November 1st-November 11th at the China Art Museum in Shanghai. Visual arts show “Magic and Reality”, part of the “Tour of the World” Exhibition. Pieces include oil painting, collage and watercolor, and the performance art piece “Mother Sally-Brother Buddha”.
Where do our true selves reside? One person can be so many things to the other people around us. Wife and companion, mother, friend and co-conspirator, teacher, sister, mentor, aunt, student, daughter, artist and consumer.
Recently, I have become painfully aware of the gaze that follows me around in China. I’m overly conscious of it. It haunts me. It is often followed by a laugh, giggle or an unfriendly word. Or is it really? Is it just my supra-awareness of something not there?
The wedding dress should represent a women at her most beautiful moment. Pure, virtuous, and ripe for the taking. These days of course, most of us are far from this untouched vision of womanhood, and feminism has taught us to rise beyond these bogus boundaries.
The wedding dress represents an untarnished commitment, to the spirit that stirs me to create art.
The wedding dress represents a commercial image of me, what others believe they see. Those that dare to go underneath can maybe catch a glimpse of who I really am.
Stripped down, exposed, judged laid bare. Do you still like what you see?
I have lived in China for 5 years now, so you can bet I jumped at the chance to play mass in Shanghai! On Saturday 14th September 2013, led by Trinidadian–born Band Leader, Ansel Wong, the Tsingtac Mas Band, performed for the fifth year in China promoting Carnival; and for the first time this year the band was joined by Steel Pan on the streets of Shanghai performing to a live street audience as well as a TV audience, all together over 200 million Chinese viewers.
The Shanghai Tourism Festival, with a collage of flamboyant color, echoing sounds and a mix of competition and celebration, is an event like no other! Though similar in essence to the carnivals of both Port-of-Spain and London, the organization and scale of the event was fascinating, a beautiful a night-time spectacle! The most discernible difference was the entourage of over 30 large competing and mesmerizing mobile floats beautifully illuminated and adorned with hundreds of halogen bulbs. They depicted cultures within China and around the world, with native scenes and characters such as giant moving crabs (fake, not curried)!
My costume was the dress used for “Unraveled-The Other Half” performance piece, with some modifications for the ease of mobility. The best part of the whole experience was the interaction with the folks from London and reconnecting with the carnival spirit. Thanks to my dear friend and costume designer Khisha Clarke for making these connections possible and for my fabulous head dress!
Mas and Pan in China was a success. Dr Shen Shanzhou, Vice Chairman of The Shanghai Municipal Tourism Administration praised the band for its performances and presented it with an award of commendation. In return, the Band presented the officials of the City Administration with bottles of Angostura 1824, Mount Gay Extra Old and copies of the T&T Gold Book.
It was my pleasure to have participated in this grand spectacle, and I look forward to similar performances in the future.
The first event of the PaR (Practice as Research) thesis project called the Black Body and Beauty in China a study by Glenis Paul at the China Academy of Art: Hangzhou China.
As a black woman in China, my daily interactions with the Chinese public require discipline and patience in a monolithic and sometimes xenophobic culture. In most Asian communities, dark skin is considered ugly, especially for women. This is a little known fact in the western world. Not only is the color of my skin ridiculed daily, the texture and maintenance of my hair is completely misunderstood.
Even within the diaspora of the black community, these features of beauty are just recently in the last 70 or so years being celebrated as a source of pride. I come from a community of deeply entrenched post-traumatic self-criticism, a community just beginning to celebrate the diversity in textures and tones of skin and hair. This tradition, which celebrates natural black beauty is still young but it is a passionate and vitally essential movement of which I have been a fervent participant in Barbados and in Brooklyn, New York. I was not prepared for the intensity of opinions among the Asian community that their own tanned yellow skins were ugly. If tanned Asian skin cannot be beautiful, where does that leave my black sisters?
This is the first issue I try to address in my work, but there is a deeper much more troubling issue at stake, understanding China on a deeper level than merely through the eyes of an outsider. I have lived in China for 6 years now, and have begun to set down firm roots in this country, some would say my practice, interactions and study of the language I have earned a kind of honorary membership. Honorary member or no, I am still an outsider, but I firmly believe that in order to make any inroads on this issue I must be able to see it as the Chinese do. So the under-lying question I wish to pose in this study is: In an increasingly international world, and as an outsider, how can I bring the deeply entrenched stigmas of colorism to light in China?
China is changing fast, and understanding the changes and my possible role in helping to orient positive attitudes towards other cultures as well as learning the values that these open views can bring to improve deeply entrenched and outdated cultural ideas, is the reason for this life changing move to China, the focus of my artwork and the content of this study.
The first piece is part of the series Tattoo and is called Stencil. It was done in collaboration with fellow performance artist Liu Xiao and with the help of Zhou Tengxiao, Sarah Malone and Liu Ni. Liu Xiao agreed to paint my back a color approximating the Asian skin tone, then write the well known Chinese saying, “一白遮百丑” which literally means, one white covers one hundred ugly. He then used a stencil knife to cut out the characters revealing the dark skin underneath. This event took place on October 13, 2-5pm at the Wushan Square during the China Folk Arts Festival.
On April 25th and 26th we were happy to present the Fusion Performance Art Workshop. Lectures and performances geared at the creation of a platform for young artists to develop their ideas using performance art, no matter which discipline they prefer, weather it is traditional Chinese painting and calligraphy or new media art.
The two day workshop was quite successful, and we would like to say thanks to everyone who helped to make this event possible. Special thanks to our guest speakers Professor Qiu Zhijie and Professor Cai Qing. To the curators and the performers including Zhou Manlin (Mary) Hana Kucharovicova Yang Keke, Anna, Kristin and Liu Xiao.
Be on the lookout for our next program coming at the end of May.
Claiming Our Voice is a short documentary film by Jennifer Pritheeva Samuel sharing the stories of Andolan, a Queens-based workers center founded and led by South Asian immigrant women low-wage workers as a means to support each other and collectively organize against exploitative work conditions.
Domestic work includes childcare, cleaning and cooking and takes place in the home. The majority of domestic workers are female, foreign born and persons of color. Claiming Our Voice’s main characters work in this industry, are prone to low wages, long hours, no benefits, and extreme isolation. While the issue of domestic work has received increased attention, we rarely hear from domestic workers themselves. Through the course of the film, our characters are revealed as their own heroines – challenging stereotypical images of immigrants and low-wage workers as well as notions of culture, race, gender, and class.
Take a look at the video and I hope you will join the fight to make these women’s voices heard! Support in whatever way you can.
The brainchild of Liang Qiang this project consists of 5 or 7 small exhibitions in different places of Hangzhou, trying to revive these public spaces with art. 流动空间计划·之一 . In Chinese the topic “重置”, means resetting, or replacement, but in English Liang Qiang thought “Displace” was better. For this location I performed the “The Other Half” again, and added a level of drama by using white chalk to “powder” my dark skin. Our exhibition had special support from (特别支持) Nomade Gallery. Other participants: Christelle Herve、Ida Blazicko、Léa Pagès、Matthieu Delourme 、NQ、