china
More on typography and nationalism: Victor Mair looks at implications of the memo, possibily orginating in the State Administration of Radio, Film, and Television, advising to broadcasters in the PRC to stop using popular English-based acronyms such as NBA, WTO and GDP.Related: see his fascinating post on the invasion of China and Taiwan by the roman letter Q.
21 April 2010 | In other news, today the building will be lit red and yellow in honor of the 60th anniversary of communist China.
Uyghurstan
The Kökbayraq is a flag without a country.
Seen at protests around the world in recent weeks, the flag is used by Uygur nationalists in the East Turkestan independence movement and the more militant East Turkestan Islamic Movement and East Turkestan Liberation Organization. The flag is banned in China.
The design has its origins in two briefly independent republics. In 1933, when the Chinese central government had de facto ceased to exist, the Islamic Republic of Eastern Turkestan declared independence. It collapsed the following year, though a second Republic won independence a decade later with Soviet support. It was crushed in 1949 by the People’s Liberation Army of Communist China, when it became designated “Xinjiang Uyghur Autonomous Region.”
Typographic Diplomacy
AFP reports that the President of Taiwan today suggested that Taiwan adopt the simplified character set used in mainland China. The choice of script is clear political signal to Beijing towards reconciliation. The pro-Independence party is none too pleased. The Taiwanese-government funded Central News Agency is less alarmist, reporting that the President really encouraged learning simplified characters along side traditional characters.
In last summer’s article on Typography and Nationalism about countries switching scripts, I included this bit about the simplified script:
Chinese script reform has its roots in the 19th century, but Mao Zedong gave it the force of law. (Mao, a calligrapher himself, must have been keenly aware of the power of type.) A month after taking power in 1949, the Communist Party established the Language Reform Committee to simplify written Chinese. The move was intended to promote literacy and unify the nation, but it also worked to crush the many local languages within China’s borders.
The Nationalist-led government of Taiwan, however, never adopted the simplified characters preferring instead to continue using the traditional script. The choice of type has since marked a key cultural wedge between Taiwan and China.
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From wikipedia:
The art students who created the [Goddess of Democracy] statue wrote a declaration that said in part:
“At this grim moment, what we need most is to remain calm and united in a single purpose. We need a powerful cementing force to strengthen our resolve: That is the Goddess of Democracy. Democracy… You are the symbol of every student in the Square, of the hearts of millions of people.… Today, here in the People’s Square, the people’s Goddess stands tall and announces to the whole world: A consciousness of democracy has awakened among the Chinese people! The new era has begun! …
The statue of the Goddess of Democracy is made of plaster, and of course cannot stand here forever. But as the symbol of the people’s hearts, she is divine and inviolate. Let those who would sully her beware: the people will not permit this! …
On the day when real democracy and freedom come to China, we must erect another Goddess of Democracy here in the Square, monumental, towering, and permanent. We have strong faith that that day will come at last. We have still another hope: Chinese people, arise! Erect the statue of the Goddess of Democracy in your millions of hearts! Long live the people! Long live freedom! Long live democracy!”
The document was signed by the eight art academies that sponsored the creation of the statue: The Central Academies of Fine Arts, Arts and Crafts, Drama, and Music; the Beijing Film Academy; the Beijing Dance Academy; the Academy of Chines Local Stage Arts; and the Academy of Traditional Music.
The entire statement was written on a long banner placed near the statue, and was read in its entirety by a female student “with a good Mandarin accent” from the Broadcasting Academy.
20 Years On
“During the twentieth century, the social and political uses of calligraphy have been radically changed. Calligraphy is no longer an art associated primarily with the traditional scholarly elite. Not only has calligraphy been employed as a tool of revolution, but it has become a popular amateur art practiced by people of all walks of life, and artists have found ways to use it to challenge traditions rather than perpetuate them.…Even if block-like calligraphy had revolutionary overtones, Mao and other leading revolutionaries wrote in styles much closer to traditional calligraphy. Moreover, even after most people took up writing with pencils and ball-point pens, leading party members continued to do calligraphy with traditional brushes. They would give away pieces of their calligraphy and allowed their calligraphy to be widely displayed.… Mao Zedong’s calligraphy was more widely displayed than that of any other leader.”
Red Crystal
The Geneva Conventions were amended today to address a question of branding.
The Third Additional Protocol to the 1949 Geneva Conventions entered into force today, completing the process of establishing an additional emblem for use by Governments and the International Red Cross and Red Crescent Movement. So far, 84 States have signed the Third Protocol and nine States have ratified it.
The red crystal symbol is now officially recognized under international law as offering equal protection as the red cross and the red crescent when marking: “military medical personnel, establishments and transport; the staff of national societies; staff, vehicles and structures of the ICRC and the International Federation.”
From the ICRC Factsheet:
“The new symbol is intended to facilitate access by humanitarian workers to victims of conflict and other crises, in particular in situations where the use of an emblem devoid of any perceived political, religious, cultural and connotations may be an advantage.”
See the full text of the Additional Protocol. (Thanks, Romualdo!)
The Wikipedia article on the Red Crystal summarizes the debates over religion, politics, and the origins of the various symbols used by humanitarian aid organizations.
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Also from Wikipedia, the Red Swastika is a symbol used by a voluntary charitable association founded in China in 1922:
“Suppressed by during the Communist rule in mainland China, the Red Swastika Society appears to continue today as a religious organization focused on charity. It has branches in areas of the Chinese diaspora, with a headquarters in Taiwan. Besides charity work, the Red Swastika runs two schools in Hong Kong (Tuen Mun and Tai Po) and one in Singapore (Red Swastika School).
The Red Swastika was also suggested along with Red Wheel, as an emblem of International Federation of Red Cross and Red Crescent societies for India and Sri Lanka, but the idea was not put into practice.”
Roger, Roger
There is a new bilingual design magazine here in Germany. We already have at least four design magazines (depending on what you deem design), but ROGER matches or surpasses most of them. And ROGER is certainly the only German design magazine the rest of the world should care about, because it is the only one that cares.
While reading design magazines and design news sources online I am often appalled by the lack of social responsibility, critical reflection, and political wisdom. People hail works of designers even if the client earns his money from, say, exploitation in the global south, undemocratic regimes, or the arms trade — as long as the aesthetic value of the design work is somewhat recognizable. Not being a designer myself, but often in need of design services, I have met and worked with many designers who share the same impression. I love well designed websites or magazines — indeed I collect them. And there is a new item in my collection: the third issue of ROGER with “International Angst” as the main topic. It combines both design and responsibility.
ROGER tackles design related questions with a holistic and interdisciplinary approach. It closes the gap between your usual design magazine and political types like Adbusters and Consumerevolution. It is the closest yet to a “social design magazine.”
The current issue focuses on the “culture of fear” discussing its effects on society and on designers developing products to match customer demands in a market driven by irrational necessities. The issue features a range of articles addressing the premise from different angles. Whether it is a report from the International Design Action Day (IDAD) or a background article on the reasons for setting up Esuvee.com, a site warning about the dangers of Sports Utility Vehicles, or an interview with the curator of MoMA’s SAFE exhibition, it is always clear that the topic is more than just design. ROGER shows design can be more than aesthetics or selling products. True design is about shaping, shaping our society or future ones. No wonder a feature article on Buckminster Fuller introduces the idea of design science. The magazine itself sounds a little like a scientific project too, to prove that designers can indeed take responsibility.
ROGER is published by the KISD Club, an association of students from the Köln International School of Design. Because the magazine is bilingual, in both English and German, some articles are a little short and the pages, a little crowded. ROGER’s motto “Design People Questions” is also more ambitious than it appears at first. So much more that the magazine sometimes fails to meet its own ambitions. The article about a Chinese design fair called TIC 100 doesn’t really distuinguish between mainland China and Taiwan. It also forgets to mention the conflict between Taiwan and the Chinese government, a bloody regime that does not hesitate to jail reporters or kill students.
Still, the Editorial of the second issue, which is partly available online, expresses more than I can paraphrase:
“Design tends to be misunderstood and the self-presentations of the primadonnas contribute to this.... It would be better to reorganize those living and consuming circumstances that have become completely absurd and yet serve as a desirable example everywhere.... Luckily, some designers are already conscious of their responsibility.”
Find out more at http://roger.kisd.de/
Free Yingying!
The 2008 Beijing Olympics Committee today announced their five Official Mascots:
“Like the Five Olympic Rings from which they draw their color and inspiration, the Five Friendlies will serve as the Official Mascots of Beijing 2008 Olympic Games, carrying a message of friendship and peace — and blessings from China — to children all over the world.
Designed to express the playful qualities of five little children who form an intimate circle of friends, the Five Friendlies also embody the natural characteristics of four of China’s most popular animals — the Fish, the Panda, the Tibetan Antelope, the Swallow — and the Olympic Flame.”
That’s the same Tibetan Antelope now teetering on the edge of extinction — endangered by infrastructure development and poaching. (Its wool is some of the finest in the world.)
The character is intended to project an image of happy diversity:
“His head ornament incorporates several decorative styles from the Qinghai-Tibet and Sinkiang cultures and the ethnic design traditions of Western China.”
Students for a Free Tibet, however, notes another agenda:
“The Chinese authorities’ plan to use the Tibetan antelope as propaganda purporting the unity of the nationalities in China in order to distract from the reality that China has illegally occupied Tibet for more than 50 years can be seen clearly in the statements made at the mascot unveiling ceremonies. According to Liu Qi, head of the Olympics organizing committee, the mascots ‘reflect the cultural diversity of China as a multi-ethnic country... and the enthusiasm and aspirations of our people.’
The Tibetan antelope is not a Chinese symbol and is being used to legitimize China’s occupation of Tibet.”
SFT is encouraging letters to Mr. Liu Qi. For more, see the SFT and Human Rights Watch campaigns on the 2008 Olympics in China.
