About polachek01

Hi: I’m an offbeat China Hand, or perhaps Deskchair Sleuth is more apt. Have professed 20th century China but also pre-Victorian England and 19th century France at Princeton University: then got into the research end of E Asian investment banking. (No, no futures trading or derivatives bundling or even sales). Lucky enough to set foot first time in the PRC in 1994 as expert witness in support of a state industry’s privatization. Sinopec (if you’ve heard of it). Is it possible that what looks hideous from the outside looks a good deal better from within? Since independence (2002) I have spent a decade reimmersing in China, again from afar. My focus or rather path of over-extension started with Chen Kaige’s Yellow Earth (1984) – a kind of Frontier Country version of Madame Bovary: manipulated feminine fantasy at the hand of a narcissist ideologue, true believer. Context: a still trendy anthropological aesthetic attaching higher spiritual status to sound and gesture gleaned from wholly isolated and illiterate hillpeoples than to crafted performance of any variety. Old hat for the Soviets and even for Japan, but breathtakingly nouveau for China. Anyway. All of this set me to thinking then researching and now writing about what happen when these sorts of head bending rethinks or leaps sweep across the artistic horizon in places where the State is the sole pipeline and vendor, or at least the principal one. Old empire setting up as frontedge ateliers. It is a story with many outcomes, or at least more (and sometimes more breathtaking) outcomes than our teachers have told us.

Terpsichorean Confusion: The Multifaceted Admixture of Dance lineages in “Red Detachment”: post-1964 “Ballet” et. seq.

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vlcsnap-2019-10-10-06h56m48s496For the first-time viewer, the “Modern Dance/Ballet” version of the Hainan Heroines Brigade: Ballet: (1970 film)  with any familiarity with the classical  Russian tradition streams by as a rather disjointed sequence of stylistically disjointed dances, drawing on a multiplicity of rejected or recoded foreign and Sinitic stage traditions. Though the flow-by in one way or another manages to retain viewer/audience interest, any deeper (symbolic/heuristic) analysis is thwarted by the constant – indeed excessive-  rotation of templates and mis-en-scenes, as we move from Bluebeardian sadism to Orientalist exoticist spectacle to Chinese folk-acrobatics, to shadow-play back-lighting, then finally to something approaching Catholic venerative liturgy and hymnsong. Each shift drawing on a separate genre, requiring a shifting of mental intake.

This generic evasiveness is however in itself reflective of the backstage or overhead uncertainty on the part of the Chinese propaganda bureaucracy in charge of budgeting hi-end, labor-tech intensive innovative productions on the eve of the great purge that all sensed coming. Which of course in the end would leave them exposed to savage criticism, no matter what course they elected.

The Hainan helliots in Red Leotards: Women Soldiers Master Russian ballet (1964-1970)

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Late in 1963 the Beijing Propagandariat went out on a limb and decided to reset the 1960 filmstory “Red Detachment of Women” (see previous post) as a Russian-style romantic ballet. The production was probably the most elaborate and expensive such transform (compared to 白毛女, 沂蒙颂, and (later) 草原儿女 – the only other such actualization up to and early into the Cultural Revolution. Also a high-risk venture, since it borrowed so heavily from Soviet dance and staging traditions – not a very safe proposition on the eve of Jiang Qing’s furious attacks on “capitalist-road” art (including Soviet contributions). Yet it went on to become THE most feted and durable of the “8 yangbanxi” dance dramas, and is still a must-include when the National Ballet Company goes on world tour, or performs for high-tone foreign afficionados, puzzling as its choreography and mis-en-scenes were and still remain – as the prima donna of the Cuban National Ballet, Alicia Alonzo, quipped, “one scarcely expects to see ballerinas en pointe or leaping while holding high modern rifles”….

There were (at least in 1963-4) good reasons for the project: (1) the original (film) version of the narrative proved largely regional in appeal (Malaysia, Hong Kong), sponsored largely by overseas Chinese enthusiasm or nostalgia for Hainan (a Chinese titled version was never released); and (2) at the time, the Beijing kulturmeisters (esp. Zhou Enlai) were confronting the arrival (Oct 1, 1964) of the New Republic’s 15th Anniversary, the first great such national celebration meant to draw a world wide or at least Red Bloc audience. A non-language-confined grand narrative of/from the Revolution was thus in order, which meant that the mime and tumbling of (adapted) ballet were the optimal media.

Metamorpho-poetic Legending in 1950s Film: (1) Ashima

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This gallery contains 15 photos.

Note to my small handful of readers as of Aug. 10, 2012: please accept my apologies for the non-linearity of this essay-in-progress and of course for the ridiculous number of typos. A lot of this narrative instability is caused by … Continue reading

Is China Really Going Green for Keeps? Some Questions about Matthews and Hao Tan’s Analysis….

Headline Graphic: The Three Gorges Dam Spillway at Yichang, Hubei, now operating at full capacity (100 Gigawatts)
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In a pair of attention-grabbing recent journal articles, two Australia-based China energy experts have proposed a pair of controversial arguments about the trend in China’s energy supply sources, one covering the immediate future, the other a longer trajectory. Both go against accepted scenarios. In the more recent of the two, it is argued that the unprecedented absolute decline in thermo-electric power (coal, oil and Natural gas) as electrical energy providers in 2014 signals the onset of a continuing unleashing from “black” (coal) energy in favor of “green” (non-fossil-fuel, renewable) sources of power for the nation’s electric energy needs, which are grouped under the heading of “Wind Water and Solar” (WWS). The other piece is still more idiosyncratic: it foresees wind power as the leading edge of this revolution and discounts nuclear energy as a much slower growing component of China’s energy future.

The first-ever absolute decline in “black” – e.g.fossil fuel – energy is not much more than 1% for/in 2014. Taken in and on its own it hardly foretokens a peeling back of China’s coal dependency – indeed it almost happened already in 2012 – as the attached Chart (below) shows.
Therm vs renewables to 2014 w labels

The “Black” View Gathers “Green” enemies and the Heightens/Accelerates the Priority of reducing the share of coal derivatives.
Since late 2012 China’s coal-intensive thermal energy [fossil fuel] resource(s) – (pulverized bituminous and lignite coal with a small addition of suboceanic oilfield natural gases, large injections of pipeline-imported or ocean-carried liquified methane-cognate gases and even some coal-derived “para-methane” (mei zhi qi) — have been pushed into smaller percentage pockets of the national electricity supply.

Jia Zhangke’s Lüliang: Illegal Mining and Accident Coverups as a Way of Life

Just as 2014 was coming to an end, film director Jia Zhangke’s Shanxi home “city” of Lüliang 吕梁 was again in the headlines for massive violation of mine safety standards and operating countless small collieries without proper licensing or inspection. (New York Times, Dec. 28. 2014). The scale of the arrests and investigations seems to be unprecedented, but the publicity and fines and even imprisonments are nothing new. Nor will the “clean sweep” end the inspection misdemeanors and the litany of explosions and floods that has dogged the private, small-scale mines of the sub-region since the 1980s.

Not surprisingly, given Jia’s commitment to merging film and rapportage – or seeming rapportage, his first major film, “Platform” (2004) opens with a kind of mini-take on a coal mine disaster story presumably unfolding just as the film was being scripted.

Characteristically, the place and scale of the disaster, even how it occurred, are left murky at best. All that is clear is that there has been some kind of tunnel collapse and that a number (how many is not stated) of villagers working in the pit have been killed: the seemingly farcical county (xian) song-and-dance troupe’s performance of a skit enacting the excitement of elder peasants on a train to visit Mao’s home town of Shaoshan is in fact part of a “consolation” theatrical (weiwen yanchu) of the sort that troupes of its ilk were originally constituted to perform. That the audience of fellow-villagers seems more interested in gossip than ceremony or even grief suggests that they have seen far too many of these ceremonies to be deeply shaken.

Or is it just cynicism? Just barely within the lens covering the “choo-choo” dance one espies a(nother) thumbprint of early Deng Xiaoping era de-collectivization/privatisation hoopla cross-commenting on the village or township mine accident: a giant “plan” (guihuatu) of the “new” village that the mine’s prosperity (and tax yield) will pay for in some form or another. From the naked prominence of that ambitious blueprint for the future, one is probably to assume that the mine will continue to operate.

So the veneer of cheerfulness and even rowdiness – reinforced by the absurdity of the performance itself (featuring teenagers as grandmoms and granddads all keyed up about a visit to the dead Chairman’s hill-country home) – becomes a kind of defense against any degree of political optimism.

Gassed! Beijing’s Lethal Public Heating Grid(s)

Since late 2012 Beijing has acquired notoriety as the world’s most unbreathable capital city. Officially reported deathcounts and hospitalizations from malair asthmas are so high that statistics are constantly juggled to soften the blow to amour propre. But, on the flip side, the negative publicity has had a positive effect: much too long-delayed action to close down some if not all of the city’s hazemakers – its coal-fired electric power nexus – and replace them with natural gas has leaped ahead and already one is reading of a coal-free Metropolis not too far down the road.

But that gruesome greyblack shroud up-deposited from coal-burning is not the first encounter the city has faced with coal smog. Coal can be a much more direct killer: when it is burned to produce power and heat, one intermediate outproduct is “coal gas”, chiefly carbon monoxide, which is difficult to re-process into carbon dioxide except when purpose designed hi-temperature reactors and catalysts are designed into the system. Even in so-called “modern” US cities and suburbs, carbon-monoxide or methane – rich “town gas” gas is a remembered danger: the supplying gasworks were (are?) obliged to inject sulphur gases whose obnoxious smell substitutes for the legendary canary. In the older plants, not yet retrofitted with end-phase “gasification” (methanation), that miner’s nightmare – invisible toxic gas (meiqi zhongdu as a verb) – can be particularly dangerous when/where the steam-heat conducting pipes are undermaintained, since the steam itself can then easily become the container for carbon monoxide leaks to pass into housing units. That category of “death by public utility” seems to have been particularly problematic for those more fortunate immigrant laborers whose housing, (construction workers lacked this benefit) , was often a kind of afterthought – dormitories pegged onto the compound where their daytime labor was carried out. One such dormitory compound is the set for the film, “World”, (2004: dir. Jia Zhangke.).

The heat (steam) generated by such units is distributed via a closed grid of underground broad-diameter ducts mounted on the ceilings of halls and passageways, the heat being released in stages as the steam cools in flux.

Fig. 1 Steam-pipes from inside the “World” Theme Park’s sub-basement (adjacent to costume-changing Green room, where the cinematography begins with Xiaotao wandering in search of a bandaid 创可贴, “stick it over a wound” ).

film world underground heat ducts

In terms of energy capture efficiency, such systems are a great improvement over local coal-stoves. But they are a good deal more dangerous. When/where the steam-heat conducting pipes are undermaintained, raw coal gas often leaks into them, whence the steam itself can then easily become the container for carbon monoxide leaks to pass into housing units. That category of “death by public utility” ironically is a byproduct of relative privilege within the urban underclass: most construction workers [the bottom rung] live in self-constructed shantytowns that have no heating at all; they are thus almost homeless, waiting to be shunted to some other neighborhood once their current job is finished.

The subset of “non-resident” labor foregrounded in the film is, however, better off: it is housed in purpose built dormitories for Park workers. At the top end, the housing gets even more luxurious though available only to owners-investors: entrepreneurs profiting business-wise from The Park, summarized in/by the character of Liao Qun the show-costume seamstress, can if lucky find a housing unit apartment on the market as a kind of condominium, whose purchase not only translates into more commodious living but gives the owner a fat gain in capital return when resold. But since district heating comes with the ownership package, “condo” living can be just as dangerous as dorm living. Or at least equally exposed, since the municipality and not the owners’ collective handles the utilities, presumably with kickbacks in all directions.

It is the “dormitory” class however that lives closest to the razor’s edge. Heroine Xiaotao . … and off-and-on paramour Taisheng are its up-close representatives, and Tao’s too-often quoted recollection of spending her first days in Beijing on the threshold, getting used to a hard bed and no kang, no hot water, and making do with her plastic raincoat as a kind of tent-within-the-tentcity surrogate for “a room of her own”, keeps us aware of her peculiar class or social stratum: run-of-the-works para-artist (wenyiyuan) who will never be anything but an anonymous fixture, a klieg-lighted ghost in outrageous extotic dress.

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Jia Zhangke’s award-winning “Shijie” (“World”) takes its name from a very loaded historical reference. The first ancestor is as ever a Shanghai [re]creation, a modernist (for then) take on the shopping arcade cum World’s Fair/Expo complex imported ultimately from Paris. [There is possibly a third line of heredity even predating the famous Shanghai World arcade: , though it is a forgotten one: the Beijing “newtown” of the 1910s, 新世界商场, (see http://bbs.obj.cc/article-16184-1.html), akin to Shanghai’s in that it doubled as an amusement park and as a planned open-ended larger shopping mall – in those times what we would call a “department store”, though there was no single owner or franchise subordinating the encased stores or even a linking thoroughfare running up the spine.

The second is the now long forgotten Curtainraising Pageant (kaimushi) for the Shanghai Fashion Expo of 2001 (?), the cultural-diplomatic event that first brought to prominence the choreographer then set-designers Wang Chaoge and Zhang Weiya. (A third lineage that possibly influenced the second is from the Shenzhen [Guangdong] SEZ which has mounted its own “world’s fair” on stage (in 1996 I think) as stage-spectacle “A Window on the World”, to capture “the world” for Chinese fabrics and garment exports as visual commodity: it was in fact from starlet Zhao Tao’s reminiscences of the experiences of her dance-school troupe’s year as a line-dancer in that “spectacle” that the film takes its material).

Layer on and layer over layer: the meaning turns on the cross-linguistic pun “[da]xiu” or 大秀 – or something like carnival spectacular, or “grand dazzle” as a performance (and advertising) tool, something almost instinctively inherited as tinsel remnant of the Greatest Show of All, East is Red (1964), whose “Dance of the Peoples'” finale keeps restaging itself more often than not in Mongol or Korean cliche (costume). Panoramax dance might be a better term, since the form thrives on the rotation of costumes, festishing material fabric in the manner of the French cabaret line-dance. It is a kind of peep-show, but in the version proposed by Zhang Jiake insists, meaningfully, on the “expo” connection: if the material is fluff and/or appearance only – and such it is doomed to be in the giant metaphor of the movie – then that is ironically fitting since worlds fairs are parades of exteriors or at most shopping malls in their original form, not meant for transaction but as catalogues for the presumptive but never forthcoming buyers, whose pleasure comes from possibility not culmination. Pace Benjamin!

As the now somewhat faded but never quite forgotten school of “Shanghai modern” -ist writers and their biographer(s) – Liu Na’ou/Mori Ogai and the peddlers of “sensation” – were so engrossed in or with. Baudelaire’s flaneurizers, their Japanese respondents of the 30s, Tanisazaki and of course Kawabata.

Captive Overscale: The Strange Anatomy of China’s Wannabe #1 Power Producer, Datang Power

Power stations: How grotesque they can be. The largest structures on earth though they are not the tallest.
They are something for Ayn Rand: Promethean both by psychology and by necessity. Fritz Lang’s “Metropolis” and “China Syndrome”. Or something from a Piranesi nightmare. Peopled by liveried, anonymous workers in construction crew safety helmets, like soldiers visible in the early morning hours, doing their morning exercises. Not allowed to communicate with non-employees. In China, a surviving echo of Maoist Uniformity or silent Collectivity, only now in red, not blue. Though most are still fueled by coal, the ones we remember best are the nuclear stations that have run amok: Three Mile Island, Chernobyl, and of course Fukushima, creatures of modernity so large that they literally “carry” whole cities or even national regions on their backs.

Mao Dun (Shen Bingyan) says it all when he summarizes the alien self-advertised symbols of “the city” (Shanghai): “Light: Heat! Power!” 向西望,叫人猛一惊的,是高高地装在一所洋房顶上而且异常庞大的霓虹电管广告,射出火一样的赤光和青燐似的绿焰:Light,Heat,Power!Note that they are not rendered in Chinese, for China was not then yet a growth-machine whose national stature was/could be measured by annual gains in the supply of electricity and town gas.

But these creatures are also ominous in their non-nuclear variant, particularly in the “developing” world where they defy health and pollution restraints with the blessing of the growth-obsessed Authorities. And not just by the toxins that spew from their signature smokestacks, but in what they do to the local geology as moonscapes are carved out of the surrounding prairies to keep them fed with cheap coal, draining the water table and driving back the barriers that keep desert and drought at bay. (Strangely, “carbon” emissions are always a going topic, nothing concealed, but that perhaps is because they are invisible, truly global, and nearly impossible to reduce).

The Corporatist Priority in Planning for Power – and Its post-2011 challenge

Until the very end of the previous decade, the retail urban end-consumer did not figure in the calculus of “public” satisfaction with either availability or cost of everyday electric power and centrally supplied heat. Even as updates rolled out on production and over-all consumption, while most provinces, in a doggedly Mao-ist-populist mode, continued to post figures indicating the amount of power supplied/used by the “rural” (village) sector, no data column was inserted for specifically URBAN household use, not to mention average price. (There is SOME excuse for this: “retail” consumption was and is funneled through a government end-distributor, attached to each major “condominium”). Even though rolling power outages and brownouts reached infuriating levels in 2006, a “third party” (NGO) interest did not develop to challenge the government’s mismanagement. Characteristically, there WAS a snap-of-the-fingers “solution”, which keyed to the loosening of regulations on “backyard”, cottage industry power plants, these days dismissed from the CEC stats if they have .006 MW or less of capacity (at last count, not a few provinces had as many as 300 of them). Which may have ameliorated the crisis quickly, but, like Lenin’s NEP, left a legacy of sloppy and low-efficiency collectives on the ground, which the central machine is still patiently dismantling.

It was (likewise) this corporatist orientation, favoring industrial users and esp. heavy industry, that gave rise to the “[Inner] Mongolian Syndrome”: building oversized coal fired plants at mineside to take advantage of the stripmining boom that was encouraged by the invasion of US megaminers, notably Peabody Energy (see “Magamines” post, above….). The result was an unsustainable “big dig” in that unhappy, still largely pastoral “province” (qua frontier): something close to 41 coal-fired plants went online with 1980s era technology (c/e <=33%, or about 370 kg sce/kwH) with (2008) 267 “suppliers” before rein-in began, and 41 coal-fired plants of average 1,240 MW size, very much under the 2,000-5,000 MW scale necessary for SC and USC power generation. In so anarchic a situation, while nominal coal extraction boomed to 1 billion MT/yr in 2011, low quality doomed this treasure to be frittered away in off-grid local power matrices, highlighted by the very odd low voltage “wire” strung between Togtoh and the Capital that was meant (but will not…?) to supply 1/3 of Beijing’s woefully inadequate base load, no doubt at prices that make the sale(s) unprofitable. (An even odder off-grid arrangement, for example, connects Bayanhur? sp) in central “E Inner Mongolia” with the now underpowered “old core” of Liaoning, the rather fancy footwork having been executed by one of probably many goldbrickers at last forced to flee or abandon what’s left of the once fabulously productive Fushun mining pockets, also open pit but now too deep to scavenge). And the oddest of all: Datang and its sister power holding companies aren’t doing much investing either in upgraded mining or in more efficient (meaning higher-tech) plant. So we are confronting not just a corporatist model of priorities, but one that battens on the lower political status of the only semi-Sinitic mixed Mongol/Manchu and Korean population that dominates the eastern 2/3 or so of the “self-government” AR, or Mengdong. (In an even uglier variant of the same profile, the central and “western” extension of that same “province” has become a free-wandering zone for all of the CTL and CTG gasification technologies, most wrenchingly for SNG, which has proved such a boondoggle that even Datang, its earliest and grandest promoter, has been making every effort to sell out its SNG stake….).

Fig. 1 The Control Station of the Toktogh Megaplant, China’s Largest (4,800 MW) and soon to be larger still..
1155736254390906780Toktog Coltrol Cdenetr and plant 1

Fig. 2 The 8 Togtogh Turbine Plants, end-day View (outskirts of Hehhot/Ordos Municipality, Inner Mongolia
1291125718188731615Toktog Megalith

Fig. 3 Satellite Image of the Turbine Array, Nearly 1 km long….
Togtoh Station saltellitye