Diving into a New World

I swam competitively for about eight years. This meant that as long as it was swim season, basically every season except summer where I got to swim for fun, you could find me swimming endlessly in pools throughout the Capital Region. Of those numerous pools, the one that I put the most miles in was a gloomy 25 yard pool in the cavernous basement of the local state university. While most new pools have brilliant white and blue colored tiles that can give the exhausted middle-schooler just enough hope to get him or her through the next set of those tortuous 100 yard sprints, that pool was nothing but yellows and browns, with dim incandescent lights that would turn into small rainbows as your eyes got saturated by the chlorine water.

Arriving at the pool one day during the Christmas season, me and my teammates were suprised to see that the pool was even more ghastly than usual. The water had turned a soupy green that made it hard to see the bottom even at 5 feet. Our coach didn't mind though and sent us right in.

Now, it turned out that the reason the pool was the color of spinach was because the university turned the equipment off for the holiday break. Of course that meant they turned off the heat too so the water was a chilly 60 degrees. Not knowing this, I jumped feet first into the murky water. The second the tips of my toes touched its surface I knew it was a mistake but because of the law of gravity there was no going back. When my whole body plunged under the water I found myself in a strange world, struggling to breathe as my lungs rapidly contracted in reaction to the coldest water they've ever encountered. The first few days of living in a new country reminds me of that experience.

I arrived in Beijing hardly able to speak a word of Chinese though I was eager to practice and tried chatting with the driver of the 黑车 (unlicensed cab) that took me to my school. Upon arriving he proceeded to help me with my luggage, charge me 6 times the normal fare and then ask for a tip, which I gave him. At the time, I didn't know that the talkative guy who sped me to my destination, was basically getting away with murder while I smiled and said '谢谢' the whole time. Luckily though, the first person I ecountered on the mainland happened to be the worst one, and my experience got better from there, but I have had a hell of a ride.

The thing about going to a new country is that when you first arrive you have nothing. You may have clothes, a computer, a car if your rich enough, but without friends or family it's all fairly worthless. My family was on the other side of the world, literally. Slowly but surely though you meet new people, gain new friends and if your lucky enough fall in love.

Next... Is their such a thing as ex-pat guilt complex?

Wandering in 798: 'X Blind Spot' and 'The Lotus Series'

When I visited 798 Art District last week it seemed that the hundreds of workers had finally finished their years long work. There were no ditches on the side of the road that you had to jump over, no dust in the air nor large construction vehicles that you would have to dodge every once in a while. Instead you could kind of see that the space had found some kind of uneasy peace. Chinese and 老外 all strolled along the newly built pathways to see the dozens of exhibitions in galleries deposited intermittently throughout the massive factory complex.

To me it's the site of 798 that's most enjoyable. Searching for the one gallery that you may want to visit that day is almost like an adventure through a land filled with Mao-era propaganda slogans (which can still be found scrolled in huge characters on several of the factory walls), abandoned factory buildings, the hiss of steam, the smell of chemicals and a maze of dark stairways and corridors. When I visited 798 for the first time during my first few months in Beijing, it was still largely under construction. Dust was everywhere, buildings were being torn down while new exhibitions were being prepared across the street and the shouts of the 农民工 over the roar of their machinery mixed with the conversations of visitors discussing art in English, German, Chinese and Italian. I felt it stood perfectly for the Beijing that I had encountered at that time, an international city that was in the midst of a constant construction process in order to prepare for the coming Olympic games.

I had decided to visit 798 to attend the opening of Rauschenburg's 'Lotus Series' at the Dafeng gallery, which when I checked the map laid at the total opposite end of the massive complex from where I had entered. So I decided to take my time to get there, taking in the sights and exhibitions on the way. This is the best way to enjoy a trip, in a thirty minute walk you can take in shows by Chinese and international artists in several genres. This variety does have its drawbacks, because if your unlucky, the casual visitor (me) can be doomed to visit gallery after gallery of banal "Chinese Contemporary Art" of the kind that is destined to be hung in trendy Oriental-themed hotels or bars around the world but never in a museum. But... and this is a big but, there is always the chance to encounter something of the unexpected that proves you don't have to have beautiful women, Red Guard uniforms, nudity, or huge smiling faces to say something deeply profound about China. Yang Shaobing's 'X Blind-Spot' was that show.

Now to say I stumbled on Yang's brilliant show at the Long March Space proves just how much of a novice I am to China's art scene, but that's just what I did. Having just left a gallery that was showing some sculpture that still managed to be interesting despite the fact that most of the models were naked women or women wearing Red Guard uniforms, a theme that I have seen countless times, I was making my way down one of the side streets when I see a large white wall with 'X-Blind Spot' written in black text. If I was more experienced I would know that this is the Long March Space, an exhibition space that has a history of great work spanning several years, or I would see the name Yang Shaobing and my pulse would quicken at the chance to see his incredible skill with the brush as it addresses some of the social issues of the time... but I didn't recognize either one. I just decided to walk in because the name was pretty far out and there were some strange noises going on behind the curtain that everyone was walking through to get in.

I brushed past the curtain and was greeted by a loud roar, when I turned around I saw that it was actually the soundtrack to a video of what seemed to be a mining cart traveling underground projected in the wall right next to the door. When a visitor entered or left the gallery they would lift the curtain, suddenly flooding the projection screen with light. This phenomenon of light and dark, positive and negative was a recurring theme throughout the whole exhibition. I can't spout the deeper reasons for why the artist worked with these topics, read his artist's statement for that, all I can say is that the show was able to examine mining in China, a dangerous job that is often done by some of society's most vunerable, in a way that was exciting and profound.

The exhibition used several different mediums to tackle this topic: including video, large paintings of everything from abstracted closeups of miners faces to almost photo-realistic depictions of medical materials all done as if he was painting from the negative of color film, and light boxes filled with photographs of more medical materials and specimens arranged in a beautiful structure... well you just have to see it. And really that sums it up... you really just have to see it for yourself. I definitely recommend the four screen video display that mixes all aspects of mining underground, the starkness of the mines surrounding area above ground and footage from sugery at a hospital to help miners who have lung trouble, each screen showing a different topic. The slow-motion footage gradually slides from positive to negative and then back again. A miner's headlight, a familar beacon in the darkness, becomes a strangely colored black dot in a field of bright white; a scene from a hospital room becomes almost nauseating as the patient's skin turns from yellow to blue. Such transformations give the viewer a better appreciation of the darkness that the miners must work in and some of the tragedy that befalls them as they succumb to the years of inhaling coal dust.

Rauschenburg's "Lotus Series" was also very impressive. Though I didn't feel it hit me as hard as Mr.Yang's show, it was still great to see the master's work. Basically, Rauschenburg had come to China in the 80's for a cultural exchange trip and took pictures during his time here. In 2007, for his last project, he used those pictures as a source for the "Lotus Series", always including a colorful print of a lotus with every one of the 12 pictures. Did the lotus symbolize a belief in Buddhism and reincarnation, a topic he may have been thinking about as he reached his last years?... I don't know and I'll never have the chance to ask him as he passed away last May, but I did get the chance to talk to Rauschenburg's printing assistant, Bill Goldston. What I came away with from his conversation was that these pictures, which I thought could stand for records of time and history, where seen by the artist as removed from the time and the place that they were taken. Looking at it this way the subtle differences in architecture, language and clothing that you find make the work more of an artistic statement than a social document. Rauschenburg becomes just another artist who is trying to make sense of the environment that he is in (coming to China in the 80's this is no easy task by any means) but did the time between his trip and when he started to create the work, weaken his links and memories to the area or embolden them?

Next topic... love abroad.

Hook Line and Sinker

The not too recent news of Chinese authorities crackdown on those who applied to "legally" protest at the special venues set up throughout Beijing during the games has finally sunk down deep into my soul. I'm left with a rotten taste in my mouth that no amount of Olympic spirit can wash away.

To be surrounded for a year with the bright slogans, the "One World, One Dreams", the mascots, the new buildings and the excitement that was in the air (or airwaves really, there was a daily countdown towards the Olympic games on every public transport T.V. starting 180 days before) made me develop a passing acceptance of the games that grew stronger and stronger as the calendar counted down to 8.8.8. Now I see that those cheerful messages weren't meant for everyone, just foreigners and middle-upperclass Chinese. The masses, the poor, the migrant workers were meant to stand on the sidelines from the beginning. How else to explain why the government silenced voices that were patient enough to go through all the bureaucracy to apply for permits to peacefully protest a problem that has probably been tormenting them for years?

Everyone around the globe who watched the opening ceremony should also pay just as much attention to these stories. They will see these games for what they truly are. For years during the buildup to these Olympics they were discussed as a symbol of China's might and it's entrance onto the world stage, but that's not what they are. The deeply disappointing actions that the government took show that this years games, all the pomp and circumstance is nothing but an illusion. One that took tens of billions of dollars to pay for and was built on the backs of millions of neglected rural laborers. If these games are supposed to show strength. What strength? The strength of a one party government to order large amounts of funds from its blazing economy to be used to pay for everything? There is no strength in a government that is so afraid of opposition that it deceives its own people into thinking that their voice may finally be heard and then not only snatches that opportunity from them, but also punishes them for even daring to try. This is just weakness.

Every country has its problems. I know several of the ones that America has first hand: racism, overcrowded prisons, apathy, a strong culture of consumerism... but in that country the people are able to talk about it. To question why they may have been wronged and to find new ways to overcome these problems. Perhaps because in that country the government is strong enough to meet these grievances head on and to start a dialogue. The US also does shadier things than punishing protesters; extraodinary rendition and the Iraq war are also unforgiveable and have hurt the country's standing among the world and self-image but the ordinary citizen can take to the street and demand the country to be held accountable, this is what has brought about the issues that define this year's election and will change America for the better.

When the Chinese government has the courage to listen to the country's most disaffected voices, that is the time when the world will see its true strength. If the government continues to just create expensive spectacles and empty promises its power will be worth as much as a Fuwa doll will be a month or two from now.

Next topic: Art in Beijing

Photography as a Teaching Tool in the Rural Classroom

I was using a camera since I was 6 years old, practiced and studied photography throughout highschool and college, and worked for several years in developing classes that used photography as an educational tool. These years of experience were going to help me plan to teach such a class in the Wangzhuang school in rural China, but exposure to that community and people made me aware that though photography is an incredibly powerful tool several aspects of the medium did not fit in with the requirements and considerations that an economically struggling area requires one to face. Yet it has been done before right? Most notably by Wendy Ewald, a hero and role-model for me who has created photography projects all over the still-developing world, from rural India, Mexico and Appalachia all the way to the rough streets of Apartheid-time Johannesberg. What did she see that I missed?

I had to face concerns from myself and the community members that asked if using such an expensive and exclusive tool in the classroom was the right thing. Does photography have the cultural foundation and importance in the developing world that it does in a wealthier, technologically advanced country? Given it's cost is it the right medium to use in a community were the camera that they use to take pretty pictures could cost more than a year's salary? What is the staying power of such a program, when it ends will there be enough of a monetary, technical and even cultural foundation for it to be considered important?

After thinking about these questions for quite some time it becomes hard to make a simple yes or no answer. Photography is a very useful educational tool when used correctly but if you ask whether it is the best tool to use when working in the developing world? I have to say no.

There is a certain magic when someone first uses a camera and looks at the developed picture. They are taking the world that is right in front of their eyes and transforming it into their personal vision of their surroundings. Looking at these pictures can guide a reflection process that helps students look critically at the world around them. But it can be said that there is just as much discovery during a heated debate between students or listening to the words of a community historian speak or mapping community sites. If the ideas are more important than the image, dozens of different methods can be used to guide the student to discover new thoughts, whether it be the camera, the pen or the paintbrush.

This rich potential for using a variety of methods for collecting thought can often be limited if the school or program must invest in camera's for the students. People linked to the project may think wrongly that instead of an educational community activism class, it becomes an artistic photography class. Too much time may be focused on teaching photography's technical skills at the cost of the study of other disciplines. This can be especially troubling in a setting where photography has not been as culturally established as other forms of art, history or culture. Is it really necessary to spend thousands of dollars on necessary equipment and several hours on teaching skills when adequate methods exist in the location naturally from the start?

Collaboration between the teacher and local peoples may be lessened as well, one because of the focus on photography that I just spoke about, and two the local teacher may be intimidated by this expensive piece of equipment that the instructor uses so well. If the instructor doesn't work to share his/her skill and actively search out skills from the surrounding teachers and residents, great opportunities for sharing and dialogue may be missed.

.................

Because I'm tired I want to close this up for a later time. First just want to say I really believe that photography is a great tool to help students discover and share their ideas BUT it should not be seen as the only way. If you do use photography I think the most important thing to discuss first is what is the goal of using photography in the classroom? Are the pictures more important or the ideas behind them? Is your focus on changing your students minds or reaching out to a larger audience.. If it's to develop thought in your student over creating pictures that can be easily read by outsiders than other methods can be used and definitely considered.

Next topic... Art in Beijing

Education as a Foundation

My time living and teaching here has made me think about the differences between education here and in America. Truly I'm just starting to see them so there is no way I can do an analysis, review or big thesis type paper with references at this point. What I can do is use some of my own experiences growing up through the public and private school system in America, suburban and urban, as well as some of the time spent in classrooms in China both as a student and teacher to put forward some questions that I've been thinking about since I've gotten here.

One of the strongest things I've seen is that especially among urban families, which I've happened to have the most contact with, education is the most important part of a child's life. Unlike middle-class American parents who spend hours shuttling their children to and from Little League, soccer matches and taekwondo competitions after school, it seems that Chinese parents from similar economic backgrounds eagerly wait outside of schools seven days of the week to pick their children up from special afterschool or weekend classes. From pre-school age they practice English, painting or an instrument to gain entrance into highly selective schools, and start studying for entrance examinations to middle school and then finally to college at around 12.

Now does this have to do because of a culture that has deep roots in test taking and education since the times of 孔子 or is it, because of the influence of the intensely competitive job market that all white-collar Chinese must face, to prepare at increasingly younger ages for standardized tests that steer only the tippy-top percentages of a population of more than a billion to higher education and a supposedly better future, as nowadays not even a college or masters degree guarantees a great job?

I'm sure it's a bit of both. China's education system is an incredibly test heavy system but many of the friends that I have from places with a population that more than fills the needs for any sort of job, such as Pakistan, Korea, Hong Kong... say that they also have such tests that function to limit an overcrowding of college graduates that can't find jobs. If you look at China historically such tests have been going on since the start of the civil service exams centuries ago. So from that time what was the goal of education? Was it to explore truths and debate (as is the Western ideal) or was knowledge to be used as a way to get ahead in the world through the memorization of classics?

I don't have the resources or time to delve too deeply here so I just suggest that this should be looked at when thinking about Chinese education. What are its sources? Clearly it has been an essential part of China's culture for centuries in a way that's more deeply intertwined with the country's people and society than nearly any other place in the world, but what were the goals of gaining that knowledge. If from the beginning such study was used to prepare for tests that could determine your lot in life, why are people so suprised that it is this philosophy instead of one of exploration and dialogue that guides today's education policy.

Personally I think American teachers would give an arm and a leg to be able to teach in an environment where parents are expected to grade their childrens' homework, talk with them daily about test scores and methods of attaining greater success. But American students would be terrified by the huge amount of pressure placed on them.

Is Chinese education more a product of it's long culture or because of the influence of an economy that only can support a limited number of jobs in the higher sectors? I think the best answer is "Yes".

Next post: Photography as a teaching tool

The Great Firewall Let Me Back On or 秋天快来！

Yeah! I can start to talk endlessly about my life to nobody in particular again. Thank you CCCP or whatever you like to call yourselves.

Summer's rapidly ending, bringing in the lovely cool weather to Beijing. I hope to go to 香山 and see some of the other sites that I missed out on last year. Plus the Olympics are over so no more cutesy mascots or sports informational programs running endlessly on the public transportation. They're just replaced with some of the world's worst commercials running endlessly, though it has to be said that if they can get you to remember the brand name for a anti-constipation tea medicine through sheer merciless repetition, there is a method to their mindnumbingly banal madness.

Really though, the smart passenger shouldn't be paying a hint of attention to all those t.v. screens, especially when riding the 13 as it whooshes above the crowded streets. As the line gets closer and closer to 东直们 there's nothing but construction on it's sides, along with the low quality housing of some of the millions of hardworking migrant workers that make this city tick. The scenery changes almost daily and being lucky enough to take a ride during the sunrise or sunset definitely beats watching the umpteenth showing of a group of satisfied product users shout a slogan.

Next post: Let's talk about the olympics...again