Happy reading for me this afternoon from Mary Ann in Shenzhen, who writes one of the best blogs coming out of China, and certainly one unequaled in Guangdong and Hong Kong. Somehow despite all the misery of China-repressive-dictatorship, I keep on finding it difficult to take seriously, that the southern barbarians are at it again, and when English-speaking western world can barely get its head around women getting the vote, Shenzhen offers you a choice of six possible genders.
yesterday, in my administrative capacity, i was filling out three forms that the shenzhen public security bureau, division of exit-entry (深圳市公安局出入境) requires requires employers to submit for their foreign employees. the one unexpected lining in this otherwise redundant raincloud (we have actually submitted all this information previously, albeit on different forms), was the drop down windows that required me to choose an answer because filling in the blanks was not part of the program. i hadn’t realized that human beings came in six possible “sex-genders (性别)” [female (女), male changed into a female (男性改为女性), unexplained sex (未说明的性别), male (男), female changed into a male (女性改为男性), and unknown sex (未知的性别)], but only four “skin colors (肤色)” [yellow (黄), white (白), black (黑), and brown (棕)]. the data form with the funky drop down windows (外国人居留情况记表 foreigners residence situation form) is available online.
Under many different names but mostly known to us as Kowloon as in what Mongkok is a part of in Hong Kong, the Kowloon here is some two hours north of Guangzhou up the 107 highway, a word I use with most fleeting of accuracy, unless a representation of an elevated highway in mortal collapse is called to mind, although if you happen to take the wrong turn at Qingyaun and find yourself breathless in the quite spectacular Feilaixia Gorge before pulling into Yingde, a highway in this case would be best represented by a quagmire or river bed in spate.
Kowloon is a decidedly non-tourist village with a special hairdresser abutting the preferred lodging of climbers, for besides the infrequent on-the-bus-sleep-off-the-bus-photograph-temples tour group cavalcade passing through en route to the nearby hot springs, this is not a town on any manner of tourist trail. But for imbeciles whose idea of a good time is dropping fridge-sized blocks of limestone into cowering bamboo groves, and who don’t want to go to Yangshou to do it, Kowloon is a rock climbers’ undeveloped paradise.
Highlights of my first trip (via the Yingde river bed) early last year include drenching a family on a motorbike in thick slurry when overtaking too fast then our driver stopping to ask for directions, a reminiscence that will bring a smile to those of us in the car that day. Shortly after. we bottomed out in a pothole, losing the rear bumper, a trifle A Biao solved with a couple of swift kicks. Surprisingly enough, we actually fitted in some climbing.
Paul Collis, who put together the Yangshou guide book has done the same for Kowloon, almost fifty routes trad and sport, single and multi-pitch from 5.7 to 5.13 on limestone. This is still a quite undeveloped place, and many of the routes have had few ascents so are still settling down. The potential is vast, with hundreds of routes yet to be climbed. If your idea of a good climbing trip is going somewhere new and finding your own routes, Kowloon is certainly worth a visit on the China/South-East Asia circuit. Download the guide in pdf here.
The following notes, maps and topos form a rough guide to most of the established climbing in the Kowloon (Nine Dragons) area of Qing Yuan County, Guangdong. This guide was updated in June 2006. The climbing was mostly developed from 2005 to 2006 so grades given may not be accurate and there is still some loose rock around. The rock is typical tropical limestone – dark and quite sharp where exposed to rainfall, lighter, smoother and providing great climbing where sheltered from the elements. The area has beautiful countryside giving a pleasant and relaxed atmosphere for climbing.
See attached maps for how to get to Kowloon and the locations of the cliffs with climbing established on them. It is possible to get to the area using public transport. However this is not recommended as it is infrequent and very time consuming. Without private transport it is also difficult to get to the climbing sites.
Most climbers stay in the town of Kowloon. There are two or three small hotels, some restaurants, a supermarket, a wet market and small shops in Kowloon. It is a basic rural town with little tourism infrastructure. However, some mainland group tours come to the area to visit hot springs and take in the scenery. Take care not to confuse Kowloon in Qing Yuan county with Kowloon in Hong Kong. Although they have the same name, they are vastly different places.
Warning! If you are not a competent climber experienced in pioneering and new routing don’t use this guide to go climbing.
Mislinked by 在桥下流 (that reminds me of the scent of piss flowing under the stinking haizhu bridge), this tranny rockstar space (yeah I try, but more like a tranny windowlicker lounge) is overjoyed that Guangzhou has put on such a show for me first with the documentary film festival, and now with a couple of my favourite artists all hanging out along the 珠江. I’m quite upset I’m in the wrong hemisphere though.
Spanning the years 1990-2006, Aftershock will tell the story of how Britain experienced a revolution in contemporary art. During this period art became a hotly debated topic in the media as young artists injected glamour into the British art world; the art market flourished and audiences for contemporary exhibitions multiplied, culminating in the phenomenal success of Tate Modern, London’s first museum of international modern art which opened in 2000.
A bit slack lately blogging about my favourite city, Guangzhou. Yes I do love it that much. 曹斐 Cao Fei, who is now living in Beijing wrote a few days ago about the 2006 Guangzhou International Documentary Film Festival running from 4th till 9th December. The theme of this year’s festival is 关注贫困Facing Poverty and films are screening at 天河电影城 Galaxy Cinema in Teen Plaza and 华纳金逸电影城 Warner Jinyi Cinema in Pearl New Estate Plaza, the latter of which does the whole teeth-vibrating surround sound and hallucinogenic peripheral vision filling screens. Also there’s films on at 蓝宝石展艺馆 Sapphire Art Space in the Holiday Inn which I’ve not heard of and for the scummy students stuck out in University Town at the 广州美术学院大学城校区 Guangzhou Academy of Fine Arts that’s further from Guangzhou than most migrant workers’ home towns.
As for the films, they come from all over the world with a lot from Netherlands, Portugal, Poland and Germany, and a stack from and about China including 秦始皇：中国的缔造者 The First Emperor: The Man Who Made China, 贫困线的挣扎——中国造 A Dollar A Day – Made in China, and a huge number of entries in the Festival’s competition, embarrassing there for all Australians is 太平洋解决方案 which is more usually referred to as the Pacific Solution, and there’s so many docos I’d love to see I think I’ll be blogging about them a bit more.
Naturally though the only one I really, truly care about and am hanging out for, and I know was only programmed because everyone thought I’d be back in Guangzhou and was sort of a welcome home, and I know I’ve disappointed you all by not being there, but as I was saying, I only really, truly care about Heavy Metal In the Country. Ja! Über!
I really need a category for performance, because sticking Samuel Beckett under ‘dance’ is just a bit weird, not withstanding Breath and Krapp’s Last Tape are among the few theatrical performances to hold my attention and sense of humour. Waiting for Godot though is certainly one work I would use to fill my revised Voyager Golden Record, possibly replacing forgettable non-entities such as Mozart.
One of the most enjoyable blogs to emerge from Guangdong Province, and one of my favourites for being an art-performance-archaeological-theoretical China dweller of many years is Shenzhen Fieldnotes, actually one of my favourite blogs all-round. Currently she’s rehearsing Samuel Beckett’s Waiting for Godot with her theatre company, Fat Bird.
Shenzhen Fieldnotes – Fat Bird Rehearsal, August 25, 2006:
fat bird took the summer off, but reconvened to begin rehearsals for “waiting for godot”. it marks a move from the workshop format that we had been pursuing the past two years. however, it continues the fat bird tradition of adapting our performances to participants’ strengths; this time, we are taking our direction from judi moriarty. we hope to stage godot in mid november.
judi decided to work with fat bird in order to deepen her understanding of chinese people and culture. she believes that this happens through collaborative effort, specifically through the development of trust between all members of the group. accordingly, in addition to going over lines and blocking, rehearsals consist of exercises designed to increase trust. these exercises range from falling backward into someone’s arms and using two fingers to lift someone, to sitting on the truth chair and having to answer any question honestly. at the core of these techniques is the belief that what is true in a performance is the actors’ emotions and relationships; the performance builds out of and upon that base. it remains to be seen what each of us connects to in godot.
The night in 2003 I spent walking around Dong Shan in the rain and wet heat was perhaps the night Guangzhou first transfixed me and had that irrational effect on me I’ve only really otherwise had in Zürich and Vienna. Dong Shan was also the first part of the city I consciously photographed, in fact one of the first places I photographed at all once in possession of my first digital camera.
It’s always strange to look at photographs taken by another person of a place I recall most clearly through my own photographs, the original memories evaporated or elusive. Ou Ning photographed the walk from near 东山口 Dong Shan Kou to 山河大街 Shanhe Dajie, posted on his blog today. Places that are so familiar through four years of living on and off in the city, places I’ve photographed even, that sometimes look different as the surrounding landscape erupts with tiles and pre-assembled Guangzhou real-estate frenzy.
Having been tardy in writing about anything that attracts the most readers, and a bit of a follow-on from a post back in mid-April where I wrote some moderately scurrilous things about the mediocrity of English media ‘reporting’ on transsexual news in China and Asia, I’ve been intending to mention a place in Shenzhen I’ll probably never go to, but I think is all the usual baroque adjectives I expectorate while trying to sound intelligent.
美丽在线CD摄影工作室, which mostly means a photography studio for crossdressers, transsexuals, and other people of no-fixed-identity is in the city formerly known as farmland of Shenzhen. I think it’s fucking cool.
My once monthly trip to Hong Kong was under a leaden and saturated sky. Guangzhou and much of the province has been under siege for almost two weeks, a steady, lazy draining of the swollen and claustrophobic heavens. The last trip, I sat facing forward on the train’s left side; this time I sat facing backwards on it’s starboard side, traveling south, and looking west. This meant I could not anticipate a shot, and most of the photos are of whatever was after what was interesting, that with a half-second delay had already long passed by.
After writing about famous village incidents of Guangdong yesterday, I was trying today to be as impartial as possible in capturing what Guangdong looks like along the KCR industrial corridor. Of course certain things appeal to my aesthetic: satanically black, corpulent and necrotic concrete factories. The endless catacombs of industrial slums, mortared with a generation’s paste of impermeable refuse satisfies my disgust for rapacious development.
In mostly equal thirds then, the hour-long journey is split between this odious mess, bland acres of salmon-tiled inflatable high-rise apartments, and verdant fields and ponds. What the farms, along with their villages, are being replaced with is not something I think is an improvement.
Periodically, I write about stuff in China that has little at first glance to do with making dance and art. Mostly my focus is centered on Guangdong as this is where I live when I am in China. My art is primarily concerned with the destitution of humanity, and I think there is little more destitute than for someone to have their entire life, history, home, means of eating and earning a living stolen from them by cadres who are no better than imperial thugs reigning over their personal fiefdoms. The Guardian had an excellent article this weekend on rural land-grabs and peasant protests, specifically in 云浮 Yunfu, 汕尾 Shanwei, and 太石 Taishi in Guangdong Province.
Among the most explosive books in recent years was an exposé of torture, murder and exploitation of peasants by brutal local officials. A Survey Of Chinese Peasants, by Chen Guidi and Wu Chuntao, was quickly banned by the authorities, who feared it might spark unrest, but pirate copies continue to be widely circulated and an English version – retitled Will The Boat Sink The Water – has recently been published. The authors lay it out plainly: “It is safe to say that the edifice of China’s industry is built from the flesh and blood of toiling peasants and urban development was achieved through their pain and sacrifice.”