Sparrow Village: A Film about China's Miao Minority People

Two days ago for the NYU program in Shanghai we watched a film about a Miao village in Guizhou, directed by Christine Choy, an award-winning documentary filmmaker who teaches at NYU and is currently teaching for our program.  The film, called "Sparrow Village," focuses on the lives of young girls in a mountainous Miao village who make a three-hour trek every week to the nearest school to be educated. 

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China's Jimi Hendrix? The Guitar Work of Zhou Chao 周朝

A couple of months ago I became acquainted with the guitarist Zhou Chao, who plays every Monday night with his band at the Melting Pot at 288 Taikang Lu in Shanghai.  Zhou Chao's guitar work is deeply rooted in folk and blues styles.  Lately he's been experimenting with a more free-form blues with a lot of wah-wah thrown in.

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Goodbye Sydney, Farewell UNSW

I'm writing from my office at UNSW in Sydney, where I've spent the last week or so packing and taking care of loose ends before heading back to Shanghai this weekend, this time for good. The unseasonably cold weather of the previous week has given way to the usual glorious Sydney summer, blue skies and a light smattering of clouds, making it even harder to leave this place.

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Nile Perch and Blue Jeans: Videographing inequalities in globalized labor in China and Africa

Anybody concerned with globalization and the inequalities it produces ought to be aware of where the clothing and food he or she consumes on a daily basis comes from and who made it.  Yet when it comes to the labor that goes into producing our consumables in the modern industrial world, as Karl Marx understood so well, we are too often in the dark.  Enter two filmographers who have managed to shed some light on the globalizing forces of labor and production.

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Beautiful Ugliness: The Aesthetics of Jia Zhangke's Film _Still Life_

I just showed the movie Still Life (sanxia haoren) by Chinese director Jia Zhangke to my Dartmouth FSP students.  The viewing conditions were not ideal.  I suggest to anyone who wishes to view this film that they do so in as dark a room as possible.  The film itself is very dark, and so are the people.  I mean visually dark, but there is also a darkness to the subject matter and the characters.  Be warned, this is not a happy film.

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The Ullens Center and Chinese New Wave Art from the 1980s

Last night I attended the opening party for the new Ullens Center in the 798 Arts District in Beijing.  The Ullens Center takes up a large factory space across from the bookstore/cafe Timezone 8.  It has been nicely renovated and painted in white.  The center functions as a museum and knowledge center for Chinese arts, showcasing the Ullens collection. 

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Beijing Punk Band Snapline

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Above:  Snapline lead singer Cheng Xi at Mao Livehouse Oct 6 2007

If you like the Talking Heads and the Cure, and enjoy the industrial noise issuing from a distorted electric guitar, you'll like Snapline.  In the words of my mate Jimbo, this is "the ultimate geek band."  The lead singer is a thin, gawky, sharp-featured and oddly handsome dude named Cheng Xi.  He dresses like a hip schoolboy, with baggy pants and a white collared shirt with semi-long sleeves.  He sports a pair of glasses with thick black frames, common to the hip punkster scene.  When he sings, his face contorts into a weird grimace, as if he were laughing at his own secret joke.  He does a gawky David Byrne-like dance as he holds the mic.  As Jimbo my swing dancing pal said, he ought to be wearing a zoot suit a few sizes too large for him. 

The music is jumpy, punchy, catchy.  It isn't angry punk stuff.  Not quite happy either, but somewhere in between. Bizarre stuff. It's fed by the industrial sounds of female guitarist Li Qing, who is similarly dressed in a white shirt and dark pants.  The bassist Li Weisi keeps the rhythm going.  He also wears a thick pair of black framed glasses, dark pants, white shirt.  In other words there's some coordination in couture going on here.  The band is tight and polished.

Like a kid playing with a new toy--a dangerous toy at that--Li Qing keeps bending down to adjust the knobs on her distortion controls.  I like it better when she's at the synth backing up Cheng Xi's vocals--you can hear him better that way, and he really is the show.

I've seen them twice now, the first time at D22 on Thurs night, second time on Sat night (Oct 6) at the Mao Livehouse.  Spoke briefly with Cheng Xi at the Mao bar, where I enjoy hanging out owing largely to the cute bartender (the gal not the guy, but he's pretty cute too), who knows her shit when it comes to music.  She used to manage a band.  Anyhow, Cheng Xi comes across as a pretty humble guy.  I asked him how many albums they've sold so far.  He said somewhere in the hundreds, and that he was surprised they were doing so well.  I told him I'd talked to an Aussie bloke at D22 who organized tours for rock bands, and that he wanted to take Snapline to Australia.  He said he knew about this and would be happy to go.  I told him he was most welcome in Sydney and that his band would definitely have a following.

So far they've put out one album, "Party is Over, Pornstar" (2007).  It's more polished and less industrial-noise oriented than their live act.  Good music for Halloween.  Haunting.  And unlike many other Chinese punk singers who sing in English, you can actually understand the lyrics.

Will be paying more attention to this band in the future.

Hang the Police, We're Here to Rock! The Beijing Pop Festival, Sept 10 and 11 2007

When the capital city of the world’s largest authoritarian police state hosts a rock concert with headliners Public Enemy and Nine Inch Nails, how does it prevent mayhem from breaking out?  Answer:  police.  Lots of em.  The Beijing Pop Festival was an impressive contradiction of rock-fueled mayhem that brought performers and audience together, and rigid military discipline that kept them apart.

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An Interview with Greg Girard, Shanghai-based Photographer and Author of Phantom Shanghai

Greg Girard is a professional photographer who has made Shanghai his home for the past nine years. I first met Greg in 1999.  In 2000, Greg and I were both photographing the city in flux, documenting the rapid changes as the old city built during the late nineteenth and early twentieth century was being bulldozed to make way for the new city of the 21st century.  

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