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Only decades ago, the population of Guangzhou was almost wholly Chinese. Today, it is a truly global city, a place where people from around the world go to make new lives, find themselves, or further their careers. A large number of these migrants are small-scale traders from Africa who deal in Chinese goods—often knockoffs or copies of high-end branded items—to send back to their home countries. In The World in Guangzhou, Gordon Mathews explores the question of how the city became a center of “low-end globalization” and shows what we can learn from that experience about similar transformations elsewhere in the world. Through detailed ethnographic portraits, Mathews reveals a world of globalization based on informality, reputation, and trust rather than on formal contracts. How, he asks, can such informal relationships emerge between two groups—Chinese and sub-Saharan Africans—that don't share a common language, culture, or religion? And what happens when Africans move beyond their status as temporary residents and begin to put down roots and establish families? Full of unforgettable characters, The World in Guangzhou presents a compelling account of globalization at ground level and offers a look into the future of urban life as transnational connections continue to remake cities around the world.
A fascinating look at how the popular musical culture of Guangzhou expresses the city’s unique cosmopolitanism. Guangzhou is a large Chinese city like many others. With a booming economy and abundant job opportunities, it has become a magnet for rural citizens seeking better job prospects as well as global corporations hoping to gain a foothold in one of the world’s largest economies. This openness and energy have led to a thriving popular music scene that is every bit the equal of Beijing’s. But the musical culture of Guangzhou expresses the city’s unique cosmopolitanism. A port city that once played a key role in China’s maritime Silk Road, Guangzhou has long been an international hub. Now, new migrants to the city are incorporating diverse Chinese folk traditions into the musical tapestry. In Sonic Mobilities, ethnomusicologist Adam Kielman takes a deep dive into Guangzhou's music scene through two bands, Wanju Chuanzhang (Toy Captain) and Mabang (Caravan), that express ties to their rural homelands and small-town roots while forging new cosmopolitan musical connections. These bands make music that captures the intersection of the global and local that has come to define Guangzhou, for example by writing songs with a popular Jamaican reggae beat and lyrics in their distinct regional dialects mostly incomprehensible to their audiences. These bands create a sound both instantly recognizable and totally foreign, international and hyper-local. This juxtaposition, Kielman argues, is an apt expression of the demographic, geographic, and political shifts underway in Guangzhou and across the country. Bridging ethnomusicology, popular music studies, cultural geography, and media studies, Kielman examines the cultural dimensions of shifts in conceptualizations of self, space, publics, and state in a rapidly transforming the People’s Republic of China.
4e de couv.: Chungking Mansions, a dilapidated seventeen-story commercial and residential structure in the heart of Hong Kong's tourist district, is home to a remarkably motley group of people. Traders, laborers, and asylum seekers from all over Asia and Africa live and work there, and even backpacking tourists rent rooms in what is possibly the most globalized spot on the planet. But as Ghetto at the center of the world shows us, the Mansions is a world away from the gleaming headquarters of multinational corporations -instead it epitomizes the way globalization actually works for most of the world's people. Through candid stories that both instruct and enthrall, Gordon Mathews lays bare the building's residents' intricate connections to the international circulation of goods, money, and ideas.
Most global citizens are well aware of the explosive growth of the Chinese economy. Indeed, China has famously become the "workshop of the world." Yet, while China watchers have shed much light on the country's internal dynamics--China's politics, its vast social changes, and its economic development--few have focused on how this increasingly powerful nation has become more active and assertive throughout the world. In China Goes Global, eminent China scholar David Shambaugh delivers the book that many have been waiting for--a sweeping account of China's growing prominence on the international stage. Thirty years ago, China's role in global affairs beyond its immediate East Asian periphery was decidedly minor and it had little geostrategic power. Today however, China's expanding economic power has allowed it to extend its reach virtually everywhere--from mineral mines in Africa, to currency markets in the West, to oilfields in the Middle East, to agribusiness in Latin America, to the factories of East Asia. Shambaugh offers an enlightening look into the manifestations of China's global presence: its extensive commercial footprint, its growing military power, its increasing cultural influence or "soft power," its diplomatic activity, and its new prominence in global governance institutions. But Shambaugh is no alarmist. In this balanced and well-researched volume, he argues that China's global presence is more broad than deep and that China still lacks the influence befitting a major world power--what he terms a "partial power." He draws on his decades of China-watching and his deep knowledge of the subject, and exploits a wide variety of previously untapped sources, to shed valuable light on China's current and future roles in world affairs.
China's opkomst als wereldmacht is een van de ingrijpendste gebeurtenissen van deze tijd. Honderden miljoenen mensen zijn de armoede ontvlucht dankzij de snelle industrialisatie van het land. De wonderbaarlijke economische groei van China heeft zijn nadelen, iets wat vaak het meest pijnlijk duidelijk wordt in de steden. Deze studie is geschreven door wetenschappers uit verschillende disciplines, waaronder architectuur, stedenbouw, sociale wetenschappen, aardrijkskunde en antrolpologie. Een dee van de auteurs behandelt de mondiale ambities van de steden, terwijl andere hun culturele en architecturale uitingen onderzoeken.
This book deals ethnographically with economic globalization from below in its broadest sense, from producers to traders to vendors to consumers across the globe.
“Unsettles contemporary art’s unspoken hierarchies and topples modernist and postmodernist assumptions about originality, authenticity, and authorship.” —caa Reviews In a metropolis in south China lies Dafen, an urban village that houses thousands of workers who paint van Goghs, Da Vincis, Warhols, and other Western masterpieces for the world market, producing an astonishing five million paintings a year. Winnie Wong infiltrated this world, first investigating the work of conceptual artists; then working as a dealer; apprenticing as a painter; surveying wholesalers and retailers in Europe, East Asia and North America; establishing relationships with local leaders; and organizing a conceptual art exhibition for the Shanghai World Expo. The result is Van Gogh on Demand, a fascinating book about a little-known aspect of the global art world—one that sheds surprising light on the workings of art, artists, and individual genius. Wong describes an art world in which migrant workers, propaganda makers, dealers, and international artists make up a global supply chain of art. She examines how Berlin-based conceptual artist Christian Jankowski, who collaborated with Dafen’s painters to reimagine the Dafen Art Museum, unwittingly appropriated the work of a Hong Kong-based photographer Michael Wolf. She recounts how Liu Ding, a Beijing-based conceptual artist, asked Dafen “assembly-line” painters to perform at the Guangzhou Triennial, styling himself into a Dafen boss. Through such cases, Wong shows how Dafen’s painters force us to reexamine our preconceptions about the role of Chinese workers in redefining global art. “[A] fantastically detailed exploration of a topic which touches the heart of many of the issues surrounding China's economic rise.” —South China Morning Post
Confucius Institutes, the language and culture programs funded by the Chinese government, have been established in more than 1,500 schools worldwide since their debut in 2004. A centerpiece of China’s soft power policy, they represent an effort to smooth China’s path to superpower status by enhancing its global appeal. Yet Confucius Institutes have given rise to voluble and contentious public debate in host countries, where they have been both welcomed as a source of educational funding and feared as spy outposts, neocolonial incursions, and obstructions to academic freedom. China in the World turns an anthropological lens on this most visible, ubiquitous, and controversial globalization project in an effort to provide fresh insight into China’s shifting place in the world. Author Jennifer Hubbert takes the study of soft power policy into the classroom, offering an anthropological intervention into a subject that has been dominated by the methods and analyses of international relations and political science. She argues that concerns about Confucius Institutes reflect broader debates over globalization and modernity and ultimately about a changing global order. Examining the production of soft power policy in situ allows us to move beyond program intentions to see how Confucius Institutes are actually understood and experienced in day-to-day classroom interactions. By assessing the perspectives of participants and exploring the complex ways in which students, teachers, parents, and program administrators interpret the Confucius Institute curriculum, she highlights significant gaps between China’s soft power policy intentions and the effects of those policies in practice. China in the World brings original, long-term ethnographic research to bear on how representations of and knowledge about China are constructed, consumed, and articulated in encounters between China, the United States, and the Confucius Institute programs themselves. It moves a controversial topic beyond the realm of policy making to examine the mechanisms through which policy is implemented, engaged, and contested by a multitude of stakeholders and actors. It provides new insight into how policy actually works, showing that it takes more than financial wherewithal and official resolve to turn cultural presence into power.
China is one of the oldest states in the world. It achieved its approximate current borders with the Ascendancy of the Yuan dynasty in the 13th century, and despite the passing of one Imperial dynasty to the next, it has maintained them for the eight centuries since. Even the European colonial powers at the height of their power could not move past coastal enclaves. Thus, China remained China through the Ming, the Qing, the Republic, the Occupation, and Communism. But, despite the desires of some of the most powerful people in the Great State through the ages, China has never been alone in the world. It has had to contend with invaders from the steppe and the challenges posed by foreign traders and imperialists. Indeed, its rulers for the majority of the last eight centuries have not been Chinese. Timothy Brook examines China's relationship with the world from the Yuan through to the present by following the stories of ordinary and extraordinary people navigating the spaces where China met and meets the world. Bureaucrats, horse traders, spiritual leaders, explorers, pirates, emperors, invaders, migrant workers, traitors, and visionaries: this is a history of China as no one has told it before.