dispersal

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!

Team update

During the past two weeks of our residency our group has discovered many new insights into the art and culture of China.  Focusing on two villages, our group (Nan, Jeanette, and Megan) have focused on two cultural elements that we would like to share with Vine Online.  The first is our exploration into red tourism in JianGou where we visited a former communist communication station that is now a museum.  We also had the opportunity to talk with Mr. Zhao, who grew up in the village and gave us insight into the importance of this site for the communist party.

The radio used at the communication station

Our team at work

 

While visiting Song Zhaung, we profiled the artist Zhang Jianhua, a sculptor who works in the village.  He is currently working on his fourth series “City Monument” when we interviewed him at his studio which creates a landscape of human and architectural features that comments on modernization, wealth, and belief systems.  What is striking about his work is the level of research he puts into each of he sculpture series, an idea we hope to covey further in our Vine Online post.

Mr. Zhang's Unfinished 4th Series - City Monument (Ai Weiwei)

Preview of Mr. Zhang's 2nd Series - The Coal Miners

 

Check Vine Online soon for more information on these topics and more.

Buy and grumble

Today’s NY Times includes an article that considers the economic ties between China and the United States. Included with the article is an infographic that puts these ties in perspective with the ties the US has with other nations. You can access the article here.

Of music, heritage, and identity…

The 19th century singer Jenny Lind depicted pe...

Image via Wikipedia

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

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Upcoming work from the field school….

Our group from the field school, which includes Sam, Jo, Yuting and Rosalynn, will focus one of our upcoming posts on cultural tourism. We will examine cultural tourism through a restaurant in JianGao which severs traditional farmer’s food from the area to cultural tourists. Jiangao is a tourist site due to its religious significance, associations with red tourism and rose tea production. The increased popularity in these types of tourism is evident in the village, especially since the number of restaurants in the village serving food from the area to tourists has increased from three to twelve in the past ten years. We will specifically focus on an interview with the restaurant owner Mr. Wu. Our interview with Mr. Wu, the owner of the restaurant the field school visited and had lunch at, will offer some insights into the role cultural tourism is playing in this community and the relationship community members have to visiting tourists. We will also produce a video portrait of the artist Wei Ligang, a contemporary calligraphy artist. We interviewed the artist in his studio in Songzhuang. an artist’s community outside of Beijing. We will pull out excerpts from an lengthy interview with Mr. Wei where he develops his personal practice of calligraphy in the context of the contemporary art world, his relationship to Western artistic practices and his relationship to the fast developing Songzhuang area. Through this portrait of an individual artist’s practice we can examine the role of traditional Chinese art forms in the international contemporary art market. If you want to see some more of Mr. Wei’s work, start with this link to a gallery which represents him.

Finished work at Mr. Wei’s studio.

Materials in Mr. Wei’s studio including calligraphy inks and spray paint.

A group of tourists approaches Mr. Wu’s restaurant.

ChinaVine featured in CultureWork

The new issue of CultureWork explores the evolution of the ChinaVine project and its online interface, ChinaVine.org. ChinaVine.org site is an interpretive online space allowing for contributors from around the world to present ideas, images, and interpretations of China’s cultural heritage. In this article, faculty and former graduate students at the University of Oregon, coordinators of the site’s development, introduce the visioning behind the process and the ways in which challenges have been met for transferring a diverse and vibrant culture to an online medium.

listening to Beijing…

Image representing RjDj as depicted in CrunchBase

Image via CrunchBase

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

walking down Great Wall Jul 12, 2011 11:05 AM” by John Fenn

Echolon by Gunter Geiger 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

flea market in Beijing Jul 16, 2011 11:37 AM” by John Fenn

Echolon by Gunter Geiger Recorded from Echolon. Check out more recordings from Echolon…

798 insects by johnfenn3

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?

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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.

Noodles and Ambition

Today was our second day of doing field work in Song Zhuang. Activities focused on Mr. Her making us noodles like those that are made in his home region and interviewing/artists in Mr. Her’s neighborhoods. I admire the way in which Mr. Her looks out for his friends and shares any benefit that is associated with our visit. On our way to Song Zhuang we discussed our impressions of what is occurring / projected for the region. Our thoughts are in marked contrast to what I heard today from the interviews and conversations I participated in. While we are hesitant to believe the rhetoric, like yesterday the talk by the artists was enthusiastic, positive, and ambitious. What is the reason that it is difficult for us to believe that what people are engaged with in Song Zhuang will result in a positive outcome for all involved – farmers, artists, gallery owners, commercial enterprises, and the like?