Modern Love and Ancient Ceremony in the Heart of Shandong

“Is that a fucking chicken?”

The preparation for our wedding day, in Yanzhou, Shandong Province, would have been fascinating if it wasn’t my wedding day. My best man flew from Pittsburgh to Shanghai two days before the ceremony and my family was enjoying their first visit to anywhere that required a passport. Upon their arrival a week earlier at Beijing Capital International Airport, it took only three hours for them to have an authentic China experience, when they watched Liu Fang get hit by a car. “You need me to tune up this guy?” my dad asked. She shrugged it off like a champ.

I watched Liu Fang masterfully arrange the cigarettes and liquor, the banquet halls and the menus, the relatives and the master of ceremonies. Between the two of us we knew the names of about sixty of the guests. Final head count was three hundred and seventy plus a couple of wedding crashers and the old women who collect leftovers. Now, I’ve read a lot of stories about wedding ceremonies in China. I even ministered for my friend’s wedding in Shiyan, Hubei Province, years before. But Shandong is a different animal. Tradition in the land of Confucius is not easily forgotten.

The day of the wedding, before the roosters started crowing in the People’s Square, my mother, father, and best man followed me up a concrete stairwell to the fifth floor, where Liu Fang’s mother and stepfather lived with her stepbrother. It was a classic Soviet-style six-story walk-up in the heart of the city. We passed the plumber’s graffiti and telco wiring, the flattened cardboard boxes used as welcome mats, and scrunched our shoulders to avoid the flaking white plaster on the walls. About fifty people were packed inside a sixty-square-meter apartment. All I could make out was the Shandongese dialect of happy pirates.

I was led to Liu Fang’s makeshift dressing room to see my bride in her wedding dress, just glowing. We took pictures as her relatives encouraged me to “steal” her away and begin our new life together. Aunts, uncles, classmates, second cousins – we posed for what felt like an obscene number of photos. Looking back on that day, my biggest regret is how tired and frustrated I looked, which belied my actual enthusiasm.

The last picture meant the ceremonial passing out of cigarettes and handshakes. Halfway to the front door, a high-pitched cackle rose from the master bedroom. I looked at my best man and he looked me back in the face and said, “Is that a fucking chicken?” He wasn’t trying to be funny: upon investigation, yup, there was a rooster and a hen in a basket at the foot of my mother-in-law’s bed. I looked at Liu Fang and she said, “It’s for good luck, try not to laugh.” She took from our puzzled faces that “it’s for luck” wasn’t going to cut it: I needed to know what kind of luck we were getting into. She lovingly took my hand and said, “You’ll have to kill the rooster after the ceremony and give it to the first stranger you meet.”

Love. Only love could have put me in that exact moment.

“She can’t do anything. Are you sure you want her as a burden?”

Liu Fang was one of the first people I met on my first trip to China, to Hubei in 2004, at a friend’s apartment in the industrial mountain city of Shiyan. She was enrolled at the Yu Yang Medical College, specializing in insurance management systems. (This still comes up in health and wellness arguments: “I went to medical college!” wins less arguments once it’s pointed out what was actually studied there.) We were friends for about four and a half years before we started dating; we dated for six weeks before we got married. We haven’t looked back.

Before we get to the wedding itself, it’s worth mentioning the family structure I was entering into. Liu Fang is the daughter of Liu Yong and Tian Meiling. Their marriage was arranged. Her mother’s family, the Tians, thought the Lius were wealthy considering their location. It was an easy assumption, but one that undersells just how hard the Lius worked for all they achieved: Liu Shaozeng, the patriarch (and Liu Fang’s grandfather), worked his entire life to build a house inside Yanzhou’s city limits and run a small store selling cigarettes and instant noodles. He built his house with leftover scraps from miscellaneous construction projects, and from friends’ donations. He was a special man, a real George Bailey type.

Stories of Liu Shaozeng’s kindness are numerous, like the time he bought a collection of week-old newspapers from a blind beggar because it was Chinese New Year and everyone deserves to smoke a cigarette, eat dumplings, and feel like a human being. Or the time after Liu Yong passed that Liu Fang cried because her uncle’s girlfriend wouldn’t let the “orphan” sit in front of the TV in their room, so Grandpa collected every coin in the neighborhood and bought her a black-and-white TV from the electronics repair shop. (Liu Yong, before he passed away, outperformed most of the other miners in Yanzhou and made enough to buy the village’s first television set. I’ll save this story for another time.)

After the marriage, Tian Meiling’s family became angered to discover that the Liu’s home was built through (what they considered to be) panhandling and contrivance. Tian Meiling’s father hired outsiders to throw rocks at Liu Shaozeng’s windows and intimidate his customers, but the love that the neighborhood had for Grandpa beat back the thuggery.

Seven years into their marriage, Liu Yong, who was born during the Great Leap Forward and grew up with an undiagnosed heart condition agitated by physical labor and the poor conditions of the Shandong mining industry, discovered he needed open-heart surgery. His death during the operation triggered a lifetime of animosity between the two families. This animosity lay dormant for years, because Liu Fang is a good daughter who kept everyone happy. And then she met me.

At the time we discovered that our friendship was something more, her mother was in the process of arranging a relationship between her and a divorced police officer. When I asked Tian Meiling for her daughter’s hand in marriage, she cried tears of anger and sadness. When I asked Liu Shaozeng, both he and his wife, Li Shidong, replied with fear: fear that I didn’t know Liu Fang couldn’t clean or cook. “She’s can’t do anything,” he said. “Are you sure you want her as a burden?” His jovial face and speech patterns always made me laugh. I told him that it would be an honor, and not to worry, my mother taught me how to do all of those things.

When we went to get our marriage license on Thanksgiving Day 2008, the family hierarchy was beginning to become very clear. Grandpa and Grandma came as our witnesses, while Liu Fang didn’t tell her mother for another week. When the notary stamped our certificates, both grandparents breathed what can only be described as a sigh of relief. For the entire car ride from Yanzhou to Jining, they didn’t say a word. While we had our photo taken for our license, they didn’t say a word. When we waited for the official to return from lunch to officiate the ceremony, they didn’t say a word. But the minute I handed the stamped certificates to them, Grandma immediately said, “Oh, he’s two years older than you, that’s great!” I asked them why they were so quiet; they replied that they were afraid I would change my mind. I told them my only fear was that Liu Fang would change hers.

“No one’s going to take your food away, slow down.”

Our wedding was planned for April. It’s not just T.S. Eliot who thinks April is the cruelest month, breeding lilacs. April is what the Chinese consider the month of the dead, and Liu Fang’s mother, Meiling, happened to be superstitious. Oh well, she never cared much for me to begin with.

Because I was foreign, Liu Fang, as bride, was the only entity of value, so of course her family would be setting the rules. During the planning process, I kept noticing that my family wasn’t included in the ceremony, because, you know, they can’t speak Chinese. But at least they were invited. Liu Fang and I had recently been to two weddings of colleagues in which the bride’s family was shut out completely.

According to tradition – one that devalues women, as befitting a place this deep in the Confucian heartland – the groom must abscond with the bride. As a result, I got to fireman-carry Liu Fang down five flights of stairs, less concerned at this point about the dusty plaster. I rushed her into a caravan of Audis through what can be described as a nontrivial amount of fireworks.

We arrived at the hotel in time to help usher some of the older guests from the charter buses that brought them from Qufu, Yanzhou, and everywhere in between. I boarded a bus and asked if everyone was attending Liu Fang’s wedding. Half of the bus nodded, while the other half looked confused. I of course assumed my Chinese was shit. I repeated myself and someone in the back piped up, “This isn’t Wang Fang’s wedding?” An old man that had the strong chin and kind eyes of a Liu responded that no, this is Liu Fang’s bus. There was the response of, “Oh, OK,” that rural Chinese have mastered, and everyone disembarked.

I led them to the third-floor banquet hall and was amazed at what three hundred and seventy people look like in one room. Amongst them were our mutual friends from Hubei, Canada, Hong Kong, Taiwan, Chengdu, and America. I had prepared a surprise for Liu Fang: after the initial round of greetings and a short religious invocation from our Canadian Protestant friend, we did a goldfish and a candle thing and then I called up my friend from Shanghai and had him play “I Found a Reason” on his guitar. (I wish I could say it was because of my love of The Velvet Underground, but it was because of the Cat Power cover.) I then nervously sang a Lou Reed cover to a room full of confused but polite Qufu farmers and coal miners. Bucket list. Liu Fang melted. Nailed it. Moving on. We did the “I do’s” and, despite me not being Jewish, I insisted we break china under our feet to seal the deal. Mazel Tov!

Then shit got weird. We had an overflow crowd of – in Northeast Ohio parlance – wedding crashers. The hotel was cool about it, they just charged us the normal rate per extra table. I wrote that off. Then it dawned on me: “Wang Fang.” I kept toasting. Smiling. Once Liu Fang and I got a moment, I asked her who was collecting the red envelopes. She said her grandpa collected for his family and guests, her mom for hers, and her stepdad for his. I confirmed that her stepdad’s family name was Wang. I sat on that for a while. I had a couple more baijiu shots to go. My helper wolf was worthless. He hated baijiu.

We went to toast her father’s best friend, and that’s when it got emotional. I’ve always wondered if Liu Fang and I would be married if her father hadn’t passed away when she was a kid. Would she still have grown into a woman that would love a person like me? Sometimes it’s easy to idolize a memory. Up until that moment I had never met one of Liu Fang’s father’s friends. At that moment I was able to see a middle-aged man shed a tear for the loss of his friend, and the happiness he was sure Liu Yong would’ve felt that moment. Liu Fang and I both broke down crying. I toasted him and thanked him for his words.

By this time every table had about thirty-five courses of food weighing down the lazy susans. My mother and father were in shock. The foreigner table saw food literally piling up. Before we knew it, elderly women were walking around with plastic bags freshly pulled from their purses to collect the leftovers. How silly my dad’s once-upon-a-time admonishment now sounds: “No one’s going to take your food away, slow down.” Unopened bottles of wine and Coca-Cola were quickly tucked away. But they left the foreigner table be. Untouched baijiu and cigarettes, pristine fish and pork knuckle, and a lot of confusion and embarrassment were left there that day.

Ninety minutes to the second, the hall cleared out. I walked Grandma and Grandpa back to their bus to say goodbye to their brothers and sisters and extended family. It was at that moment that I heard a crunching sound that I will never forget. Off to the side at the curb, between the parking lot to the hotel and the public sidewalk, was Liu Fang’s uncle, Liu Guohua. He had just broken the neck of a rooster and was handing it to a thirtysomething man and his wife. I told Liu Fang I thought I had agreed to perform this sacrifice. She said her uncle appreciated the gesture but was happy to have done the honor.

Liu Fang was quiet and content after the last bus pulled away. On the way home I asked her why a large contingent at the wedding was seemingly unaware that her name was Liu Fang and not Wang Fang. She quietly responded that her stepfather was collecting our wedding presents with the intent of buying a car and starting a taxi service. She looked at me and her eyes said everything: weddings are not about winning arguments. Later in the day, Liu Fang got a text: “Ask your stepbrother to return my wallet, including my ID card, thanks.” She didn’t look surprised. Her stepbrother had picked several pockets in the coat area. Fuck. I asked Liu Fang if I was allowed to be upset. She said not this time. She would handle it.

Back at her house at the edge of Yanzhou, where she lived with her grandfather, we packed up our gifts and said our goodbyes. He sat and ate wedding leftovers in front of the color TV that we bought him so he could watch the news. He refused to take the sales sticker off the screen. “I might have to return it,” he said. Liu Shaozeng was the kind of man who knew the value of a television. He wasn’t sold on this one. Had to break it in, he said. I thanked him for walking Liu Fang down the aisle and said I considered it an added pleasure that he insisted on wearing the Cleveland Indians hat I gifted him for Chinese New Year. He laughed and said it was an all right hat. High praise.

Mobike Arrives in Manchester

Mobike finally got its SEO game fixed. For the longest time, Google kept insisting mobike wasn’t a thing and that maybe I really just wanted news about “mobile.” That all changed today, probably in no small part because people outside Asia now have reason to Google “Mobike”:

While still No. 2 in the Chinese domestic market, behind Ofo, Mobike has taken a big step in the international game, launching 1,000 bikes in Manchester. As announced on Mobike’s Twitter account (which still has an adorably low number of followers, at 292 as of time of publication*):

Ofo actually beat Mobike to England, as the Guardian notes, but on a much smaller scale (50 bikes in Cambridge in April). The competition is just heating up. From the previous Guardian link:

“I would like to be in at least three cities in the UK by the end of the year,” said Joseph Seal-Driver, Ofo’s UK operations director. “An obvious place to go is London. That’s where there are real problems with congestion and air quality, in particular.”

It’ll only be a matter of time before these companies are Stateside. Ofo was recently valued at $1 billion, while Mobike has raised more than $300 million this year alone. The wheel of fortune spins on, until one is crushed.

* I know, I know, when it comes to Twitter followers, we’re really one to talk.

Say, have you thought about following us?

5 Most Radical Lithium-Battery Rides on Taobao

Hey kid – heard you needed a radical new ride. The police are cracking down on your budget brand motorbike, and bicycles are for your dad (pedaling is laaame). A two-wheeled self-balancing hoverboard, you said? What is this, Christmas 2016?

Lucky for you we got you covered. Here are only the illest rechargeable, semi-explosive sets of wheels on Taobao. Cruise past your nark friends in style, and make them say “woahh duude!”

1. Soulrun Longboard

Price: RMB 1,050 / USD 154
Speed: 12 mph
Mileage: 15 miles

Rock the eternal cool of a skateboard with none of the effort. This battery-powered longboard will have you carving for 25 kilometers before you have to recharge the hulking beast of a battery on the machine’s underbelly. The designers did opt to include a carrying handle, so you can more easily lug it into the office of your social media management job, to the disgust of the world at large. If you’re reading this from California, your toes probably just started to tingle with delight.

2. Freeline Skates

Price: RMB 1,388 / USD 204
Speed: 12 mph
Mileage: 8 miles

In this world, there are leaders, and there are followers. Be an innovator with your own set of motorized freeline skates. None of your friends have ever heard of freeline skates, let alone motorized ones. That’s how you know you’re cool.

Freeline skates are like having a tiny two-wheeled skateboard for each foot, which can be propelled indefinitely by making a snaky S-motion with your feet. This version complicates the process even further, introducing a single motorized skate into the equation. The other skate is totally normal, ostensibly driven along by the thrust of the electronic one. What’s more is that the red, yellow and blue color scheme and digital display will have you feeling straight out of Astro Boy. We don’t know why someone made this, but we want to try it.

3. Mountain Board

Price: RMB 2,950 / USD 434
Speed: 25 mph
Mileage: 15 miles

Take your locomotive superiority off road with this all-terrain behemoth. We’re talking 25 miles per hour top speed, inflatable wheels with treads, and impact shocks. You’re gonna feel like Johnny Tsunami in his timeless sequel, Johnny Kapahala: Back on Board.

A triumph of Disney Channel original cinema

We can’t vouch for how much you should trust this machine. It looks solid, and boasts foot straps and a 160W dual-wheeled motor (the Soulrun electric longboard motor runs only one wheel). At 3,000 RMB it’s a little pricier than some of our other options, but you’ll thank yourself when you’re shredding mud on the slopes of Honolulu, just like the Dirt Devils in 2007’s TV hit, Johnny Kapahala: Back on Board.

4. Coswheel A-ONE

Price: RMB 4,699 / USD 691
Speed: 12 mph
Mileage: 25 miles

Image result for coswheel a-one

The Coswheel A-ONE markets itself as the tool to solve all your urban transportation problems. The strange, three-angled folding baby bike is supposed to be ultra portable.

But priced at 4,699 RMB, it makes you wonder, why wouldn’t I just give into the temptation of those beautiful all-terrain treads of the mountain board, or at least the reasonably priced urban mobility of the Soulsurf board? This one scores lowly on the radical scale.

5. One Wheeled Skateboard

Price: RMB 1,699 / USD 250
Speed: 11 mph
Mileage: 10 miles

One wheel to rule them all. The first time I was ever exposed to China’s single-wheeled self-balancing scooter technology was in Hangzhou in 2014. This was before the first whirrings of the hoverboard craze had begun to stir, and I was minding my own business in some distant residential district when a man flew by me texting and standing on a single motorized wheel. I screamed out loud.

A few years later though, it’s already become old hat. Seeing someone on one of those geeky electric unicycles prompts more jeers than nods of admiration. Revitalize yourself and the freedom of the one-wheeled path, with this single center-wheeled skateboard.

A complete rip off of Future Motion’s Onewheel board, the board is a decent middle ground of price, uniqueness, and (hopefully) effective locomotive capability. Only time will tell. If anyone has one of these, please WeChat us.

Pick your weapon and hit the streets. Sure, all of these are probably inferior to a bicycle in actual usability, but who cares? You’re gonna be whipping by these plebeians with the wind in your ears and not a care in the world. Relish the feeling.

“No Swimming”: Houhai, Beijing

Youku version of video

The neighborhood of Houhai in the heart of Beijing, with its bevy or bars and cafes surrounding an oblong lake (also called Houhai), teems with tourists and day-trippers during these warm months. But for as long as I can remember, I’ve associated Houhai with its swimmers, locals who have been coming to this place since the 1970s regardless of water quality, in spite of “no swimming” signs, adding old-timey charm to an area that at any time can seem to be drowning in kitsch and consumerism.

And so it is, above: one spandex-clad man, relatively young amongst his swimming peers, on the bell lap of a placid summer’s day, about to go for a final dip from the white balustrade of the shore to Houhai Island out center.

Notice the sign just behind him. “No swimming,” indeed.

~

And do these people do it year-round, you ask?

Oh yes, do they ever:


Pictures via Noemi Cassanelli’s “The Lives of Others” photo project

As Jim Yardley wrote for the New York Times in 2004, “For Mr. Zhang and at least 1,200 other arguably nutty Beijingers, winter is perfect for swimming. And not just a once-a-year polar bear plunge for the cameras. The Beijing swimmers arrive daily from around this chaotic, sprawling capital for an icy dip in a willow-lined lake that is a rare remnant of the city’s disappearing past.”

I’m not sure a thousand-plus people still take dips there these days, but “swimming in Houhai” is one of those small, easily overlooked traditions that happens to be ingrained in my Beijing consciousness. I hope it’s there forever.

Announcing: Radii’s Shanghai Launch Party

Our Beijing launch is in the past, but we’re coming to Shanghai for an event this Saturday, June 17, 5-7 pm at U-CUBE Nanxi (1/F, 841 Yan’an Zhong Lu, near Shaanxi Nan Lu :: 延安中路841号1楼, 近陕西南路).

MAP: Google :: Baidu

Free entry and and one free drink for all-comers, so swing on by to meet our team and mingle. There’ll be some giveaways as well. More information in the coming days.

For our convenience, please RSVP via this link (though come anyway even if you forget). See you Saturday!

“I Believe in the Individual”: Hugo Winner Hao Jingfang on Creativity in China

Chinese Creative Revolution is an interview series initiated by Milo Chao profiling disruptive creatives working in China today.

“I don’t believe in communism or collectivism. I believe in the individual.” — Sci-fi author Hao Jingfang

Hao Jingfang is the 2016 winner of the Hugo Award, science fiction’s top prize, for her novelette Folding Beijing (translated by Ken Liu). As just the second Chinese national to ever receive the prize – and the first woman – it propelled her to international fame, and made her a representative voice in her home country’s burgeoning science fiction scene.

Folding Beijing is set in a future Beijing divided into three time-space zones: First Space, for the elite minority, and Second Space and Third Space, for everyone else. The protagonist is a waste collector from Third Space who illegally travels above his grade as a messenger to earn quick cash.

Science fiction is said to be a mirror for contemporary society, addressing our anxieties. In 1978, China introduced a series of economic reforms that decollectivized agriculture, opened up the country to foreign investment and gave rise to private enterprise. The success of the reforms led to tumultuous social shifts, including economic disparity.

Hao, the only child of liberal-minded accounting professors, belongs to the first generation of Chinese born under “socialism with Chinese characteristics,” and has said it was her interest in social inequality that inspired her research. She exhibited talent early by winning writing awards throughout school, even as she was busy earning a doctorate in economics from Tsinghua University.

I meet her at a café in Beijing’s trendy Wudaoying Alley one afternoon in March. She wears black-stacked knee-high boots and a khaki trench, and looks more like a university student with a Korean fashion sense than a senior researcher at the China Development Research Foundation, her day job.

Hao orders her usual, a rose latte to go. She’s a fast walker who speaks in thoughtful, determined bursts. She is engaging, upbeat and efficient. When not at her office or home writing, she stays busy with multiple side projects. She is also the mother of a two-year-old. She wakes every morning around 4 or 5 am. “I sleep four to five hours,” she says.

In China, one is constantly reminded of William Gibson’s comment that the future is already here, it’s just not very evenly distributed. In this sense, moving between different cities – and often, moving within the same city – can feel like time travel. As we walk out of Wudaoying onto the main road, it is as if we are departing First Space, with its third-wave coffee shops, wine bars and organic food restaurants, and entering Second Space, where generic office buildings line grand boulevards, a legacy of Cold War era alliances and Sino-Soviet friendship.

We settle in Hao’s office to talk about her projects, her faith, and the state of Chinese creativity.

PW: Do you think creativity comes from inside, or is it external?

HJF: Creativity must come from within. Personally, I think creativity is about being aware of your feelings at all times. Creativity is the process by which you express your feelings. Those feelings are formed through the intake of external information.

However, creativity is not a direct output, but the result of that information being processed, sometimes over a very long period of time. This process is creativity.

PW: What advice would you give someone about creativity?

HJF: In China, there are two common misperceptions regarding creativity. The first is that you must master something as a prerequisite to being creative, as if creativity is reserved for the masters and not novices. The second misconception is creativity is like a lightning bolt that strikes from the sky, or an apple that falls from a tree and knocks you on the head. It’s either something mystical or an inherent skill. Some even say young novelists must be reincarnated.

Creativity is either unattainable or mystical. The average person feels he or she has nothing to do with creativity and does not attempt it.

PW: Writing isn’t your full-time job. What are some of your other projects?

HJF: I have always had a personal interest in economics and economic history. These are things I do every day. I am also working on an education project with a friend regarding children’s creativity and a volunteer project to provide education to impoverished rural children.

We want to teach children that everyone has creativity within them. As long as you have a feeling and are able to convey that feeling, this is creativity.

We want to start with children because unlike adults, they are less self-defeating and inhibited. They make up games or stories to tell each other. We won’t offer too much criticism. Instead, we will say OK, we hear you, and encourage them to continue expressing themselves.

PW: What is your main motivation for initiating this project?

HJF: It’s purely personal. I am very interested in children’s education and psychology because I have a two-and-half year-old daughter. I have several friends with similar-aged children. We feel the public education system in China is too repressive, such as emphasizing one right answer. We wanted to create some extracurricular experiences that are more fun to encourage children and to say it’s OK to have a voice, we hear you, and the process of expressing it is creativity. We hope they can experience expressing themselves from a young age so when they grow older, they will be in a better position to create something more original.

PW: Do you think autonomy cultivates creativity in children?

HJF: Autonomy certainly won’t repress a child’s creative tendency. However, if I hadn’t received key praise and guidance later on, I might have become a person with an easygoing and happy outlook without the impulse to create something. A child may not necessarily know they have creativity within them.

PW: Western society is based on Christianity. Often, someone there will cite religion as a source of inspiration – faith in something greater leads to great accomplishments. Are you religious? How do you view the relationship between religion and creativity?

HJF: I’m an atheist. I believe the universe and its contents evolved on their own. Humans are individual life forms. The meaning of life and creativity are related to the universe.

I believe every person has it within them [to believe in something bigger than them], because I have it in me. I have faith in mankind. We don’t need something bigger than ourselves to be original.

I understand the concept of humility in Christianity. And it is good, to a degree, but I think it’s really unnecessary to place faith in something else other than people. I don’t believe in communism or collectivism, either. I believe in the individual. I think within this universe, every person has creativity within him or her. This is my faith. Every person has it in them.

Creativity is not about art, it’s about the individual and self-actualization. For instance, designing my office environment, arranging my workspace, this is what I mean when I refer to creativity. Creativity is self-initiative. In the Chinese creation myth, Nüwa blows on clay to create the first man, but for me, that breath of air was already within the person in the first place. Many psychologists such as Abraham Maslow endorse this humanist view.

PW: How would you describe the Chinese creative spirit?

HJF: In ancient times, there was the concept of the nobleman who had a sincere heart, cultivated moral character, and learned through experience. The nobleman then expresses himself through a poem, painting or perhaps song of the flute. As an official, these acts, rather than more practical skills such as accounting, would serve to validate his honor and qualification.

In ancient China, a specialized creative like a poet or artist was rare. The intellectual class wrote poetry, painted, served as officials and taught. Intellectuals were well-rounded individuals who synthesized the ideal traits for self-cultivation. Why was it like this? Creative output in ancient China was always linked to self-actualization.

It’s unlike in the West, where artists tend to pursue one skill to very high levels of mastery. Creativity may manifest itself in very technically advanced forms, at which point it becomes a skill to master, no longer human nature.

I don’t consider artistic creation a skill and technique. I don’t like to separate it from the person. I think the good thing about ancient Chinese artistic expression is people considered it to be a part of the nature of the mind.

The top artists have some things in common: they all create work based on life. If you think about the dancer Isadora [Duncan], she conveys her interpretation of life and emotions into her performance. This is an example of artistic creation not being severed from the person.

PW: What are your views on the future of Chinese creativity?

HJF: Creative forms will increase. Even now, I observe increasingly diverse, individualized and original creative output. Perhaps it starts with wanting to create something for you, and then slowly figuring out how to market it to a larger audience.

I have quite a few friends, including fashion designers, product designers and startup founders, who are all quite impressive.

Creativity is also related to security. When one is not very secure, the focus is on external needs. If I do this, I can rest; if I finish that, I can eat. Now that people have more time on their hands, naturally there will be more ideas floating around. Even if only some of those ideas are realized, that’s a start.

***

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