Why China Developed So Much Faster Than India

[Sachin200]

2 minutes ago, TrollBait said:

he was forced to. lekuntey India was staring at a crisis. Its a crisis people like him created.

Oka thread vedam  next week lo 

Pvnr vs vajpayee vs mms vs modi meedha ( pros & cons , better pm of these )

Everyone will share their opinion ga 

 

[bostonbro]

@TrollBait

Now indians should understand the value of shudras....

heheh

[xano917]

16 minutes ago, tom brady said:

Video chudale but what I feel is chinese govts didnt make their people lazy..our govts did. India lo biggest problem now is finding labor.. small size factories ki labor dorakalante inka kastam as labor isnt willing to bend these asses with all the freebies given by govt

Wow , just wow . 

try to work like a labour for a month and then talk . 

 

[TrollBait]

main reason for chinese growth - easy credit. aggressive marketing.

India deludes itself as equal to the US because a bunch of Indians are dominating a certain sector in the US.

and they'll start giving bullshit advice on the need to keep debt to a minimum, just like the bullshit republicans spew in the US.

that's why India is never going to grow at an accelerated pace.

when that pace starts to rejig the social order, the uppercaste get jittery and put brakes on the growth by electing dumbfcuks like Yogi and Modi.

seriously if you are dumb enough to elect someone like Modi, you won't understand that India has no chance in the world.

[argadorn]

2 minutes ago, TrollBait said:

Chinese workers are not cheaper than Indian workers. don't be silly.

Their govt doesn't shoot people if they refuse to work. Its their wish to work.

Lol... Uncle I respect your thoughts ..  okasari 1980 time lo China vallu etla companies lo forced labor Ni ah Deng Ela Pani chepinchado articles chudu

[TrollBait]

6 minutes ago, bostonbro said:

@TrollBait

Now indians should understand the value of shudras....

heheh

indians should get over caste system totally. Its the biggest thing that impedes India's progress.

It was jocularly referred to as 'hindu rate of growth'.. people in 2010 took offense to it.. but India is returning to it once again.

[aakathaai789]

16 minutes ago, TrollBait said:

pvnr peekedhi emi ledhu. lite teesko.

konni NPA lu ostheney, credit dry aypoyindi system lo. Indians and their leaders lack the chinese balls. anthe.

it has nothing to do with capitalism or communism.   Chinese provinces have more power to provide the factories whatever they need, and Indian states dont. 

aslo Chinese president travels the world strategically to boost its market. Indian PM travels to give hugs like a fcuking fool. There's no comparison even.

but at least pvnr was not a bad admin like IG and rajiv who followed USSR model and made india bankrupt of course. IMF proposed some reforms like elimination of license raj and open market to international trade eliminate barriers like high tariffs

[TrollBait]

2 minutes ago, argadorn said:

Lol... Uncle I respect your thoughts ..  okasari 1980 time lo China vallu etla companies lo forced labor Ni ah Deng Ela Pani chepinchado articles chudu

Deng was shifting from a universal social security system to a capitalist one.China had wide health coverage in 80s, to almost the entire sector being privatized now, for example.

Indian labourers dont need all that. They just need to find consistent work, and ways to update skills.

[nag_mama]

chiana tana biggest market ni vere vallu vadukone chance ivvaledu, like no entry to google, facebook, youtube and they made duplicates of these companies and using them like wechat, baidu, youku

[aakathaai789]

8 minutes ago, TrollBait said:

main reason for chinese growth - easy credit. aggressive marketing.

India deludes itself as equal to the US because a bunch of Indians are dominating a certain sector in the US.

and they'll start giving bullshit advice on the need to keep debt to a minimum, just like the bullshit republicans spew in the US.

that's why India is never going to grow at an accelerated pace.

when that pace starts to rejig the social order, the uppercaste get jittery and put brakes on the growth by electing dumbfcuks like Yogi and Modi.

seriously if you are dumb enough to elect someone like Modi, you won't understand that India has no chance in the world.

 

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various reasons like poverty, population, health care, corruption, unemployment, lack of skills etc are also major reasons which hamper india's development inka caste ani modhaletti edupu sabha pettaku

[TrollBait]

4 minutes ago, argadorn said:

Lol... Uncle I respect your thoughts ..  okasari 1980 time lo China vallu etla companies lo forced labor Ni ah Deng Ela Pani chepinchado articles chudu

you think its the labour's fault that India doesn't produce enough goods.

but you are wrong. It is never the labour's fault. 97% of Indian labour works outside the regulated labour market. so basically they are open to be exploited.

The problem is elsewhere. Not enough business owners making stuff the world wants to buy from India.

[bostonbro]

主人翁
Dignity of Labour
WANG Ban

In socialist China, working people did not view their jobs as merely a means of
making a living. A job meant an honourable vocation, and workers were endowed
with dignity. In the 1920s, socialist thinkers Li Dazhao and Cai Yuanpei proclaimed
that labour was sacred, because the working class would take control of their destiny
in forging a society free from exploitation and oppression. But a look at the working
conditions in China today will convince anyone that labour has fallen from grace
to become a curse and a nightmare. Jia Zhangke’s film A Touch of Sin (2013) offers
a vignette of labour in the hellhole of a Foxconn factory. Rows and rows of workers
bend over the task of assembling iPhones and submit to repetitious movement for long
hours. The employees hardly have any breaks, communication, or social life. Living
in a dormitory like a labour camp, roommates do not get to see each other as they
work different shifts. Vibrating with jarring electronic sounds, the whole factory seems
to be a huge device swallowing up workers—body and soul. This dystopia explains
the despair of young workers, who jump, one after another, from the building to their
death (see Pozzana’s essay in the present volume). By contrast, in the socialist past, films
often depicted factory workers taking pride in their work and being committed to their
community. But in Zhang Meng’s postsocialist film The Piano in a Factory (2010), the
proud workers of a socialist steel plant disperse after the factory is shut down, scraping
out a miserable living by performing in a gig band, or by trafficking or peddling.
The Dream of Non-alienated Labour
Although literary and film works depict the new wretched of China’s contemporary
industrial wasteland, it is difficult to find outrage or outcry. Critics and workers seem
to be resigned to dehumanising labour as the norm of capitalist production. I think this
resignation stems from the lack of an alternative vision, and from the forgetfulness about
74 AFTERLIVES OF CHINESE COMMUNISM
the veneration of labour in socialist China. In her fieldwork on the industrial rustbelt
of northeast China, Ching Kwan Lee compares today’s labourers with the working
class in the past.1 The workers interviewed recall, in protest and anger against today’s
precarious conditions, their fond memories of socialist labour. Regarded as the leading
class, factory workers enjoyed job security, relatively equal income, medical care, and
a pension. Working together to solve concrete technical problems in collective projects,
they developed comradeship and solidarity. The workers were equal with technicians
and managers, and participated enthusiastically in work processes. Everybody was
eager to contribute wisdom, experience, and energy. Equality and participation meant
the sharing of power and fostered pride in being masters of the new society. Most
importantly, the workers were able to see the purpose and meaning of their work. They
were passionate in the belief that they were creating a new economic and social order
in which individuals would thrive with all others. It is this type of meaningfulness that
has the potential to give labour beauty and dignity.
Working with a purpose is distinct from alienated labour. It is not just work to feed
oneself, and the fruits of this labour do not result in profits for capitalists. We can take
a page from Edgar Snow’s Red Star Over China to see the glimmers of what labour
could be under revolutionary conditions.2 In a chapter entitled ‘They Sing Too Much,’
Snow depicted the workers as full of pride and joy working in factories in the township
of Wuqi in Yan’an. Mostly young women from impoverished villages, the workers
had little to warrant any joyful smiles: their pay was very low and living conditions
primitive, their meals consisted of millet and vegetables, and their dormitory was
a cave house with earthen floors. But working under the principle of ‘equal pay for
equal labour,’ they appeared to be the happiest and proudest people the journalist had
encountered. Lacking in cultural resources, they treasured the rare opportunity of
learning and education. They valued their ‘two hours of daily reading and writing, their
political lectures, their dramatic groups.’ Everybody competed vigorously for the small
prizes in sports, literacy, writing, and productivity.
Puzzled by the incongruity between material squalor and mental happiness, Snow
found answers by recalling child workers in foreign factories in the China ruled by the
Nationalist Party: ‘You have to contrast their life with the system elsewhere in China’
to understand the joy of labour in Yan’an. In hundreds of factories elsewhere, ‘little
boy and girl slave workers sit or stand at their tasks twelve or thirteen hours a day, and
then drop, in exhausted sleep, to the dirty cotton quilt, their bed, directly beneath their
machine.’ A Western-educated engineer, who quit his foreign firm in Shanghai to come
to Yan’an, expressed similar bewilderment. Dedicated to productivity and efficiency, the
engineer complained about so much ‘horseplay going on’ while everybody was happy,
and wondered why the young women workers spent so much time singing. Constant
singing, Snow writes, sums up ‘a great deal about the youthful bravado of these young
women workers.’ The workers felt they were working for themselves and nobody was
exploiting them. Compared with their past lives, the new working life was one ‘of good
health, exercise, clean mountain air, freedom, dignity, and hope.’ It is no wonder that
singing, joy, and laughter are the natural and spontaneous expression of this work ethic.
Revolutionary culture aimed ‘to shake, to arouse, the millions of rural China to their
responsibilities in society; to awaken them to a belief in human rights, to combat the
AFTERLIVES OF CHINESE COMMUNISM 75
timidity, passiveness and static faiths of Taoism and Confucianism.’ The revolutionary
labour ethos encouraged the workers to work for the ‘reign of the people,’ a life of
justice, equality, freedom, and human dignity.
The Joys of Collective Labour
Fast forward to today. Zhang Meng’s The Piano in a Factory recalls similar joy and
beauty in collective labour. Like thousands of his coworkers, the protagonist Chen
Guilin has been laid off from the state-owned steel plant. During his divorce, he seeks
to build a piano with scraps of steel, so that his daughter will stay with him. The piano is
more than a musical instrument. Chen’s wife has ample means to purchase a piano for
her daughter, who will go with whoever offers her this possession. Although the laid-off
coworkers have each gone their disparate ways, they answer Chen’s call and look forward
to working together again. They come in order to exercise their own ingenuity and
creativity, and to reconnect emotionally. An ambiance of jouissance and warm feeling
suffuses the process of building the piano. In creating something new and deploying
their talent and skill, the workers are rediscovering a collaborative ethos that had been
previously fostered in the socialist steel plant but has since lain dormant—wasted. They
experience camaraderie and solidarity. In socialist labour, workers are masters of the
production process and free from alienation, a condition of estrangement from one’s
body and mind. They are able to exercise the essential powers, capacity, and creativity
worthy of a productive human being.
In Marx’s analysis, private property makes people one-sided because it exists as
capital and commodity. In commodity exchange, the structure of feeling is very much
truncated, confined to a one-dimensional sphere of existence. A life based on private
property is about seeking possession and enjoyment of private property. Such a life
has little social and emotional resonance with fellow human beings. In Grundrisse,
Marx mocks Adam Smith’s claim that the producer of the piano has nothing to do with
the piano player: ‘The piano would be absurd without the piano player.’3 If the piano
as a commodity ‘reproduces capital’ and if ‘the pianist only exchanges his labour for
revenue,’ where are the piano’s aesthetic functions that ‘produce music and satisfy our
musical ear?’ Marx is invoking the essential link between piano maker and pianist,
worker and artist, alienated labour and the labour that fulfils the spiritual and bodily
potentials of a human being. The Piano in a Factory picks up Marx’s hints. The piano
being built by the workers escapes the fate of being a mere commodity and a sign
of capital. In its creation, the labour is unalienated, self-directed, and voluntary.
In labouring, the workers rediscover their essential creative powers—their intelligence,
knowledge, passion, and skills previously acquired as steel workers. Their minds and
bodies are activated and emancipated from their entrapment in private possession and
in labouring for capitalists. The building of the steel piano becomes a process by which
the workers come together to form a new working community and to realise their
human and artistic potentials. The piano is no longer a thing, but an aesthetic, affective
focal point into which the workers pour their emotion and camaraderie.
Working together unites piano maker and piano player in The Piano in the Factory,
which echoes Snow’s episode of female workers singing at work in Red Star Over China.
The film presents extended episodes of singing, dancing, and performance, intimately
76 AFTERLIVES OF CHINESE COMMUNISM
associated with the technical as well as emotional tenor of piano building. The socialist
labour involved in this endeavour envisions workers with well-rounded personalities
transcending the one-dimensional individual confined to a narrow sphere of activity
through the capitalist division of labour, efficiency, and productivity. The socialist
worker has the potential to become accomplished in any branch of the technical and
cultural spheres. While the same Chinese word gang (steel) is present in both gangqin
(piano) and gang de qin (a piano made of steel, as the original title of the movie
reads), making steel and making music are after all very different activities. But this
combination is what the workers ought to be. They are not only producers of material
goods but also creators of culture: the piano maker should be a piano player.
Workers as Artists
The unity of worker and artist, of mind and body, of mental and manual work in the
mix of steel and music entails a socialist motif: art is to serve working people—workers,
peasants, and soldiers. It is to enrich their cultural life, foster a collective ethos, and raise
their consciousness. The workers, instead of being passive consumers, should have the
opportunity to actively participate in cultural activity and creation. It is by no accident
that Chen Guilin, his girlfriend, and other workers are excellent amateur artists. They
might have been on the steel plant’s art troupe or propaganda team engaged in mass
cultural activities on a regular basis.
By highlighting the workers’ artistic performance, the film suggests that the socialist
workplace is a site for manufacturing material as well as cultural goods. Cultural
activity provides for and nurtures an ambiance that meets the emotional, aesthetic,
and intellectual needs of workers. By extension, socialist culture is to serve and educate
the working people by forging and spreading new ethoses, new knowledge, and new
artistic forms. The film gives testament that factory workers in the past had access to
musical education and actively participated in music events. In the film, the workers
team up with a Soviet-educated engineer, and apply book knowledge and foreign
language proficiency to piano research and building—proof of power sharing on the
factory floor and cultural accomplishment. In light of this, it is worth pausing to think
about factories in the present. One wonders how many of these factories have a library
like the one in the film, how many talented workers have a chance to perform and sing
in the workplace, and how many can tackle high-tech engineering problems and read
foreign languages? Culture and education in today’s China are becoming a prerogative
of the privileged few, not an equal right open to all citizens, much less to labourers. The
film’s director Zhang Meng complained that while he made this film for unemployed
and laid-off workers, they could not afford to go to the cinema to watch it.
The Piano in a Factory conjures up images and scenarios of the socialist workplace
and the dignity of the workers. Swept under the rug by the neoliberal market imperative,
these images stage a magical comeback in the midst of the industrial wasteland and
against the ruinous effect of capitalist labour. They are a source of critique, and a gesture
of protest. This invocation of the imagination alerts us to what labour could be like in
a world where workers enjoy equality and dignity, possess a well-rounded personality,
and are producers of material products as well as creators of artworks.
This text is taken from Afterlives of Chinese Communism: Political
Concepts from Mao to Xi, edited by Christian Sorace, Ivan Franceschini
and Nicholas Loubere, published 2019 by ANU Press, The Australian
National University, Canberra, Australia.
doi.org/10.22459/ACC.2019.11

[sattipandu]

CBN 

Advised  Chinese to get Intel and Microsoft to invest in China 

Adhigoooo akkada mahardasa modhalayyindhi

Anthey no looking back

[TrollBait]

Just now, aakathaai789 said:

various reasons like poverty, population, health care, corruption, unemployment, lack of skills etc are also major reasons which hamper india's development inka caste ani modhaletti edupu sabha pettaku

none of these are reasons. main reason is the people at the top are afraid that aggressive growth is going to make them useless. 

none of the countries in south east asia had perfect health, education or nutrition before they became exporting monsters. Even the US was a hotbed of misery in early 1900s..

Indian upper caste/class is stupid and entitled and doesn't want the country to grow. simple.

[tom brady]

6 minutes ago, xano917 said:

Wow , just wow . 

try to work like a labour for a month and then talk . 

 

Nenu pani cheyaledu naaku telvadu. But what I know is we give 300rs to female workers per day for shift from 9-5 which is pretty good in our area(small town)..our margin is less than 10%..Atlanti situations we have seen n number of cases where workers stop coming without even notice as they dont care about the pay anymore as most of the stuff is free for them..I dont know how small scale industries survive in future with these types of govts