{"id":50008010,"date":"2016-12-07T11:00:57","date_gmt":"2016-12-07T11:00:57","guid":{"rendered":"https:\/\/stage.dialogochino.net\/?p=8010"},"modified":"2023-06-02T15:09:51","modified_gmt":"2023-06-02T14:09:51","slug":"8010-china-latin-america-year-of-culture-highlights-need-for-broader-dialogue","status":"publish","type":"post","link":"https:\/\/dialogue.earth\/en\/business\/8010-china-latin-america-year-of-culture-highlights-need-for-broader-dialogue\/","title":{"rendered":"China-Latin America year of culture highlights need for broader dialogue"},"content":{"rendered":"

Music has always been a symbolic means of exchange between countries. This is also true of China. From\u00a0Isaac Stern\u2019s visit to China<\/a>, to the affective subtlety of Glenn Gould\u2019s interpretations of Bach described in the 2016 Man Booker prize shortlisted\u00a0\u201cDo Not Say We Have Nothing\u201d<\/a>\u00a0by Madeleine Thien, which revolves around the Shanghai Conservatory of Music throughout the 20th<\/sup>\u00a0century, China\u2019s relationship with the rest of the world has often been conveyed through music.<\/p>\n

Little surprise, then, that it was the lauded Chinese pianist Lang Lang who was chosen as the image ambassador of the \u201cChina-Latin America and Caribbean 2016 Year of Cultural Exchange\u201d which\u00a0drew to a close<\/a>\u00a0on President Xi Jinping\u2019s recent\u00a0Latin America tour<\/a>.<\/p>\n

However, Lang Lang also represents something else. He is sponsored by Industrial and Commercial Bank of China and China Merchants Bank, which funds the\u00a0El Mirador<\/a>\u00a0copper mine in Ecuador \u2013 the site of an ongoing social and environmental conflict. This fact was not lost on the Yasunidos campaign group, which staged\u00a0a demonstration<\/a>\u00a0at a Lang Lang concert in Munich in April this year.<\/p>\n

This \u201cYear of Culture\u201d was first announced by President Xi in July 2014 but it has received little critical attention beyond the success stories published in Chinese and some Latin American media. What the year has meant, its objectives, results and social impacts are yet to be analysed.<\/p>\n

The\u00a0China Arts and Entertainment Group<\/a>, a large-scale state-level association supervised by the Ministries of Culture and Finance, responded to the initiative by holding activities in support of the nation\u2019s\u00a0cultural diplomacy<\/a>. Building on China\u2019s global economic integration, they established \u201cBringing In and Going Out\u201d projects, which aimed to: \u201cexpand China\u2019s cultural influence and kindness in Latin America and set up China\u2019s new image as\u00a0open, democratic, harmonious and innovative.\u201d<\/p>\n

China\u2019s\u00a0second \u201cwhite paper\u201d<\/a>\u00a0on Latin America, which was announced\u00a0on November 24, and which follows a first document issued in 2008, emphasises the importance of mutual cultural learning in exchanges with Latin America. The Year of Culture, then, was part of Beijing\u2019s effort to achieve this, and also extend the existing mission of Confucius Institutes to provide \u201ca\u00a0platform<\/a>\u00a0for cultural exchanges between China and the world, as well as a bridge reinforcing friendship and cooperation\u201d as outlined on its\u00a0website<\/a>. According to Hanban, the institute\u2019s headquarters, there are 36 Confucius Institutes in Latin American and the Caribbean.<\/p>\n

How Latin Americans have felt the symbolical-cultural dimensions of the growing weight of China in the region in recent years, however, has not always been in response to these Chinese stimuli. Indeed, the development of cultural activities linked to China has grown gradually from before the Year of Culture and will extend beyond its parameters. This is the case throughout the Americas.<\/p>\n

While many of the state-led and some private art and cultural expressions have not been exempt of stereotypes, independent of these initiatives we find complex readings of the relationship between Latin America and China which question the axis around which the relation is being built.<\/p>\n

For example, in August-September 2016 Beatrice Glow held her exhibition\u00a0Arom\u00e9rica Parfumeur<\/a>\u00a0at a gallery of the\u00a0National Museum of Fine Art\u00a0<\/a>in Santiago de Chile. Her work\u00a0challenges ideas of \u2018otherness<\/a>\u2019 in Latin America through the role of China and the many uses of the term \u201cchino.\u201d In 2011, Argentinean Sebasti\u00e1n Borensztein explored issues of communication and cultural difference in his film\u00a0Un cuento chino<\/em><\/a>\u00a0(A Chinese tale). Similarly, the Chilean artist Bruna Truffa explored the increasing weight of Chinese industrial, cultural and aesthetic objects in Latin America, and the communist imaginary which informs the exchange, in her 2007 individual exhibition\u00a0Hecho en China<\/em>\u00a0(Made in China). Complex ways of viewing the Latin America-China relation have also emerged in literature and other media, such as Mexican author Juli\u00e1n Herbert\u2019s 2015 novel\u00a0La casa del dolor ajeno\u00a0<\/em>(The House of Others\u2019 Pain),\u00a0which investigates\u00a0the 1911 massacre of hundreds of Chinese in Torre\u00f3n, M\u00e9xico.<\/p>\n

In different ways, these works explore otherness, neo-colonialism, historical and enduring racism, and the role of China and Chinese communities in Latin America. Governmental exhibits usually overlook this, rather emphasising \u2018traditional\u2019 images of China through reference to past dynasties or art which has become detached of its political content. In this sense, Chinese influence seems to go beyond government initiatives.<\/p>\n

And yet, as these exhibitions also highlight (intentionally or unintentionally), while the Chinese cultural initiative allows for engagement to take place on different levels, the lack of deeper mutual learning, of more critical perspectives is still striking. China not only continues to be presented as \u201cother\u201d and \u201cdistant,\u201d but the overall knowledge on China in Latin America is restricted and of difficult availability. This Year of Culture is revealing of the interest of China in Latin America and shows that China thinks of the relationship as evolving and deepening but at the same time it highlights sizeable gaps.<\/p>\n

So what does the China Latin America Cultural Exchange year really mean? It confirms the interest of China in Latin America, and of Latin America in China, while it simultaneously reveals the complexity and challenges that the cultural relations signify, which go well beyond this initiative. In this sense, one thing is touring artists, another is promoting engagement and exchanges which can develop between a range of different actors in the future. Indeed, Chinese communities are more strongly embedded in the local communities than official governmental statements seem to acknowledge, and thus fixed boundaries about what is (or not) strictly Chinese or Latin American needs to be interrogated. Latin American businesspeople, politicians and civil societies, many of which probably knew nothing of the Year of Culture urgently need to\u00a0learn more about China<\/a>. How they will go about it is less clear.<\/p>\n

The complexity of the relations between both regions is reflected in the Lang Lang Munich concert protest. Protesters called on Lang Lang to demand that the banks stop funding Chinese companies blamed for environmental and social destruction of the Cordillera del C\u00f3ndor in Ecuador. While their environmental performance is not necessarily any\u00a0worse<\/a>\u00a0than Swiss or American counterparts, Chinese companies and banks in Ecuador and other countries in the region have faced severe criticism and, crucially, communication problems with local and international groups. While both public and privately-backed Chinese extractive projects, such as El Mirador and\u00a0Las Bambas<\/a>, have experienced great opposition for a variety of reasons, cultural activities and people to people diplomacy have been mostly welcomed with limited criticism.<\/p>\n

The China-Latin America and Caribbean 2016 Year of Cultural Exchange echoes a growing and thoughtful reflection of a relation which has already emerged in literature and other arts, as well as in academic circles. And it has the potential to grow. While these appraisals take the relationship beyond economic and strictly state-led engagement, they also highlight the fact that broader understanding is needed and there are still many challenges.<\/p>\n","protected":false},"excerpt":{"rendered":"

Cultural articulations of China ties don\u2019t begin or end with Xi\u2019s initiative, writes Maria Montt<\/p>\n","protected":false},"author":40000225,"featured_media":50027996,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[758],"tags":[502,50003602,555],"hashtags":[],"country":[20000110,50002594],"class_list":["post-50008010","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-business","tag-activism","tag-human-rights","tag-indigenous-peoples","country-china","country-ecuador"],"acf":[],"yoast_head":"\nChina-Latin America year of culture highlights need for broader dialogue | Dialogue Earth<\/title>\n<meta name=\"description\" content=\"Cultural articulations of China ties don\u2019t begin or end with Xi\u2019s initiative, writes Maria Montt\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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