Why the CCP Fears K-Pop and Korean Culture

This purge targeted old ideas, culture, customs, and habits, with Red Guards and Little Red Guards enforcing the destruction.

Everything from before 1949 was deemed a target for elimination, including systematic demonization of Confucian principles and social morality. This widespread cultural destruction was part of the CCP's effort to reshape Chinese society in its own image.

Josh Philipp stated, "Destroying the four olds became a campaign to destroy anything from before the Chinese Communist Party took over China in 1949."

These deaths occurred through various campaigns, including the Great Leap Forward, Land Reform, and the Cultural Revolution.

Beyond these historical events, the CCP continues to target ethnic and religious minorities, such as Tibetans and Uyghurs, perpetuating a pattern of human rights abuses under its rule.

Josh Philipp highlighted, "The Black Book of Communism from Harvard University Press, they put the number of Chinese people killed by the regime under these campaigns at about 65 million people."

Josh Philipp noted, "The CCP is now restricting all but one of the 56 Chinese ethnic groups." The regime is attempting to export its harassment campaigns globally, indicating an ambition to extend its ideological control beyond its national borders.

South Korea has successfully preserved Confucian values and religious traditions while achieving rapid economic development.

This stands in stark contrast to the CCP's own policies of cultural destruction and its claim that "there would be no new China without the CCP." South Korea's experience, along with its shared historical heritage with Northeast China via the Goguryeo kingdom, directly challenges the CCP's ideological foundation.

Josh Philipp stated, "South Korea's success contradicts the CCP's own narrative that modernization."

However, the regime eventually viewed Korean culture as a threat to Maoist ideological stability. Restrictions began as early as 2006, under the guise of 'diversifying content,' signaling a shift in perception.

Josh Philipp described this change, saying, "Korean culture went from being treated as entertainment to being treated as a threat to the so-called cultural security of the CCP's system."

The CCP's State Administration of Radio, Film, and Television began restricting airtime for Korean dramas, effectively cutting airtime by half in some instances. This was done under the banner of what they called 'diversifying content,' to favor domestic productions.

Josh Philipp explained, "The CCB's State Administration of Radio, Film, and Television, they began restricting airtime for Korean dramas. This was done under the banner of what they called diversifying content." This policy represents institutional efforts to suppress foreign entertainment and promote CCP-approved media.

China launched the Northeast Project in 2002, claiming the Korean Peninsula as historical Chinese territory, an initiative funded with approximately 20 billion yuan ($3 billion). This project asserts that Korean culture is fundamentally Chinese, a narrative driven by political ambitions.

Academics argue that this project serves as a pretext for potential future control over North Korea, especially in the event of a changing political situation in the region. The broader strategy of co-opting Korean history began in the 1980s, serving Beijing's long-term geopolitical goals.

Josh Philipp noted, "While the Northeast Project appears to be a pretext for expanding China's borders, academics say Beijing's attempts to co-opt Korean history are part of a larger strategy that started in the 80s."

This strategy aims to establish dominion over North Korea in the event of regional political shifts.

Josh Philipp quoted, "China isn't making the claims for just historical reasons, but for political reasons to claim dominion over North Korea in case of a changing political situation in the region." The claims serve as a 'pretext' for border expansion and asserting regional control.

The CCP's 2020 attempt to claim Kimchi as Chinese sparked significant outrage in South Korea. These claims are linked to the belief that any territory belonging to Chinese minorities is property of the CCP, extending its reach into cultural heritage.

The Chinese regime targeted dramas featuring time travel to ancient eras, formalizing a ban by the state administration in 2011. These stories often portrayed traditional cultures in a positive light, which the CCP found objectionable.

The ban aimed to prevent narratives that could challenge the CCP's ideological control by promoting a positive view of pre-CCP traditions. This censorship reflects the regime's broader strategy to control cultural discourse and limit foreign or traditional influences that might undermine its authority.