People still remember where they were the day Exmetjan died. It was Thursday, June 13, 1991. He was only 22 years old.
As is common with the death of an icon, many people refused to believe he was gone. Instead, rumors spread that thugs from a rival disco had knifed him in a back alley or that he had faked his death and gone abroad to marry a princess.
The Xinjiang Guang Hui Flying Tigers are flying high. Riding the phenomenal success of their imported stars, Americans Lester Hudson and James Singleton and a Taiwanese player named Yang Jinmin, the support of China national team players such as the Uyghur point guard Shiralijan (Xi-re-li-jiang) and the Han center Tang Zhengdong, they're back in the Chinese Basketball Association finals for the fourth time in six years -- but the first since 2011, when Quicy Douby took them within two wins of a championship.
Memetjan Abla, a painter, teacher, husband and father, known for his subtle use of color in his elegant portraits of Uyghur urban life, was lost on Malaysia Airlines Flight MH370 from Kuala Lumpur to Beijing. He was 35.
In the wake of the horrific violence in Kunming, Uyghurs around the country have taken to Chinese-language social media to create distance between themselves and the killing of the innocent. The celebrity of Uyghur-Han ethnic friendship, the Guizhou kebab-seller-turned-philanthropist Alimjan (A-li-mu-jiang), put it best. Echoing the massively popular Indian-American film My Name is Khan, Alimjan said, “My name is Jiang and I am not a terrorist.” Many people also expressed empathy with those who experienced personal loss and pain on March 1 by writing on their WeChat accounts, “We are all Kunming people today.”
Posted just last week to Vimeo (password duihua), The Dialogue is a film by Wang Wo that looks at the Chinese government’s increasingly restrictive policies toward non-governmental contact between minority groups (specifically Tibetan and Uyghur) and Han Chinese. The film centers on an attempt by Chinese intellectuals and human rights lawyers to make contact with the Dalai Lama.
I’ve asked many people why Abdulla “Aka” (Older Brother) Abdurehim is the undisputed King of Uyghur music. It’s not that he has the gravitas of a young Elvis Presley, the steely resolve of Johnny Cash, the working-class poetics of Bruce Springsteen, or the song and dance routine of the trickster Bob Dylan. People talk about the catchiness of his melodies, the way the best song writers flock to him like pigeons to a master, and women flutter around him like moths to a flame. Yet these explanations always leave me unsatisfied. Abdulla is, after all, an average-looking middle-aged man from Kashgar. He’s average height. He has a moustache.
Within the marriage market of the urban Uyghur community it has almost become a cliché to discuss the moral aptitude of young men in terms of their frequency of prayer. When introducing a potential boyfriend, the line given is “he prays five times a day." Although this description often overlooks other moral failures such as drinking, smoking, and general carousing, the overall connotation conveyed is “this is a good, responsible guy.” In the short film With Me, Hezriti Ali, another self-made migrant actor-muscian from the southwest edge of the Taklamakan Desert, tackles this problem in an unusually subtle and implicit way.
Music envelops the tight confines of nightclubs in Xinjiang's urban centers, where the pageantry of movement brings friends and strangers to life. Uyghurs can dance. And since his very first cassette tape released in 1999, the singer Möminjan has been popular with Xinjiang's youth precisely because his songs are eminently danceable.
Of all the performers in the upper echelon of Uyghur pop music, Möminjan is perhaps the most widely traveled independent artist. Möminjan and his brother, the famous composer Ablet Ablikim, grew up in the shadow of their famous uncle Abdulla, the King of Uyghur pop. He and his brother have been following in their uncle’s footsteps for more than a decade; they even recorded a song together called “We Brothers” (Qerindash Biz), which sounds a bit like a Uyghur version of the Everly Brothers.
Ablajan Awut Ayup, the Uyghur Justin Bieber, is trending again in Uyghur cyberspace. Uyghur Weixin and popular social media sites like Misranim have amped up Ablajan’s meteoric rise in Uyghur pop culture, but this time it’s not just his highly orchestrated K-pop-style dance-ensemble performances, his catchy rhymes and bad-boy persona. Ablajan is crossing over. China, meet A-bo-la-jiang.
Xu Xin’s monumental 2010 film, Karamay (below, with English subtitles), is a meditation on the relationship humans have to failures within Modernist political projects in our current historical moment. Using long-takes and repetitive framing, Xu Xin draws out the long duration of trauma and feelings of injustice following a horrific fire that killed hundreds of children in 1994. With the exception of a minority of Uyghurs and Kazakhs, the majority of Mandarin speakers featured in this award-winning 356-minute film came from elsewhere.
The short film Battle (above, with English subtitles) offers viewers a perspective of Uyghur life in major Chinese cities outside of Xinjiang. Having lived in Northwest China for extended periods, it was striking to see how evocative it is of life for Uyghurs outside of their homeland.
Adil Mijit is not the only Uyghur comedian to incorporate a discussion of hip-hop into his performances. In the recent state-sponsored film Shewket’s Summer, directed by Pan Yu with assistance from Beijing Film Academy students, Abdukerim Abliz joins the Uyghur hip-hop crew Six City as a reticent folk musician. The film, which is both a “coming-of-age” and “parent-trap” melodrama, highlights the way conflicts resolved at the level of the family have larger implications for society.
The Uyghur-language songs of teen heartthrob Ablajan Awut Ayup run on a loop through the heads of many Uyghur tweens and young urbanites. Taking cues from Justin Bieber, the ever-popular dance moves of the late-Michael Jackson, and the pretty-gangster affect of Korean pop stars, Ablajan is a self-styled chart-climber; he is a self-made song-and-dance man. Whether you love him or hate him, the fact remains that he has cornered the Uyghur children’s music market by tying clever songwriting with catchy beats.
In the film The Silk Road of Pop a classically trained Uyghur tambur player tells viewers that Western music such as hip-hop and jazz does not carry the same feelings of love, tradition, and family as Uyghur traditional and folk music. He says he hopes that Uyghur musicians coming of age today do not forget their past. This tambur player, a member of studio musicians who often accompany the King of Uyghur pop Abdulla, is repeating a refrain heard frequently by performance artists trained under the Maoist regime.
The Silk Road of Pop (2013: 53 min) ends with a young rapper saying he wants the world to know Uyghurs exist. The man, a sculpted crop of hair jutting from his chin, says, “Aside from China, who knows that Uyghurs exist? Zero percent.” As a view from a train window merges into film credits while the Uyghur musician Perhet Xaliq and his wife Pezilet sing an old song of Uyghur youth “sent down” from the city, the pathos of the rapper's plea seems to resonate with the atmosphere of the land, the tight cement block apartments, the frozen sidewalks paved with Shandong tiles.
By all standards Wang Meng (1934- ) has had a tremendously successful career. Easing out of his problematic role as Cultural Minister in 1989, Wang was nominated for the Nobel Prize in 1994 by the Chinese Literary Society. He has published more than 100 books and was listed as the 24th most commercially successful writer in China in 2010 with a net worth of 1.75 million yuan. This past year a village on the border of Kazakhstan opened a museum in his honor.
“Sometimes the mountains faded into the whiteness of the clouds and it was difficult to distinguish what was snow and what was clouds. Yet some days there were no clouds and the mountains seem to float in the air. This caused me to have a good and proper smile.” –Ai Qing, The Poetic Life, 2007, 67 (looking south from his labor camp in Shihezi to the Heavenly Mountains)
In his book The Gift the Russian-American novelist Vladimir Nabokov describes the mountains of Northwest China as a “transparent and changeable setting” where “the dryness of the air produced an amazing contrast between light and shadow: in the light there were such flashes, such a wealth of brilliance, that at times it became impossible to look at a rock, at a stream; and in the shadow a darkness that absorbed all detail.”