When I was young, Christmas was a special time that started just after Thanksgiving. Indeed, in the month before Christmas there was much work. We made lists of presents for our parents, siblings, and friends. We went Christmas tree shopping and then spent an evening decorating the tree. Each decoration had a story. Each year I would make an angel or Christmas mouse for the tree and my mother had special lights. We practiced singing carols and made cookies, delighting in reindeer and elf shaped cookies. We watched the same classic movies (“Miracle on 42nd Street” and “It’s a Wonderful Life”) as well as the same TV specials (“Rudolph the Red Nosed Reindeer,” “Santa Claus is Coming to Town,” and “Frosty the Snowman.”) Several days before Christmas we went on vacation and if we were lucky and if it had snowed, we made snow people and snow angels, and then when we were cold and tired we had hot chocolate at a friend’s house. The night before Christmas we made a plate of refreshments for Santa Claus and even remembered to put out carrots for Rudolph. And then. On Christmas morning we woke up laughing to discover what presents Santa had left us and to feast and play all day. Even today, Christmas still sparkles in memory and I am happiest when I have a chance to go home and celebrate with family and friends. Continue reading
Yesterday, Marco taught “enlargement” at the P+V Art Sprouts program. The class itself had four components: a warm-up (taking pictures of each other jumping), a critique of last week’s photos, a treasure hunt for details that Marco had taken of objects around the P+V, and a lesson in enlarging images, including photos. Observing the class, I remembered how difficult it is to see clearly because we manipulate images–scale and intensity–in order to create responses in an audience. Sometimes, we’re going for “beauty,” but at other times we’re aiming for disgust and fear, lust and laughter. Confusion? Continue reading
Hope takes work in the moment and grows through deep time. It is not over until all of us (including the screamers) are free from suffering; just as there is not one America, there is not one Hell, and certainly there is not just one apocalypse. If we look attentively we see how many lives in how many places are destroyed time and time again. The question facing each of us is: where can I work? What relationships, what changes allow me to help end suffering? And then we work, trusting that other bodhisattvas are also doing their hard practice in fields where we cannot, because (and this I believe) just as there is not one world, there is not one Paradise, and certainly there is not only one savior. Continue reading
So these past few months, I have been busy setting up a public arts education program at the P+V Gallery (虔贞女校艺展馆) in Dalang. We’re calling this series of events, the P+V Academy (虔贞女校学堂). This name, of course, is an updated rendering of Pious Virgins Girls’ School and the project to create a space for alternative, minjian (民间) histories.
On Saturday, September 9, 2016 at 3 pm, we’re screening Shefong CHUNG’s “From Border to Border,” a documentary about the Hakka diaspora in India. The title, of course, alludes to the marginalization of the Hakka within both China and India. We are thrilled that the director will be joining us for the screening and discussion. If you’re in the neighborhood, join us.
Located in the middle of an urban village, the P+V Gallery is the only historically restored building in Shenzhen that offers public programing. It is truly worth a visit to experience both the city’s deep history as well as Dalang Street Office’s efforts to shape an alternative public culture. The “Children’s Art Sprouts” projects, which organizes a monthly arts course, including the sock puppets is part of the Academy’s offerings.
There’s much I could say about why community art programs matter, but. Sock puppets! Incredibly cute kids! Everything that matters. Here.
Off the beaten track (or at least a 15 minute bus ride from the Longhua subway station), Dalang remains one of the manufacturing centers of Shenzhen as well as one of the few spaces where it is still possible to see container trucks of various sizes trundling about. The landscape itself is a dense mix of industrial parks, proper urban villages, collectively held property, and limited public and commercial property. In other words, the area retains much of its morphology from when Longhua was officially a market town (镇, 1986-2004) and the entire area was developed through rural institutions.
Just saw this poster advertising the opportunity to purchase a house on a small Malaysian island next to Singapore. The houses are relatively large and the agent is conveniently located in Shenzhen. The appeal? One can “[R]eturn to Shenzhen ten years ago, and invest in the Special Zone of a Special Zone.”
Here’s the rub. I saw this in an apartment complex in Dalang, at least twenty minutes from the nearest subway station. Everyone wants to by a house, and even places as relatively remote as Dalang are no longer viable options for migrants, even if they have a job, and even if they have savings.
On my way from said subway station to the elevator where this advert was posted, the cabby explained that since Lift (didi) and Uber had come to Shenzhen, it was no longer profitable to drive a cab. He planned on going back home to Jiangxi. When I mentioned that it seemed more and more people were leaving the city, he agreed, saying “there noticeably less people on the street.”