During the Cultural Revolution, revolutionary model operas, or yangbanxi, emerged as significant cultural productions under Jiang Qing’s direction. These operas included various artistic forms such as Beijing operas, ballets, and symphonies, created to promote Mao Zedong’s revolutionary ideology and class struggle. A distinctive aspect of these works is the portrayal of heroines evolving from oppressed characters into figures of revolution. This research scrutinizes the extent to which these operas, designed to address class divisions and gender-based oppression, truly fostered gender equality or predominantly served state driven agendas. By analyzing both primary and secondary sources, the study explores how they engaged with feminist ideals and the extent to which they reinforced patriarchal norms. Some scholars argue that Maoist gender discourse either eliminated gender distinctions or upheld traditional patriarchy by casting women in masculinized roles, thus hindering genuine progress toward gender equality. However, these critiques might simplify the complexities of Maoist gender politics and overlook their influence on women’s identities and liberation. The research reveals that while revolutionary operas focused on class identity and revolutionary aims, they presented a redefined view of gender roles within the framework of Maoist state feminism. Yet the operas did not fully incorporate feminist gender theories. The study highlights how these artistic expressions both influenced and reflected the dynamic conversations about gender during the transformative period in Chinese history.