We’ve finished the fieldwork/residency phase of the field school, and rather successfully at that! Now we move on to various locations: Shanghai, Tsingtao, other parts of Beijing, or all the way back to Oregon. We will reconvene at the beginning of August—from wherever we all are—in order to process fieldwork materials into ChinaVine content (initially available via Vine Online). Continue checking this site for updates from the teams and ongoing conversations about culture, heritage, fieldwork, and interpretation. Great job and happy travels, everyone!
Author: jfenn@uoregon.edu
Of music, heritage, and identity…
This story from the NY Times has been shared with me by several people in the past day, and it illustrates the contentious potential of culture and identity—in this case, as manifest in popular music. While in Beijing, I purchased a DVD featuring footage of a concert by the band Hanggai, mentioned in this article. Let me know if you’d like to see it, as I don’t think it is readily available outside of Beijing
listening to Beijing…
On Monday, July 18, World Listening Day is upon us. Sponsored by the World Listening Project, this day is focused on the sounds that surround us and the ways in which they weave natural, cultural, and social webs of experience. The field work we have done so far has emphasized documentation of cultural practices and contexts in a mostly visual manner—largely because people tend to focus on what they can see, while what they can hear tends to take a back seat. In the spirit of World Listening Day, however, we’d like to suggest that all of us involved in the field school turn our attention toward sounds as we continue to think about interpreting the cultural heritage and practices we are encountering in Beijing.
I’ve been making some field recordings with my iPhone during the last week or so, using both the RJDJ app and the FiRe app. Both apps draw on the audio capabilities of the iPhone, with RJDJ adding sound manipulation into the mix (FiRe produces straight or dry recordings…). In either case, the emphasis is on sound and listening; here are a few examples:
You need to have Flash installed to listen directly on the site. Install Flash or you can download the recording instead
Recorded from Echolon. Check out more recordings from Echolon…
You need to have Flash installed to listen directly on the site. Install Flash or you can download the recording instead
Recorded from Echolon. Check out more recordings from Echolon…
Across these three recordings, what kinds of representation occur? What are the perspectives that come across aurally? Think about these questions, as well as others that come to mind as our time in Beijing draws to a close. One thing we might think about doing during our last few days here is to develop a soundwalk during a group outing. What do the sounds around you allow you to communicate, understand, or interpret about your surroundings?
Field school progress…
At this point, we are more than halfway through our Beijing-based, ChinaVine-driven field school, and everything is moving along according to—and in many ways, exceeding—our plans. As co-directors, we spent many hours planning and imagining the experience we’d like students to have in Beijing, the whole time realizing that, ultimately, much of the experience would be in their hands. And, luckily, they have taken that responsibility on and have worked with us to successfully conduct rewarding fieldwork and engage the tasks of documentation and interpretation with an enthusiasm that has made our jobs easy.
The results of their work will be visible on VineOnline (and our course site) toward the middle of August 2011. Each team of student field workers has been tasked with producing two posts for VineOnline—one for each site we’ve visited during our time in Beijing. The first site was Jiangou, a village to the north west of Beijing where we focused on cultural tourism (including “red” tourism efforts that explore the history of Communism), pilgrimage traditions, and rose cultivation. The second site was Songzhuang, to the east of Beijing. As an “artists’ village,” Songzhuang has grown in the past twenty-five years from a place where a handful of artistic pioneers sought affordable work space distanced from the urban renewal of Beijing to a home for over five thousand artists and the site of a “cultural and creative cluster” promoted heavily by regional government. In each site, the students have listened, interviewed, photographed, and otherwise documented the cultural practices and traditions we have encountered. They’ve also eaten, and the image at the top of this post represents a meal cooked for us by artist that ChinaVine has worked with for the past three years: Mr. Her Xue-Sheng. He graciously hosted us during our time in Songzhuang, preparing fresh noodles in the style of his home in the Ningxia region.
So, in the coming weeks be sure to check the VineOnline site in order to follow up on the work produced by the field school students. Their posts will be rich, multimedia explorations of the artists, places, and cultural practices that pull together documentation and interpretation in a manner that extends the mission of ChinaVine. In the meantime, be sure to poke around in this Flickr set highlighting some of the sights from our weeks in Beijing.
Field school map
I have created a Google map plotting the locations we have been visiting during the Beijing residency part of our field school. You can find it here.
of museums and spaces for interpretation…
Shot in the “museum” or interpretive center at the temple complex on top of Miaofengshan (outside Beijing by about 40km), this picture from our fieldwork illustrates the flexibility of spaces used to make sense of culture and heritage. Filled with historic photos that help carry the narrative of the temples in conjunction with Mr. Wang’s stories and explanations, it also houses a ping pong table. While this may seem incongruous from some perspectives, it’s perfectly reasonable from others. And that’s the trick of interpretation: the space in play is more than an institution (i.e museum), but also more than a concept (i.e. truth or authenticity). This space is flexible and multimodal, allowing for visitors, culture workers, and other participants to engage in meaning-making.
On the topic of interpretation, here are links to two different articles. The first is about a museum in Fangshang County (west of Beijing) dedicated to the important revolutionary song, “Without the Communist Party, There Would Be No New China.” This piece was written in 2009, but recently revisited in another recent post here.
The second article tracks the history of the pipa in terms of its iconic role of “national instrument.” Adapted from a conference paper, it’s somewhat long but worth reading.
With both of these pieces, we should consider the question/issues of interpretation. What meanings emerge in each article? What are the perspectives of each author? What are the goals of interpretation? Many more questions likely linger, so have a look at these and consider the spaces for interpretation generated by ChinaVine and our field school.
a few snaps from Wednesday's Beijing tour…
I’ve pulled these from a Flickr stream I started. They represent scenes from our first full day in Beijing, during which we visited Tian’an men Square and the Forbidden City in the hot mugginess of a July afternoon. Plenty of other people were out along with us…
our ride around town, with Oscar the Guide
looking down Tian’an men Square, from the south to the north
the Square is dressed up for the 90th Anniversary of the CCP (which happened on July 1, 2011)
two shots from our portable photo studio session; top is the studio in action and bottom is a recreation of the photo he printed for us!
crowd entering the Forbidden City (south gate)
somewhere near the middle of the Forbidden City
leaving the Forbidden City (north gate)
on Beijing restaurant trends…
From last week’s Sunday New York Times comes an article about “provincial” restaurants found within Beijing. Maybe we can track some of these down?
site updates and new information…
We’ve been completing work on the onsite residency and post-residency sections of the course site, so please thumb through these pages and sub-pages in order to get a sense of what’s next in the field school. We’ll have plenty of time while we are all in Beijing to discuss the details for assignments associated with these upcoming phases, but do formulate any questions and bring them along!
copying as art
This photo essay link was passed along to us by Doug some time back, but I’ve only just remembered it. The photos depict Chinese copy artists: people who make their living by copying Western art paintings. A snippet of the blurb accompanying the photos reads:
China produces 70 percent of copies of famous masterpieces for export to North America and Europe. The fastest copy artists chug out 30 paintings a day. In his series Real Fake Art, photographer Michael Wolf took portraits of professional artisans next to the Lichtensteins, the Van Goghs and the many disproportionately giant Mona Lisas mass produced in this fascinating, multimillion industry, timeless classics and contemporary art blockbusters alike.
As we move out of the orientation phase and into the fieldwork phase of our field school, we can start applying the many questions and thoughts you all have generated to examples such as the copy artists. What kinds of tensions surrounding authenticity, creativity, or artistic practice emerge with this example? If ‘copying’ is a component of traditional artistic training (as it is in some Chinese visual arts), then how might we interpret the practice/industry of producing copies of prominent Western artists?