Today, I walked the village named Baishizhou, which is located south of Shennan Road and is not scheduled for demolition. This other, lesser known Baishizhou is tucked away behind Window of the World, middling housing estates, and the KK Banna Mall. Unlike the Baishizhou that is scheduled for demolition, this other, less expensive Baishizhou does not hum and pop, does not buzz with entrepreneurialism and the rush of young office workers, but rather transports us back to Shenzhen 2.0; at the turn of the millennium, most Shenzhen neighborhoods were like this: straight-forwardly residential in the middle with an outer ring of functional shops and fast food, and hardware stores that spilled into the street because the sidewalk had not yet been laid down. Continue reading
The latest Vanke endeavor is called 万村 or “10,000 Villages,” which is a pun on the first character for Vanke (万科). Basically, Vanke has been busy demolishing and upgrading villages around China. According to Vanke founder and former CEO, “10,000 Villages” is a work of the heart. And yet. Now that 10,000 Villages has come to Shenzhen, there has been an outcry against upgrading urban villages because the effect is to eliminate the cheapest accommodations, forcing those who live there to leave the village and find housing elsewhere. Of course, there aren’t many housing options for someone who can only afford the cheapest housing in a unrennovated urban village.
One of the more interesting developments in this ongoing outrage has been the “Open Letter to Foxconn Staff,” which petitions by Foxconn for raises because employees can no longer afford to live in the upgraded villages. In fact, even monthly raise of 100-300 yuan can have serious consequences for workers’ wellbeing. For many, the increase in rent is a significant portion of the money they have been saving or sending home. In a nutshell, despite Wang Shi’s confidence
game that the 10,000 Villages project is making China a warmer, better housed place, in Shenzhen the facts suggest otherwise.
Yesterday, I visited the former Tanglang Industrial Park, which has been rebranded as 集悦城 (SoFunLand), a residential area for young workers. The first floor of the factories have been rented out for commerce and the second to fourth (or sixth) floors have been retrofitted as dormitories. This, we are told, is the future of post-Baishizhou downtown; young migrants can live in the dorms until they secure housing elsewhere. Continue reading
Friday afternoon, March 23, 2018, we walked Mehrauli. During our pre-walk briefing, Rohit Negi explained that Delhi’s urban villages were historic settlements engulfed by the expanding city; urban villages have allowed for migrants to take up residence in Delhi without receiving full municipal services. As in Shenzhen, the so-called urban village in Delhi is an artifact of legal loopholes—a space of exception that allows for flexible responses to the social problems endemic to global enclaves. Low-income housing is the most obvious fix, but Delhi urban villages also resolve such problems as food distribution, mom & pop entrepreneurialism, and medical care. As in Nantou and Shajing, Dongmen and Shenzhen’s middling enclaves on its outer district metro lines, in the urban villages of Delhi farmers have urbanized their settlements without explicit authorization by the state. In the contemporary Franken-city, the urban village exists at the whim of the government which can (in both Dehli and Shenzhen) use illegality as the excuse for expropriating land, evicting tenants, and masterplanning the city. Continue reading
I visit urban villages because they allow space for eccentricity, for unexpected juxtapositions that suggest the contours of history. And yes, these spaces are not simple agrarian settlements, but sites where wealth has accumulated for several hundred years, where ideas about what that history might mean have taken alternative forms. Continue reading
So Hubei and Fuyong, two of Shenzhen’s “ancient” villages.
Yesterday, I visited the two-day exhibition that Xu Lan (徐岚) put up in a one-bedroom apartment (2,400 / month) in Tangtou Block 6, Baishizhou. The exhibition took place over two days (Jan 8 and 9, 2017) and comprised mountain and water sketches / illustrations from a week-long stay (previous) in Baishizhou. The series itself is part of an ongoing project of travelling and documenting those travels. The inspiration for the exhibition (as narrated by Xu Lan) was random (偶然). He was thinking of the painter Qi Baishi (齐白石) and painted his own “Baishizhou” and then decided to show the works in Baishizhou, Shenzhen because he remembered having been here once.