TAIPEI, Taiwan (AP) -- In a chilling reflection of cultural repression, the popular Uyghur folk song "Besh pede," often played at weddings and parties, has become a symbol of state censorship in China’s Xinjiang region. This soulful ballad, traditionally a source of joy and sentiment for the Uyghur ethnic minority, now carries the weight of fear; downloading, playing, or sharing it could lead to imprisonment.
Authorities in Xinjiang have labeled dozens of Uyghur-language songs as "problematic." A recording shared by the Norway-based nonprofit Uyghur Hjelp revealed a meeting of police and local officials in Kashgar last October. During the meeting, residents were warned that engagement with these banned songs could have severe repercussions, including prison sentences. Officials had also advised that common Muslim greetings, such as "As-salamu alaykum," be replaced with Communist Party affirmations.
The crackdown on cultural expressions, such as music, is part of a larger pattern of repression that has intensified over the past decade. Rights activists estimate that, between 2017 and 2019, at least 1 million Uyghurs and other minorities, including Kazakhs and Kyrgyz, were subjected to extrajudicial detentions as part of a broader campaign that the Chinese government justifies as counter-terrorism efforts.
In 2022, the United Nations accused China of committing rights violations in Xinjiang that could amount to crimes against humanity, highlighting forced labor and sterilizations as tools of a controversial assimilation policy. The Chinese government, however, insists that its actions in Xinjiang are necessary to combat terrorism and social instability following historical violent incidents in the region.
The ongoing repression in Xinjiang may have adapted in form but continues unabated, as demonstrated by the ban on music. Despite claims from Beijing that life has returned to normal following international condemnation, covert measures like banning songs reveal a persistent, controlling narrative. Rian Thum, an expert on East Asian history, notes that while overt signs of repression like internment camps may have diminished, authorities are establishing mechanisms for long-term cultural control, such as random phone checks and the promotion of Mandarin through boarding schools that separate students from their families.
During the aforementioned Kashgar meeting, authorities flagged seven categories of songs considered problematic. Traditional folk songs, like "Besh pede," were grouped with newer tracks emerging from the Uyghur diaspora. While "Besh pede" was identified for its religious content, experts argue that it is merely a romantic expression rather than a call to extremism. This perception aligns with the government's approach to any form of religious expression, which has been subject to scrutiny and censorship over the past decade.
Critically, many of these banned songs are tied to detained Uyghur artists. One notable case is Yashar Xiaohelaiti, a Uyghur music producer sentenced to three years in prison for promoting "problematic" songs. He was charged with uploading 42 such tracks to his NetEase Cloud Music account. The range of punishments for merely possessing these songs varies, with local authorities exercising broad discretion in enforcement, leading to heavy sentences for those deemed guilty.
Further illustrating the lengths to which the government will go to suppress Uyghur culture, instances have emerged of arrests related simply to sharing a song on social media. Personal testimonies reveal that individuals have faced detention or police interrogations for engaging with Uyghur music. Meanwhile, traditional expressions of culture, such as performances featuring Uyghur instruments, can lead to long prison sentences for both the performer and attendees.
Even songs that once aired on state television, including "As-salamu alaykum," have been banned. Such tracks are now categorized as harmful, despite their prior acceptance in mainstream media. Ultimately, this ongoing crackdown on Uyghur music not only threatens the preservation of cultural heritage but also serves as a stark symbol of the oppressive policy environment in Xinjiang.
