“Now, China is trying to cleanse the blood from its face using the very people it oppressed. By sending a few smiling Uyghurs onto European stages, it is hoping the world will forget.“
️ Mehmet Emin Hazret
Applause on a Stage Still Wet With Blood
Recently, for the first time, the Chinese government officially sent a group of Uyghur artists to Europe. They performed in front of the Eiffel Tower in Paris and later at Heroes’
Square in Budapest, showcasing the Uyghur people’s classical music treasure — the “Twelve Muqams.”
Western media portrayed it as a gesture of cultural exchange and harmony. But those of us who know the truth behind the music heard something else entirely: A melody soaked in blood.
Clapping for the Killer: China’s Vitrin Show
This act is akin to a cold-blooded murderer turning to the weeping mother of his victim and saying,
“Smile. Your child has gone to heaven. If you don’t smile, I’ll kill you too.”
Thousands of Uyghur artists in East Turkistan have been arrested, tortured, or disappeared simply for preserving their cultural heritage. In today’s East Turkistan, singing at a wedding in Uyghur, or playing a traditional instrument, could get you taken away to a police station — or worse.
Yet now, the same Chinese regime is exporting this forbidden music to Europe. And the performers? Handpicked, trained under state control — smiling, polished, and presented as the “happy face” of Uyghur culture. A cruel irony, a deliberate deception.
Washing Off Blood With the Victim’s Song
In just seven years, more than a million Uyghurs were forcibly taken from their homes. Most are still missing. Camps remain sealed from outside access. Families are silenced. Youth are stripped of their language. Parents do not know if their children are alive.
Now, China is trying to cleanse the blood from its face using the very people it oppressed. By sending a few smiling Uyghurs onto European stages, it is hoping the world will forget. That art will silence the memory of screams.
This is not cultural celebration.
This is propaganda soaked in sorrow.
The Most Dangerous Phase of Cultural Genocide
Mao did the same. During the Cultural Revolution, while thousands of Uyghur artists were being executed or imprisoned, a few were kept in Urumqi — showcased when foreign dignitaries visited, as proof of “harmony.”
Today, the same game is played, but with better lighting and global PR firms.
This is the most dangerous phase of genocide:
Deny it. Smile through it. Recreate the victim in your own image.
The World Must See Through the Curtain
Western audiences watching “happy Uyghurs” dance in European squares may not know the backstory. But we do.
We know the cries behind the songs, the mothers who’ve screamed themselves voiceless, the artists humiliated for their accent while singing in Mandarin, the children stolen from their families.
And now that pain is being sold — under the name of art.
That’s why we say loud and clear:
China is not preserving Uyghur culture. It is displaying a taxidermy version of it — cleaned, rehearsed, and silenced.
Smile—Or Die
This is what China tells the Uyghur people:
Smile.
Don’t mispronounce a word.
Don’t sing the wrong note.
Don’t speak the truth.
If you do, you disappear.
But we are here. And we speak.
Because even if their voices are cut off, their music still lives.
And that music is more than sound — it is the heartbeat of a people.
One day, these songs will be sung again — freely, proudly, in cities where no one will be jailed for remembering who they are.
Until then, we will not be silent.
Not in Paris.
Not in Budapest. Not anywhere.
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