China’s primary Muslim ethnic groups in traditional women’s clothing:
So beautiful *w*
I wish I could watch some of these outfits being assembled. How do those hairstyles *work*?
Women of Chinese descent in Trinidad occupy a space that is simultaneously visible and invisible. Despite national and regional acknowledgment of this minority group’s significant cultural and economic influence, female voices are notably absent within the academic literature and early migration history of this unique culture. The mixed-Chinese claim varying degrees of Chinese heritage and also co-exist with recent migrants in the fourth wave of Chinese migration to Trinidad. What does it mean to be simultaneously visible and invisible? What purposes are served by existing in the space in-between?
CHINEE GIRL focuses on fifteen female subjects occupying various social circles. Through their stories, a contemporary portrait of the Caribbean Chinese identity emerges, questioning how one defines ethnicity and identity in a Caribbean space.
Check out this trailer for Chinee Girl, a 2011 documentary about Chinese-Trinidadian women by Natalie Wei. Canada-born and of Trinidadian descent, Natalie Wei is a freelance artist, photographer and emerging filmmaker. A graduate of Ryerson University in Canada, she is engaged in an MPhil degree in Cultural Studies at the University of the West Indies. (source.)
This looks super cool.
This is gonna be complex (I hope). Having Trini Chinese as family, cousins, some mixed, I took some things for granted. And it was years before my father told me, not just about troubles they’d had, but trouble some of his grown peers/friends had had - how they were seen by those outside Trinidad, as well as within. That I’d just never known. I didn’t know/realize he’s raised me in those wee early years to accept family as family and people as people because of what he’d seen. I have to follow this film.
Why is David Mitchell so popular in China? Transmigration.
Okay, that theory might need a bit of work.
Top: A Chinese man stands alone to block a line of tanks heading east on Beijing’s Cangan Boulevard in Tiananmen Square, on on June 5, 1989. The man, calling for an end to violence and bloodshed against pro-democracy demonstrators, was pulled away by bystanders, and the tanks continued on their way.
Center-left: Workmen try to drape the portrait of Mao Tse-tung in Beijing’s Tiananmen Square after it was pelted with paint, on May 23, 1989.
Center-right: Bodies of dead civilians lie among crushed bicycles near Beijing’s Tiananmen Square, on June 4, 1989.
Bottom: Three unidentified men flee as a Chinese man, background left, stands alone to block a line of approaching tanks, in Beijing’s Tiananmen Square, on June 5, 1989. The man in the background stood his ground and blocked the column of tanks when they came closer, an image captured on film by numerous other photographers and one that ultimately became a widely reproduced symbol of events there.
See more. [Images: AP, Reuters]
23 years ago today, the Chinese People’s Liberation Army violently cleared Beijing’s Tiananmen Square of protesters, ending a six-week demonstration that had called for democracy and widespread political reform. The protests began in April of 1989, gaining support as initial government reactions included concessions. Martial law was declared on May 20, troops were mobilized, and from the night of June 3 through the early morning of June 4, the PLA pushed into Tiananmen Square, crushing some protesters and firing on many others.
The exact number killed may never be known, but estimates range from several hundred to several thousand. Today, China’s censors are blocking Internet access to the terms “six four,” “23,” “candle,” and “never forget,” broadening extensive efforts to silence talk about the 23rd anniversary of China’s bloody June 4 crackdown. Here is that story, in images and words. Please share it widely.
Officials took note of where people where people were taking pictures and later tried to confiscate all of the film. The photographer who took the famous image of the man in front of the tank saved it by hiding it in the toilet tank.
Nüshu (literally “women’s writing” in Chinese) is a syllabic script created and used exclusively by women in the Jiangyong County in Hunan province of southern China. Up until the late Qing Dynasty (1644-1912) women were forbidden access to formal education, and so Nüshu was developed in secrecy as a means to communicate. Since its discovery in 1982, Nüshu remains to be the only gender-specific writing system in the world.
Read more here.
We will speak.