I am back in New York for the next month starting my MFA Art Practice program at the School of Visual Arts, so excuse my delays in posting new material. After shooting Han Han for the New Yorker I was able to escape to Changsha to witness the Meeting of Styles graffiti gathering. Over a hundred graffiti artists from all over China congregated in the city that once witnessed Mao Zedong’s conversion to communism. Street art in China is still in a very nascent stage, so I was greatly impressed by the wide variety of styles on display smack in the middle of Changsha’s waterfront. Quite frankly I was a bit surprised the local powers that be even approved a graffiti event of this scale in the first place. The artwork ran for hundreds of meters, stretching out from either side of the Xiangjiang River No.1 Bridge – a major transportation artery in Hunan’s capital. The video below walks you through the core of the murals created during the Meeting of Styles. I met a ton of really interesting graffiti artists while in Changsha who I will be following up with individually across China.

Han Han/韩寒 is China’s bad boy blogger, pop star, race car driver, lady killer and political-dissident-dabbler extraordinaire. His personal blog has garnered upwards to half a billion hits, and he ranked second in the 2010 Time 100 Poll for the most influential people in the world (granted there was a viral movement in China to boost his rankings). This week Evan Osnos profiled him in The New Yorker and my portrait accompanied the piece (there is a paywall, but Evan posted two related blog entries). Photographing Han Han in Shanghai was surreal. I think he is inured to contrived studio locations so he seemed a bit surprised when I met him on the street and started dragging him around to dirty internet cafes just off the Bund. Still, Han Han went with the flow and fully cooperated despite the ad hoc nature of the shoot. Quite frankly he is really easygoing and always down for a joke. A few people recognized him on the street and at the last Internet cafe we visited where I shot the published portrait, the manager flipped out that Han Han was present and allowed us to do whatever we wanted. Still, his popularity is a double-edged sword. Some people were scared to let them into their establishments while others couldn’t believe their luck.

After shooting Han Han in Shanghai I got to meet up with him one more afternoon at the Zhuhai International Raceway, just outside Macau. He was in full race mode. Bantering with the other drivers and strutting in and out of the pit, Han Han seemed at ease in the air conditioned confines of his sponsor tent. I feel Han Han is actually rather crowd averse. He mentioned that he was working on a new book, but otherwise seemed a bit resigned to his current daily routine – keeping things subdued ever since the crackdown on other outspoken activists around China. There is a boyish air to Han Han, and he is just as pleased to hone his skills behind the wheel instead of injecting caustic commentary into the Chinese zeitgeist. Despite the whirlwind of cars and speculation, Han Han is in no rush and has plenty of time to devise his machinations.

This past month I made a few visits to Wuhan to check out their hip hop scene. Much like Beijing, there are a lot of connections between various alternative music and sporting communities. Many of the MCs in Wuhan are also avid skateboarders, including MC Big Dog/大狗, the top freestyler in Wuhan and three-time winner of the Iron Mic. On my final night, MC Big Dog hosted the first skateboard night at Vox Livehouse, the preeminent music venue and club in Wuhan. It was a great evening of friendly rivalries and other shenanigans. The portraits below are the bulk of the competitors who took part in the evening activities. These are some of the faces of Chinese adolescents who are breaking boundaries in urban areas around the country. Wuhan is an incredible place with a very thoughtful and forward thinking youth movement. They stick to their guns and abide by the Vox Livehouse motto: Voice of Youth, Voice of Freedom!

I should have blogged about this last month, but I only just received a PDF of the New York Times print version of my work on the explosion of music festivals across China. Such an article was a long time coming and received the usual criticisms aimed at mainstream media coverage of the alternative music scene in China from industry watchers such as China Music Radar and Beijing Daze. Obviously it was too short to cover all the historical and social nuances bound up with proliferation of music festivals across China. Unfortunately the New York Times rarely publishes extended think pieces that such a subject deserves. I actually read a longer version of Andrew Jacob’s first draft which was much better, but the editors decided to cut it down as they are wont to do in this day and age – apparently they feel readers can’t last more than a thousand words in a row. Still, I was really happy with the article and thought Andrew did a quality job trying to introduce the China music festival scene to the rest of the world with his insightful descriptions and awesome quotes. My favorite came from Zhang Fan of MIDI fame, “The government used to see rock fans as something akin to a devastating flood or an invasion of savage beasts, now we’re all part of the nation’s quest for a harmonious society.” Some of the other issues Andrew addresses such as the paradox of having government-backed festivals filled with subversive bands as well as the rising commercialism of the entire alternative music scene also needed to be laid out. Yang Haisong, of P.K. 14 fame, really nailed it on the head with his closing comment, “The government used to see us as dangerous, now they see us as a market.” I feel an approach employed by the Chinese state where they try to appropriate cultural scenes rather than empower them through censorship is becoming the norm. It is happening in the contemporary art scene in Beijing’s 798 art district and more and more with bands taking on corporate sponsorships and other branding opportunities. When the artists and musicians are making more money, they have less to complain about and more at risk by creating controversial or outspoken material. It is a savvy step forward by the Chinese state and goes hand in hand with their other attempts to spin media rather than quash it. The Beijing Daze post gets into this quite a bit as well. Still, no matter what, I am a huge fan of the spread of music festivals in China. The only thing that is needed right now is quality production and more bands. The same performers can’t keep recycling through the festivals. A large injection of new musical blood is needed. Hopefully there are more diamonds in the rough amongst all the second-tier cities around China who are just opening up their ears to the latest sounds coming out of Beijing, Shanghai, Guangzhou and Wuhan. Otherwise there are still too many reports of badly planned festivals with no toilets and crappy sound systems. Check out these critiques by Helen Feng, Pity the Cool, and Beijing Today. Hopefully we are just experiencing the birthing pains of the China music festival circuit. Also check out this great extended piece on the first musical festival in Nanjing and an extended interview with Scarlett Li, the brains behind the Zebra Festival movement. Unfortunately there is no online slideshow in addition to the video I produced for the New York Times website, so I attached my favorite shots to this post.

I attended the Baby Dragon Skateboarding Competition finals in Hangzhou last weekend. Sponsored by the government and major international clothing brands, the national contest sought to raise awareness for the sport and develop better skills amongst China’s practitioners. Han Minjie, often considered the godfather of China’s skateboarding community, estimates that there are only 40,000 to 50,000 active skateboarders in China. Still, urban street culture is on the rise and considerably more rebellious youth are looking to skateboarding and the tight-knit circle of friends the sport engenders as a social outlet. Lots of pundits also tie the rise of skateboarding to hip hop which continues to be a burgeoning musical form in China. The biggest development for skateboarding in Beijing, however, was the opening of the Woodward skate park on the outskirts of Beijing this summer. Although its facilities are top notch, it still remains to be scene if it will work economically. Some skateboarding insiders in Beijing feel that the money would have been better spent building smaller skate parks closer to the city center. Be sure to check out KickerClub, Skatehere and Funboxx for more information on skateboarding in China. The skateboarders pictured above were Baby Dragon Skateboarding Competition finalists while the three below were female skateboarders participating in the open sessions that also take place during the contest.

This post must start with a disclaimer. I do not in any way believe in or support the acts performed in this video. I can only hope for greater understanding and congenial relations between China and Japan in the future. This act of flag burning was filmed purely for documentary reasons. The event occurred on the first night of the 2010 Zhenjiang MIDI Festival after a particular rousing performance by a death metal band. The kids are singing the Chinese national anthem while burning the Japanese flag. The first night of the festival also landed on October 1 which is China’s National Holiday. It goes without saying that tensions between China and Japan have peaked in the past week thanks to the standoff over sovereignty issues regarding the arrest of the captain of a Chinese fishing boat on disputed waters in the East China Sea by Japan’s coast guard. This friction and general hatred of the Japanese runs deep and dates back to the brutal and humiliating treatment suffered in China at the hands of the Japanese during World War II. Even though the Chinese captain in question has since been released, the incident ignited the embers amongst China’s increasingly nationalistic youth.

The Generation 6 concert at Yugong Yishan featured all the young bucks in Beijing’s rock underground including Residence A, Lazy Camels, Me Guan Me, Mr. Graceless, Rustic, Birdstriking, and Flyx. Musicians in Beijing refer to a wave of new bands from a certain age group as a generation. The first came with China’s godfather of rock, Cui Jian, while the sixth generation is the youngest and still cutting their teeth. This was definitely a culmination point for many of them in so far as they are becoming the defining bands from a fresh crop of performers around the city. Rustic came in with the most momentum after securing the Global Battle of the Bands crown earlier this year – a major triumph for everyone involved in the Beijing rock and punk scene. Otherwise Lazy Camels and Mr. Graceless put on strong sets. The following videos feature outtakes from Lazy Camels, Me Guan Me, Mr. Graceless, and Birdstriking along with a full track from Rustic. Enjoy.

What could be naively described as a hipster transformation is taking place in Beijing. Although some may only dress the part, others are the first in China to truly embrace alternative lifestyles that fly in the face of social conformity so desperately imposed by the Chinese state. Whether shopping at second-hand clothing stores, scouring the Internet for fringe media, pursuing careers in the arts and generally rejecting the popular molds of their communist past, these youth are seeking to stand out from the masses. This increasing tendency toward individualism coupled with newfound online forums for self-expression is one the cornerstones of China’s emerging civil society and often comes with a social stigma that is hard to imagine outside of China. Many don’t wish to participate in a largely vacuous and unsustainable consumer culture taking hold of the country. While they might not brazenly attack the government, their embracement of such a lifestyle is a powerful statement in and of itself. The biggest congregations now occur at major music festivals sprouting up all over the country. All of these portraits were taken at the 2010 MIDI Music Festival.

The art of telling stories using caricatures dates back to prehistoric man. Although cave paintings didn’t survive Beijing’s urban upheaval, new and more subversive forms of pictorial narration now issue forth from the comic underground. The once popular bison and ibex motifs of yore gave way to more pertinent contemporary themes such as teen angst, social detachment, and disgruntled robots. One of Beijing’s leading cliques of illustrators, aptly dubbed Cult Youth, take innovative strides with such matters in their newly minted anthology of graphic shorts.

Whether you like it or not, comic books and graphic novels are turning into one of the most widespread and influential forms of popular culture. Although China is far from eclipsing Japan’s manga scene, younger generations in Beijing with unprecedented access to foreign media are getting hooked. Cult Youth stands at the forefront of this movement. Guoqi (郭麒), one of twenty plus Cult Youth affiliated artists, noted, “that caricatures from any historical period are very valuable, but this generation in China saw many comics from different countries while growing up and now understand their important nature. People no longer believe comics are for children only.” Everyday occurrences enter the illustrator’s palette and take on new forms that fascinate both the young and old.

The most appealing nature of Cult Youth’s newest anthology is the eclectic array of themes presented in each graphic short. In many ways, it mirrors the kaleidoscope of often-conflicting interests, desires, and traditions that exist in modern China. Ca (擦), one of the founding members of Cult Youth, expounded, “We don’t say exactly who we are. We don’t pretend to represent any particular thing about China. Rather, our work grows out of our own personal interests. We have a wide range of opinions and aren’t primarily interested in any sort of pure documentary effort or work that invokes a feeling of social responsibility.” The unparalleled multiplicity of people in China defies any generalization and Cult Youth mirrors that chaos with their unstinting and often trenchant conceptual takes on life in the Middle Kingdom.

Still, many of the Cult Youth artists claim to grapple with a materialistic void growing within society and therefore feel their influence is gaining momentum. “China’s masses deal with an impoverished mainstream culture. Many are hungry for more, and it seems Cult Youth’s free and willful comics is what they need,” asserted Songqi (宋麒), Guoqi’s (郭麒) twin brother. With more dedicated readers, the anthology certainly resonates in a particular manner – the witty and insightful strips draw you in with their arresting and sometimes grotesque illustrations.

Cult Youth personifies the increasing number of Chinese becoming aware of the impact of international media on their country and the disjunction it represents from the experience of previous generations. “Older people had a world of their own,” Ca (擦) continued, “Such things cannot be passed on. The new youth access everything.” Many of the artists expressed the need to lead people to a new understanding of the information explosion occurring around them and therein present new outlets for individual expression while underhandedly capturing the pitfalls of modern China. According to Heilichi (黑荔枝), “Independent thinking leads to happiness.” There is a growing sense among the Cult Youth illustrators that even if they get labeled as outsiders, their work will continue to speak for itself.

In the end, Cult Youth still agrees on one thing: they want people to laugh and appreciate the absurdities of life. There is a mischievous air about the group as they reinterpret the already convoluted world surrounding them in Beijing. Not many of them know what the future holds, but they love their work and produced a unique anthology of graphic shorts that present a small but captivating window into contemporary China.