Welcome to the Post-Residency

"Preface to the Poems Composed at the Orc...

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On August 1 we begin the post-residency and final portion of our field school. This portion will end August 15. Based on the presentations you gave in Beijing, a draft of the final assignment is due to be posted on the course blog on August 7. Unless we are notified we will assume that it will be posted on or before that date. We will have comments back to you on August 10. This post should be finalized on or before August 15.

For this portion of the field school, participants, working in teams, will be responsible for (at minimum):

* 2 postings for the course blog – one associated with each of the two fieldwork sites; categorize these as “field report” so that they are also posted to Vine Online!

To review, each post will include:

* interpretive text (formatted according to VineOnline standards; 750-1000wds)

* image gallery (7-10) AND/OR edited video (>5min) depicting one of the following and or a combination of the two:

– work/context of an artist interviewed (INDIVIDUAL FOCUS)
– work/context for an discrete aspect of cultural/artistic production (HERITAGE FOCUS)
– work/context for a geographic area/setting (PLACE FOCUS)

Full guidelines can be found here.

In support of your posts to the course blog, each team will create postings on the social media sites connected to ChinaVine (English & Chinese language) that points to their course blog content. This can include a tweet using the field school hashtag (#CVFS), a Facebook post on ChinaVine wall, etc.

Each team should create drafts of their planned posts on the field school website for comments by Doug, John, and other field school participants by August 7. These comments can be transmitted via email, or embedded in the draft itself (using brackets or some other easily identifiable format). It will be important to have some idea of where the video/photo editing process and text creation stands at that time so that teams can move ahead with finalizing their posts.

All final posts should be completed by August 15. Doug and John should be notified of how the links to the posts occurred through social media.

During these last two weeks of the field school you should feel free to consult with us at any time regarding the final assignment and/or any aspect of the field school.

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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!

Of music, heritage, and identity…

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

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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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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.

Assignment D: Orientation to Field Work

The easiest form of keeping memories in my family is definitely photos. My family documents our lives, the places we’ve visited, and things that intrigue us by taking lots of photos. I think many things in my house has a story connected to it. Just like the main idea in our article, “Art” in the Journal of American Folklore, culture is connected to art. All the paintings and jewelry were mainly brought over from China or passed down from generation to generation. My family’s culture and and beliefs were connected to those objects. My parents lost a lot of their pictures when they immigrated from China so we only have a few pictures of when they were young. The oldest photo our family still has is probably when my dad was a teenager swimming in a lake with his friends. Usually on family vacations, I’m the one that takes the pictures because I’m the only one in the family that understands how to work with the many confusing technological devices. However, my mom is the one that organizes the pictures after they have been developed. We keep them in photo albums in a cupboard in our garage. It’s sad because everyone is just so busy and no one ever has time to look at those memories. I’ve probably looked at those photo albums once or twice a year and now that I’m in college, it’s even harder to look at them. If I just had the time, I would go through all of the photo albums and have my mom tell me the story that comes with each picture.

 

My sister is disabled and so we had to teach her many things when I was young. I found a few pictures of me learning sign language with her and this picture shows us eating noodles with chopsticks. There isn’t really a story to this photo but it represents a lot of things. We had to learn how to use chopsticks because that is the Asian culture. My parents weren’t hard on me for learning like my other friends. It came naturally to me and I use chopsticks to eat food all the time. It was harder for my sister to learn how to use chopsticks because she had a much slower learning process. My mom tells me she’s very lenient on many things because of my sister. Since it’s much harder and takes much longer for my sister to learn, my family has to spend a lot of time helping her. For my sister, she doesn’t understand our culture or values, she doesn’t comprehend those ideas. However, for me, I learned about my culture when I was young and I still portray the values and culture I was taught. Religion was a different subject. They believed in Buddah and praying to the ancestors but my parents never pushed any religion on me. They sent me to a Christian private school when I was younger and then I went to a Catholic high school. I always considered myself as a Christian, but when I went into high school, I found I didn’t really believe in anyone anymore. The only thing my parents were hard on me was about praying to the ancestors. It was more of the respect aspect and I only had to do it on special occasions. In the picture the table and chairs in the background is an old traditional Chinese table. My mom’s family used to have it in China and she told me that it was a very expensive piece of art. The painting in the background is, in mandarin, called shanshui (山水) which used to be placed in wealthier peoples houses in older dynasties. My parents said those are there just because of the Chinese tradition.

My parents cook the same foods as what my grandparents cooked them. We eat Chinese food almost everyday, but once in a while my family will make spaghetti or order pizza. Our dinners usually consist of soup, steamed rice, stir-fried vegetables with sliced meat that can be chicken, pork, or beef. Once in a while when my mom has time or when I come home from college, my mom will cook me her most special foods and my most favorite foods. Her specials are vegetable spring rolls, potstisckers, and hot and sour soup and my most favorite dish of hers is taro with pork.

Taro with pork recipe:

Ingredients:

2 lbs taro, peel skin and cut it to approx. 2″ long and 1″ wide
Pork (with skin) 1 1/2 lbs
1 tbls soy sauce
1 tbls oyster sauce
1 tbls seafood sauce
2 tsp corn starch
1 tsp brown sugar
1 tsp cooking wine
1/4 tsp white and black pepper powder
1 square of FUYU(soil been tofu cheese)
1/4 cup water

Steps:
Put all ingredients into a big bowl and mix them. Put pork and taro into the sauce. Make sure each one has the sauce on it.
Layer them by order: (Taro)(Pork)(Taro)(Pork)(etc.) into a plate to steam 1 1/2 hours. Test to see if the taro is soft enough or not before serving. If not, steam until the taro is soft. Serve and enjoy!

I’m usually not in the house when food is being made because I work until 7. From what I remember of when I was younger, my dad would start preparing dinner at around 6 or so and my mom would be helping him. My dad does the cooking mostly on the weekdays and on Friday and during the weekends, my mom does the cooking. My sister and I would set the table up when they are cooking and my mom would let us know when dinner is ready. My mom usually does the dishes after dinner and sometimes I will do the dishes when she is too tired or when I don’t have much homework. What makes it a good meal is when everyone in the family is sitting at the table. It’s always nice to eat with your family and for us, dinner is the only time when my whole family is together. It’s when we have time to all come together at night and talk about our day. I was always brought up that way, that during dinner, we have to eat at the dinner table. When I was younger, my friends would always talk about how they would be able to watch tv when they were eating or bring their food into their own room and I was ALWAYS jealous. However, now that I think about it, I’m glad I was raised this way.

My story would probably be about the culture of my family and how I was brought up. Chapter 3 of our reading Visual Storytelling tells us to choose a broad theme. Culture can be a pretty broad theme. The characters in the documentary would be me, my mom, dad, sister, and my grandparents. I would film a day of each of our lives but cut it into parts and put them together to show how similar and different we all are. I would probably interview my parents and grandparents by asking them how they were brought up. I think I would definitely include some photographs of memories because there shouldn’t be talking the whole movie. There also should be old videos with the pictures of probably childhood memories. I don’t think there should be much narration but maybe on some old videos describing something that is unclear. I would definitely include some music because I think music is what brings out feelings in a lot of documentaries. I would play some traditional Chinese music, but definitely instrumentals depending on the mood and feeling in the clips and scenes.

 

family, fotos, and food

fotos

In approaching my contribution to this assignment, I started thinking about “my family” in two ways: the family setting I grew up in (my parents and siblings), and the family I have now (my wife and kids). These are not mutually exclusive, but do represent a shift between two kinds of domestic contexts or definitions of “family.” That is, my folks and sisters have become “extended” family to my kids, and my extended family has grown via my in-laws. As such, I realized that I grew up thinking about family as a quite small unit that included: parents, sisters, grandparents. Aunts, uncles, cousins—these were abstractions that did not necessarily enter our representations of ourselves, photographically or otherwise.

This photo represents an updated version of a scene that I experienced every year of my life on Christmas morning; I and my sisters (as they were added the family) would stand in a particular hallway in my parent’s house, with the tree and packages just out of our sight. My dad took a photo of us, and then we ran out into the living room to begin tearing through wrapping paper and such. In this shot, however, we are in my house, where my wife and I successfully hosted the winter holidays for the first time ever (my dad is reluctant to let go of family traditions…which in this case involves all of his “kids” being in his house during Christmas!). Here he snaps a photo of his three grandchildren (my kids are the two girls sitting down) in the equivalent of the hallway from my youth (unfortunately I do not have access to one of these historical snaps to post here…).

This is my version of the same photo:

My dad always took the photos in our family, and I guess I’ve inherited that “tradition” of domestic documentation in many ways. I don’t think I’ve ever seen my mother handle a camera (comfortably, at least), and while my wife takes photos (she’s a folklorist, after all) I definitely dominate the pictorial presentation of our crew (though the balance is shifting with the advent of a dual-iPhone house). I’ve been shooting photos since high-school, and studied photography in college as well as afterwards. Being an ethnographer, the camera has been an important part of my field research over the years, and I see it as being seamlessly part of my non-ethnographic life as well. What’s interesting about all of this in light of family and representation is the ways in which the shift to digital has impacted the way we look at our photos. The stuffed shoebox or mended album has given way to the iPad, Flickr, digital frame (though I’ve never really understood these…), or the phone. My kids can access photos in such different ways than I could, and there is a nostalgia (for me, at least) connected to digging into the drawer of photo albums at my parents house that must be quite distinct from that my kids have flicking through images of them and their lives on an iPad.

So, back to the Christmas photo. It’s become iconic in my family, to the point that we did try to recreate it this year even though Christmas happened in a spot other than the house I grew up in—the site of 98% of these images in my family’s history (there were two or three years we did not celebrate Christmas at my folks’ house…). My sisters and I would consistently make fun of my dad as he lined us up for the photo (this became rampant as we all moved into college-age, young adulthood), and we joke about it to this day. No special symbols in the photos beyond pajamas and, eventually, coffee cups. Funny faces or smirks would appear sometimes, though discouraged by pops. As such, the photo-as-icon is symbolic of itself and of the family gathering around the holidays. We’ve often talked about scanning all of these (37 years worth!) for my dad as a gift one year, which would be quite fascinating to look at, and would embed a historical value in the tradition by gathering them all in one place, I suppose. Maybe this year is the year for that…

food

I don’t recall a lot of photos like this from my youth, but I like to take them in order to document big family meals. This is from the same Christmas discussed above, and represents a food tradition rather than a particular recipe. It’s a tradition that my wife and I have developed as our own over the past several years, and involves building a Christmas Day dinner from a fancy food magazine. While out shopping or enjoying that brief respite between the end of fall term and the start of holiday chaos, we grad a seasonal food magazine and choose several recipes to try out. In this way, we end up making different dishes every year, based on whatever the food writers and holiday consultants have determined is “it” that year. We have fun pushing beyond our culinary comfort zone (we both love to cook and try out different things, so this is not as dramatic as it sounds…), and fun sharing our experiments with family and friends. It’s a young tradition at this point, but one that I look forward to and that I hope continues to evolve as our kids become more of a presence in the kitchen!

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Orientation To Fieldwork: Pt. 1-4

Part 1:

My history and knowledge of family is relatively fractured with big chunks missing. I have an extremely small family tree that has basically made it’s own history in the past generation, discarding tradition and blazing it’s own trail rather than preserving artifacts or a comprehensible storyline. I think a lot of this has to do with how early many of my relatives have passed away. I had very little interaction with anybody down my family line further than my parents. Even my grandparents were relatively removed from my life as a child, and all of them had died by the time I was twelve. Both of my parents were kind of on their own and very independent from their parents. As a result I feel that I’ve never really experienced an authentic passing down of cultural tradition. My family usually remembers particular people, places and events mainly through pictures. Oftentimes these pictures represent ancestors whom we know very little about. Despite the lack of background associated with these pictures, it still feels good to have that proof that you came from something with a defined culture that has culminated with you. Apart from pictures, my parents usually use word of mouth to remember things. The dinner table is where these stories usually come out. I remember watching the news during dinnertime and listening to my parents relate current events to the events of their past, highlighting differences and similarities and letting me give my own input. There aren’t very many objects with stories related to them that have circulated within my family. The one I can think of is an old sword from the civil war that has been passed down through my father’s side, but we don’t even know how it came into our older relatives’ possession and how it was used. Many of the objects with stories related to them have only entered our familial sphere in the past two generations. One object that comes to mind is a photograph of a sculpture made by an old family friend and teacher of my parents when they were in college named Bruce Rod. He also mentored me during my final year of high school. He died of lung cancer in 2008 and left a fair amount of his artwork to my parents. Bruce was a great person and very important to my parents from a very young age. I realize that the photograph of his doesn’t quite carry the same historical and cultural impact of an object that has been passed down from generation to generation, but it is nonetheless a reminder of the type of person he was and the things he created, as well as the influence he had on my life and ideas about art. One of the few familial oriented objects that we have is an old letter written by some of my relatives concerning the selling of a pig from the 1600’s. My family uses photos a lot to remember things. My father is a professional photographer, and therefore we have thousands of photos boxed up in the storage area of my parents’ apartment in Portland. He is the primary photo taker, and takes care and consolidates almost all of them. Every once in a while he will take a huge chunk of them, scan them and archive them digitally on his computer. A good deal of them are physical photos, but at this point I believe the majority of them are stored on a hard drive or on CDs. The oldest photos we have are a few of my great grandparents on my father’s side from the early 1900’s and a picture of my great great grandparents on my mother’s side from the late 1800’s. We usually look at these photographs on holidays when all of us are together in one place. Christmas time is usually the primary holiday that we break out the photos because we keep a lot of them in the same boxes we keep the Christmas ornaments and decorations.

Part 2:

A Cherry Pie Baked By My Father

I chose this picture more as a symbolic reference to this idea of developing your own culture. It is a picture that my father took of a cherry pie that he made about 3 days ago. I actually hate pie, and the only kind I’ll eat is pecan pie. However, some of my earliest memories of my father are of him in the kitchen baking cherry pie, which is his favorite fruit, and flavor concerning candy. Despite my dislike for pie, it’s become something that has kind of defined my family. My parents are known for making great pies for potlucks and gatherings. There isn’t a singular story that I can remember relating to my father’s cherry pies, but I can recall numerous occasions during an annual 4th of July neighborhood gathering in which I was told by almost everybody that it was delicious. I find it interesting that something I don’t like the taste of evokes fond memories of everything from Fall and Winter holidays to school-free, warm summer days in my old neighborhood in Eugene. I think that the cherry pie is a perfect representation of my family’s culture because my parents have essentially created their own culture within their own generation, being largely independent from a very young age. There is a popular saying, “As American as cherry pie” that perfectly sums this up. The picture is a great representation of the cultural attitude that America is a country that encourages independence and living your life any way you want, which I believe my parents are an excellent example of.

Part 3:

If the last section was any indicator, food has been and is a very important part of my family. The main staples of foods passed down through my family are principally Scandinavian and German, although my dad really likes to experiment with everything from Italian to Asian. The distinctive foods that my grandparents and great grandparents ate were extremely Scandinavian. Lutefisk was a favorite of my ancestors. It is a Nordic food, gelatinous in texture that consists of aged stockfish that is salted and placed in lye. I’ve never had any, but I can say that it smells absolutely terrible, which is why I’ve never partaken. My mother said that coffee has always been an integral part to my ancestral diet, which is interesting because it’s one of the things that I cannot stand. As far as Scandinavian foods go, butter and tuna casseroles have always been a family favorite. In my experience, my father’s side of the family has always been dominated by my grandmother’s cooking sensibilities, which consisted of what she always referred to as American/Southern. She would cook pies, pulled pork sandwiches, barbecue, collard greens, cornbread and all sorts of what many would refer to as Southern comfort food. One of the things that my aunt just revealed to me was that my grandmother loved to make cucumber sandwiches with cream cheese. Over the past year this has become one of my favorite meals and I eat one almost every day for lunch. Strangely enough, I didn’t know that it was a staple of my grandmother’s diet until this assignment!

A favorite family recipe that I absolutely love and is attached to a lot of great memories with my loved ones is my grandmother’s silver dollar pancake recipe.

Here’s the recipe:

1½ c. white flour

3 Tbsp. sugar

1½ tsp. baking powder

½ tsp. salt

1½ c. milk (we use skim)

3 Tbsp. butter, melted

2 large eggs, beaten

Heat a large non-stick skillet over medium heat with a small pat of butter.

With a whisk, combine all ingredients in a large bowl, mixing until they are just combined. (If batter seems too thick, add cold water by the tablespoonful until it is corrected.)

Drop batter onto the pan in small circles (about 2-3 inches across), and cook until the tops start to bubble. Then flip and cook another couple of minutes, until the bottom is browned. Take the pan off the heat in between batches, adding a new small pat of butter each time. Serve immediately.

This particular recipe is one of my favorites because it always brings everybody in my family together. Family gatherings usually consist of my, my mom and dad and my aunt. We have an extremely small, but close-knit family and when it comes to cooking the pancakes, we all contribute in some way. We usually have the silver dollar pancakes on a Sunday or a holiday, usually a time when we’re prepared to lay around the house and just enjoy each other’s company and relax. My mom always gets all of the ingredients out of the cupboards and measures them out for my father who begins to mix and prepare them. My aunt usually prepares bacon and washes either grapes or apples to be put on the side. My role is almost always setting the table and helping to clean up after we eat. While the pancakes are being prepared, my family members usually bustle around the kitchen trying not to get in the way of each other. I never really have to do anything until it’s time to eat, so I kind of just sit at the table and listen to my parents argue about who does what. It’s unpleasant but enjoyable at the same time to hear them bickering because they always do it and it has become a kind of ritual associated with the pancakes, or any other type of cooking that they participate in together. Another thing that really sticks in my mind about the pancake preparation is that the radio is always on in the kitchen, usually tuned to NPR or playing some sort of blues or jazz. There’s something oddly relaxing about the radio playing lazily over the smell of the bacon and gentle hiss of the cooking pancakes as they are dropped onto the griddle.

I believe that a good meal consists of a collaborative effort between all those involved. I enjoy being a participant in the creation of the meal and being able to see exactly how it is made. A good deal of this enjoyment also comes from observing my parents cook and how much care they put into it. Knowing that this is something that they are preparing for me to eat and enjoy makes the meal that much better. I don’t care much for dainty serving of meals. I like to have a big portion of food plopped down on the plate, nothing skimpy or over elaborate, just something that looks substantial and good.

Part 4:

If I were to make a documentary concerning the information above I’d choose to focus more on my immediate family and cultural traditions because that’s what I’m most comfortable with and most familiar with. I wouldn’t totally neglect my heritage further back in the past, but I’d certainly be more inclined to focus on the traditions that have come into existence within my family within my parents’ generation.

The documentary would most likely focus on how my parents broke away from many of their traditions and developed their own unique ones. I would want to really emphasize the fact that they grew up and shaped their lives as independent people from a very early age and essentially let the culture around them form who they are today. At the same time I would also highlight the aspects of their primarily European traditions that they chose to keep, consciously or otherwise.

I have an extremely small family, so the characters in the documentary would have to be limited to my parents and possibly my aunt. Other than that I don’t really have any relatives older than 64. I would want a good amount of interview footage featuring my father concerning cultural foods within our family. I suppose if I wanted to include some sort of scholarly source I could feature a historian at the University of Oregon or elsewhere that specializes in Scandinavian and German culture to confirm whether the traditions carried through my family align with the documented cultural norms. The characters would all be the people I would interview on camera. Other characters that I would not include in interviews would consist of my grandmother, Gladys, since she is the only grandparent that I have any memory of, and I have a better idea of her history and background through my aunt and father.

I would love to make a documentary highlighting cultural traditions within my family primarily through food. It figures very heavily into my life and I have countless memories of traditional meals from my father’s side of the family to dip into. I believe that making a documentary exploring my familial values and tradition would yield the most informational value and be the most enjoyable to make. Therefore the activities featured in the documentary would include the preparing of a variety of traditional dishes by my father that were introduced to him by my grandmother. Interviews would accompany these activities that would explain how he learned these recipes and any changes he may have made to them that deviate from his mother’s recipes. I’d definitely want to capture the atmosphere created during the cooking of these foods as there is often a lot of dialogue exchanged between my mother and father while they are preparing the food. I think this would be interesting in showing the relationship between my mother and father and show the intertwining of their unique cultural traditions to create brand new ones that have been instilled in me. Keeping the aspect in mind that I am the result of this cultural mixing, I think it would be appropriate to have me as the narrator. I’d want to include narration as it may be kind of confusing showing footage and images sans informational value.

I’d try to stray away from traditional music in my documentary as neither my parents or I really know how strong my ancestors’ musical interests were. I think it would be much more appropriate to include a soundtrack that applied to my strongest sonic memories of my parents, which is miles away from what my older relatives’ (granparents’) tastes. Therefore I would include the music that I’d hear being played at Christmas time and holidays, during morning breakfasts and during dinner and in the car. My father pretty much dominates the record player whenever music is on, which usually means a lot of Blues, Jazz and Soul. Also, it isn’t necessarily music, but I was forced to listen to A LOT of public radio growing up, and I think this would be a great thing to include as a kind of ambient noise at certain points throughout the film.

As far as photos or historic video footage go, I think that photos would be a must for my documentary. My family has a goldmine of old photos from the late 18th and early 19th centuries of my ancestors and it would be a shame not to use them, even if we don’t know the stories behind many of them. I would also try to use historical footage of major global events that may have been relevant to my ancestors just to provide a little background and give a better idea of the passage of time in relation to them. This may include footage from major wars, the civil rights movement ect.

Orientation to Conceptions of Culture – 2 Questions

I chose to read the article Sins of objectification? Agency, mediation, and community cultural self-determination in public folklore and cultural tourism programming. Here are the two questions that I came up with pertaining to the article.

1. Baron mentions professionalism quite a few times in the article, talking about the role of a public folklorist in terms of career goals and advancement. This made me think about intentions and motivation connected to money. In my eyes this field school is much more about knowledge than any type of monetary or career boosting gain. So how do Baron’s themes here change when we, students are given the role of folklorist? Is there a chance that we may be taken less seriously than someone older with more experience? Or do you think that the community members will be more comfortable collaborating with those less informed who lack preconceived expectations about their culture? In other words do you think that we as students are able to represent the cultures of these people in a purer way than a professional, career oriented folklorist?

2. Baron devotes a section of the article to the idea of framing cultures when representing them. He talks about the power of the stage, stating that “While the elevated stage can be constraining for folk performers and thus limit their interactions with audiences, it nevertheless serves as a dominant context for performance in most contemporary cultures.” Baron also quotes Daniel Sheehy by likening the stage to “putting a picture in a frame and hanging it on a wall”. In other words, the stage becomes a tool to help legitimize the art (72). He continues to enumerate the ways in which this framing can be used to diminish the distance between the artist and the audience by “fostering interaction with them”. I am majoring in cinema studies and plan to use my camera heavily in documenting the cultural traditions we will be examining during our stay. I believe that many of the ways in which artists can be framed on the stage can apply to the use of framing in terms of film and cinema. One thing that stood out to me in Baron’s article was the seemingly simple decision on how high to place the stage on which the cultural artists were performing in order to encourage the idea of it being a participatory event. With this in mind, I began to think about the ways in which camera techniques can influence and dictate audience opinion. Everything from camera angles to positioning to color adjustments to use of sound can affect the way in which an audience perceives what they are seeing. What are some techniques that can be used to encourage interaction  and eliminate distance between the subject and the audience? How similar do you think the idea of framing on a stage is to framing with a camera?

China Today – 2 Contextual Questions

1. One of the sections that I found most interesting in Wasserman’s book is the one in which he discusses the similarities between China and the United States despite our general criticism of the country. In it he points out that China is developing in a way similar to the way the U.S. was developing in the late 1800’s and  early 1900’s. What similarities do you see between the United States and China? Do you think that we can look at China as a sort of time bubble to help us better examine the developmental history of the United States?

2. Mao’s rule was one of mistakes and pronounced hypocrisy, and many view him in a negative light. Despite the horrible events of the Great Leap Forward and the culturally destructive aftermath of The Cultural Revolution, do you think that China would be in the power position it is in today without these missteps and experimentation with culture, politics and global participation?