Is Tchaikovsky Chinese? (go to site)

Some people, including my former feminist-comrades, may not like the idea of Swan Lake that China has choreographed to such an un-Tchaikovskyian taste, or so it must have appeared to them.

If Tchaikovsky had an original choreographic vision of Swan Lake to the extent that all non-Russian choreographies of Swan Lake are revisions of his musical originality, and if, arguing by the structural provenance of everything from which this Tchaikovskyian thing emanates, if we can put it that way, then everything is a simulation. But simulation is ‘everything Chinese’, not only in the sense of the rhetorical. Simulation has become historic by the rise of China. What could be more perfectly intriguing is this: We have been copying China, including its Tchaikovsky. This also applies to global capitalism. Everything is Chinese. Even ‘nothing’ is Chinese. Is this not the logic of simulation that China has mastered in terms of mastering capitalism? And it has mastered capitalism by mastering its opposite, by simulating its opposite, socialism. Nonetheless, it is simulating no less than ‘itself’. Which means to say: It is ‘godding’ itself. All other global capitalisms are inferior to the Chinese mastery of simulation, its divine way of doing political economy, or more correctly, of telling the world that Tchaikovsky was Chinese.

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