Friday, October 30, 2009

Peeking behind the veil of appropriation.

'Jai Ho (You are my destiny)' performed by Pussycat Dolls. Music video by A.R. Rahman.

A.R. Rahman is one of India's most successful composer/performers. He syncretizes Western classical with Hindustani and Carnatic music to invent new styles for film scores. A.R. Rahman wrote the song 'Jai Ho' for the film Slumdog Millionaire (2008). It became a huge hit and won an Academy Award in 2009 for Best original song.

"Jai Ho" is a Hindi word that means 'May you be victorious.' The song was given a new interpretation when it was given English lyrics and released by the Pussycat Dolls on February 23, 2009. This version was titled Jai Ho (You are my destiny). It occupied number one on the Australian ARIA Singles Chart from April 27 - May 10, 2009. The music video was shot at a tramway Museum in Vienna, Austria and is directed by Thomas Kloss. It is inspired by the final scene from Slumdog Millionaire.

The fan activity with this music video has been extensive and varied. From cultural dance performances....
Choreographed dance,
Fitness routines,
Alternative film with superimposed lyrics,
to VJ Remixes
and DJ Remixes.

Matt Hills argues that the 'use-value' and 'exchange value' of an object can never be fully separated from one another. Even though fans appear to find new uses for a text that appear to depart from commercial value; these new forms can always be converted back to an item of exchange value.(35)

Many fans seem to be aware of this possibility. Many of the videos above are an advertisement for the fan's services - as a DJ, VJ, Choreographer, Dancer or Fitness Instructor. Some of them even display the fan's email address. This means that fan activity cannot be classified as a binary of commercial or utopian. It is fluid and can move between the two at any time.

It's also interesting to note that Jai Ho (You are my destiny) is an appropriation of the original song by A.R. Rahman. The fan activity further emphasizes the simulacrum effect. The issue of copyright infringement regarding fan activity was discussed in Tuesdays tutorial. The abovementioned videos illustrate one of the questions that arose from this discussion "Where is the boundary of copyright infringement?"

Matt Hills, "Fan Cultures Between Consumerism and 'Resistance'," in Fan Cultures. London: Routledge, 2002, pp.27-45.

Sunday, October 25, 2009

Farmville phenomenon

Jon Swartz (USA Today online) reports on the rising popularity of game applications on social networking sites like Facebook, Myspace and Bebo. Farmville created by Zynga has 56 million monthly users. Social gaming is a fast growing market and appears to be successful because people like to be social while playing games.

Games generate profit by selling virtual goods to upgrade the players experience. They also make money by selling advertising space. Zynga's most recent game Cafeworld attracted 10 million users in a week.

Virginia Nightingale argues that the internet is becoming increasingly popular as a place to socialise and form identity (303). People used to get together in their homes or a public place to play games. Now an individual can play a game for 5-10 minutes anytime, anywhere. I find it reassuring that even with the rise of networked individualism people still like to be social.

Reference: New Media Worlds. Ed. Virginia Nightingale and Tim Dwyer. Melbourne: Oxford University Press, 2007.

Saturday, October 24, 2009

Buddhist Artefacts in Chinese history

The introduction and acceptance of Buddhism into China was a long and complex process. It is difficult to piece together history by the remnants left behind. All the people who lived in those periods are dead. They can’t talk to us today about what their life was like. The artefacts they left behind are a valuable source of knowledge because they carry the voices of these people. This essay intends to investigate firstly to what extent social and religious information can be gleaned from four Chinese artefacts. Secondly it will examine why a diversity of effigies of the Buddha and Guanyin developed over time and distance.
China was in political turmoil from approx 200-600 C.E. consequently many local kings embraced Buddhism hoping it would increase their power. Many of them preferred it because it was a new, foreign religion. The kings built monasteries and paid scholars to translate Buddhist texts from Sanskrit to Chinese. By 400C.E. the amount of Buddhist texts in China had vastly increased (Hansen 153-170).
Gandharan Buddha in meditation (78 – 200 C.E.) is a small Buddha figure, 39.4cm high, carved from schist (metamorphic rock). The sculpture looks like a monk sitting in meditation pose with a halo behind him (Pang 98). The sculpture could have been used for Buddhist practise by the foreign traders that lived in the capital of China, Luoyang, in the 1st century C.E. They were some of the first Buddhists in China. Alternately they could have intended to sell it to wealthy Chinese Buddhists living in the capital. During the 2nd and 3rd centuries C.E. many Chinese began to pray to Buddha as well as the Daoist deity Laozi (Hansen 155).
Buddhism had been entwined with trade from its commencement. In India Buddha (ca. 500 B.C.E) relied on donations from Merchants to help Buddhism thrive. Monasteries and Buddhist missionaries received funds from rich businessmen who expected protection and merit in return. China’s superior quality of silk led to a lot of trade with India via the silk route. India offered semi-precious gems and glass in return. Trade from the silk road supported Buddhist clergy therefore lay people were encouraged to give silk, gems, glass and semi precious stones to the Buddha. (Hansen 155-175).

Seven treasures was the traditional term for the accessories of a ruler in India. By the third century C.E. this idea had evolved to include semi precious stones and metals (Hansen 173). Tibeto-Chinese Avalokitesvara (17th – 18th century) is a 115cm high gold coloured statue set with multi coloured stones and is described to have held Buddhist symbols, now missing. (Pang 102). These characteristics are reminiscent of the seven treasures myth that developed in China (Hansen 173). This statue looks like a young man sprouting many heads and arms. It illustrates a story from Indian tantric Buddhist scripture that was translated in China during the Tang dynasty (Chun-fang Yu 155). The myth explains claims that the bodhisattva Avalokitesvara grew many heads and hands in an empathetic reaction to people’s misery (Pang 102).
Bodhisattvas accompanied living beings to enlightenment and were seen as helpers of the Buddha. They were spiritual beings who could change form as necessary to help living beings. (Paul 247). Avalokitesvara was depicted as a prince in India (Chun-fang Yu 150).

Chinese Guanyin (1115 – 1234 C.E.) is a sculpture made from wood that represents Avalokitesvara dressed in a prince’s costume. The sculpture would have been decorated in gold and bright colours. His face has Chinese features (Pang 97). The name Guanyin comes from the Chinese translation of Avalokitesvara, Kuan-Yin, which means looking at the sounds [of living beings]. Avalokitesvara was famous for being compassionate to all who needed his help. Many people prayed to him in the face of sickness, natural disaster or crime. (Paul 249). Pang indicates this sculpture was used in a Chinese Buddhist temple as a means of bringing followers closer to the sacred (97).
Sculptures and paintings were an important way of communicating the meaning of Buddhist texts to people who couldn’t read. Lay people were also encouraged to print multiple images and texts of the Buddha or Guanyin in order to have their prayers answered by these deities. In turn this media helped to shape and reinforce new myths. Quite often people would claim to have seen a vision of the bodhisattva Guanyin and the vision they described would be similar to images being produced at that time. Wealthy men or kings would claim to have seen Guanyin in a dream or vision. They would then fund a temple to be built. Lay people would tell tales of miracles that happened at the site. The influence of Guanyin would grow. The temple would become a pilgrimage centre and attract even more pilgrims (Chun-fang Yu 171).
The bodhisattva Avalokitesvara underwent many changes in myth and iconography as part of the process of becoming admitted into Chinese culture. The most striking transformation was change of gender. White-robed Guanyin was a local Chinese adaptation of the bodhisattva who grew in popularity during the Song dynasty (960-1279). She was seen as a fertility goddess and had many indigenous texts written about her power to give children or an heir to childless couples. Guanyin in white robes began to be seen on the island of Putuo, off the coast of Zhejiang from the twelfth century onwards. Tales had grown about her being sighted on the island since 1080. Putuo was perceived to be the Chinese equivalent of the scriptural version of the home of Avalokitesvara, an island south of India named Potalaka. This version of Guanyin became known as ‘Guanyin of the South Sea’. The different versions of Guanyin didn’t create any problems and instead served to reinforce each other (Chun-fang Yu 156-172).
Paintings featuring Guanyin with water and moon were increasingly made by Chan artists after the Song dynasty. The moon and water are Buddhist symbols for the intangibility of the material world. However there is no connection between Guanyin and these symbols in any Buddhist scripture. Chun-fang Yu argues that Chinese artists created this concept and made it popular through widespread copying of paintings in the 8th and 9th centuries. (156-157).

Chinese White-robed Guanyin in a landscape (14th century) is an example of this sinicisation of Guanyin. It’s a painting of a feminine Guanyin seated in meditation pose on a rocky ledge with a pine tree in the landscape above her. The sea swirls below her. She is enveloped by the moon. There is written text praising Guanyin in the top left corner added by the monk Huiming (1316 – 1386). He was abbot (1378 – 1386) of a Chan Buddhist temple in Hangzhou, Zhejiang province. This banner could have been part of the art promoting pilgrimage related to Guanyin of the South Sea because the temple that housed it was located in the province of Zhejiang, close to the island of Putuo. The sea in the painting indicates Guanyin could be on the island of Putuo (Pang 98).

Scholars still don’t know all the reasons why Guanyin changed sex in China. A lot of meaning was changed through translation of Buddhist literature from Sanskrit to Chinese (Hansen 161). Buddhism was often adapted to fit in with local deities and traditions (Chun-fang Yu 169). Chun-fang Yu indicates that popular texts were transcribed from Buddhist scriptures. These were then relayed as folk tales by Chinese people (155-175). This could have contributed to constantly changing artwork which served to advertise these myths.
In summary Buddhism has gone through a long and varied process of sinicisation as part of being accepted into China. Buddhist artefacts are able to contribute a great deal of knowledge about the social and religious practices that were part of this process. Representations of the Buddha and Guanyin varied greatly over this time due to adaption and translation of Buddhist texts. Wealthy men or kings helped with the establishment of Buddhism and also influenced the versions of Buddha and Guanyin that were represented. Buddhism adapted to China successfully.
Works Cited
Chun-fang Yu. “Guanyin: The Chinese Transformation of Avalokiteshvara.” Latter days of the law: images of Chinese Buddhism 850-1850. Ed. Marsha Weidner. Honolulu: University of Hawaii Press, 1994. 150-183.
Hansen, Valerie. The Open Empire: A History of China to 1600. New York: W. W. Norton, 2000. 153-177.
Mae Anna Pang, Asian art in the international collections of the National Gallery of Victoria. Melbourne: National Gallery of Victoria, 2003.
Paul, Diana Y. Women in Buddhism: Images of the Feminine in the Mahayana Tradition, Berkeley: University of California Press, 1985. 
Buddha, Kushan period 2nd century BCE-3rd century CE , Gandharan, National Gallery of Victoria.
Avalokiteshvara, (17th century-18th century) Tibeto Chinese, National Gallery of Victoria.
Guanyin, Jin dynasty 1115-1234, Chinese, National Gallery of Victoria.
White robed Guanyin in a landscape, (early 14th century), Chinese, National Gallery of Victoria.

Saturday, October 17, 2009

New Youth Subcultures

Yeltsin's Dream. Digital photograph by Brandon Muir.

Bran is a blog by Brandon Muir, a young Canadian electrician who makes digital pop-art and music in his spare time. His band is called The Lou Diamond Philharmonic. His digital art is interesting because it combines different stars, political figures and other symbols to make ironic and funny statements. Its a great way of playing with semiotics. Newspaper and magazine collage was made by the Dada artists in 1920s Germany to make political statements.

Mark Paterson describes the consumer paradox of innovation and trend setting as more evident in youth subcultures.(57) The Bran blog could be an example of this idea. It is not reliant on the purchase of branded goods and commodities to form an identity. Alternatively it is commenting on mass production and mass consumption of media.

Reference: Paterson, Mark. "Consumption and Identity: Manufacturing Choice." Consumption and Everyday Life. New York and London: Routledge, 2006. pp. 36-57

Monday, October 12, 2009

Island Lifestyle

Guyana Eco Resort.

While reading The Age newspaper online today 11/10/09 I noticed an ad in the lifestyle section for a competition to win a holiday in Borneo. Offered by The Age and Preferred Boutique the details of the prize are a week for two people staying at two resorts, Gayana Eco resort and Bunga Raya Island Resort and Spa. The trip is inclusive of return flights and $2000 spending money.

There was a tiny photo of each resort accompanied by a short description highlighting their best features, overwater villas, views of Mt Kinabalu, marine ecology research centre, virgin jungle, coral reef, hilltop spa etc.

I clicked onto their respective websites which looked attractive with beautiful photographs of the island and interior shots of the villas that looked like 5 star hotel rooms. I looked at the underwater photos of fish that you could see on the diving activities. It looked like paradise, a fantasy world of luxury and relaxation. I decided to do some research into these resorts and the island they inhabit named ‘Palau Gaya’.

After much searching I could not identify which company owns these resorts. The two resorts are both members of ‘Preferred Boutique Hotel Group’ which is a Chicago based global partner to 700 independent hotels. “Preferred Hotels’ offers sales and marketing benefits, group purchasing savings of hotel items (from Coca-cola, Sony, American Express etc) and quality assurance. Preferred Hotels run a program called GIFTTS: (Great Initiatives for Today’s (Tomorrow’s) Society. The GIFTTS program is supposed to recognize philanthropic deeds that benefit the local community performed by member hotels. Both the Gayana and Bunga Raya resorts were not mentioned here.

The internet has helped tourism become one of the worlds largest export services and e-tourism is a fast growing niche market. Many tourists want to stay in a resort that isn’t harming the environment. However I would also like to know that these resorts are contributing to the development of the local economy. Are hotel staff being paid decently or low wages? Are most of a hotels profits being siphoned out of the country?

Lonely Planet Borneo (online 2008) states that the bays on the east end of the Palau Gaya island are inhabited by villages of legal and illegal immigrants who are ignored by the Government. Poverty, pollution and crime is present.

Palau Gaya Immigrant Dwellings. source:Wikipedia

They also report that the Gayana resort “feels strangely abandoned…..considering the few guests who visit.”

A comment in the Kinabalu Blog by Murphy (online 2008) complains about the steep hike in fares to access the island.

In year 2006, I did a jungle trekking on Gaya Island. I only needed to pay the ferry ticket, and a RM3 conservation levy ticket for Sabah Parks, nothing else.Later I heard a company (PKM if I am not mistaken), which has many contracts with government, took over the management of the Gayana Resort.

Ok, last month I wanted to do the same thing again. They forced me to buy a RM50 lunch package otherwise they wouldn’t allow me. If include the RM20 ferry ticket, I have to pay RM70++ just to walk in the jungle! And the Gaya villagers, who contribute garbage to our sea, can roam freely on the island!

It is such a rip off, not only to me, but to the locals as well. I was so angry that I even thought of removing my “promotion” blog for Gayana. Well, how many more I should remove? Many good tourism spots are controlled by private companies who only care about making $. Without doubt, if SSL can make Mount Kinabalu their private mountain, like how PKM makes Gayana their private island, they will not hesitate to do so. Sad huh..

So the lifestyle being advertised for these resorts is a lifestyle that is only available to a select group – wealthy people. Poor and working class local people and travellers are excluded from using the island. Both Resorts don’t appear to be putting any profits toward local philanthropy that benefit people in need. Gayana Eco Resort claim they do active restoration of coral reef and fish species. This marketing reflects a growing trend away from what Celia Lury calls ‘Greed is good’ selfish consumerism of the 1980s towards ‘green politics’ (1996).

However I’d like to see a more holistic approach from e-tourism, shifting the focus from nature to include more actions of social responsibility to humanity at the local level.

Lury, Celia. “Consumer Culture, Identity and Politics.” Consumer Culture. Cambridge: Polity, 1996.