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.”
