Help this NGO Change Girls’ Lives in Rural China

Since the 1970s, China has officially been on a mission to lift every member of its population out of poverty. The government says its efforts have succeeded in parts of the country, but acknowledges that there are still people in rural areas that have largely been left behind.

“The last forty years of rapid economic growth have left a huge gap between the wealthy and the poor, the urban and rural,” says Ching Tien, a Beijing native and founder of the Canadian NGO Educating Girls in Rural China (EGRC). “Though the living conditions in rural China in even the poorest regions have improved — food and shelter are no longer a widespread struggle, for instance — higher education is still out of reach for students from poorer families, particularly girls.”

 

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Lunchtime exercises at Minxuan No. 2 High School in Gansu province, where EGRC has sponsored many female students

For 15 years, Tien and her team have changed the lives of over 1,200 young women throughout rural China, helping them pursue better prospects that would otherwise be out of reach. The organization aims to help women break the cycle of poverty through education, in hopes that they in turn will make up a generation of future leaders.

The programs largely target Gansu and Guizhou provinces in western China, which have the lowest GDP in the country. (As a teenager, Tien herself was forced to leave school and work in a chemical factory in Gansu for eight years before emigrating to Canada.)

In rural parts of Gansu, income per capita is about seven times lower than that of first-tier cities like Beijing or Shanghai, according to Business for Better Society. Some families’ incomes that EGRC has sponsored are only 400 to 500USD annually, far lower than the local average.

“One of our graduates that became a school teacher recently told me that the education access gap between rural and urban areas can set students back as much as 30 years — an entire generation,” says Tien.

I can see that in urban areas, children from middle class families have access to advanced learning such as private school, tutoring, studying abroad, and learning opportunities for sports and arts. Meanwhile a rural high school graduate may still not know how to use a laptop.

“Their learning is limited to in the classroom, a blackboard and textbooks. Most of them have never been to a city. The gap is tremendous.”

In addition to outdated education methods, Tien says that women in these areas still face additional hurdles based on outdated attitudes towards gender. “A good percentage of our girls were given away after birth due to their gender, because their families wanted to have at least one son,” she says. “They’re often asked to quit school and support their male siblings’ education, or are expected to pay for their weddings, their housing… Here, if a woman fails to give birth to a son, she might not only face discrimination from her family, village, and society, but also the possibility of physical and emotional abuse, and divorce.”



Many women the organization has helped in the past also came from families where they, or their parents, struggled to work or pursue education due to illness or disability. Alumnus Wang Bixia, who had previously completed her undergraduate studies with sponsorship from EGRC, joined the team for the summer of 2015 to help organize student meetings and select its high school sponsorship recipients in Gansu. “Since [I graduated in 2010], the Chinese government has made an effort to improve the lives of people in rural villages,” she says. “I expected changes and improvement upon my arrival.

“However, my trip to different rural regions of Gansu made me realize that certain aspects were much worse than I imagined. Among the 46 high school sponsorship recipients we selected [that year], many were orphans or from a single-parent family. The rest of them had sick or disabled parents or siblings. Life is very difficult for these girls and their families.”

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Wang Bixia (left) and Wang Zhimei (right), both EGRC alumni

Another alumnus of the program, Wang Zhimei, struggled with a stammer as a young girl that both she and her parents thought was “incurable.” That started to change in high school, when Wang came across a copy of Dale Carnegie’s How to Win Friends & Influence People, which attributed stammering to inner fear. “I was inspired to overcome my inner fear by reading aloud in the early mornings, greeting to strangers and raising my hands to ask questions in class,” she says.

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Her confidence blossomed further through EGRC, when in 2016 she was tasked to share her experiences with another shy girl named Jane. “When I finished, Auntie Tien said to me: ‘You are extraordinary,’” Wang recalls. “I never thought such a sentence could be used to describe myself.”

In order to broaden its impact, the NGO largely depends on outside funding via their yearly #SponsoraGirl campaign. To get involved, learn more on our Instagram.

All images: courtesy EGRC

“Psychological Disorder”: Chinese Student Sues Over Homophobic Textbook in Landmark Case

A 20-year-old Chinese university student has sued academic book publisher Jinan University Press and its retail platform for calling homosexuality a “psychological disorder.” The case, which was heard in a court in the eastern province of Jiangsu on July 28 after being adjourned three times, is being seen as a landmark lawsuit regarding homophobic content in China.

The plaintiff, Xixi (西西), did not appear in court as a result of Covid-19 travel restrictions, however she did submit written opinions. “It has been three years since this case was filed. As a LGBTQ+ student, every time I see textbooks calling homosexuality a psychological disorder, I still feel deeply hurt,” she wrote. “Even though homosexuality is not classified as a mental illness in China anymore, there are still people producing false knowledge, therefore increasing the stigma around it.”

According to reports in Chinese media, Xixi felt she was not able to fit in at university even after joining LBGTQ+ events, and found herself often frustrated with open discriminatory remarks against gay people in classrooms. After she found out that a psychology textbook published by Jinan University Press described homosexuality as a disorder, she decided to take action to fight back.

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It is not easy to challenge textbooks in China, which are usually published by powerful publishing houses. After the case was filed in July 2017, Xixi and a group of volunteers collected evidence regarding the textbook to qualify the claim of “poor quality” in the lawsuit.

This is not the first time that LGBTQ+ communities have taken to the courts in order to address discriminatory language in Chinese textbooks. Back in 2015 and 2016, a college student named Qiu Bai took China’s Ministry of Education to court three times over its failure to respond to her complaints against anti-LGBTQ+ terms used in academic textbooks. Although the court heard the suit, Qiu’s efforts were ultimately unsuccessful.

Activists have repeatedly attempted to use China’s courts to challenge homophobic policies and behavior in recent years. In 2014, a counseling center was successfully sued over its use of electroshock therapy in response to homosexuality. Earlier this year, judges ruled the Chinese ecommerce giant Dangdang.com’s behavior unlawful after the firing of an employee who underwent sex reassignment surgery. The last few years have also seen a rising number of people writing letters to lawmakers in support of legalizing same-sex marriage.

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A number of groups have also been looking to increase social media and public awareness on LGBTQ+ issues. Amid Pride month in June, ShanghaiPRIDE successfully held a series of diverse events addressing widespread systemic, public and employment discrimination. Last month, Beijing LGBT Center opened a Douyin account (on the Chinese version of TikTok) to better educate the public about such issues.

Whether Xixi will win this case remains to be seen — it’s unclear when a verdict will be announced — but the hearing of the case and the publicity it has received is nevertheless a significant step forward for gay rights in China.

Hit Musical “Hamilton” is Getting Rave Reviews in China

Ever since the recording of Hamilton was released on Disney+ earlier this month, fans have been rediscovering their love for the hit musical. According to Variety, Disney+ app downloads increased that weekend by 74% in the US, but also 46.6% globally.

Amidst this international re-reckoning, Hamilton-mania seems to have hit China especially hard. This past week, Hamilton became a trending search on Douban, a Chinese IMDB-like forum with notoriously hard-to-please users. It quickly garnered a rating of 9.5 out of 32,000 reviews, scoring higher than 99% of all other historical films and musicals on the website.

Hamilton Douban review - RADII China

The 82.1% of reviewers who gave the musical a five-star rating praise its emotional soundtrack, inspiring story, and unconventional mode of storytelling.

Many claim it brought them to tears, or even that Hamilton is the first thing they watch when they wake up. Their enthusiasm about the musical mirrors what their American contemporaries love about it: its refrain of constant revolution and forward progress.

It may come as a shock that so many Chinese fans have taken ownership over a musical that reimagines a more obscure part of American history. However, considering China’s and the US’s long history together (intensified by recent events), it should not be surprising that Chinese people are keenly interested in America’s political history.

This becomes abundantly clear when reading the few one-star reviews. They almost all mention, strangely, Barack Obama, and how the musical is an anachronistic distortion of history encouraged by his values. Specifically, they seem to be put off by the fact that the musical casted mostly non-white actors.

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According to Sixth Tone‘s Yi Yang, strict adherence to historical narrative is paramount in Chinese media, which may be the reason that so many Chinese viewers see Hamilton as so novel.

In all the comments, however, reviewers use an astute historical lens, drawing parallels between the musical and modern American politics. China’s passion for Hamilton should teach us that good storytelling will inspire people regardless of language or culture. Or, more importantly, that people are always paying attention to history.

Asian Americans in Hollywood Speak Out Against Racism with #WashTheHate Campaign

Xenophobic and racist incidents targeting the Asian American and Pacific Islander (AAPI) communities have been on the rise since the start of the Covid-19 pandemic. In response, the #The WashTheHate campaign encourages people to express 20-second messages of solidarity on social media while they wash their hands. Recently, the actors, performers, and broadcasters union SAG-AFTRA teamed up with Asian American celebrities to release a PSA urging people to take a stand against anti-Asian discrimination.

As the PSA notes, Asian Americans currently face a surge in racist and xenophobic incidents as the Covid-19 pandemic continues to spread through the country. Incidents of being spit on, told to “go back to your own country” and more are almost commonplace. Earlier this year, incident reporting center Stop AAPI Hate had received over 1,000 reports of pandemic-related harassment and violence, spanning 45 states, in just two weeks.

Celebrities such as Tzi Ma from Disney’s Mulan and LGBTQ+ activist Alok V Menon have filmed themselves washing their hands for 20 seconds and speaking out against hate towards AAPI communities as part of the campaign. In a video released on July 21, actors including Lucy Liu, Ken Jeong, Carrie Ann Inaba, and Jeannie Mai join them in encouraging watchers to take a stand against anti-Asian discrimination.

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The surge in anti-Asian sentiment has also led to a rise in civic engagement in the AAPI community — something that has become apparent in the recent protests over the killing of George Floyd. In fact, a recent Pew Research study found that 75% of Asian Americans support Black Lives Matter. It’s clear the tensions over the last several months have encouraged more widespread intersectional activism in the US. Whether campaigns like #WashTheHate are effective in spreading awareness about anti-Asian racism, they are already successful in engaging the AAPI community to be even more active against racism, which is a success in itself.

C Pam Zhang’s “How Much of These Hills is Gold” Makes Booker Prize Longlist

The longlist for one of the biggest awards in literature was announced today, as the organizers of the 2020 Booker Prize announced their “Booker’s dozen” selection of nominees.

Alongside the likes of Hillary Mantel and Tsitsi Dangarembga — both looking to complete a hat trick of Booker wins for their respective trilogies — is Chinese American writer C Pam Zhang with her debut novel How Much of These Hills is Gold.

“An epic debut novel about family and the search for both a home and a fortune,” according to the Booker blurb, Zhang’s book, “tells an untold story of the arrival of Chinese-American immigrants to the US during the Gold Rush. It’s a novel about conflict between two siblings, carrying the body of their newly deceased father across a harsh landscape.”

Writing in The Observer, Bidisha described the book as “the boldest debut of the year” back in May. The New York Times called it “arresting” and “beautiful.” The work has also been praised for highlighting the presence of Chinese immigrants during the Gold Rush period, something that has historically received little recognition.

Zhang was born in Beijing but moved to the US at the age of four and is described as “mostly an artifact of the United States.” Judging by her Twitter, the San Francisco-based author was justifiably excited by the news of making the longlist:

Last year’s Booker Prize was won jointly by Margaret Atwood and Bernardine Evaristo. The shortlist of six books will be announced in mid-September; the winner will be revealed in November.

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You can find out more about How Much of These Hills is Gold via the publisher Penguin Random House here.

Cover image from C Pam Zhang’s Twitter account.

Does China’s New Hit Drama “Nothing But Thirty” Accurately Portray Women’s Struggles?

Confucius once said, “Thirty, therefore independent” (三十而立 sanshi er li). This Chinese saying is usually used to encourage young people to be established in their careers by the age of 30. However, in the newest hit drama of a similar name, Nothing But Thirty (三十而已 Sanshi Eryi; better translated as “it’s only thirty”), the saying takes on a different connotation: one of women’s empowerment.

The show, which premiered on Dragon TV on July 17, stars Jiang Shuying, Tong Yao, and Mao Xiaotong as three women all about to enter their thirties — typically the age when unmarried women in China are given the derogatory title of “leftover.” The show chronicles their journeys navigating societal expectations and double standards as they rip through red tape (literally in some promo photos), find love, and advance in their careers.

Nothing But Thirty- RADII China

Notably, the show claims to bring forth a new narrative to Chinese television: one that centers women in their own stories and seeks to tell realistic tales of struggle. It also comes hot on the heels of the viral success seen by talent show Sisters Who Make Waves, which pits a host of female stars over the age of 30 against each other. And in 2018, Yanxi Palace was another hit show which sought to humanize China’s marginalized women and dispel sexist gender roles. Yet earlier this year, gender-flipped fantasy drama The Romance of Tiger and Rose was deemed by most an unsuccessful attempt to capitalize on China’s growing feminist viewership.

So does Nothing But Thirty mark a breaking of new ground for feminist narratives in the mainstream, or are its themes mere window-dressing for more TV fluff?

In a recent clip released on the show’s Weibo page, Zhong Xiaoyang (played by Kevin Yan) confesses his love for one of the main characters, Zhong Xiaoqin (Mao Xiaotong), who has just divorced her husband. Despite her protests that she is six years older than him, and divorced, he says, “Those things have nothing to do with it. I like the person you are.”

Another trailer for the show begins with Gu Jia (Tong Yao) telling her husband, “Let’s get a divorce.” The expression on her face is tired, yet resolved. The moment feels refreshingly candid for a Chinese drama, as does the show’s entire premise: stories told from modern women’s perspectives, without a catch.

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In the midst of a female-centric reckoning whose success is yet to be determined, netizens’ reactions are the only way to gauge whether or not the show is truly making waves. So far, it has a 7.8 rating on Douban, an IMDB-like forum for TV shows and movies that’s renowned for its discerning user reviews. However, the show’s hit moments have consistently made it onto Weibo’s trending list, sparking meaningful discussions (link in Chinese) about issues such as cheating and divorce.

In an interview with Beijing News, producer Chen Fei said the show seeks to reflect the sentiment that, “nowadays, women are more likely to face their own desires and live for themselves in accordance with their hearts.”

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He also said that both the male and female characters were written to be imperfect and true to life: “We hope that what the audience sees is not a drama that looks down on reality from on high, saying that women are all-powerful. This is not our method, nor our intention.”

Says one Douban reviewer: “More shows about women over 30 should be made like this. Women should not only be shown in a maternal light, but should live for themselves.”

Nothing ButThirty promo- RADII China

“Thirty-year-old women: A) marriage B) have a kid C) Have a second kid D) I say no.” A promotional poster for Nothing But Thirty

Several one-star reviews, however, criticize Nothing But Thirty for depicting women as reliant on successful romantic relationships to be happy, a criticism also leveled at The Romance of Tiger and Rose. Others say that the characters don’t represent the working class, who make up a majority of Chinese women.

In an age when issues such as sexual harassment, reproductive rights, and abuse are finally being discussed on China’s main stage, a show like Nothing But Thirty has the potential to carry real momentum in the cultural sphere — if the remaining episodes continue to strike a chord with viewers and really examine such issues.

As another Douban review puts it: “The plot is good […] I hope the screenwriter and director will have intention, and won’t use the catchphrase of women’s empowerment to perpetuate their own ideals.”