on greenspace

Yesterday, I took my camera for a walk. Although I had a new object to photograph—a well-used pot for brewing Chinese medicine—I didn’t want to carry it. Instead, I walked around the Baihua area, which is bordered by Huaqiangbei in the south and the Shenzhen Stadium in the north. East and West, I meandered between Baihua Road numbers 4 and 2, respectively. This is primarily a residential area, with housing from the late 1980s and early 1990s. The Shenzhen School of the Arts is located here, as is a Wallmart.

Greenspace constitutes one of the pleasures of older developments. Unlike newer developments, which have enclosed park-like areas for their exclusive residents, older areas sometimes have large strips of greenspace that stretch between the development wall and the sidewalk. Lovely banyan trees and lush bamboo clumps shade passage through these strips, which were planned when land was plentiful and funding for elaborate and imported topiary not easily had. Then, planners planted native species and left them to their own devices. Today, grass and palm trees, cultivated flowerbeds and exotic bushes define both public and privatized greenspaces.

One might measure the historical distance between new and old greenspaces in terms of an all-too-visceral ethics of efficiency. As factories, developments, and streets have colonized most of Shenzhen’s land, the older greenspaces, with their cool shade, unkempt paths, and rustling leaves seem vaguely decadent, indeed wasteful. In contrast, the newer greenspaces fit within the lines of an efficient urban planning. They boast denser vegetation and more varieties of plants per square meter, as well as park benches, concrete paths, and small pavillions.

The relative decadence of the older greenspaces is a strange phenomenon. It’s clearly not a question of ecological efficiency. The older greenspaces require no care, except for the occasional sweeping of leaves and picking up trash that accumulates in the network of banyan tree roots. The new greenspaces demand constant attention. Accordingly, teams of gardeners cultivate them from about 6 a.m. until 5 a.m. (with a lunch break and nap time). The decadence of the older greenspaces isn’t even a question of occupied space; the legislated proportion of greenspace to built space hasn’t changed over the past two decades. Instead, I think this relative decadence might arise from the plants themselves, or rather, the growing.

Plants thrive in semi-tropical Shenzhen. Grasses and vines quickly overtake any bit of untended land, climbing walls and bridges, weaving themselves into mesh wire fences. The vitality of Shenzhen’s weeds is particularly evident at abandoned-soon-to-be-razed sites, which support thick walls of shimmering vines and purple flowers. Hence, the city must hire so many gardeners in the newer greenspaces, which like botanical gardens have precise borders between different species; no room for creeping vines, even less for natives. In the older spaces, however, the banyan trees’ roots hold back the onslaught of vines, which cling to the development walls, their lush often translucent green setting off the mottled brown roots. Patterned, yes, but not clipped back, and therein, I think, is the difference that makes a difference.

The sharp lines of the newer greenspaces materialize an efficiency made possible by shearing back growth. I can imagine the gardeners’ irritation at their charges yearning to grow outside the plan. One comes, in the newer greenspaces, to know one’s place and how to occupy it. In contrast, the decadence of the older greenspaces feels like a deep, satisfying stretch, creating one’s place through the process of occupation. This might be one definition of freedom—having the space to grow according to one’s nature, even as we respect the conditions that allow others to flourish, co-evolving. That said, the efficiency with which vines overtake an abandoned factory or deserted village reminds us that others will thrive on our graves; we too are an environment.

A post-script. After I began writing this entry, I took a walk in the northern section of the city’s Central Park. This is older greenspace, older even then the so-called “older greenspaces” described above. Those spaces came into being with the city, 20-odd years ago. Instead, the land on which Central Park was zoned was formerly a leechee orchard. In the northern section, far off the main strip, the park remains a leechee orchard. Indeed, the city still harvests leechees here every June and July. Here, the clipping and weeding and cultivation feel like homecoming. Native, if you will. At any rate, I was reminded that there are gardens and there are gardens. Simply outgrowing the plan isn’t necessarily the point either, it’s just a tickle, a whisper: there are other ecologies possible.

To view some of Shenzhen’s greenspace—old and new, inadvertent and leftover from socialist agriculture—please visit: http://pics.livejournal.com/maryannodonnell/gallery/0000aw3w. I have also photographed the found objects in central park. Those pictures are at: http://pics.livejournal.com/maryannodonnell/gallery/000093f8.

a day in the park

After a week of rain, this morning began with tentative rays of sun and by 10 a.m., the sky was bright, the temperature had climbed to about 90 F (32 C), and the humidity had stabilized around 80%. I decided to take the objects out for a day in the park because, while housebound during the storms, I realized I had few group portraits. So, after stuffing my backpack, I went to the park.

I began posing the objects on benches or among flowers. Folks on their way to work would stop and watch, and even those rushing past would pause in their conversations to glance my way. Usually, all this attention makes me self-conscious and defensive. (“Yes, I’m taking pictures of garbage, but it’s art!”) However, today all this fresh sunshine bubbled up and I started talking about the project. Better yet, I stumbled onto a blurb that folks understood.

“Shenzhen is a very modern and beautiful city. However, to get through the day, we depend upon these ordinary and often ratty objects. I want to make a comparison between the beautiful city and the worn-out objects.”

Now, why the joy at being understood? One would think that an anthropologist with theoretical ambitions would be inured to being misunderstood. In January this year, I went home, carrying several pieces of digital art. I was stopped at the border, the tubes were opened, and the pictures were examined. One of the guards sniffed, “Abstract art.” The other guard grunted agreement and then waved me through. I later understood that they were making sure I wasn’t trying to smuggle products through without paying tax. Clearly, they understood the limited market for art. But I’m not doing abstract art. Folks actually get it!

The other reason today brought such pleasure was that this explanation actually encouraged a few people to pose with the objects. Also, tomorrow I have been invited to photograph a yangge (a dance made popular at Yan’an) club, practicing their steps. Who knows, the objects may actually get to make house calls.

To see the park, please go to: http://pics.livejournal.com/maryannodonnell/gallery/000093f8