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“I Am Fan Yusu” – Beijing Migrant Worker’s Writing Takes Chinese Internet by Storm

A moving essay by a Beijing migrant worker has gone viral over Chinese social media this week. Although the article named “I am Fan Yusu” is currently the best-read article in China, the 44-year-old author, who has become famous overnight, just hopes she can live her life in peace.

Manya Koetse

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A moving essay by a Beijing migrant worker has gone viral over Chinese social media this week. Although the article named “I Am Fan Yusu” (我是范雨素) is currently the best-read article in China, the 44-year-old author, who has become China’s literary sensation overnight, just hopes she can live her life in peace.

Over the past two days, an essay written by a female migrant worker living in Beijing has gone viral on Chinese social media. The article, simply titled “I Am Fan Yusu” (我是范雨素, translation here) tells about the life and family of the 44-year-old Fan from a village in Xiangyang (Hubei) who has moved to Beijing where she does housework.

In her spare time, Fan, who quit school at the age of 12, loves to read and write. Last year, one of her essays titled “Peasant Brother” (农民大哥) was also published online by Beijing media outlet Noonstory.

The Beijing migrant worker has not had an easy life. Coming from a small impoverished village, she moved to Beijing at the age of 20 and married a man who turned out to be a violent alcoholic. After getting divorced, Fan Yusu is now a single mother of two daughters.

Although the writings of Fan Yusu are simple, her message is powerful. Within a timeframe of 48 hours the essay “I Am Fan Yusu” was shared in thousands of WeChat groups and went viral on Weibo.

Her essay starts like this:

My life is like a book that’s dreadful to read – fate has made its cover very messy. I am from Xiangyang in Hubei, and started to do private teaching at the local village school when I was 12. If I wouldn’t have left, I would have continued to teach and would have become a proper teacher. But I couldn’t bear to stay in the countryside and view the sky from the bottom of the well, so I came to Beijing. I wanted to see the world. I was 20 years old at the time.

Fan Yusu on April 25, 2017. Photo by Sina Finance.

Things were not easy after coming to Beijing. It was mainly because I was lazy and stupid, and because I was not skillful with my hands and feet. What other people could do in half an hour, I couldn’t even finish in three. My hands were too slow, slower than most people. I worked as a waitress at a restaurant and would drop the tray and break the plates. I just made enough money to keep myself from starving. I wasted two years in Beijing and couldn’t see the bigger picture. I then rushed myself into marrying a man from the Northeast of China.

Within a time frame of just five or six years, we had two daughters. But their father’s business was doing worse and worse, and he started to drink heavily every day and became aggressive. I simply couldn’t bear the domestic violence and decided to take my daughters and go back to my village in Xiangyang and ask for help. He never even came looking for us. I later heard he went from Mongolia to Russia. He’s probably lying drunk on some Moscow street now. In my hometown, I told my mother that I would go and raise my two daughters myself.”

Fan Yusu goes on to tell about her childhood and the story of her mother. Born in 1936, Fan’s mother was asked to become the director of the local Women’s Federation at the age of 14 because she was a good speaker and problem-solver. “She started doing that in 1950 and stayed in power for 40 years, even exceeding the reigning time of Saddam Hussein and Muammar Gaddafi,” Fan writes.

Photo of Fan Yusu’s mother, provided by Fan to Chinese media (Noonstory/Weibo).

In her essay, Fan tells about the pressures of village life and the patriarchal social system, and how her mother – raising five children in an unhappy marriage – suffered from it and eventually had to leave her job because of it.

Fan was born when her mother was forty, and was the only healthy daughter of their family. While growing up, Fan developed a passion for literature and started reading every book she could get her hands on.

But at the age of 12, Fan ran away from home during a school holiday to “see the world,” and stayed away for three months exploring the southern parts of China. When she returned home, she was rejected by her father and brothers and became the talk of the town. Fan did not return to school and took on a teaching job. Her mother was the only one who never turned away from her, from when she was a child until her adult years.

“When I had returned home to Xiangyang with my two daughters after leaving the violence in my home and my alcoholic husband, my mother was calm and collected and told me not to worry. But my brother avoided me like the plague and wanted me to leave and not cause him any problems.”

She continues:

“At this moment, I realized I no longer had a home. For us as poor rural people, it is very hard to get by in life, and the affection between family members naturally is not that deep. I did not resent my brother, but I understood that I was now merely a passer-by in the village where I was born and raised.”

In the final part of her essay, Fan tells about her life as a single mother and migrant worker in Beijing, and the mother’s love she received despite all hardships – which she hopes to return to society.

On Weibo and WeChat, the essay, which spread like wildfire, has gotten thousands of reactions over the past few days. “My friends sent this to me through our chat group,” one netizen says: “Many praise it, some denounce it, but I actually still don’t know the original source of the article.”

Despite the massive craze over Fan’s work, there are also those who say her writing is plain.

But the majority of people say the essay by Fan has moved them to tears, and that it has made them realize that literature is not an unattainable art. Her work is praised for telling a meaningful individual story that also shows the multi-layered problems of society.

The topic “Migrant Worker Fan Yusu Becomes Famous” (#农民工范雨素走红#) was viewed over 1.5 million times on Weibo today.

As her writings are taking social media by storm, Fan Yusu commented to the press that she had never imagined becoming famous and that it was not her intention: “It makes me scared,” she says. Over the past few days, she has given countless interviews and has been overwhelmed with attention.

“Although I barely get by, I do have enough to eat and live,” she told local media, saying that she does not write to change her life, but just writes to satisfy a “spiritual need.”

On April 26, several media reported that Fan is so overwhelmed with her sudden fame that she has gone into hiding in a mountain village and is no longer available for interviews.

“I hope we can respect her personal life and that we will leave her in peace,” one Weibo commenter said.

– By Manya Koetse
Thanks to Diandian Guo

©2017 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com.

Manya Koetse is the editor-in-chief of www.whatsonweibo.com. She is a writer and consultant (Sinologist, MPhil) on social trends in China, with a focus on social media and digital developments, popular culture, and gender issues. Contact at manya@whatsonweibo.com, or follow on Twitter.

2 Comments

2 Comments

  1. Avatar

    Daisy

    April 28, 2017 at 1:18 am

    Oh Manya, I love that you covered this story. Stories like this to arrive at the far reaches of the world can remind us how similar we all are. It reminds me of Ayi. While her husband is not an alcoholic, the heart aching story of how her children long for her still resonates with me (the one where she told her son she would be home as soon as the corn was ready to be picked, and from then on, he watered them 3x a day in hopes she could return sooner).

    Love,
    Daisy

  2. Avatar

    David Savage

    April 28, 2017 at 5:53 am

    Thanks for telling this beautiful story. I hope you can follow up Yan Fuzu while respecting her privacy. Maybe you can start a support group to assist her financially in some way, however small.

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China Arts & Entertainment

Two Hour Time Limit for KTV: China’s Latest Covid-19 Measures Draw Online Criticism

China’s latest COVID-19 infection prevention and control measures are drawing criticism from social media users.

Manya Koetse

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No more never-ending nights filled with singing and drinking at the karaoke bar for now, as new pandemic containment measures put a time limit as to how long people can stay inside entertainment locations and wangba (internet cafes).

On June 22nd, China’s Ministry of Culture and Tourism (文旅部) issued an adjusted version to earlier published guidelines on Covid-19-related prevention and control measures for theaters, internet cafes, and other indoor entertainment venues.

Some of the added regulations have become big news on Chinese social media today.

According to the latest guidelines, it will not be allowed for Chinese consumers to stay at various entertainment locations and wangba for more than two hours.

Singing and dancing entertainment venues, such as KTV bars, can only operate at no greater than 50% maximum occupancy. This also means that private karaoke rooms will be much emptier, as they will also only be able to operate at 50% capacity.

On Weibo, the news drew wide attention today, with the hashtag “KTV, Internet Cafe Time Limit of Two Hours” (#KTV网吧消费时间不得超2小时#) receiving over 220 million views at the time of writing. One news post reporting on the latest measures published on the People’s Daily Weibo account received over 7000 comments and 108,000 likes.

One popular comment, receiving over 9000 likes, criticized the current anti-coronavirus measures for entertainment locations, suggesting that dining venues – that have reopened across the country – actually pose a much greater risk than karaoke rooms due to the groups of people gathering in one space without a mask and the “saliva [drops] flying around.”

The comment, that was posted by popular comic blogger Xuexi, further argues that cinemas – that have suffered greatly from nationwide closures – are much safer, as people could wear masks inside and the maximum amount of seats could be minimized by 50%. Karaoke rooms are even safer, Xuexi writes, as the private rooms are only shared by friends or colleagues – people who don’t wear face masks around each other anyway.

Many people agree with the criticism, arguing that the latest guidelines do not make sense at all and that two hours is not nearly enough for singing songs at the karaoke bar or for playing online games at the internet cafe. Some wonder why (regular) bars are not closed instead, or why there is no two-hour time limit for their work at the office.

Most comments are about China’s cinemas, with Weibo users wondering why a karaoke bar, where people open their mouths to sing and talk, would be allowed to open, while the cinemas, where people sit quietly and watch the screen, remain closed.

Others also suggest that a two-hour limit would actually increase the number of individuals visiting one place in one night, saying that this would only increase the risks of spreading the virus.

“Where’s the scientific evidence?”, some wonder: “What’s the difference between staying there for two hours or one day?”

“As a wangba owner, this really fills me with sorrow,” one commenter writes: “Nobody cares about the financial losses we suffered over the past six months. Our landlord can’t reduce our rent. During the epidemic we fully conformed to the disease prevention measures, we haven’t opened our doors at all, and now there’s this policy. We don’t know what to do anymore.”

Among the more serious worries and fears, there are also some who are concerned about more trivial things: “There’s just no way we can eat all our food at the KTV place within a two-hour time frame!”

By Manya Koetse

*” 餐饮其实才更严重,一群人聚在一起,而且不戴口罩,唾沫横飞的。开了空调一样也是密闭空间。电影院完全可以要求必须戴口罩,而且座位可以只出售一半。KTV其实更安全,都是同事朋友的,本身在一起都不戴口罩了,在包间也无所谓。最危险的餐饮反而都不在意了”

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China Arts & Entertainment

Chinese Idol Survival Shows – The Start of a New ‘Idol Era’

Idol reality survival shows are riding a new wave of popularity in China.

Yin Lin Tan

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China has a vibrant online popular culture media environment, where new trends and genres come and go every single day. Chinese idol survival shows, however, have seen continued success and now seem to go through another major peak in popularity. What’s on Weibo’s Yin Lin explains.

On May 30, the finale of Chinese online video platform iQIYI’s Youth With You 2 (青春有你2) broke the Internet. Official videos on iQIYI’s Youtube channel garnered over 300 million views. At the time of writing, the hashtag “Youth With You 2 Finale” (#青春有你2总决赛#) has 3.15 billion views; the hashtag “Youth With You 2” (#青春有你2#) has 14.5 billion views. 

In recent years, China has produced a slew of so-called ‘idol survival shows.’ They have enjoyed much popularity among local audiences, as well as overseas—more than 393 hashtags related to Youth With You 2 trended in Asia, Europe, South America, and North America. In this overview, we explore the background, status quo, and future of China’s idol survival shows.

 

The Start of The ‘Idol Wave’ in China 

 

In China’s idol survival reality shows, so-called ‘trainees’, or aspiring idols, participate in a series of different challenges to compete for a chance to debut.

The ‘idol culture’ (偶像文化) has been dominating popular culture in Japan and South Korea for many years. An idol is, in short, a heavily commercialized multi-talented entertainer that is marketed – sometimes as a product – for image, attractiveness, and personality, either alone or with a group.

Especially K-pop and the Korean entertainment industry have since long been extremely popular among Chinese youth, heavily influencing pop culture in China today (more about Korean and Japanese idols here and here, and also read our article “Why Korean Idol Groups Got So Big in China and are Conquering the World“).

These kinds of shows are ubiquitous in South Korea’s popular culture, with Produce 101 (2016) becoming one of the most popular and successful South Korean reality series ever. 

The concept is simple. Every week, viewers vote for their favorite contestant. Trainees with insufficient votes during elimination rounds are eliminated from the competition. 

Nine Percent, the group formed from Idol Producer (Source).

The group formed from the final trainees then goes on to ‘promote’ for a period of time, usually one to two years.

This method of creating an idol group, in which the members are basically selected by their own fans, is a major way to bridge existing distances between fans and their idols. Fan participation is a key factor in the success of idol reality shows.

While China has had several idol survival shows, iQIYI’s Idol Producer (青春有你, 2018) was the first to reach levels of popularity similar to that of South Korea’s Produce 101

Idol Producer premiered in January 2018 with Zhang Yixing as the host and Li Ronghao, MC Jin, Cheng Xiao, Zhou Jieqiong, and Jackson Wang serving as mentors.

This first season of Idol Producer brought together a total of hundred trainees. Though most trainees were from China, there were a few from overseas, such as You Zhangjing from Malaysia and Huang Shuhao from Thailand. The younger brother of Chinese actress Fan Bingbing, Fan Chengcheng, also participated in the show.

The first episode of Idol Producer attracted more than 100 million views within the first hour of broadcasting. In the final episode, more than 180 million votes were cast, with first-place winner Cai Xukun raking in more than 47 million votes.  

Trainees performing on Produce 101 China (Source).

Two months after Idol Producer, Tencent launched Produce 101 China (创造101) in March 2018. Both shows marked the start of the ‘idol wave’ in China. 

In the next two years, more idol survival shows would dominate the Chinese entertainment scene. iQIYI released Youth With You 1 (青春有你) and Youth With You 2 (青春有你2) in 2019 and 2020 respectively. Tencent, too, released Produce Camp 2019 (创造营2019) and Produce Camp 2020 (创造营2020), the latter of which is currently airing. 

 

China’s New Idol Survival Show Era 

 

In 2018, both Produce 101 China and Idol Producer enjoyed overwhelming popularity, accumulating more than 4.73 billion views and 3 billion views respectively. Their sequels, however, have failed to achieve the same level of success.

At the time of writing, 150,000 viewers have completed Youth With You 1 on Chinese community site Douban, versus 470,000 viewers for its predecessor, Idol Producer. Additionally, the number of votes cast for the first episode of Youth With You 1 was much lower compared to its Idol Producer equivalent. 

The number of votes for the top 19 trainees on Idol Producer (left) versus Youth With You 1 (right) in the first episode (Source).

As for Produce 101 China, 510,000 viewers have completed the show on Douban, but only 340,000 viewers have finished watching its sequel. 

Groups formed from these shows have met with varying amounts of success and have run into problems regarding scheduling conflicts. 

Nine Percent, the boy group formed from Idol Producer in 2018, was known as a group that rarely met. Their second album was a compilation of tracks from solo members. Members had existing contracts with their own companies while simultaneously promoting with Nine Percent; hence, due to scheduling conflicts, members would often forgo Nine Percent activities for those of their own company. 

Rocket Girls from Produce 101 China. (Source)

Rocket Girls, formed from Produce 101 China, also faced problems after debuting. Due to conflicts between Tencent and their management company, Yuehua Entertainment, Meng Meiqi and Wu Xuanyi, who placed first and second respectively, left the group two months after debut.

Despite the problems faced by groups formed from such shows, some idols were able to ride on the momentum they gained from participating.

For instance, Cai Xukun, first-place winner of Idol Producer, swiftly rose to become one of the most popular trainees on the show, consistently ranking first place in every round of elimination. He was also the host of the recently concluded Youth With You 2.

Liu Yuxin obtained first place in the last episode of Youth With You 2. (Source)

Other trainees have also seen individual success. Liu Yuxin, the first-place winner of Youth With You 2, gained attention for her androgynous look: short hair, a cool personality, and wearing shorts instead of a skirt. Her hashtag “Liu Yuxin” (#刘雨昕#) has been viewed more than 550 million times on Weibo. In the final episode, she received more than 17 million votes.

Despite the lowering audience ratings for other recent idol shows, the success of Youth With You 2 might mark the start of a new ‘idol era’. Even Chinese netizens wondered why the show is so popular compared to Youth With You 1.

Just one day after the finale premiered, the hashtag “Youth With You 2 Finale” had already been viewed more than 2.2 billion times on Weibo. On Douban, 580,000 viewers have finished the show—more than any of the previous idol survival shows by iQIYI and Tencent.

 

The Future of Idol Survival Shows 

 

Chinese idol survival shows were received with much fanfare when they first entered mainstream popular culture in 2018. But the ensuing conflicts that the resulting groups ran into resulted in netizens doubting the success and effectiveness of these shows. 

Trainees from Produce Camp 2020 practicing for the theme song. Source

This year, however, the popularity of both Youth With You 2 and Produce Camp 2020 might signal a comeback for the idol era in China.

And this time around, Chinese idol survival shows are also gaining more traction outside of the PRC, becoming more and more popular among global audiences. Both Youth With You 2 and Produce Camp 2020 have been well-received by viewers from many different countries.

On social media, online commenters praise the two shows – and Chinese idol survival shows in general – for having a more “laid-back atmosphere” between the trainees and mentors. Web users also comment that they enjoy how the shows highlight the friendship between the trainees, rather than the feuds.

It seems that what sets Chinese idol survival shows apart from the South Korean ones is precisely why some viewers prefer them. The longer running times, for example, makes it possible to give more screen time to the different trainees and to give a deeper understanding of the relations between them.

Youtube comment on Episode 1 of Produce Camp 2020. Source

Youtube comment on Episode 1 of Produce Camp 2020. Source

Reddit comment on Episode 9 of Idol Producer. Source

With the popularity of idols like Liu Yuxin and Wang Ju who challenge conventional beauty standards, shows can also look into moving away from the cookie-cutter aesthetic that idols usually adhere to. 

Furthermore, management companies and broadcasting companies have to come to an agreement regarding what scheduling arrangement would benefit all parties and be conducive towards the idols’ physical and mental health. 

Selected trainees from Produce Camp 2020 took part in a photoshoot with Elle. Source

It remains to be seen whether THE9, the newly formed group from Youth With You 2, will be able to flourish in the time to come and avoid the troubles that other groups ran into. 

As for Produce Camp 2020, it seems set to enjoy just as much success as Youth With You 2 did – if not more. Only five episodes have been released, but the show’s hashtag already has 16.1 billion views.

A reviewer on Douban writes: “The trainees are all confident, taking opportunities to express themselves and actively showcase their talents. So much youthful and positive energy!” 

The latest newcomers to the idol reality show genre further consolidate the success of the format. Recently, Mango TV released Sisters Who Make Waves (乘风波浪的姐姐们, 2020), where female celebrities above 30 years old compete to make it into the final five-member girl group. The first episode was viewed more than 370 million times within the first three days of release and immediately became top trending on Weibo.

The number of survival shows in China right now and their growing popularity shows that audiences seemingly can’t get enough of the genre. It is an indication that, despite setbacks in the past, China’s idol survival reality show genre is still going strong and might be here to stay.

You can watch the currently airing Produce Camp 2020 and Sisters Who Make Waves here and here.

By Yin Lin Tan

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©2020 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com.

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