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!

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.

of museums and spaces for interpretation…

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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.

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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Interpretation in the public sphere…

Sea Island survey diagram 窥望海岛之图, first writte...

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This article ran recently on The China Beat, and is relevant to our interests in this field school for several reasons (at least). First, it recounts a panel on IT policy and technology in China called “Changing Social Configurations and New Media Technologies in China,” laying out some important issues for us to consider. Second, the article discusses a particular response to this panel by a scholar who appears to embrace the very perspective that the panel sought to subtly untangle, such that we get a glimpse into the complexity of the issues at play. Thirdly, and maybe most importantly for us, the author highlights how this all happens in the “public” of the blog environment, where interpretations by scholars are up for reinterpretation in dialogue with readers (whether those readers are other scholars or not). Well worth reading and thinking about as we prepare to talk about ChinaVine as an online interpretive project…

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