As Hong Kong’s summer of discontent passes its tenth week of street protests, analysts agree on one key point: this is the biggest political crisis the city has seen since its reversion from British colony to Chinese Special Administrative Region in 1997.
This year’s anniversaries of the 1919 and 1989 student protests in China will again highlight the Chinese authorities’ contradictory attitudes toward the two movements. As the People’s Republic looks ahead to the 70th anniversary of its founding this October, the country continues to reckon with its own history.
On Nov. 14, 2018, a sociologist at the Chinese University of Hong Kong gave his last lecture, entitled “Tribute to the Enlighteners.” To a standing room-only crowd of over 600 people, professor Chan Kin-man discussed his life of activism, which culminated in the 2014 Umbrella Movement, a demonstration in support of greater democracy for Hong Kong — a demonstration that lasted 79 days and drew the world’s attention to a moment of political awakening.
On March 27, 2017, the leaders of the 2014 Umbrella Movement in Hong Kong turned themselves in to the police. The group included founders of the movement—Benny Tai, a professor; Chan Kin-man, a sociologist; and Chu Yiu-ming, a pastor—as well as other student leaders, lawmakers, and politicians.
Now that China’s National People’s Congress has voted – 2,958 to two – to abolish presidential term limits, Xi Jinping could rule China indefinitely, rather than completing a tenure of two five-year terms in 2023. To what degree is Xi set to become the all-powerful ruler many observers predict?
What is a Big-Character-Poster? It is a type of political writing, expressed on paper—in handwritten characters—and posted in a public place; a wall covered with such posters established a forum for discussion and dissemination.
The first time I saw Ai Weiwei’s art, I was appalled. Almost twenty years ago, long before he became an internationally-known contemporary artist, one of my Chinese-language classmates at Qinghua University brought me to Ai’s studio on the outskirts of Beijing.
Read more at: https://chinachannel.org/2017/10/20/exhibition-as-theater/.
The newspaper headlines that have bracketed my summer trip to Hong Kong have been dark. In mid-July the city, once a British colony and now a Chinese Special Administrative Region, was mourning Liu Xiaobo, a political prisoner and Nobel Laureate who died of cancer under custody.
China’s Palace Museum has always been a symbol of political legitimacy, its art and artifacts a kind of currency. Making imperial treasures public to the new nation, it first opened its doors in the Forbidden City in 1925. But many of its finest pieces are no longer in Beijing.
Read more at: http://evenmagazine.com/imperial-by-design/.
Yang Shuping’s University of Maryland commencement address and its attendant furor is nothing new, as Pamela Kyle Crossley points out. In 1999, my classmates and I—in the Yale college courtyard from which Yifu Dong just graduated—woke up to find the entryways plastered with posters condemning the American attack on the Belgrade embassy.
This year marks the fiftieth anniversary of the beginning of China’s Cultural Revolution (1966-1976), a decade-long period of political turmoil that included attacks on alleged class enemies, the toppling of Party officials high and low, and the reinstatement of political control via revolutionary committees supported by the military.
The Cultural Revolution was a period of violent passions and deep traumas. Violence was committed in the name of the noblest ideals or out of the darkest human motivations.