In this episode of Shenzhen Book of Changes, we visit architect Huang Zelin, who’s work is deeply connected to Shenzhen – the city he grew up in. His designs for projects in the city and beyond reflect Shenzhen’s dynamism and great possibility for change.
So, review of Thirty Years of Shenzhen Villages continues from Episode 7 because for some yet-to-be-ascertained reason, episodes 5 and 6 aren’t available on youku net.
In 2005, construction workers unearthed a 10 kilometer section of the ancient tea route (茶马古道). This road once linked eastern Shenzhen to the new territories, more importantly (for the sake of narrating the Shen Kong border), this road connected to Sanzhoutian Village (三洲田村, literally “Peninsula Paddy Village”), where Sun Yat Sen (孙中山) lead the Sanzhoutian First Uprising (三洲田首义). In retrospect, Sanzhoutian became known as the first explosion of the Gengzi Incident (庚子事件), protesting the Boxer Indemnity that the eight colonial powers imposed on the Qing Dynasty.
Sanzhoutian is a rich symbol in Shenzhen history because it provides deep historic links between the SEZ and Hong Kong at multiple levels. Continue reading
Climbing Wutong Mountain, actions speak, names resonate, and language, well, language fails us.
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.
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
Yesterday, I visited the Dawang Culture Highland (大望文化高地). This is the second year that Dawang has been part of the Cultural Industries Fair; like Dafen, Dawang is using art and international art markets to urbanize. Unlike Dafen, however, Dawang is located at the foot of Wutong Mountain and is promoting a more natural and original art experience.
Dawang refers both to a particular village and the cluster of villages that nestle against the foot of Wutong Mountain and so development in the area tends to be village by village, leading to both unexpected convergences and contradictions. Importantly, the spatial layout of the area suggests interesting (if familiar) transitions between rural and urbane Shenzhen as well as the integration of neidi migrants and artists into the city. On the one hand, Maizai, for example, is the village closest to mountain footpaths and has developed a cobblestone pedestrian street for Shenzhen urbanites looking for weekend relaxation and local Hakka cuisine. Other villages specialize in selling lychee honey. There is limited, small scale production and commerce. On the other hand, transportation to the area is inconvenient, which means that land is cheap. Consequently, both artists and squatters have nestled into the edges of Dawang lychee orchards.
This layout highlights the important social function of urban villages in incubating new kinds of Shenzheners: locals as a new kind of renter class, artists as the up and coming middle class, and squatters as the lowest of the city’s urban proletariat. Importantly, the area’s distance from the city center means that its one marketable asset is precisely the feature it wants to destroy – its rural and undeveloped nature (in all senses of the world).
Dawang and its Culture Highland are featured in That’s PRD’s introduction to new artspaces in Guangzhou and Shenzhen. Pictures of the lay of the land, below.