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What the West's assimilation accusations against China reveal about its own historical burdens_我的网站

一 |     (ECNS)-- China's newly implemented Ethnic Unity and Progress Promotion Law has elicited a predictable response from certain Western media outlets. Whenever ethnic unity is referenced, some Western critics rush to frame it as "assimilation" or a push for uniform national identity.    Fan Yichou, associate professor at the Law School of Minzu University of China, argues that such misinterpretations arise primarily from projecting Western historical nation-state building trajectories onto China's ethnic policies.    Put simply, some Western observers do not view China from the perspective of its domestic social realities, but rather judge it through the lens of their own historical experience.    Fan argued that the traditional Western nation-state model rests on a core premise: one ethnic community ought to align with one sovereign state, with political boundaries largely overlapping ethnic territories. To build culturally homogeneous nation-states, most Western powers historically sought to eradicate internal ethnic diversity through assimilation, exclusion, and other coercive measures. Such nation-building drives were often accompanied by territorial conquest, mass population displacement, and systemic violence.    He drew on arguments laid out by Canadian political philosopher Will Kymlicka, who observes that the classical European template of nation-building rested on an implicit consensus: states should strive to become culturally homogeneous, by either assimilating national minorities or expelling them. For centuries, this ideal of a mono-national state shaped state policy across almost all Western European countries, with Switzerland stands out as the only major exception.    This deep-rooted historical trajectory continues to frame contemporary discourse on ethnic governance.    A stark modern illustration emerged in 2025, when Danish local authorities took away the newly-born daughter of an 18-year-old Inuit mother from Greenland just one hour after birth following a controversial parenting competency assessment. Her case was far from isolated. According to reports by the BBC and other media outlets, another Greenlandic mother had all three of her children under state custody. She was first subjected to a so-called parenting competency test after social services raised concerns about the language development of her eldest daughter. Although the Danish government has decided to stop using such tests on Greenlandic families, local authorities have yet to halt the practice.    The enduring harm of assimilationist policies extends far beyond this Danish case. UNESCO’s Memory of the World archives document that Canada's Indigenous residential school system continuously operated for nearly 150 years, with the explicit state objective of assimilating Indigenous children into settler society. Generations of Indigenous children were forcibly separated from their families, severed from their ancestral languages, cultural traditions, and intergenerational knowledge systems.        The United States has grappled with comparable challenges. According to a 2025 Associated Press report, Native American children in California are roughly about four times more likely to enter the foster-care system than their peers.    Newborns separated from their mother shortly after birth. Generations of children torn apart from their families and ancestral languages. Indigenous youth who remain vastly overrepresented in foster-care placements to this day. All these are legacies of the West's long-standing obsession with assimilation.    That explains why, when some in the West hear China speak of "ethnic unity," they instinctively equate it with "assimilation." In reality, they are projecting their own social trauma onto China.    China's context, however, is fundamentally different.    As Fan Yichou notes, China has long been a unified multi-ethnic country. Within the Chinese tradition, political unity has not demanded cultural uniformity. Instead, unity and diversity have coexisted across most of the nation's history.    This outlook finds theoretical expression in the concept of plurality-in-unity put forward by renowned Chinese sociologist Fei Xiaotong. In his framework, China's 56 ethnic groups represent the plurality, whereas the Chinese nation embodies unity.    From this perspective, the Ethnic Unity and Progress Promotion Law is not designed to eliminate ethnic differences. Instead, it seeks to strengthen a shared sense of belonging while respecting cultural diversity.    This distinction highlights a broader divergence between China and the West in approaching identity and social cohesion.    In many Western societies, historical assimilation sought to diminish group differences and compel minority groups to conform to dominant-culture norms. By contrast, China's emphasis on forging a strong sense of community for the Chinese nation is not intended to obliterate diversity. It seeks to build shared civic and national identity, while enabling all ethnic groups to sustain their own languages, customs, and cultural traditions.        Ethnic groups may speak different languages, practice different customs, and vary in development level. Yet they can still uphold shared dedication to national progress and a common sense of belonging within a unified multi-ethnic state.    Genuine ethnic unity does not require everyone to fit into the same mold. It means ensuring that different ethnic groups can participate in national development while maintaining their own cultural characteristics and thriving with equal dignity and equitable opportunities.    So when some in the West equate China's "ethnic unity" with "assimilation," their judgment stems not from an accurate assessment of China’s reality, but from a subconscious projection of their own historical burdens, contemporary social anxieties, and deep-rooted institutional scars onto China's ethnic policies.    They are either unwilling or unable to fully comprehend China's governance philosophy and practices, yet arbitrarily pass arrogant judgment on the country. The outcome of this biased approach will be no exception of absurd narratives that fundamentally contradict objective reality.                    。    Actor Dhanush took fans down memory lane on Monday after he posted a set of emotional photos from Varanasi, the city where his hit film Raanjhanaa was shot. He shared new pictures on social media showing him walking on the ghats of Varanasi and enjoying a cup of chai with director Aanand L Rai. The actor looked deeply nostalgic as he reflected on his journey from Raanjhanaa to his upcoming film Tere Ishq Mein, which marks his third collaboration with the filmmaker. He shared how returning to the same streets after more than ten years felt like reliving a character who still lives in the hearts of the people.     In his heartfelt post, he wrote, “A walk through the memory lane Where it all started. KUNDAN. A character that refuses to let go of me, even after more than a decade. The Name Kundan still echoes in the narrow lanes of banaras as people call out to me and I still turn and smile. Now walking through the same lanes , sitting in front of the same house , sipping chai from the same tea shop , and walking by the shores of the holy Ganges, with the man who gave me Kundan , feels like a full circle. Now it’s time for Shankar.” The actor also added, “Tere ishk mein … FROM TOM. Har Har Mahadev.”     Check out his post below:                                                                 View this post on Instagram          A post shared by Dhanush (@dhanushkraja)               Dhanush played the role of Kundan, a boy from Varanasi, in Raanjhanaa (2013), which became a major success and earned widespread love. The film not only strengthened his place in Bollywood but also created a deep emotional bond between him and the city. He shared that locals in Varanasi still call him by the character’s name even today, and the connection continues to feel special.     Tere Ishq Mein was first announced by Aanand L Rai on the 10th anniversary of Raanjhanaa. The upcoming film stars Dhanush alongside Kriti Sanon and is produced by Aanand L Rai, Himanshu Sharma, Bhushan Kumar, and Krishan Kumar under the banners of Gulshan Kumar, T-Series and Colour Yellow Productions. The music is composed by AR Rahman.          The romantic drama is scheduled to release in theatres on November 28, and fans are eagerly waiting to see the actor in another powerful role. For Dhanush, returning to Varanasi before the film’s release has been a deeply emotional experience, a moment of full circle, revisiting the birthplace of a character that changed his career.     Also Read: Photos: Dhanush and Kriti Sanon Seek Blessings in Varanasi Ahead of Tere Ishk Mein Release。

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