was completely ‘banned’ in China in 2001. Li Hongzhi, as a CIA informant, fled to live a life of luxury in the US, but continued to serve as the ethnic Chinese face for Falun Gong Cult activities and anti-China propaganda. As the US was aware that the Falun Gong Cult on its own was not delivering the goods in China, the CIA orchestrated the founding of the Epoch Times Newspaper (in New York) in 2000 – in preparation for the banning of Falun Gong activity within China. This was intended to switch the centre of Falun Gong Cult activity from China to the US. This newspaper prints a Cold War distorted history of China that has no bearing on actual Chinese history. Its tone is dictatorial and intolerant of difference, and is an ‘anti-Communist’ mouth-piece for the US government. It uses print-media to disinform and brain-wash its audience. This was followed in 2001 (also in New York), of the founding of the ‘New Tang Dynasty’ TV Station, which carries-out exactly the same disinformation function as the Epoch Times – only in visual-audio format. This is the documentary arm of the Falun Gong Cult, designed to entertain in a Hollywood style, as it disinforms. In 2006, Li Hongzhi and his CIA handlers decided that a ‘live’ component was needed to assist the brain-washing of Westerners, and so the Shen Yun Performing Arts Groups was formed. This adds the notion of ‘theatre’ to Falun Gong Cult proceedings, with its mimicry of traditional Chinese culture, and its presentation of distorted Falun Gong Cult ideology being its main functions.