conditions of possibility – grassroots discourse at the wutongshan arts festival

The title of this post shouts “academic theorization”, but in fact, the post itself is far less ambitious. I’m simply speculating about what conditions we need to put in place in order to cultivate cross cultural discourse in and about places with vexed histories, like Wutong Mountain, Shenzhen.

Creating models and forums for cross cultural discussions in and about places with vexed histories is difficult. On the one hand, most of us are not familiar with the values and concerns that inform the ethos of another people; indeed, even when we are relatively knowledgable about cross cultural differences, often we do not share our interlocutor’s priorities. On the other hand, cultural groups are not monolithic entities, but rather vexed by class, gender, and regional differences, creating what Bhaktin called “heteroglossia” – a situation in which context (including history and culture and politics and economy and one’s interlocutor) is more important in determining the meaning of an utterance than is the text.

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With the Wutongshan Arts Festival (梧桐山艺术节 – impressions above), organizers Gigi Leung and Michael Patte (founders of the riptide collective) aimed to generate conversations between village residents, local businesses (including Canyou), and artists who have moved there. The situation was clearly heteroglossic with both foreign and Chinese participants, who represented a range of different class backgrounds as well as different relationships to and with Wutong Mountain as well as Shenzhen. We came together to discuss future development in and of Wutong Mountain. Continue reading

2 days in guangzhou – impressions

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chicken

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What is the purpose of cross cultural art exchanges?

This has been a season of cross cultural art because I’m participating in the SZHK Biennale and have been translating for the OCAT International Artists Residency Program. I have had opportunities to talk with artists not only from the United States, but also Europe and heard questions and comments that are interestingly different from those of Western academics and business people, until recently my usual non-Chinese interlocutors.

Other than the fact that good, deep cross cultural artistic collaboration takes time and patience and a willingness to let go of preconceptions and even values, what have I learned?

Short answer: philosophically, we’re all of us still carrying way too much baggage and practically, translators are seriously underpaid for the work we do facilitating communication despite break downs therein.

Long answer: As a form of social praxis and value structure, art functions very differently in China and the West. I have written about these differences with respect to theater (here and here). Briefly, in the West, artistic praxis has been a means of overcoming four forms of capitalist alienation (as identified by Marx): Continue reading

Wutong Arts Festival, Oct 15-16

Join riptide collective this weekend and participate in the Wutong Arts Festival. Michael and Gigi do wonderful work showcasing alternative voices. Details and directions, here.

 

 

fresh eyes on an overcast day

Yesterday, went to the Hexiangning Museum to check out the Fresh Eyes exhibition of work by young painters. Very wonderful. I also enjoyed, again, the museum sculpture walk, which now abuts a shaded area with old bricks, lush south China foliage, and benches! Impressions, below:

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what does it mean to say, “我不反对”?

On the face of it, the situation was quite simple. A Shenzhen museum had promised a group of foreign artists that they would hold an exhibition for work completed while in Shenzhen. However, because the Biennale has occupied the better gallery spaces, the question the group faced was, “Where should the exhibition be held?” Finding an answer to this question entailed too many conversations and frayed nerves. Why?

Simple answer: because saying “yes” seems to be easy in either language, but saying and accepting “no” gracefully are tricky in one’s native language, let alone cross culturally.

Longer answer: Professionals, both Chinese and Western, often find ourselves talking at cross purposes because we think we know what we are saying, especially when negotiating consensus on how a project should move forward. Continue reading

the generation show

Currently, Shenzhen satellite tv is broadcasting “The Generation Show (年代秀),” a trivia game show based on Shenzhen’s four generations – Maoist, 80s, 90s, new millennium. Their advertising caught my eye because it speaks to how “modern life” and “urbanization” are popularly understood in Shenzhen.

The Mao era is filmed in sepia browns and shows a tractor pulling a cart with several people in it, a person peddling a bicycle, and several others walking on the road. They are being urged to go forward. The 80s clip was filmed in color and shows two youths wearing bluejeans and large sunglasses, dancing to music coming from a boombox. The 90s clip is of an architect directing construction workers to raise a piling; they are going up. Finally, the new millennium era is empty of people, just glass steel, reflecting a beam of light.

So, yes, a ruthlessly literal interpretation of the generations: Shenzhen has gone from moving forward and dancing in the streets, to building skyscrapers for nobody. Sigh.

… and it ends with Revelations

Yesterday, I heard a rumor and a comment about that rumor, which have me thinking about the importance and fluidity of “reputation” in the absence of any trusted news media and the concomitant rise of weibo as a news source.

The rumor: because the Municipality overspent its universiade budget, this year small businesses will be taxed excessively in order to make up the difference. Apparently, small businesses have been targeted because they are the most vulnerable to government intervention. Private individuals have already been taxed and cannot be taxed again without causing unrest and large, state and/or foreign owned companies all have governmental connections and (in the case of foreign companies) China’s agreements to uphold its tax laws. In contrast, small business owners only have the government connections that they have made through bribes and schmoozing. Moreover, small business owners tend to swim alone, rather than organizing which means that they have neither collective bargaining power, nor use access to public media to air their grievances. Instead, they complain to friends, who in turn, pass the rumor along over tea and snacks with friends.

The comment: It’s difficult to confirm anything in China because important decisions, or rather, the justifications for important decisions aren’t documented and released into the public sphere because anything that can be written down isn’t the total story. My friend then explained that this is why she no longer reads newspapers for news. Instead, she reads newspapers to get a sense of government winds and reads weibo and blogs for news reports. But, when pressed, she also admitted that she doesn’t completely trust weibo or blogs. Instead, she evaluates (based on her experience) the likelihood of a report being true. And she’s aware that different personal experiences will make some people more or less likely to trust a particular report.  Continue reading

Xiasha “Old village renovation”

In point of fact, the phrase “village renovation (旧村改造)” is a misnomer. What many Shenzhen villages are renovating is not the old village, but a village that was “new” in the mid-1990s. Images from Xiasha’s recently completed renovations suggest possible tradition-socialist-early reform-contemporary mashups or postmodern post-villages, so to speak.

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