{"id":12190,"date":"2025-07-11T13:19:08","date_gmt":"2025-07-11T13:19:08","guid":{"rendered":"https:\/\/taipeirevista.com\/?p=12190"},"modified":"2025-07-11T13:20:17","modified_gmt":"2025-07-11T13:20:17","slug":"mujeres-que-trabajan-por-la-revolucion","status":"publish","type":"post","link":"https:\/\/taipeirevista.com\/index.php\/2025\/07\/11\/mujeres-que-trabajan-por-la-revolucion\/","title":{"rendered":"Mujeres que trabajan (por la revoluci\u00f3n)"},"content":{"rendered":"\n<p>La Revoluci\u00f3n Cultural fue una campa\u00f1a de implementaci\u00f3n de pol\u00edticas que se extendi\u00f3 durante una d\u00e9cada, desde 1966 hasta la muerte del presidente Mao en 1976. Su intenci\u00f3n era purgar las r\u00e9moras de la cultura burguesa e imperialista de la China prerrevolucionaria e instaurar una nueva sociedad que siguiera los preceptos comunitarios del Socialismo. Uno de esos elementos considerados reaccionarios por el gobierno mao\u00edsta eran las \u00d3peras de Pek\u00edn, caracterizadas por sus maquillajes exuberantes y sus tem\u00e1ticas que inclu\u00edan emperadores, doncellas y consejeros imperiales. De esta manera, al mando de la esposa de Mao, Jiang Qing, se crearon nuevas \u00f3peras y ballets de fuerte impronta plebeya, militarista y socialista, siendo aprobadas ocho obras que se pasaron a llamar Las Ocho Obras Modelo de la Revoluci\u00f3n Cultural. <em>El destacamento rojo de mujeres<\/em>, adaptada de un film de 1961, durante el Gran Salto Adelante, tuvo su versi\u00f3n cinematogr\u00e1fica en 1970, dirigida por Wenzhan Pan y Fu Jie, directores del Estudio Cinematogr\u00e1fico de Pek\u00edn.<\/p>\n\n\n\n<figure class=\"wp-block-gallery has-nested-images columns-3 is-cropped wp-block-gallery-1 is-layout-flex wp-block-gallery-is-layout-flex\">\n<figure class=\"wp-block-image size-large\"><img fetchpriority=\"high\" decoding=\"async\" width=\"704\" height=\"512\" data-id=\"12191\" src=\"https:\/\/taipeirevista.com\/wp-content\/uploads\/2025\/07\/The-Red-Detachment-of-Women.Hong_.se_.Niang_.zi_.jun_.1970.avi_snapshot_00.03.13_2025.07.10_11.15.27.png\" alt=\"\" class=\"wp-image-12191\" srcset=\"https:\/\/taipeirevista.com\/wp-content\/uploads\/2025\/07\/The-Red-Detachment-of-Women.Hong_.se_.Niang_.zi_.jun_.1970.avi_snapshot_00.03.13_2025.07.10_11.15.27.png 704w, https:\/\/taipeirevista.com\/wp-content\/uploads\/2025\/07\/The-Red-Detachment-of-Women.Hong_.se_.Niang_.zi_.jun_.1970.avi_snapshot_00.03.13_2025.07.10_11.15.27-300x218.png 300w\" sizes=\"(max-width: 704px) 100vw, 704px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" width=\"704\" height=\"512\" data-id=\"12193\" src=\"https:\/\/taipeirevista.com\/wp-content\/uploads\/2025\/07\/The-Red-Detachment-of-Women.Hong_.se_.Niang_.zi_.jun_.1970.avi_snapshot_01.24.16_2025.07.10_11.24.04.png\" alt=\"\" class=\"wp-image-12193\" srcset=\"https:\/\/taipeirevista.com\/wp-content\/uploads\/2025\/07\/The-Red-Detachment-of-Women.Hong_.se_.Niang_.zi_.jun_.1970.avi_snapshot_01.24.16_2025.07.10_11.24.04.png 704w, https:\/\/taipeirevista.com\/wp-content\/uploads\/2025\/07\/The-Red-Detachment-of-Women.Hong_.se_.Niang_.zi_.jun_.1970.avi_snapshot_01.24.16_2025.07.10_11.24.04-300x218.png 300w\" sizes=\"(max-width: 704px) 100vw, 704px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" width=\"704\" height=\"512\" data-id=\"12200\" src=\"https:\/\/taipeirevista.com\/wp-content\/uploads\/2025\/07\/The-Red-Detachment-of-Women.Hong_.se_.Niang_.zi_.jun_.1970.avi_snapshot_01.12.02_2025.07.10_11.22.28.png\" alt=\"\" class=\"wp-image-12200\" srcset=\"https:\/\/taipeirevista.com\/wp-content\/uploads\/2025\/07\/The-Red-Detachment-of-Women.Hong_.se_.Niang_.zi_.jun_.1970.avi_snapshot_01.12.02_2025.07.10_11.22.28.png 704w, https:\/\/taipeirevista.com\/wp-content\/uploads\/2025\/07\/The-Red-Detachment-of-Women.Hong_.se_.Niang_.zi_.jun_.1970.avi_snapshot_01.12.02_2025.07.10_11.22.28-300x218.png 300w\" sizes=\"(max-width: 704px) 100vw, 704px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"704\" height=\"512\" data-id=\"12192\" src=\"https:\/\/taipeirevista.com\/wp-content\/uploads\/2025\/07\/The-Red-Detachment-of-Women.Hong_.se_.Niang_.zi_.jun_.1970.avi_snapshot_00.13.50_2025.07.10_11.18.49.png\" alt=\"\" class=\"wp-image-12192\" srcset=\"https:\/\/taipeirevista.com\/wp-content\/uploads\/2025\/07\/The-Red-Detachment-of-Women.Hong_.se_.Niang_.zi_.jun_.1970.avi_snapshot_00.13.50_2025.07.10_11.18.49.png 704w, https:\/\/taipeirevista.com\/wp-content\/uploads\/2025\/07\/The-Red-Detachment-of-Women.Hong_.se_.Niang_.zi_.jun_.1970.avi_snapshot_00.13.50_2025.07.10_11.18.49-300x218.png 300w\" sizes=\"(max-width: 704px) 100vw, 704px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"704\" height=\"512\" data-id=\"12198\" src=\"https:\/\/taipeirevista.com\/wp-content\/uploads\/2025\/07\/The-Red-Detachment-of-Women.Hong_.se_.Niang_.zi_.jun_.1970.avi_snapshot_01.33.51_2025.07.10_11.24.24.png\" alt=\"\" class=\"wp-image-12198\" srcset=\"https:\/\/taipeirevista.com\/wp-content\/uploads\/2025\/07\/The-Red-Detachment-of-Women.Hong_.se_.Niang_.zi_.jun_.1970.avi_snapshot_01.33.51_2025.07.10_11.24.24.png 704w, https:\/\/taipeirevista.com\/wp-content\/uploads\/2025\/07\/The-Red-Detachment-of-Women.Hong_.se_.Niang_.zi_.jun_.1970.avi_snapshot_01.33.51_2025.07.10_11.24.24-300x218.png 300w\" sizes=\"(max-width: 704px) 100vw, 704px\" \/><\/figure>\n<\/figure>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p>Dado que el film sigue los principios est\u00e9ticos del realismo socialista, para muchxs podr\u00eda descartarse a la pel\u00edcula como de nulo valor art\u00edstico, tanto por su clara carga propagand\u00edstica como por el hecho de ser pr\u00e1cticamente un ballet filmado. Sin embargo, los colores v\u00edvidos y los momentos dram\u00e1ticos abundan, a pesar de su impronta m\u00e1s perform\u00e1tica que narrativa. El ballet cuenta la historia de una mujer campesina que es salvada de unos bandidos por el Ej\u00e9rcito Popular de Liberaci\u00f3n, y c\u00f3mo va escalando en el mismo mientras abraza los valores del Socialismo. Es paradigm\u00e1tico el travelling hacia su rostro, un componente puramente cinematogr\u00e1fico, cuando enarbola una bandera con el martillo y la hoz con ojos llorosos, emocionada por su nuevo lugar en la sociedad china. A pesar del ascetismo que persegu\u00edan las obras del realismo socialista, lo kitsch salta a la vista con ojos actuales, no solo por las danzas perform\u00e1ticas donde las mujeres bailan con rifles y sables, sino tambi\u00e9n por el dramatismo exacerbado de la historia, donde el l\u00edder del ej\u00e9rcito pierde su vida tras ser capturado por los enemigos burgueses luego de una emboscada. Lejos de minar la potencia est\u00e9tica de la pel\u00edcula, este componente kitsch le agrega un valor que la alejar\u00eda de una mera pieza muse\u00edstica de propaganda. El car\u00e1cter feminista de la pel\u00edcula, y de toda la Revoluci\u00f3n Cultural (ya fue usada en este <em>newsletter <\/em>la frase de Mao de que las mujeres sostienen la mitad del cielo), era parte de esa b\u00fasqueda por eliminar los vestigios reaccionarios de la sociedad china prerrevolucionaria, y se puede ver en la elecci\u00f3n de la protagonista femenina, en la condena a la violencia sexual y en el hecho de que las mujeres peleaban con los hombres codo a codo en el ej\u00e9rcito.<\/p>\n\n\n\n<p>Es interesante c\u00f3mo el arte marxista en la Uni\u00f3n Sovi\u00e9tica y China fue dominado por un realismo que se alejaba tanto del realismo cr\u00edtico lukacsiano como del distanciamiento \u00e9pico de Brecht, m\u00e1s abrazado por el marxismo occidental, tanto en Francia mediante Godard y Straub-Huillet, en Brasil a trav\u00e9s de Glauber Rocha o en Cuba a trav\u00e9s de Sara G\u00f3mez y Tom\u00e1s Guti\u00e9rrez Alea, cines m\u00e1s ligados a la vanguardia est\u00e9tica que a la propaganda oficialista. <em>El destacamento rojo de mujeres <\/em>no ejerce una impresi\u00f3n de realidad propia del realismo socialista, aunque s\u00ed tiene su carga tem\u00e1tica y simb\u00f3lica. Cerca del final, obreros, campesinos y soldados, las tres patas del comunismo sovi\u00e9tico, bailan juntos triunfalmente luego de la victoria militar, al son de La Internacional y rompiendo los grilletes de un prisionero. El mensaje es claro: no hay nada que perder, salvo las cadenas.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"704\" height=\"512\" src=\"https:\/\/taipeirevista.com\/wp-content\/uploads\/2025\/07\/The-Red-Detachment-of-Women.Hong_.se_.Niang_.zi_.jun_.1970.avi_snapshot_01.10.38_2025.07.10_11.22.06.png\" alt=\"\" class=\"wp-image-12195\" style=\"width:542px;height:auto\" srcset=\"https:\/\/taipeirevista.com\/wp-content\/uploads\/2025\/07\/The-Red-Detachment-of-Women.Hong_.se_.Niang_.zi_.jun_.1970.avi_snapshot_01.10.38_2025.07.10_11.22.06.png 704w, https:\/\/taipeirevista.com\/wp-content\/uploads\/2025\/07\/The-Red-Detachment-of-Women.Hong_.se_.Niang_.zi_.jun_.1970.avi_snapshot_01.10.38_2025.07.10_11.22.06-300x218.png 300w\" sizes=\"(max-width: 704px) 100vw, 704px\" \/><\/figure>\n<\/div>","protected":false},"excerpt":{"rendered":"<p>El ballet cuenta la historia de una mujer campesina que es salvada de unos bandidos por el Ej\u00e9rcito Popular de Liberaci\u00f3n, y c\u00f3mo va escalando en el mismo mientras abraza los valores del Socialismo. Es paradigm\u00e1tico el travelling hacia su rostro, un componente puramente cinematogr\u00e1fico, cuando enarbola una bandera con el martillo y la hoz con ojos llorosos, emocionada por su nuevo lugar en la sociedad china(&#8230;)<\/p>\n","protected":false},"author":32,"featured_media":12197,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[1625],"tags":[120,280,1774,1886,1007,264,1099,1887,1875,1888,1890,1889,1885],"class_list":{"0":"post-12190","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-polvo-rojo","8":"tag-1970s","9":"tag-cine-chino","10":"tag-daniele-huillet-2","11":"tag-fu-jie","12":"tag-glauber-rocha","13":"tag-jean-luc-godard","14":"tag-jean-marie-straub","15":"tag-jiang-qing","16":"tag-mao-tse-tung","17":"tag-sara-gomez","18":"tag-straub-huillet","19":"tag-tomas-gutierrez-alea","20":"tag-wenzhan-pan"},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Mujeres que trabajan (por la revoluci\u00f3n) - TAIPEI<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/taipeirevista.com\/index.php\/2025\/07\/11\/mujeres-que-trabajan-por-la-revolucion\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Mujeres que trabajan (por la revoluci\u00f3n) - TAIPEI\" \/>\n<meta property=\"og:description\" content=\"El ballet cuenta la historia de una mujer campesina que es salvada de unos bandidos por el Ej\u00e9rcito Popular de Liberaci\u00f3n, y c\u00f3mo va escalando en el mismo mientras abraza los valores del Socialismo. Es paradigm\u00e1tico el travelling hacia su rostro, un componente puramente cinematogr\u00e1fico, cuando enarbola una bandera con el martillo y la hoz con ojos llorosos, emocionada por su nuevo lugar en la sociedad china(...)\" \/>\n<meta property=\"og:url\" content=\"https:\/\/taipeirevista.com\/index.php\/2025\/07\/11\/mujeres-que-trabajan-por-la-revolucion\/\" \/>\n<meta property=\"og:site_name\" content=\"TAIPEI\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/revistataipei\" \/>\n<meta property=\"article:published_time\" content=\"2025-07-11T13:19:08+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2025-07-11T13:20:17+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/taipeirevista.com\/wp-content\/uploads\/2025\/07\/The-Red-Detachment-of-Women.Hong_.se_.Niang_.zi_.jun_.1970.avi_snapshot_01.16.59_2025.07.10_11.23.07.png\" \/>\n\t<meta property=\"og:image:width\" content=\"704\" \/>\n\t<meta property=\"og:image:height\" content=\"512\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"Celeste Damiani\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@taipeicritica\" \/>\n<meta name=\"twitter:site\" content=\"@taipeicritica\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"Celeste Damiani\" \/>\n\t<meta name=\"twitter:label2\" content=\"Tiempo de lectura\" \/>\n\t<meta name=\"twitter:data2\" content=\"5 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/taipeirevista.com\\\/index.php\\\/2025\\\/07\\\/11\\\/mujeres-que-trabajan-por-la-revolucion\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/taipeirevista.com\\\/index.php\\\/2025\\\/07\\\/11\\\/mujeres-que-trabajan-por-la-revolucion\\\/\"},\"author\":{\"name\":\"Celeste Damiani\",\"@id\":\"https:\\\/\\\/taipeirevista.com\\\/#\\\/schema\\\/person\\\/1dc7fdcceaf406200f1ce6ebacbc60bb\"},\"headline\":\"Mujeres que trabajan (por la revoluci\u00f3n)\",\"datePublished\":\"2025-07-11T13:19:08+00:00\",\"dateModified\":\"2025-07-11T13:20:17+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/taipeirevista.com\\\/index.php\\\/2025\\\/07\\\/11\\\/mujeres-que-trabajan-por-la-revolucion\\\/\"},\"wordCount\":664,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/taipeirevista.com\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/taipeirevista.com\\\/index.php\\\/2025\\\/07\\\/11\\\/mujeres-que-trabajan-por-la-revolucion\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/taipeirevista.com\\\/wp-content\\\/uploads\\\/2025\\\/07\\\/The-Red-Detachment-of-Women.Hong_.se_.Niang_.zi_.jun_.1970.avi_snapshot_01.16.59_2025.07.10_11.23.07.png\",\"keywords\":[\"1970s\",\"Cine chino\",\"Dani\u00e8le Huillet\",\"Fu Jie\",\"Glauber Rocha\",\"Jean-Luc Godard\",\"Jean-Marie Straub\",\"Jiang Qing\",\"Mao Tse-Tung\",\"Sara G\u00f3mez\",\"Straub-Huillet\",\"Tom\u00e1s Guti\u00e9rrez Alea\",\"Wenzhan Pan\"],\"articleSection\":[\"Polvo rojo\"],\"inLanguage\":\"es-AR\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/taipeirevista.com\\\/index.php\\\/2025\\\/07\\\/11\\\/mujeres-que-trabajan-por-la-revolucion\\\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/taipeirevista.com\\\/index.php\\\/2025\\\/07\\\/11\\\/mujeres-que-trabajan-por-la-revolucion\\\/\",\"url\":\"https:\\\/\\\/taipeirevista.com\\\/index.php\\\/2025\\\/07\\\/11\\\/mujeres-que-trabajan-por-la-revolucion\\\/\",\"name\":\"Mujeres que trabajan (por la revoluci\u00f3n) - 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