Megan Shank is an editor, writer and translator living in New York City.
June 26th, 2007

WRITTEN FOR NEWSWEEK SELECT JUNE PERISCOPE

Periscope
Bringing Design to China’s Blingtown

Shanghai is no stranger to name brands, but the people behind the trademark 13-year-old London design show 100% Design say China’s blingtown hasn’t yet completely grasped the difference between luxury and layout. “Not all things that are expensive are design and not all things that are designed are expensive,” says Andrew Yang, a consultant for 100% Design. “Take Ikea, for example–we see things can be cheap and simple and well designed. This is part of a whole movement that makes design for everyone.”

An inaugural 100% Design Shanghai show June 15 and 16 at 5 on the Bund’s Design Annex and the gallery space at the Kengo Kuma-designed Z58 aspires to show rather than tell what design is with a showcase of furniture and household objects by contemporary brands such as U.K.’s Dloblok, France’s Biet et Bien and the Dutch Moooi. This makes Shanghai the third 100% Design city after London and Tokyo.

Organizers define this year’s debut as a more design-driven, less commercially driven show. “They’re not coming to move couches,” Yang says. “These companies are interested in finding a new and discerning audience for their products.”

That audience is anyone who loves and appreciates design. “There is a generation of Chinese cognizant and interested in design. They see it as part of the cultural moment, and they’re realizing they don’t want furniture that could be in their mother’s house,” Yang says. Junking mom’s furniture? Now that’s a luxury.

By Megan Shank


May 25th, 2007

THIS WAS A PIECE I EDITED IN CHINESE FOR NEWSWEEK SELECT’S MAY 2007 ISSUE. I TRANSLATED IT AFTERWARD, AND IT WORKS OK IN ENGLISH TOO. I THINK IT’S ABSOLUTELY FASCINATING.

Periscope
A Fairy Tale for 1,001 People

By Shi Yun (Beijing)

Beijing Artist Ai Weiwei’s art studio walls are tightly plastered with 20 sheets of paper; a list of names covers each sheet. One such name is Li Baoyuan’s, a farmer from Xinlian, a village in an impoverished region of Gansu province. During his 41 years, Li has never taken a trip. “But now,” says Ai Weiwei, pointing at Li’s electronic application questionnaire on his computer screen, “he has already been notified he can prepare his visa, and accompany the 1,000 other people I selected to go on a free trip to Kassel, a small city in central Germany.”

This isn’t some grand-scale travel opportunity; rather, it’s an artistic creation of Ai Weiwei’s called “Fairy Tales.” The 1,001 individuals selected are all core components of this piece of art, and will thus be on hand in Germany this June at the 12th convening of the Documenta Kassel exhibition.

Ai Weiwei announced on his blog on February 26 he would pay for travel expenditures to Kassel, and within three days the total of registered people exceeded his target. On March 7th, he had no option but to declare the registration period closed. The final list included all manner of people, including workers, farmers, students, authors, artists and other professionals — even a small-town Dong minority person who didn’t have a formal name. Like Li Baoyuan, they had filled in the 99 questions on the application questionnaire, including one about their dreams. “The origin of ‘Fairy Tale’,” explains Ai Weiwei, “is that I hoped to find a way to bring China’s current social condition to Kassel and thus allow Westerners to view a sample of modern China society.”

The 1,001, whose visas have already been approved, will be divided into five groups that, from June 12, will leave in succession for Kassel. Each group will remain there on average for eight days. During just over one month’s time, quite a few Asian faces appear in Kassel, a city with 250,000 residents. “We don’t know how the locals will react to this sudden ‘Eastern Wave,” but we’re interested to find out. And the city government is being very supportive,” notes Ai.

Upon arrival, each group will take up lodging in a large rented factory building. Men and women will be separated on two floors. Having such a “concentration camp style” living arrangement on German soil sounds a bit disturbing and has led to quite a bit of conjecture, including that it is designed to facilitate Western objectification and naked performance art. Ai Weiwei says this is sheer nonsense. The arrangement was simply made to save money and simplify organization.

This artistic creation that fulfills the childhood dreams of 1,001 people, Ai Weiwei says, has a budget of three million Euros (about 30 million RMB). Fortunately, he has already received full commitment of support for all costs from Switzerland’s Leister and Erlenmeyer Foundations.

“Except for ensuring they stay in Kassel while abroad and return together with the group, I am not going to make them do anything at all,” says Ai Weiwei. “If they’re not willing, they don’t even need to appear at the exhibition site.” He notes that “Fairy Tales” will include some written materials, some photos, and a documentary that records the entire event. He doesn’t believe this is an instance of performance art, but rather a case of “art as field study.”

To some, this piece of art may seem more like a group tour. However, for Li Baoyuan and others who are at long last embarking on a voyage, a free trip to Kassel is like a dreamy story from the “1,001 Nights,” a fairy tale that has become reality.

一千零一人的童话
撰文/石赟(北京)

在艾未未工作室的墙上,密密麻麻地贴着20张印满名字的名单,其中一个是来自甘肃省贫困地区新联村的农民李保元。他在过去41年的生命中,还从未去过任何一次旅行。艾未未指着电脑上李保元的电子版答卷说:“但他已被通知可以准备签证,跟我们选出来的另外1,000个人,免费去德国中部小城卡塞尔参观。”

这并不是一次什么大型的免费旅游活动,而是艾未未一项名为《童话》的艺术创作,被选出来的1001个人都是他作品中的基本组成元素,并将出现在今年6月举行的德国第12届卡塞尔文献展之上。

从艾未未在2月26日的个人博客上发布了这个免费之旅的消息后,仅3天报名人数就已超出限额。3月7日,他不得不声明报名截止。最终公布的名单中包括工人、农民、学生、作家、艺术家和自由职业者等各种身份,甚至还有侗族村寨中连姓名都没有的少数民族。他们都如李保元一样,如实答完了候选问卷上的99个问题,包括他们的梦想。艾未未表示:“《童话》的创作初衷就是希望将中国的社会现状带到卡塞尔去,西方人将会看到一个中国当代的社会样本。”

签证通过的1001个人将分成五批,从6月12日开始先后前往卡塞尔,每批人的逗留时间均是8天。意味着,那座常住人口仅25万的卡塞尔小城将在那一个多月里涌现许多黄皮肤的脸孔。“我不知道当地人对突然出现的大批‘东方元素’会如何反应,我们有兴趣知道,且当地政府也非常支持。”艾未未说。

有趣的是,每批抵达的人将会入住一间事先租用的大厂房,上下两层男女分开。这种在德国境内采用集中营式的住宿安排,听上去有些恐怖,因此最近引来不少猜测,包括方便西方人参观这个“作品”和把它变成卡塞尔文献展上的一次裸体的行为艺术。艾未未表示这完全是无稽之谈,如此安排只是资金所限和便于管理而已。他指出这个为1001个人完成一个童话般梦想的创作费用预算要300万欧元以上(约人民币3,000万元),幸好他已得到瑞士的李斯特基金会和厄伦美尔基金会同意无偿承担所有的支出。

艾未未说:“除了不得擅自离开卡塞尔城并必须随队归国之外,我不会强迫他们做任何事。如果他们不愿意,甚至不用出现在展览现场。”他说《童话》最终会包括一些文字、图片和一部记录全程的纪录片。他认为这不是一项行为艺术,而更像是一次“艺术的社会实践”。
不管这作品在他人眼中是否更像是一次团队旅游,对李保元和其他最终能够成行的参与者来说,免费的卡塞尔之行,就像是一次把《1001夜》里的一个天方夜谭故事,如童话般变成了事实。


May 19th, 2007

FOR NEWSWEEK SELECT’S MAY ISSUE. I HAD TO PURSUE WANG SHUO FOR ABOUT A MONTH. I INTERVIEWED HIM IN CHINESE, BUT I TRANSLATED THE Q&A.

Q&A
Wang Shuo

The notorious punk lit writer Wang Shuo won’t let you call him an author any more than he’ll allow you to label him an addict. In a rare interview, he tells Newsweek Select’s Megan Shank how he feels about everyone else.

It’s been seven years since your last book. It took you a long time to write this one.
Actually, it only took two or three months to write it. I’m a drug abuser. I sleep when I want to sleep. When I had nothing to do, I wrote. I didn’t do it in any one block of time.

Where did inspiration for the title come from? (Ed. note: The title’s English translation is “My Millenium,” but the Chinese translation of the title is actually, “My Cold Millenium”)
The book has a sentence “autumn rain brings the cold of a thousand autumns.” Coldness–people are frigid. This bitter, desperate nation of ours, this cruel and ruthless society, cold indifference, lack of compassion — these are the impressions I’ve received in my life.

Do you seek to inspire or sympathize with your readers?
It’s (writing) purely for my psychological comfort. I don’t know who the readers are, and I’m not interested in them.

Currently, many readers enjoy viewing material, such as yours, that criticizes and ridicules. Is this good for society?
I don’t give a damn. I want to say something, I’ll say it. I don’t care how you feel after you hear it. There are all these people doing ugly business, and they’re afraid of what I have to say? In China, to really achieve happiness, you must forget about this idea of “face.” (Ed. note: “Face” in Chinese society is equivalent to a person’s pride and respect. It is a very important aspect of the culture.) Face will crush and kill you. I discovered living without it gives my life the greatest efficiency at the lowest cost. My life goal is to embarrass those sons of bitches who live comfortably. I want them to know that people will call them out as the bastards they are.

Do you avoid sensitive literary topics?

This is all forced business. In literature, you want to write something, you write it–what could be sensitive about it–you write what you know. Don’t try to force understanding out of something you don’t understand.

Last month, we interviewed the Booker Prize Winner Kiran Desai. She said the Chinese voice hasn’t reached the international stage.
She’s a foreigner, right? We’re not writing for her. What the hell is she doing analyzing us? Readers have no right to make any demands of authors. They can only persuade the coarsest of writers to work for them, for their pleasure. Sorry, but that’s not me. Her (Desai’s) view of Chinese literature has nothing to do with me. I can only say you have no knowledge, you don’t understand, your interests have nothing to do with mine.

How do you view the Nobel Prize for Literature?
I look at the Nobel Prize as 1.2 million U.S. dollars, or as 10 million RMB. I think a lot of poor Chinese need this money. If they gave it (the Nobel) to me, I’d rush for the money. Don’t give me a non-monetary award though. Like someone is promoting me — who else needs to recognize me? The Nobel Prize is like American Most Favored Nation Status – it’s all the same kind of thing. Gao Xingjian won, but it was like no one even heard about it. You tell me what it (the Nobel) is worth. China has some particular idiots who say I’m the 40th most important linguist in the Chinese language. I say, go to hell, who are you to decide? Give me number one. You think I need your bootlicking? These stingy literati.

What about your next book?
I want to write the unofficial history of the People’s Republic of China. I want to take all the people and experiences that I’ve encountered and all the people and experiences that I’ve heard of others encountering and write it all out. Whatever I heard and whoever told me, it was the truth. For anything I didn’t hear, I’ll write a popular ballad. You tell me something, you explain something, I’ll put it all in the book. This is an entirely novel method that transcends the traditional boundaries of literary composition – everyone contributes to writing this history.

In addition, I won’t print my books anymore. It will all be done electronically. Whoever needs a paper copy, I’ll print one for them. No one in the world has yet done this. I’ll be the first to warn you: The information age has arrived. Print media is dying.

Anything else you’d like to share with your readers?

I don’t have anything to say to the readers. I don’t need anything from them.


Q&A
王朔


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April 28th, 2007

THIS IS A TRANSLATION I DID OF APRIL’S LAST WORD WITH DIRECTOR WANG QUAN’AN. AFTER MAY’S ISSUE IS OUT FOR A FEW WEEKS, I WILL PUT UP MY LAST WORD INTERVIEW WITH AUTHOR WANG SHUO. FORTUNATELY, WANG QUAN’AN IS A TAD MORE CONSTRUCTIVE THAN WANG SHUO, THOUGH BOTH MEN FASCINATE ME.

好电影要有力量
Good Movies Need Strength

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On Chinese New Year’s Day, Chinese director Wang Quan’an’s “Tuya’s Wedding” won the Berlin Film Festival’s Golden Bear. Wang’s films focus on contemporary Chinese society and use a reportage style to survey current sentiment. Winning the award fulfills a portion of his quest to achieve audience recognition. At a coffeehouse close to his workplace, Wang joins Newsweek Select’s Zhou Min to speak about story concepts, character creation and his next goal. Excerpts:

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Zhou Min: How do you determine the stories you want to film?

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Wang Quan’an: I follow stories about people who depict a way of life. In China, there are too few of this type of film. If within a scene, within a detail, there is a complex sentiment, I want to build on that to create a film. Films can’t be real because as soon as you take up the story it’s already been filtered. A film’s “trueness” is the reality of its feeling. To shoot films, you must respect the image’s narrative custom and characteristics. You can’t overlook it or you won’t have any chance of really viewing it.

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What aspects do you focus on when filming?

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The core of a film is the character’s image. We remember a good movie because we remember its characters. I really like the scene in the Godfather when Michael grabs the pistol from the toilet tank and goes out of the washroom to murder everyone. This is really a classic scene ““ the character so splendidly enters the scene and his growth is instant via that incisive performance. When I’m filming, my characters always come first. I don’t want anything distracting to get in the line of my actor’s vision. I used to study acting, and many people think that due to this fact I can lead the characters in their acting, but it’s actually also due to an aesthetic appreciation.

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Your movies are all told from a female point of view. Is there any particular significance behind this?

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I consider it relatively easy to nail down the female essence. Their societal role and position is more unified than those of men, and men have comparatively more complex social roles. Men’s words and actions often don’t directly reflect their thinking. To use a woman protagonist saves enough time and space to penetrate the main idea. My next film “Textile Worker Woman (no official English title yet)” also takes on a woman’s subject matter. Actually, I’ve written some men’s stories as well, including a story about how a middle-aged man can find the love of his dreams. I hope I have the opportunity to film it.

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Was winning an award always your objective? Have you ever thought about winning an Oscar?

欧洲追求艺术公平的电影奖对中国电影帮助巨大,其实从中国第五代导演(指崛起自1980å¹´ä»£çš„å¯¼æ¼”ç¾¤ï¼‰å¼€å§‹ï¼Œæˆ‘ä»¬å°±ä¸€ç›´åœ¨éµå¾ªè¿™ç§æ¨¡å¼ã€‚æ‹¿å¥¥æ–¯å¡æ˜¯ä¸­å›½æœ‰å¿—å‘å¯¼æ¼”çš„æ¢¦æƒ³ã€‚ä¸è¿‡ï¼Œå½“æˆ‘åœ¨å›½é™…ä¸Šèµ°åŠ¨äº†ä¸¤å¹´ï¼Œå½“æˆ‘çœ‹åˆ°ç”µå½±èŠ‚è¿ä½œçš„ç—•è¿¹è¶Šæ¥è¶Šé‡æ—¶å€™ï¼Œæˆ‘è‡ªå·±å¯¹è¿™ä»¶äº‹æƒ…å¤ªç¢ç£¨çš„æ—¶å€™ï¼Œæˆ‘å°±æœ‰ç‚¹åŽŒå€¦ï¼Œæ¸…æ™°ä¹‹åŽå°±æœ‰ç‚¹çƒ¦äº†ã€‚äº‹å®žä¸Šï¼Œæˆ‘çŽ°åœ¨æœ‰ç‚¹æŒ£è„±ï¼Œä½†æ˜¯æ„å‘³ç€å¤±åŽ»è¿™ä¸ªå¸‚åœºã€‚è¿™é‡Œé¢å……æ»¡äº‰å¤ºã€è¯±æƒ‘ã€é™åˆ¶ï¼Œæ‰€ä»¥æˆ‘æ‹çš„å¾ˆæ…¢ï¼Œæˆ‘åœ¨äº†è§£ä¸ºä»€ä¹ˆä¼šè¿™æ ·ã€‚

To Chinese film, European Awards that allow the pursuit of artistic equality have been a tremendous help. We have followed this pattern since the fifth generation of Chinese directors (the group of directors who rose in the 80s). It’s Chinese directors’ collective dream to win an Oscar. However, during my two years of moving around in the world of international cinema, when I see the vestiges of these film festival operations becoming increasingly obvious, I feel dreary when I mull on it and aggravated when I see it clearly. In reality, I’ve already sort of put off the idea, but this means I would lose out on that market. That industry is so full of competition, enticement and limitation. Because I get so caught up pondering all of it and trying to understand the why of it, I end up shooting all of my films really slowly.

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Would you shoot a commercial film?

æˆ‘æ‹çš„æ˜¯æ–‡åŒ–è¡¨è¿°çš„è‰ºæœ¯ç”µå½±ã€‚å•†ä¸šç”µå½±è®²è¿°æ•…äº‹çš„æŠ€å·§æ˜¯ä¸ä¸€æ ·çš„ï¼Œéœ€è¦ä¸åŒçš„ä¸“ä¸šçš„è®­ç»ƒå’ŒçŸ¥è¯†ã€‚äº‹å®žä¸Šï¼Œå•†ä¸šç‰‡çš„è¦æ±‚æ‰åŽä¸€ç‚¹ä¸æ¯”è‰ºæœ¯ç‰‡å°‘ã€‚å¨±ä¹æ˜¯ç”µå½±çš„æœ¬è´¨ï¼Œæ–‡åŒ–å’Œè‰ºæœ¯æ˜¯å¨±ä¹çš„æœ€é«˜è¡¨çŽ°å½¢å¼ã€‚äº‹å®žä¸Šï¼Œå½“æ—¶ä¸­å›½å•†ä¸šç‰‡å…´èµ·çš„æ—¶å€™ï¼Œä¸­å›½æ²¡æœ‰ä¸“é—¨å­¦ä¹ æ‹å•†ä¸šç‰‡çš„å¯¼æ¼”ã€‚ä¸€æ–¹é¢å¸‚åœºå½¢æˆäº†ï¼Œè€Œå¦ä¸€æ–¹é¢äººæ‰å’Œå¿ƒæ™ºçš„åŸ¹æ¤è¿˜éœ€è¦æ—¶é—´ã€‚æˆ‘ä»¬å¾ˆéš¾èƒŒç¦»è‡ªå·±çš„æ•™è‚²å’ŒçŽ¯å¢ƒï¼Œæˆ‘çš„ä»·å€¼å–å‘ä¸æ˜¯å•†ä¸šï¼Œæ²¡æœ‰å—è¿‡å•†ä¸šç‰‡çš„æ•™è‚²ï¼Œæˆ‘ä¹Ÿæ‹ä¸å¥½ã€‚

I make art films that represent culture. The narrative ability of commercial films is not the same. The two require dissimilar knowledge and practices to create. To make a commercial film requires no less literary and artistic talent than it does to make an art film. The essence of film is entertainment. Art and culture are the highest form of entertainment’s expression. Actually, when China first started raising interest in commercial film, there were no expert directors who had studied it. The market was forming, and talent and the cultivation of talent required time. It’s difficult for people to depart from their background and education. My worth is not in shooting commercial film. I wouldn’t be able to do it well.

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What can you do to further develop Chinese art films?

中国目前的电影环境确实很躁动,也很有活动,滋生生机的时候到了,我们不能躺在那里昏昏欲睡。我想最终要的任务就是把电影拍得真的很吸引人,拍有生命力的电影。我欣赏黑泽明和克博拉。他们是对电影真正的热爱。电影是很”现世”çš„ï¼Œæœ‰çš„å¯¼æ¼”è§‰å¾—å½±ç‰‡æ‚²æ‚¯äº†è¾¹ç¼˜çš„äººã€åº•å±‚çš„äººï¼Œä½†è¿™äº›äººä¸å–œæ¬¢çœ‹çš„æ—¶å€™ï¼Œä»–åˆæ˜¾ç¤ºå‡ºéžå¸¸å‚²æ…¢ï¼Œè¿™ä¸€ä¸‹å°±èƒ½æ£€éªŒå‡ºä»–å½“åˆæ‹ç”µå½±çš„åŠ¨æœºï¼Œæ˜¯æƒ³ä¸ºè‡ªå·±èŽ·å¾—äº›ä»€ä¹ˆã€‚å…¶å®žä¸€å›žåˆ°ç”µå½±æœ¬èº«ï¼Œäº‹æƒ…å°±ç®€å•äº†ï¼Œå°±æ˜¯åšå¥½ç”µå½±ï¼Œä½†è¿™æ˜¯æœ€éš¾å¾—çš„ã€‚è‰ºæœ¯æ€§ï¼Œæ€æƒ³æ€§é™„ç€ç€çš„ç”µå½±æ‰çœŸæ­£æœ‰ä»·å€¼ã€‚æˆ‘ä»¬çš„ä»·å€¼è§‚æ˜¯å®žç”¨çš„ä»·å€¼è§‚ï¼Œé—®é¢˜æ˜¯åœ¨è‰ºæœ¯ä¸Šæˆ‘ä»¬ä¸èƒ½è¿™æ ·ï¼Œè‰ºæœ¯æ˜¯ä»˜å‡ºå¤šå°‘ï¼Œå¾—åˆ°å¤šå°‘ã€‚å¿…é¡»åœ¨ç”µå½±ä¸­å»ºç«‹åŠ›é‡ã€‚

Currently, the Chinese film environment is quite impetuous, but it’s also full of life and vitality, so we shouldn’t nap through it. I think the most important task is to film in a way that attracts people, to film with vigor. I appreciate Akira Kurosawa and Francis Ford Coppola. They passionately love film. Their movies are deeply oriented in the present world. Some directors don’t feel that anyone will have any interest in topics that explore people on the edge of grief or people from the lower classes, but it demonstrates the arrogance of these directors. Examining the director’s feelings towards these topics, we can understand the director’s motive”“what did he or she wish to accomplish for him or herself? Actually, if we just return to the idea of film, the situation can be simplified: make a good film. But this is most difficult””only movies that adhere to art and philosophy are valuable. Our perspective on value is a practical one, but the problem is that, in regards to art, we shouldn’t think this way. With art, what you put into it is what you take away. You must expend real strength to create a film.

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What audiences do you hope will appreciate your film?

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After I finished my first movie, my mother unequivocally expressed she didn’t like it. At that time, I was quite happy. I thought if she didn’t like it, I had done it right. Art films weren’t for common people. While I filmed my picture, I dismissed the common person. To render such people unable to understand my film, then, was an honor. But as my age and understanding matured, I slowly came to understand that in the end the movie still goes to the theater for inspection. To be a director and completely deny the audience is to commit a commonsensical error. I hope as many people as possible can see my movies and derive pleasure from them. My biggest goal for Tuya’s Wedding is for it to be accepted and played at the theaters. The greatest directors are like great lovers. They let the audiences take the initiative to like what the director is offering — these movies. If the audiences don’t like it, it’s because the director didn’t make a good movie. A director can’t bitch at the audience for it. If the audience didn’t like it, there’s only one solution — shoot a better movie next time. Make the film with as much power as possible.

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In addition to making movies, what else do you enjoy?

如果有空,我喜欢到陌生的地方走走,待个二三天。北京路上的马车提醒我其实还有另外的时空,它并不遥远,只有20%çš„äººè¿‡ç€å¤„å¤„éƒ½æ˜¯å’–å•¡åº—ã€å•†åº—çš„ç”Ÿæ´»ã€‚åœ¨é™Œç”Ÿçš„åœ°æ–¹ï¼Œæˆ‘å°±åƒä¸€ä¸ªéšå½¢äººä¸€æ ·å…³æ³¨ç€80%的人最真实的生活。我的电影故事发生的场景从城市到从农村,再到少数民族,我喜欢到远的地方观察描述真实的生活。

If I have free time, I like to travel to a place new and unknown to me and stay for two to three days and go for long walks. In Beijing, the horse-drawn carriages remind me of another space and time, but it’s not really distant. Only 20 percent of Chinese people live their lives like this surrounded by coffee shops and shopping malls. In remote places where I am a stranger, I am just another invisible member of that other 80 percent of the countryside population. My movies happen from the city to the countryside, from the countryside to minority populations. I like going to faraway remote places to observe those realities.


March 9th, 2007

Newsweek Select, March 2007
These little translations are fun to do. The process with them is that I find the writer, we choose the city, I work with the writer on the copy and edit the Chinese for ideas and structure and then I translate the piece into English.

4 Hours In

西双版纳地处彩云之南,它就连名字都充满少数民族的神秘色彩。
Situated in the southern region of colorful clouds, even Xishuangbanna’s name conjures up a mystical ethnic feel.

VISIT

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The plants at the Tropical Botanical Garden are the stuff of storybook legend. Try seating your child upon a giant lotus flower.

EAT
在傣家风味城村, å†œæˆ·éƒ½åœ¨è‡ªå®¶çš„ç«¹æ¥¼é‡Œæ‹›å¾…å®¢äººï¼Œé…¸é…¸è¾£è¾£çš„å£æ„Ÿé…ä¸Šå†°é•‡å•¤é…’ä¼šè®©ä½ çˆ½åˆ°éª¨å¤´é‡Œã€‚
In Dai minority villages, country folk receive guests in their bamboo homes with hot and sour dishes complemented by ice-cold beer that cools you to the quick.

PLAY
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No matter what the season, you can always experience the joy of the traditional water festival at the Olive Dam Dai minority village. Don’t forget to bring your water gun.

WATCH
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Climb an ancient tree in wild elephant valley for a peaceful view. If you’re lucky, you can catch a glimpse of an elephant herd at the spring-fed waterhole.

—相德宝
–Xiang De Bao


March 9th, 2007

Newsweek Select, March 2007
This is an excerpt of some of the translation I did last month. This piece was originally written in the States’ version of the magazine. About 60 percent of our articles are done this way while the other 40 percent is local content. We supplement the articles from other international editions with Chinese examples and statistics. I won’t reprint the entire article here. Just some excerpts:

住在上海市的佳佳走入公共卫生间,把虚掩着的门依次打开,看着所有的门都整齐地靠在墙板后,才放心走开去做别的事情。上课时,教室的门原本是关着的,佳佳看到之后,旁若无人地走过去把门打开,同样地把门推靠在墙壁上,之后才回到自己的座位上坐好。像这样的小“习惯”还有很多,他经常会把桌子上的书本、杯子等东西按照他喜欢的顺序收拾整齐,平日还喜欢捡小垃圾。佳佳总是做些孩子事,如果他只是个孩子,那么他的行为就没什么不正常。但这个“孩子”今年已经 27 岁了。医生把这样的行为叫做“刻板行为”,是自闭症典型的行为表现。
Jiajia, from Shanghai, enters the bathroom and opens all the unlatched doors to line up against each stall’s wall. Only after inspecting his work does he relax and move on. In class, after Jiajia realizes the door is closed, he unselfconsciously walks over to open it, and, as with the bathroom doors, makes sure it lines up against the wall. Afterwards, he returns to his seat. Jiajia has many “habits” such as these. He often orders the books and cup on his desk in a tidy order of his liking, and he enjoys collecting small bits of garbage. If Jiajia were a child, his behavior wouldn’t be unusual. But this “child” is already 27 years old. Doctors call this “inflexible” behavior.
………………….
佳佳 1980 年出生,但直到 1990 年才被确诊为“自闭症”,1996 年,他由特殊学校毕业,是中国最早一批被鉴定为自闭症的孩子之一。那个时候,“自闭症”这个词才刚刚传入中国,国内没有这方面的专业知识,更不可能有专业的康复机构。就这样,这批孩子虽然被确诊了,却没有机会在最佳康复年龄得到适当的治疗。
Jiajia was born in 1980, but he wasn’t diagnosed as being autistic until 1990. Among the first recognized autistic children in China, he graduated from a special school in 1996. At the time, the word “autistic” had just entered China and there were no specialized knowledge much less specialized recovery treatments available. Although the children had been diagnosed at the age when treatment is most effectively administered, there were no opportunity to do so.
………………
而据新华网报道,在中国,自闭症患儿约有 50 万,患病率达到万分之五,并有上升趋势。
According to a Xinhua Online report, 500,000 people suffer from autism in China. That’s one out of every 10,000 people, and there are indications the numbers are growing.
……………..
让自闭症患者独立生活,是许多家庭的主要目标。在美国,数以千计的青少年经过治疗后,如今正进入大学,期待着过上有工作的正常生活。可是,其余更多的年轻人虽然已经取得很大进步,但仍要面对很多不确定性,就像佳佳一样。在北京的利智康复中心内,佳佳和其他患者每天要接受康复训练。训练分为沟通课、运动课和音乐课三个部分。沟通是导师以一问一答的方式和患者聊每天的生活,告诉他们对与错,以及生活上的一些问题该怎么处理;运动就是进行一些球类运动,目的是为了训练他们的注意力;音乐就是学唱歌,唱一些大家喜欢的歌曲,这有助稳定他们的情绪。另外,还会教他们叠被子、穿衣服,以提高他们的自理能力。
The goal of many families with autistic children is to allow them independent lives. In the United States, after being treated, thousands of young people enter university with the expectation that someday they will attain employment and lead normal lives. But most autistics, even with the great progress they have made, face an immense amount of uncertainty–as Jiajia does. Every day at the Beijing Favorable Wisdom Recovery Center, Jiajia and other autistics must work through recovery drills. Recovery drills are divided into three parts: communication class, physical education class and music class. In communication class the tutor leads a discussion where questions about daily life must immediately be answered by the students. The tutor will tell them what is right or wrong and ask them how to handle various life problems. Physical education class, which aims to improve the students’ability to pay attention, involves exercise with balls. Music class teaches the students how to sing popular songs, which stabilizes their emotions. Additionally, the center teaches the students how to fold quilts and dress themselves, among other independent skills.
…………………..
在提到佳佳未来的生活问题时,该康复中心的肖老师说:“目前,国内没有针对大龄自闭症孩子的专业医疗机构,我们也是在摸索着。自闭症孩子缺乏持久力。目前我们做的只是平时给他一些训练,这样能让他的情绪得到稳定。同时,我们让他参与一些他力所能及的事情,给他一个相对支持的自然环境。像佳佳这样的孩子,一辈子也离不开周围人的支持。”当然,家人的支持最为重要。佳佳的爸爸潘先生说:“像佳佳这样的成年人,很多都被送去福利院或者精神病医院,我舍不得。我正计划筹备一个类似非政府组织的机构,让专家人士管理,来帮助他们。对于自闭症的孩子,这是个终生的训练。”目前,他正为他的计划奔波,“如果能够得到企业的帮助,这个机构就有了造血功能,能够正常运行下去。”
When bringing up the question of Jiajia’s future, the recovery center’s Teacher Xiao says, “Currently, there is no professional domestic medical organization directed towards older autistic patients, and it’s something we’re grappling with. Autistic children lack patience. At present, we can only give them some training and hope to stabilize their mood. At the same time, we want to enable them to participate in things they are able to do and give them a relatively supportive, natural environment. Throughout their entire lives, autistic patients like Jiajia must rely on others for support.” Naturally, family support is of the utmost importance. Jiajia’s father Mr. Pan says: ‘A lot of adults like Jiajia are finally sent to welfare homes or mental hospitals, but I couldn’t bear to do that. I am currently planning to create a similar non-governmental organization that brings in experts to manage and take care of these patients. For autistic patients, this is lifelong training.” Currently, Mr. Pan is scurrying to tie up his plan. “If this organization could get the corporate support , then its lifeblood could flow, and we could really bring it to fruition.”


March 9th, 2007

Newsweek Select, March 2007

Whether you’re in Shanghai for business or pleasure, you can settle down in comfort and style at these intimate abodes.

Lapis Casa Boutique Hotel (Taicang Road)

If you like the unique vintage furniture in your room, buy it. All the pieces in your room are for sale.

Ruijin Guest House (Ruijin Er Lu)
After last night’s revelry at neighboring Face bar, the only thing that’s going to pull you from that lavish bed is the scent of the scrumptious breakfast cooking downstairs.

Astor House Hotel (Huangpu Lu)
Don’t freak when you hear the creak of the 137-year-old wooden floors in the night. If you still can’t sleep, check out the antiques in the third-floor museum.

Old House Inn (Huashan Lu)
Within this 1930s-era villa with Ming-style furniture the only thing connecting you with the present is the high-speed Internet.

Hengshan Moller Villa (Shaanxi Nan Lu)
This fairytale castle, complete with towers, was built by a Jewish merchant to spoil his little princess. You might even find a pea under the mattress.

Donghu Hotel (Donghu Lu)
With a private balcony and a pair of queen-sized beds, you’ll have more than enough space to spread out all your newly bought treasures from nearby Huaihai Road.

-Megan Shank


March 9th, 2007

Note: The headline of this story was a replica of the American headline, as was the idea itself, but I completely rewrote and modified the tips and the research for this to run in the Chinese magazine. I’ll post the English version here.

Newsweek Select, March 2007
ENVIRONMENT

Here in China, we’ve already won part of the environmental battle by cultivating good environmental practices such as taking public transportation and bundling up instead of blasting heaters. Other habits can be just as intuitive, even if slightly awkward to initially adopt. Just remember: being environmentally friendly is always fashionable.

1. Use cloth bags
Every time you buy something that is thrown into a plastic bag, you are contributing to the estimated 1 trillion plastic bags annually used worldwide. These bags, called white pollution here in China, clog waterways, clutter trees endanger animals, and take years to decompose. Find colorful sturdy 100% cotton bags at baidu.com or tougher hemp bags at ebay.com.cn to replace plastic bags whenever possible. Likewise, shake your wet umbrella out and put it back in its cloth case instead of wrapping it up with a plastic bag.

2. Clean up, naturally
You would never pour your household cleaning chemicals into a glass and drink them–you know they’re toxic–so why would you pour them down the drain to make their way back into the water supply? Some common household items, such as white vinegar, baking soda, lemon and cucumber, clean as effectively as their expensive toxic counterparts. For some green cleaning tips, go to at www.bkjp.gov.cn.

3. Air your laundry
Resist the temptation to cave in and buy that discounted dryer. Instead, continue to add color and cleanliness to your neighborhood’s skies by hanging your laundry out to dry. It saves money, is better for your clothes and decreases your yearly carbon dioxide emissions.

4. Bring your own chopsticks
Every year in China, an estimated 25 million trees wind up trashed as 45 billion pairs of disposable chopsticks. Can you stomach your food knowing that you’re adding to the devastation? For fashionable, reusable chopsticks connect with joyo.com to discover stainless steel chopsticks for 12RMB. If you must have wood, buy reusable bamboo chopsticks at www.hlcraft.com. A soft pencil case is perfect for storing them.

5. Ride a bike to work.
With official government predictions of as many as 20 million cars by 2020 and no sun in sight in smoggy Beijing, how long can this go on and do you really not want to contribute to it? As cool as it might be to own your own car, using a bike is more environmentally savvy. Even cooler is that you can rent bikes from bikekingdom.com in Beijing or mtb.com.cn in Shanghai and try out the idea of being a cyclist before you buy.

6. Don’t split with the split pants
Disposable diapers clog waterways and pile up in landfills even more than those plastic bags do. And infants who wear disposable diapers are more prone to outbreaks of diaper rash. Find stylish cloth diapers at niaobu.cn to cover your baby’s bum and start his or her new life out as an earth first kid

7. Recycle your gadgets
Hewlett-Packard’s Planet Partners and NGOs such as Dragon Recycling (dragonrecycling.ngo.cn) recycle computers, copy machines and printers. Also check out 2it.com.cn or chinashou.com to resell your old junk. If nothing else, there’s that crier outside your window.

8. Use both sides
Putting text on both sides of the page is the simplest trick to save the trees.
If you buy recycled paper, you score bonus eco-points. Join students in many cities participating in paper recycling programs through organizations such as Roots and Shoots. (rootsandshoots.org).

9. Take shorter showers
If everyone cut 10 minutes from their 20-minute showers, think of the difference it would make to already over-taxed water supplies.

10. Cut the lights.
You’ll save money and the world by flicking off the lights when you leave the house. Additionally, energy saving bulbs use as much as up to 80% less electricity than regular bulbs. Need more tips to light up your life? Visit lightingchina.com.

–Megan Shank


March 9th, 2007

Newsweek Select, March 2007

Successful women leaders from various fields share their experience, encourage independent thinking and remind us that with a little integrity and a lot of faith, true success is within anyone’s reach. It’s about dedication rather than destiny, they say, humble beginnings rather than supernovas. Excerpts:

Han Feng
International Fashion Designer

When I was in university, I watched a movie–the name of which I can’t remember now–but I distinctly remember that it was a story about how basketball players finally succeeded. From this movie, I learned that “success begins with very small matters.” Actually, whether or not one succeeds is not important. The important thing is that from now on, you walk in the direction of success.

After I graduated from university in September 1985, I went to New York. because I wanted to study fashion design there. But because in the beginning my English was not very good, I gave up the idea of learning fashion design and decided to find a job related to fashion. So I started working in a fabric company. My job was to clean the reception area and cut fabric samples for all the designers who came to the company.

From this job, I learned about the weave, color and pattern of fabrics. I also learned how designers look at things and how they think. At that time, I put a lot of effort into doing every little thing the best I could. Other people might look at this as a very ordinary work experience, but it laid a solid foundation for me to become a designer later on. Of course, this experience also brought me into the fashion world.

In the spring of 2005, I began working on the opera “Madame Butterfly” with the famous English director, Anthony Minghella. There was a lot of pressure on us at that time, not only because in October of that year the opera was going to open in the United States and at the English National Opera House in London, but also because Peter Gelb had chosen”Madame Butterfly” to be the first public performance of an opera since he had taken over as the new General Manager of the New York Metropolitan Opera House. This was not only Anthony’s first opera; this was also my first opera.

Anthony only gave me one month to design the costumes, so I immediately flew to Shanghai and went to the Japanese Cultural Center to view the style of Japanese kimonos from 1900 to1910, as well as to study the customs of the time. After I returned to America, I visited the Oscar Award winner for costume design, Tony Walton. In his workroom, he talked about the things he had learned and showed me his sketches. Oh my, they were so beautiful. I was astounded. Every drawing was like our detailed paintings. The colors were extraordinarily lively.

But at the same time, I was in a difficult position because in the United States, colors are very expensive, and I was thinking about how much money would be needed to buy all these pigments. From my face, he could see what I was thinking. He said, “Since you are an artist, you should find your own language. You will be able to find your own way of form of expression. I believe in you!” I was so moved I could not say anything. Right after I left his house, I found my inspiration. That was to cut and paste a lot of pictures from magazines and pictorals. In a short amount of time, I gathered a lot of old magazines, and began creating my Madame Butterfly. All of the creations needed to be finished in London, so everything I did in advance was more meticulous, more clear.

A month went by, and I carried a big suitcase of creative designs to Anthony’s office in London and placed them on the ground, page by page. After Anthony looked at them, his eyes sparkled with delight and excitement. He said he could see every character in our new Madame Butterfly. I do not know how to express how I was feeling at that moment because everything I had done for the past month was for that one single day. The opera was very successful in London, and it won an award. A year later, it was performed in New York. The day the curtains opened, everyone in the team had tears of joy in their eyes. After so many days of hard work, and the blood and sweat of so many people, the perfect designs made this classic Puccini’s Madame Butterfly shine again.

Now, when I look back at the road I have traveled, I congratulate myself on taking every opportunity I did. But all this comes from knowing that great things all begin with small things and from steady work. As a woman, my success comes from confidence and optimism. I think of the best scenario in every situation, and I tell myself I will succeed. My grandmother once told me, a woman’s success is composed of her family and her career. Because I focused on my career too much before, now, with regards to a family, I have failed. But I will not give up on my pursuit of love, and I believe that I will have the perfect life my grandmother once described.

Zhang Lan
Chairwoman of the South Beauty Group

If I were to observe all rules and regulations, I would not be who I am today. I am the kind of person who really enjoys challenges. Moreover, I do not really like to follow the rules when I do things. Most of the time, I don’t keep with tradition. From my era’s point of view, passing up the opportunity to study abroad was regrettable and even crazy. But time has proven my choice to be correct, and I have succeeded. I have my own clearly defined life goals.

To succeed in an undertaking, one has to know how to grab the right opportunity. I was able to grab the opportunity at just the right time. From running my first restaurant to creating the refined Sichuan food chain to the establishment of an artistic high-end club, there is one thing that will never change: I will always be completely engrossed in and devoted to my work.

I think that men have more ambition, so women should have more devotion. If you are completely engrossed in and devoted to doing one thing, your ambition will be even greater. I have been devoted to running my first restaurant well, and now my goal is to make my restaurant a remarkable Chinese brand that will enter the global market, and earn worldwide recognition. If you are completely devoted to doing one thing, refining it, making it professional and thorough, then success will not be far behind.

I think that Chinese people often distort the word “strong woman.” Many people think that a “strong woman” is scary. That to be “strong” is to have lost a woman’s touch. I think if a woman is successful in her career, then she must be a successful person, as well as a successful woman.

I like a casual atmosphere in my company. My employees and I are all working on one enterprise, and there is no distinction between the high and low end of our positions. The only difference is in the roles we play. My role is to serve our employees, and our employees’ role is to serve our customers.

As a woman, there are some basic and fundamental things that cannot be forgotten. One should be a good wife and loving mother, and do not forget the role of a woman. To be a woman, you must take care of your family, be open-minded and accepting. In building and managing a company, it is the same. When it comes to career and family, you must be understanding. You should not demand, but you should give. Some women are aggressive in their careers, and at home they are, too. I think that this indicates failure in a woman.

Success is not measured by how much you are worth. It is instead measured by what kind of person you are. To have a very harmonious team, a group of good friends, a happy family–and to never lose them in the face of your work–I think that this is a true barometer of success.

Liu Hongyan
Demographer, China Population R&D Center

After receiving my doctorate from Peking University in 1996, I began working at the China Population Development and Research Center. My reasons for this were quite simple – I had just graduated, I needed a job, and having been a teacher for five years before beginning my doctoral work, I had no interest in returning to the classroom. Working at a research institute offered something new both in terms of working environment and content. To be honest, I had never thought about doing this sort of work before taking the position, though after a few years I came to realize that the job was actually quite fascinating.

For instance, once I was in Changsha participating in a survey of vagrant children’s living conditions that was being jointly conducted by UNICEF and the Ministry of Civil Affairs. A few local university students were accompanying me when we discovered a young vagrant living under the arch of a bridge. Initially, he thought we had come to challenge his territory and almost crushed our heads in with a brick, but after we explained why we were there and he saw that I was a woman, he slowly let down his guard and talked to us. He even agreed to help us find some other vagrant children the next day so that we could better understand their lives. These kid’s lives were nightmares. Most of them had arms covered with cigarette burns. A lot of them were just numb. One boy gave me a rundown of his thieving exploits, never showing the slightest trace of regret or remorse for what he had done.

My job deals heavily with issues involving family planning, residence registration, and vagrants, so I see a lot of society’s dark side, and sometimes it gets to me. On the bright side, however, I’m in a position to help those less fortunate in our society by informing decision makers and the public about the problems and abuses I find, perhaps someday leading to a world where these horrors don’t exist.

As a woman, I have my own advantages. Most of those engaged in the study of vagrant populations are male, but when coming into contact with vagrants my small stature doesn’t seem very threatening. This makes it easier for me to get close and win their trust.

I’ve always thought that a woman’s success comes from both career and family. Without a good family you won’t have a good life, and without a good life you won’t be able to approach your work with a proper state of mind. Right now I’m very content with my family, and this allows me to approach my never-ending work more effectively. And I’ve always felt that honesty is the cornerstone of communication. If you’re honest with everyone you meet, you’ll achieve things you wouldn’t have dared to imagine.

Zhang Haiyan
Gordon & Associates Managing Partner

My grandfather once said to me, success is like a train that is flying along and just about to reach the station. It arrives quickly, but it also leaves quickly. And those who are not prepared and are still in the hotel sleeping will miss this train. While struggling to establish my career, I think that I’ve always been the kind of person who is already dressed, holding my luggage in my hand and waiting on the train’s platform. So I was always able to find a job that I really liked and continue with it. I was able to board the train to success.

In 1987, I flew to the United States with less than one hundred dollars. In China, I had majored in computer science, and in the United States, my first job had to do with satellite meteorology, but even then, it was very clear to me that I did not want to work in these fields. One day while talking to a customer in a restaurant where I worked to make extra money, I learned about cross-cultural business consulting. But after I began working in the field, I discovered this was a man’s world. When the male executives of companies who were clients looked at me, most of them had reservations.

Right after I entered this industry, a co-worker said to me: “You have three big disadvantages: you’re a woman, a young woman, and a young foreign woman.” But I persisted and succeeded. My clients and co-workers often asked me with surprise, “As a woman, how come you have so much confidence in your work?” It’s because I liked the job and liked acting as a bridge. I was able to make male clients quickly understand what I was capable of — that I could act quicker than my co-workers, was able to learn and understand new things and could provide constructive cases that were positive, clear and innovative. For example, I could talk about American football with a large group of people and identify with them, making them quickly forget their doubts about me being a woman.

For a successful woman, self-confidence and a positive attitude are very important. When I am working, I am full of energy. Energy comes from happiness, and happiness comes from my family.

Li Hong
The International Olympic Committee’s Chief Representative for Beijing 2008

When I was appointed my current position, were skeptical. Not only am I Chinese, representing possibly the most international organization existing today, but, moreover, I am a woman. I grew up in a country in which, according to Chairman Mao, “women shoulder half the sky.” This was a notion I had learned to uphold during my earlier career in the male-dominated world of engineering.

To athletes, participating in the Olympic Games marks the pinnacle of their achievement. A great number of people and organizations provide a wide range of support so that athletes can fulfill their dream of Olympic glory. At the same time, they have to work tirelessly towards their goals and have the confidence that once they are on this world-class stage, they will strive for success and be the best they can be.

Women in leadership positions are no different from athletes at the Olympic Games – the keys to success are support and confidence.

Support from friends is s worthless, however, without confidence in one’s own abilities. Whenever I have encountered opportunities, it was the confidence in myself that helped me to make the most of them. If leaders are made and not born, they are made by the belief that they can achieve any goal they set for themselves.

An athlete needs the belief that they can progress from an amateur to an Olympian, a woman needs the confidence that she can move from the managerial level to a leadership role. A successful athlete is rewarded by marching for his or her country into the stadium during the opening ceremony, a successful woman will move from proving her ability to lead to being invited to lead.

I believe that a truly equal society will be that which supports a woman in any choice she makes at different points in her life, whether it is education, family or career. As a mother of a three-year-old child, leadership to me means steering the world towards a future in which my child can happily grow up.

Gong Haiyan
CEO of LOVE21CN.COM

I believe you must work hard if you want to succeed. After dropping out of high school, I had to struggle to get back in. After testing into Beijing University, I was given a pass into Fudan University. During the second year of my graduate studies, I built a dating web for myself, hoping to find my other half. Eventually it turned out to be one of the most popular matchmaking sites on the web. No matter the job, no matter the circumstance, I always strived to do my best. I think that most of the time fortune depends on determination, which has nothing to do with destiny.

There are many roads to choose from in this life, and the roads are long. Most of us probably don’t choose the right road from the start, but as long as we learn from our mistakes there is room for a comeback. Some of our website members are not able to rebound because of their bad experience with love. In the pursuit of success, a negative attitude towards life is a pitfall.

For women, a sense of responsibility is very important and beneficial to a career. In today’s world, women equally value family and career. As for me, I care about my family more than anything. The condition by which I devote and dedicate myself to my job is that it doesn’t disrupt the harmony of my family. Because I have a family that loves me, I’m willing to work hard.

Joanne Ooi
Creative Director, Shanghai Tang

My entire career has been a crazy ricocheting pinball machine! That’s the nature of living in Hong Kong where the business world is more fluid and forgiving if you have even a little bit of talent. What I mean is that it’s easy to get your foot in the door anywhere, with many people ready to give you a chance. Hitting a home run, though, is an entirely different matter.

I’ve taken advantage of this unusual business environment to challenge myself
continuously, getting myself into hot water, as it were, as a matter of choice, by constantly exposing myself to totally new challenges, even though I could easily rest on my laurels and mine my past experiences and concentrate on a well-defined skill set. I’ve also always repudiated a feminine, flirtatious approach to business. When I was in law school, I remember I was shocked to hear of some who flirted with their interviewers. Most of my life, I’ve been inculcated with the view that only intelligence and merit count.

Consequently, my life is a series of navigations through the unknown. While many might find such situations daunting, they are the spur to a vigorous intellectual and emotional life–one I would characterize as a constant state of overcoming ignorance and difficulty. That said, there have been many times when I have been groping in the dark for the right answer.

When I started my current position as Creative Director at Shanghai Tang five years ago, I had no idea how to create a collection of clothing. I had literally never done it before, despite much experience in clothing wholesale and retail. My first attempts to piece a collection together were almost comic. For example, I thought you chose the color palette for a collection from a Pantone book with only a view to make the pretty chips match up. Only a year later did I learn that the industry fiat determines the color palette with seasonal colors announced by trend reporting services. The palette is a combination of those colors–virtually obligatory–plus the colors of fabrics purveyed by manufacturers–within this same system–aligned with the color stories for that season.

My first collection, therefore, was literally a shot in the dark. And boy did it show! Although the ideas weren’t terrible, the colors were stark and the finishing crude. I underwent a similar process when devising the ad campaign. It was a good match to the clothing: garish and poorly realized! It took me at least two years to figure all this out, as a matter of both determination and on-the-job trial-by-fire self-training and deduction. Unfortunately, there was no one there who could spoon-feed me any of this information!

After this initial, critical period, though, I can say that my knowledge and instincts, now well-honed, in both creating fashion and imagery, are hard-won and based on having made so many mistakes. There is no substitute for making mistakes. If I can pass on one piece of advice, it is this: better to fall flat on your face by figuring it out by yourself than taking the easy route – mimicking and copying the example of others. The former forces you to take risks and test your approach to problems. The latter, being easy, by definition, doesn’t arm you any better for the next challenge. You may have aced that particular assignment, but you don’t have the tools to go forward.

Compiled by Megan Shank, Brandon Zhou (Shanghai), Zhou Min (Beijing)


LESSONS WE HAVE LEARNED

Successful women leaders from various fields share their experience, encourage independent thinking and remind us that with a little integrity and a lot of faith, true success is within anyone’s reach. It’s about dedication rather than destiny, they say, humble beginnings rather than supernovas. Excerpts:

国际时装设计师韩枫

在大学的时候看过一部电影,我已经记不起电影的名字,但清晰地记得它讲述的是篮球运动员如何走向成功的故事。从这部电影我学到了”成功是从小事开始的”。是否成功其实并不重要,重要的是从现在开始朝着成功的方向走。

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通过这份工作,我学到了布料的纺织,染色,印花等知识,也学到了那些设计师看待东西的眼光和思维方式。当时我对自己的要求是尽最大的努力做好工作中的每一件小事。这段别人看来很普通的工作经历,却为我之后成为一个设计师打下了坚实的基础。当然,这段经历也带我进入了服装行业。

2005å¹´çš„æ˜¥èŠ‚ï¼Œæˆ‘å¼€å§‹å’Œè‹±å›½è‘—åå¯¼æ¼”å®‰ä¸œå°¼â€¢æ˜Žæ ¼æ‹‰ï¼ˆAnthony Minghella)一起策划歌剧”蝴蝶夫人”ï¼Œå½“æ—¶æˆ‘ä»¬çš„åŽ‹åŠ›å¾ˆå¤§ï¼Œä¸ä»…å› ä¸ºå½“å¹´10月歌剧就要在美国和伦敦的英国国家歌剧院(English National Opera House) 开幕,而且纽约的大都会歌剧院(The Metropolitan Opera House)新上任的总裁彼得•盖波(Peter Gelb)要把我们的”蝴蝶夫人”作为他上任后公演的第一部歌剧。这不仅是安东尼的第一部歌剧,也是我的第一部。

安东尼只给了我一个月的时间来设计整个舞台服饰,所以我立即飞到上海,到上海的日本文化中心寻找1900年至1910å¹´å…¶é—´æ—¥æœ¬å’Œæœçš„æ¬¾å¼åŠå½“æ—¶çš„é£Žä¿—ä¹ æƒ¯ã€‚å›žåˆ°ç¾Žå›½åŽï¼Œæˆ‘æ‹œè®¿äº†å¥¥æ–¯å¡å¥–å¾—ä¸»èˆžå°æœé¥°è®¾è®¡å¸ˆæ‰˜å°¼â€¢æ²ƒå°”é¡¿ï¼ˆTony Walton)。在他的工作室,老人讲述了他的心得,并给我看了他的手稿,”我的天,太美了”,我惊呆了,每一笔都象我们的工笔画,色彩极其生动。

ä½†åŒæ—¶æˆ‘ä¹Ÿå¾ˆä¸ºéš¾ï¼Œå› ä¸ºåœ¨ç¾Žå›½é¢œæ–™å¾ˆè´µï¼Œæˆ‘å¾—èŠ±å¤šå°‘é’±æ‰èƒ½ä¹°è¿™ä¹ˆå¤šçš„é¢œæ–™å•Šã€‚è€äººä»Žæˆ‘çš„è„¸ä¸Šçœ‹å‡ºäº†æˆ‘çš„å¿ƒäº‹ï¼Œè¯´ï¼š”å¹´è½»äººï¼Œä½ æ—¢ç„¶æ˜¯ä¸€ä¸ªè‰ºæœ¯å®¶ï¼Œå°±åº”å¯»æ‰¾è‡ªå·±çš„è¯­è¨€ï¼Œä½ ä¸€å®šèƒ½æ‰¾åˆ°ä½ è‡ªå·±çš„è¡¨è¾¾æ–¹å¼ï¼Œæˆ‘ç›¸ä¿¡ä½ ï¼”我感动得说不出话来。刚离开他家,我找到了灵感,那就是用很多画报和杂/志的图片来剪贴。我用很短的时间收集了大量的旧杂志,开始了我的蝴蝶夫人的创作。所有的创作最后要在伦敦完成,所以我预先将所有的资料准备得更细致,更一目了然。

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事业成功需要善于抓住机遇,恰恰当时的机遇就被我抓住了。从经营第一家餐厅到培育精品川菜”俏江南”品牌再到今天的充满艺术气息的高档俱乐部”å…°club”,有一点是永远不会变化的,那就是”专注”"专心”。我觉得男人有野心,女人更应该”专心”ã€‚å¦‚æžœä¸“å¿ƒåšä¸€ä»¶äº‹æƒ…ï¼Œé‡Žå¿ƒå°±æ›´å¤§ã€‚æ­£æ˜¯å› ä¸ºä¸“å¿ƒç»è¥å¥½ç¬¬ä¸€å®¶é¤åŽ…ï¼Œå› æ­¤æˆ‘çŽ°åœ¨çš„ç›®æ ‡å°±æ˜¯æŠŠ”俏江南”做成一个真正的中华民族的品牌,打入世界市场,进入世界五百强,被世界所认可。专心做一件事情,把它做精、做专、做透,那么离成功也就不远了。

我觉得中国人很多时候把”女强人”这个词给扭曲了,很多人认为”女强人”æ˜¯å¾ˆå¯æ€•çš„ï¼Œå¤±åŽ»å¥³äººå‘³é“çš„ã€‚æˆ‘è®¤ä¸ºï¼Œä¸€ä¸ªå¥³äººå¦‚æžœäº‹ä¸šæˆåŠŸï¼Œå¥¹ä¸€å®šæ˜¯ä¸ªå¾ˆæˆåŠŸçš„äººï¼Œä¹Ÿæ˜¯ä¸ªæˆåŠŸçš„å¥³äººã€‚åœ¨å…¬å¸é‡Œï¼Œæˆ‘æ¯”è¾ƒå–œæ¬¢å¾ˆéšæ„çš„æ°›å›´ï¼Œæˆ‘å’Œå‘˜å·¥éƒ½æ˜¯åœ¨ç»è¥ä¸€ä¸ªä¼ä¸šï¼Œæ²¡æœ‰ä»€ä¹ˆé«˜ä½Žè´µè´±ä¹‹åˆ†ï¼Œåªæ˜¯æ‰®æ¼”çš„è§’è‰²ä¸åŒã€‚æˆ‘æ‰®æ¼”çš„è§’è‰²å°±æ˜¯æœåŠ¡å¥½æˆ‘çš„å‘˜å·¥ï¼Œæˆ‘ä»¬çš„å‘˜å·¥æœåŠ¡å¥½æˆ‘ä»¬çš„é¡¾å®¢ã€‚åšå¥³äººï¼Œä¸€å®šä¸èƒ½ä¸¢æŽ‰ä¸€äº›æœ€åˆæœ€æ ¹æœ¬çš„ä¸œè¥¿ï¼Œåº”è¯¥åšä¸ª”贤妻良母”ï¼Œä¸è¦å¿˜è®°åšå¥³äººçš„è§’è‰²ã€‚åšå¥³äººè¦æ‰®æ¼”å¥½è‡ªå·±çš„å®¶åº­è§’è‰²ï¼Œè¦å¿ƒèƒ¸å®½å¹¿ã€‚åšä¼ä¸šä¹Ÿæ˜¯ä¸€æ ·ã€‚åœ¨äº‹ä¸šä¸Šå’Œå®¶åº­éƒ½è¦å¾ˆå¤§çš„åŒ…å®¹å¿ƒã€‚ä¸åº”è¯¥ç´¢å–ï¼Œåº”è¯¥ä»˜å‡ºã€‚æœ‰çš„å¥³äººåœ¨äº‹ä¸šä¸Šå¾ˆå¼ºæ‚ï¼Œåœ¨å®¶é‡Œä¹Ÿå¾ˆå¼ºæ‚ï¼Œæˆ‘è®¤ä¸ºé‚£æ˜¯åšå¥³äººçš„å¤±è´¥ã€‚

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我的爷爷曾和我说,成功就像一列快要到站的正在飞驰着的火车,来的快,去的也快,而没有准备仍然还在旅馆里睡觉的人一定会错过列车。在事业奋斗过程中,我想我是一个总是穿好衣服、提着行李已经在站台上等候的人,所以能够找到了自己真正喜欢的工作,并坚持了下来,搭上了成功的火车。

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æˆ‘åˆšå…¥è¡Œæ—¶çš„ä¸€ä½åŒäº‹æ›¾ç»å’Œæˆ‘è¯´è¿‡ï¼Œä½ æœ‰ä¸‰å¤§åŠ£åŠ¿ï¼šå¥³äººã€å¹´è½»å¥³äººå’Œå¤–å›½å¥³äººã€‚ä½†æˆ‘åšæŒä¸‹æ¥äº†ï¼Œå–å¾—äº†æˆåŠŸï¼Œå› ä¸ºæˆ‘å–œæ¬¢è¿™ä»½å·¥ä½œå’Œå……å½“æ¡¥æ¢çš„è§’è‰²ã€‚æˆ‘èƒ½å¤Ÿè®©ç”·æ€§å®¢æˆ·ä»¬å¾ˆå¿«æ˜Žç™½æˆ‘èƒ½æ¯”æˆ‘çš„åŒäº‹ä»¬æ›´èƒ½é‡‡å–ç§¯æžçš„è¡ŒåŠ¨ï¼ŒåŽ»å­¦ä¹ å’Œç†è§£æˆ‘æ‰€é™Œç”Ÿçš„äº‹ç‰©ï¼Œ 提供积极、明确具有新意且有建设性的方案。例如,我能当众大谈美式橄榄球,和他们打成一片,让他们很快忘记对我作为女性的疑虑。

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国际奥委会驻中国首席代表李红

当我刚刚被国际当我刚刚被国际奥委会任命为驻北京2008 å¹´å¥¥è¿ä¼šç»„å§”ä¼šçš„ä»£è¡¨çš„æ—¶å€™ï¼Œå¾ˆå¤šäººéƒ½å¿ƒå­˜ç–‘è™‘ã€‚ä¸ä»…ä»…å› ä¸ºæˆ‘æ˜¯è¿™ä¸ªè¿„ä»Šä¸ºæ­¢å‡ ä¹Žæœ€å›½é™…åŒ–çš„ç»„ç»‡é‡Œçš„ä¸­å›½äººï¼Œæ›´å› ä¸ºæˆ‘çš„æ€§åˆ«—-我是一名女性。我在这个就像毛主席所说的”妇女能顶半边天”的国家长大,这一信念支持我在自己早期的工作-男性主导的工程领域工作中游刃有余。

å¯¹è¿åŠ¨å‘˜æ¥è¯´ï¼Œå‚åŠ å¥¥è¿ä¼šæ„å‘³ç€ä»–ä»¬ä¸ªäººæˆå°±çš„å·…å³°ã€‚æœ‰è®¸è®¸å¤šå¤šäººå’Œç»„ç»‡çš„å¤§åŠ›æ”¯æŒå¸®åŠ©è¿åŠ¨å‘˜æˆå°±ä»–ä»¬çš„å¥¥æž—åŒ¹å…‹è¾‰ç…Œã€‚åŒæ—¶ï¼Œè¿åŠ¨å‘˜ä¸çŸ¥ç–²å€¦çš„å‘ç€ç›®æ ‡åŠªåŠ›ï¼Œä¹Ÿåšä¿¡ä¸€æ—¦è‡ªå·±ç™»ä¸Šå¥¥æž—åŒ¹å…‹å¤§èˆžå°å°±ä¼šç«­å°½å…¨åŠ›ã€‚

处于领导位置的女性和奥林匹克运动员并没有什么不同 —- 通向成功的关键在于支持和信心。

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这些支持意义重大,然而信心也是必不可缺的:不论何时机遇到来,是坚定的自信帮助我出色的赢得那些机会。如古语所云:”读万卷书,行万里路”。在中国出生并完成大学教育,在美国继续高等教育并工作,最后在欧洲工作并建立家庭, 这些经历让我对不同文化和价值观有更深刻的了解,也是我胜任目前工作的信心来源

å¦‚æžœè¯´é¢†å¯¼è€…ä¸æ˜¯å¤©ç”Ÿçš„ï¼Œé‚£ä»–ä»¬å°±æ˜¯è¢«è‡ªå·±èƒ½å¤Ÿè¾¾æˆä»»ä½•æ—¢å®šç›®æ ‡çš„ä¿¡å¿µæ‰€æˆå°±çš„ã€‚è¿åŠ¨å‘˜éœ€è¦ä¿¡å¿µæ¥æ”¯æ’‘è‡ªå·±ï¼Œèµ°è¿‡è‰°è¾›çš„ä»Žä½“è‚²çˆ±å¥½è€…åˆ°å¥¥æž—åŒ¹å…‹é€‰æ‰‹çš„é“è·¯ï¼›å¥³æ€§ä¹Ÿéœ€è¦ä¿¡å¿µæ¥æ”¯æŒè‡ªå·±å…‹æœé™ˆæ—§è§‚å¿µï¼Œå®Œæˆä»Žæ™®é€šç®¡ç†è€…åˆ°é¢†å¯¼è€…è§’è‰²çš„è½¬å˜ã€‚æˆåŠŸçš„è¿åŠ¨å‘˜èƒ½å¤Ÿä»£è¡¨è‡ªå·±çš„å›½å®¶åœ¨å¥¥è¿ä¼šå¼€å¹•å¼ä¸Šèµ°å…¥ä¸»ä½“è‚²é¦†ï¼ŒæˆåŠŸçš„å¥³æ€§å°†ä¼šä»Žéœ€è¦è¯æ˜Žè‡ªå·±çš„èƒ½åŠ›æˆé•¿ä¸ºè¢«å¹¿æ³›æŽ¥å—çš„é¢†å¯¼è€…ã€‚

我相信一个真正平等的社会是在女性人生的任何阶段都支持她们决定的社会,不论是在面临教育、家庭还是事业的抉择时。作为一个三岁孩子的母亲,我领悟到了一个女性领导要把世界引领到什么方向-é‚£æ˜¯ä¸€ä¸ªæˆ‘å¸Œæœ›è‡ªå·±çš„å­©å­èƒ½å¤Ÿå¿«ä¹æˆé•¿çš„ä¸–ç•Œã€‚çš„ä»£è¡¨çš„æ—¶å€™ï¼Œå¾ˆå¤šäººéƒ½å¿ƒå­˜ç–‘è™‘ã€‚ä¸ä»…ä»…å› ä¸ºæˆ‘æ˜¯è¿™ä¸ªè¿„ä»Šä¸ºæ­¢å‡ ä¹Žæœ€å›½é™…åŒ–çš„ç»„ç»‡é‡Œçš„ä¸­å›½äººï¼Œæ›´å› ä¸ºæˆ‘çš„æ€§åˆ«—-我是一名女性。我在这个就像毛主席所说的”妇女能顶半边天”的国家长大,这一信念支持我在自己早期的工作-男性主导的工程领域工作中游刃有余。

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处于领导位置的女性和奥林匹克运动员并没有什么不同 —- 通向成功的关键在于支持和信心。

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这些支持意义重大,然而信心也是必不可缺的:不论何时机遇到来,是坚定的自信帮助我出色的赢得那些机会。如古语所云:”读万卷书,行万里路”。在中国出生并完成大学教育,在美国继续高等教育并工作,最后在欧洲工作并建立家庭, 这些经历让我对不同文化和价值观有更深刻的了解,也是我胜任目前工作的信心来源

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我相信一个真正平等的社会是在女性人生的任何阶段都支持她们决定的社会,不论是在面临教育、家庭还是事业的抉择时。作为一个三岁孩子的母亲,我领悟到了一个女性领导要把世界引领到什么方向-那是一个我希望自己的孩子能够快乐成长的世界。

世纪佳缘网站CEO龚海燕

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人生可以走的路很多,脚下的路也很长,很多时候,我们未必能在最初选择一条最正确的路,但是只要我们发现错了,还是可以幡然悔悟。我们的一些会员,有过失败的爱情经历就萎靡不振,对生活没有积极的态度会是我们成功路上的绊脚石。

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Joanne Ooi, Creative Director, Shanghai Tang (待翻译成中文)

My entire career has been a crazy ricocheting pinball machine! That’s the nature of living in Hong Kong where the business world is more fluid and forgiving if you have even a little bit of talent. What I mean is that it’s easy to get your foot in the door anywhere, with many people ready to give you a chance. Hitting a home run, though, is an entirely different matter.

I’ve taken advantage of this unusual business environment to challenge myself
continuously, getting myself into hot water, as it were, as a matter of choice, by constantly exposing myself to totally new challenges, even though I could easily rest on my laurels and mine my past experiences and concentrate on a well-defined skill set. I’ve also always repudiated a feminine, flirtacious approach to business. When I was in law school, I remember I was shocked to hear of some who flirted with their interviewers. Most of my life I’ve been inculcated with the view that only intelligence and merit count.

Consequently, my life is a series of navigations through the unknown. While many might find such situations daunting, they are the spur to a vigorous intellectual and emotional life–one I would characterize as a constant state of overcoming ignorance and difficulty. That said, there have been many times when I have been groping in the dark for the right answer.

When I started my current position as Creative Director five years ago, I had no idea how to create a collection of clothing. I had literally never done it before, despite much experience in clothing wholesale and retail. My first attempts to piece a collection together were almost comic. For example, I thought you chose the color palette for a collection from a Pantone book with only a view to make the pretty chips match up. Only a year later did I learn that the industry fiat determines the color palette with seasonal colors announced by trend reporting services. The palette is a combination of those colors–virtually obligatory–plus the colors of fabrics purveyed by manufacturers–within this same system–aligned with the color stories for that season.

My first collection, therefore, was literally a shot in the dark. And boy did it show! Although the ideas weren’t terrible, the colors were stark and the finishing crude. I underwent a similar process when devising the ad campaign. It was a good match to the clothing: garish and poorly realized! It took me at least two years to figure all this out, as a matter of both determination and on-the-job trial-by-fire self-training and deduction. Unfortunately, there was no one there who could spoon-feed me any of this information!

After this initial, critical period, though, I can say that my knowledge and instincts, now well-honed, in both creating fashion and imagery, are hard-won and based on having made so many mistakes. There is no substitute for making mistakes. If I can pass on one piece of advice, it is this: better to fall flat on your face by figuring it out by yourself than taking the easy route – mimicking and copying the example of others. The former forces you to take risks and test your approach to problems. The latter, being easy, by definition, doesn’t arm you any better for the next challenge. You may have aced that particular assignment, but you don’t have the tools to go forward.

整理 单梅兰,周尔方(上海),周敏(北京)


March 9th, 2007

Newsweek Select, March 2007
They’re here, they’re queer, they’re Chinese

Story by Peijin Chen and Megan Shank (Shanghai)

Off a quiet Shanghai lane, China’s first gay multiplex is receiving its final touches.
For several months now, the club section of Pink Home has been pumping the beats and pulling in the punters, but the attached hotel and restaurant won’t be completed until the end of this month. That hasn’t prevented organizers from taking advanced reservations, however. Prospective Chinese guests from across the country have been slamming the phones.

“(It’s unique in that) you could party a whole weekend and never have to leave the building,” says Simon Adams, a British expatriate who masterminded the project with a gay Chinese partner Ricky Lu.

Originally, this French concession villa was known as Home Bar–one of Shanghai’s earliest and best-loved gay venues. Yet Adams and Lu felt the scene was changing and Shanghai was ready for something bigger and better. They rechristened the bar Pink Home and gave the place a facelift.

Despite its past and present challenges, the face of the Shanghai gay scene is changing too. Although Pink Home offers its patrons a place where pulsating club music, smoke and darkness conceal identities, head down a psychedelic neon corridor to a well-lit lounge and discover a group of more than 50 LGBT members emblazoned with “Hi, my name is” stickers chatting over wine and mojitos. But the scene wasn’t always this open.

In China, homosexuality once classified as “hooliganism,” wasn’t struck off criminal code until 1997 nor removed from the list of major psychological disorders until 2001. And before the emergence of nearly half a dozen gay venues in Shanghai in mid-2006, there were only a few old stalwarts–Kevin’s, Eddy’s, and later, Home Bar. These small nondescript bars attracted a regular crowd of those in the know. Tucked away in dark alleys, they would otherwise be easy to miss or to be mistaken for a regular hole-in-the wall. Lesbian hang-outs proved even more elusive. When Hannah Miller, a 27-year-old American expatriate, first came to Shanghai, the lesbian scene was next to nonexistent.

“There was only one bar, and it only had lesbian nights on Saturday,” Miller recalls.

In 2002, a gay or lesbian’s virtual reality was likewise constrained by the lack of accurate up-to-date information, says 26-year-old French expatriate Juliet(*1). Fortunately, today sites such as Utopia (utopia-asia.com/chinshan), Fridae (fridae.com), Shanghaiist (shanghaiist.com) and City Weekend (cityweekend.com.cn) provide lesbians and gays with the latest in queer events and listings. And the popularity of gay Chinese websites, such as Mollis (mollis.org) and gay blog networks such as GayBlog (gayblog.cn) have fostered a sense of community beyond the clubs. The online collective “Les in Shanghai,” a social group of mostly expatriate lesbians, has grown to 90 members, and the local Chinese group “Butterfly” uses SMS to organize regular Saturday night gatherings at various bars and restaurants.

In recent years, media has increasingly tackled sexuality and gender issues. Independent or underground Chinese films, such as “Fish and Elephant” and “Tong Zhi,” have chronicled gay subculture in Chinese cities. Popularity abounds for sexually ambiguous pop and movie stars–from the mannishly dressed soprano Han Hong to the carefully coiffed and powdered boys of the television hit “My Hero.” And Chinese voters across the country showed their support for untraditional gender identities by voting in the tomboyish Li Yichun and Zhou Bichang as two of three finalists in the hugely successful singing competition show, “Super Voice Girls.”

Zhou Dan, an openly gay lawyer in Shanghai, says the media has recently begun paying more attention to homosexuality, but he believes the renewed interest is due to China’s exponentially growing HIV-AIDS figures. According to state media reports, the official number of HIV infections grew a startling 27.5 percent in the last year. In a country where open discourse about sex is a touchy topic despite the increasing mobility of high-risk groups like male prostitutes (“Money Boys” or “MBs,” as they are called in China), some AIDS educators say outreach now is more important than ever.

The Chi Heng Foundation, a Hong Kong-based NGO, visits gay venues and establishments, such as bars and massage parlors, as well as “cruising” spots in the hopes of spreading better awareness about HIV-AIDS. Ah Guang, one of the Shanghai office’s two full-time workers, says despite their pavement pounding, there’s still a lot of ground to cover in Shanghai.

Fortunately, the center’s employees say, some problems are addressable via phone. In late 2006, the Shanghai office opened the first mainland Chinese gay and lesbian support hotline. Ah Guang says the service, which runs from seven to nine p.m., provides emotional and informational support. Phone counselors refrain from encouraging callers to make certain decisions, says Rager Shen, another full-time worker at the center.

“In the countryside, children’s marriage status is still so important,” Shen says. “I remember receiving a hotline call in which a guy told me, “If I don’t marry, my parents have told me they will kill themselves.’ We cannot tell these people what to do. We can only help them understand the possible consequences of both sides of a decision.”

Unlike AIDS, the psychological affliction of being queer is more difficult to quantify. High rates of depression and suicide within the young gay population may explain in part why the center receives eight to 11 calls on their one line each night, say staff members.

Xiao Yu, a 27-year-old lesbian who works an IT job during the week, volunteers her weekend nights in Chi Heng’s small office fielding calls from all over China on the toll-free hotline and taking meticulous notes. Xiao Yu draws on the experience contained in these notes, as well as those lessons from her own life, to help new callers make informed decisions–but some problems simply have no easy roads to resolution. Many of the calls Xiao Yu receives are from lesbians who are already in heterosexual marriages. The majority of gays and lesbians resign themselves to loveless or dishonest marriages because of traditional pressures regarding marriage and children, Xiao Yu says.

The most recent SMS-organized Butterfly party presents a typical case. Xiao Yang, 29, and Xiao Dong, 31, passionately clutch each other on the dance floor, but at 1am, as the party winds down, Xiao Yang sends her husband a text message to tell him she is on her way home.

“He will worry about me otherwise,” Xiao Yang, a petite woman with blue contact lenses says. “I don’t want him to worry because I never intended to hurt anyone.”

For this reason, she has kept Dong, her partner of five years, a secret from her husband, from her family, and from her child. For people like Yang, Saturday nights provide a precious escape.

Regarding the marriage question, opinions within the gay community remain divided.
Even as scholars such as Li Yinhe and He Dongping publicly argue for China to legalize some form of same-sex marriage, most homosexuals in China end up in a heterosexual partnership. Dylan Chen, a 22-year-old marketing student based in Shanghai doesn’t know whether he will get married, but he doesn’t believe same-sex marriage needs to be legalized. Sugar Shu, a 25-year-old bisexual (*2) bartender at Shanghai Studio, wants to have children.

“Other gay men tell that this way of thinking is very naIve,” Shu says.

Xiao Yu believes that because familial pressure remains great, in China it would be especially helpful to establish an international chapter of Parents and Friends of Lesbians and Gays (PFLAG).

Some couples do face up to the fact that their marriage is a fraud, and when they need legal advice or assistance on how to go about the divorce, they visit Zhou.

“It’s not because I’m a better lawyer than the others,” says Zhou, “but because there are certain things that I understand better.”

In addition to keeping a queer identity hidden from family, there is additional pressure. Blackmail and extortion cases relating to closeted gays have made homosexuals in China even more wary. In many cases, gay men meet “friends” online, in gay chat rooms and websites who then lure the unsuspecting victim to hotels where they are “caught” and photographed. Extortionists use this “evidence” to blackmail the victim.

Chen says he has told about 90% of his close friends and acquaintance but none of his classmates, and Juliet came out in Shanghai, but only among other lesbians. Chen, Juliet and others say they fear becoming the subject of office gossip or even workplace discrimination. The don’t ask, don’t tell policy seems to be in full effect. In China, excluding Shanghai’s Zhou, the lawyer, and Coco Zhao, the gay internationally acclaimed jazz singer, there’s no precedent of openly queer public figures.

Nevertheless, the discourse of alternative sexualities has found refuge within the ivory tower of academia. China’s gay-friendly scholars and activists have long struggled to bring public attention to gay issues. Zhang Beichuan, trained as a dermatologist, wrote “Tongxing Ai” (“Homosexuality”) the first book on homosexuality in China in 1994, followed by writer Fang Gang’s “Tongxing lian zai zhongguo” (“Homosexuals in China”) in 1995. Shanghai’s Fudan University, one of China’s premier schools, offered a graduate course on homosexuality and public health in 2003 and, in 2005, an undergraduate course on homosexuality that became so popular that the standing-room audience included many who weren’t even Fudan students.

Professor Sun Zhongxin, one of the teachers of the undergraduate course, believes this bespeaks of the freedom of the university setting. But Sun, who was trained as a sociologist and has done research on sexual orientation and identity, says that in China even the university setting’s freedom doesn’t yet lend itself to the full development of a queer studies program such as one might find in the West.

“There are not even real women’s studies programs in China” Sun says, “so something like queer studies, which involves sensitive issues like sex, will take even longer.”

In regards to legal studies, Zhou will soon publish a book, though most of it focuses on laws in other countries.

“Part of the rationale behind this book is to point out the relative lack of research here in China,” Zhou said.

If academic and legal research are lacking, then market research lags even farther behind. With venues such as Club Deep, Max Club, Frangipani, and Pink Home, the gay scene is moving from parks and dive bars to upscale clubs and international yuppie culture. Kenneth Tan, a 29-year-old Singaporean expatriate and owner of the men’s underwear store Manifesto, believes that ultimately, the gay service industry has to transcend the party and bar scene.

“Flip through any gay magazine and you will see gay financial services, gay weddings, and also you have big international brands that have gay icons endorse them,” says Tan. “I don’t see anything on the horizon in China that is not bar or party related.”

But to Coco Zhao there are some things money can’t buy. Prior to a recent show at, JZ, a local jazz club where he regularly performs, Newsweek Select asked Zhao if he believed the new profusion of gay bars and clubs was burgeoning evidence of an increasingly accepting society. Zhao expresses a cautious optimism about the changes he has seen in Shanghai during his thirteen years here, but points out a difference between what he called “hardware” and “software.”

“Hardware is what money can buy, like bars,” Zhao says.

If Shanghai aspires to be a global city, one thing it needs is the “software,” which Zhao defines as a culture of tolerance.

“The degree of any society’s development or civilization is measured by its level of tolerance,” Zhao says.

If Zhao’s thinking–that it is intangible concepts such as tolerance, rather than concrete evidence such as buildings that demonstrate a widening acceptance–is correct, then progress may also be witnessed on that front.

In the wee hours of the night at one of the city’s oldest gay bars, two customers, the manager and staff, Kevin You, 21, sit at the bar exchanging stories about the rich gay businessmen that frequent the place. You laughs at the lewd jokes and salacious stories, but unlike many of the customers he isn’t gay. However in the several months that he’s worked in this gay establishment, he says he’s realized that “all men (and women) have some kind of homosexual leanings, maybe 1%, maybe 5%–it’s just a matter of whether you discover it or not.”

With Megan Shank in Shanghai.

(*1name changed)
(*2 Sugar has since corrected us in that he is not specifically homosexual, but instead does not consider gender to be an issue when selecting a mate.)