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From Mountains of Taishan to Faces of Amsterdam – Interview with Photographer Jimmy on the Run

His past in China, his present in Amsterdam and his future in photography – Jimmy is always on the run.

Manya Koetse

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Fashion & Street Photographer Huang Jianmin a.k.a. Jimmy is the focus of the recently released short doc Jimmy on the Run by filmmaker Wytse Koetse. The short film [7 min] shows Jimmy’s passion for the lens, his dynamic lifestyle, and his struggle with family expectations. What’s on Weibo spoke to Jimmy about his past in China, his present in Amsterdam and his future in photography.

 

ANOTHER LIFE

“I had never even seen a city until I was 12 years old.”

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I meet Jimmy in his home in the city center of Amsterdam. It is the first time we meet, but I feel like I know him quite well – it is because I have seen the short doc Jimmy on the Run that gets up close and personal with this photographer and his work. On Jimmy’s comfortable couch, we talk about his life in China, his love for the streets of Amsterdam and the journey he’s made to get where he is today.

“I was born and raised in a village in China’s Guangdong province,” Jimmy, whose Chinese name is Huang Jianmin (黄健敏), begins: “Taishan is my hometown, Taishanese [台山话] is my native language. We lived in a rural area on the outskirts, which was like a small village. There was nothing there when I was young. I had never even seen a city until I was 12 years old. It has now changed enormously; there’s even a train going there. It was a good place for me to grow up. I could play outside with my friends all day. We would catch fish, go up the mountain and pluck fruit from the trees.”

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“My dad started working in Amsterdam when I was seven years old, so I mostly grew up alone with my mum. Many people from Taishan leave for America or Europe. Already since the 1900s people from [tooltip text=”Taishan is known as the No 1 Home of Overseas Chinese.”]Taishan[/tooltip] left in great numbers to the ‘Old Gold Mountain’ [旧金山, San Fransisco].”

“I was sixteen when my mum and I also moved to Amsterdam. I was afraid to leave China, and actually did not want to go. But gradually, I started to see that life in the Netherlands might bring me new opportunities. Some of my friends in Taishan are jobless now. If I would’ve stayed, I probably would’ve been married and have my own family now. I’d be in the village, and would go to the big city once a year. But my life turned out differently.”

 

COMING TO AMSTERDAM

“I was lucky to discover my love for photography – it saved me.”

WhatsonWeibo JimmyAmsterdam

“I soon discovered I really liked Amsterdam. It’s easier to get what I want here. It’s colorful and people are very approachable. I have been to big cities like Hong Kong, New York and Paris, but never got that same feeling there. People are down to earth here. Amsterdam might not be a fashion city like Paris, but Amsterdam sure is a people’s city.”

“I started out doing different jobs after I arrived in Amsterdam. I never graduated from any school, because of the language barrier and the different educational systems in China and the Netherlands. I would work in Chinatown supermarkets, help out in restaurant kitchens here and there, sort out the luggage at Schiphol Airport. I was also a mailman for some time, and worked as a cleaner in houses. I once found a dead guy while cleaning. After that, I was no longer afraid to get my hands dirty.”

“I am prone to addiction, and this started becoming somewhat of a problem after I came to Amsterdam. I developed an addiction for gaming. I don’t drink, I don’t smoke and I don’t gamble – but I couldn’t stop gaming.”

“Some years after I’d moved to Amsterdam, I had a girlfriend and it was through her that I first got interested in photography; she had a brother who was into it. He would take pictures at parties. I thought it was pretty cool. I would play around with my father’s camera, but then bought my own first camera in 2008 – I was just smitten with it. I started going out into the streets with it. I would search for something to shoot, and would always find it. I was lucky to discover my love for photography – it saved me from gaming. It became my new addiction.”

 

JIMMY ON THE RUN

“I am used to running after things – I’ve done so all my life.”

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“Taking self-portraits became a way to express myself. I did not take these pictures to represent myself to others, but to record a moment in time and try to capture the feelings I had. It was something personal.”

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“One time when I was out taking photos, I saw a girl on the streets. She probably was around 16 years old, and was very slender with long legs. Blue jeans jacket, boots and a cigarette dangling from her mouth. When I saw her, I knew I had to take her picture. I am used to running after things – I’ve done so all my life. But this was the first time I ran after someone to take a picture, and it turned out perfect. She was the start of me taking pictures of people. I started blogging and getting active on social media. I then became Jimmy on the Run.”

gingerboy jimmyonthrerun

“I can’t really explain how I work in doing street photography. It’s a feeling. I met a 17-year-old ginger boy today, and I thought: I need to talk to you, I need to photograph you. There will always be people saying no when I ask if I can take their picture, but you still need to ask. It has made me more confident.”

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“Faces, fashion, people moving – my photographs are about the moment someone gives me. I like unique faces, they don’t have to be pretty. I like anything that’s timeless. Portraits, classic looks. I don’t feel like I need to capture the era we live in, I want to capture the moment we live in. My photos should still look good on your wall fifty years from now.”

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“Filmmaker Wytse Koetse liked my pictures, and started following me on social media. I also liked his work, especially the short documentary Cola Chicken. It was real, simple and pure. I loved the scene where Chen Chen [the main subject] talks about how he loves dogs, but also eats dog meat, and then says sorry to the dog. That guy is real, that’s the real shit.”

“I did not just agree to him filming me because I liked his work, but also because I felt a little lost at the time and it helped me. I had just started as a freelance photographer. It was the right timing. Wytse started coming over and followed me as I worked. We spent so much time together that we became much closer throughout the process of filming. The documentary initially was supposed to be just about my work, but in the end, it also became more about myself. We talked a lot, and I’m quite a sensitive person. My father is the man I respect most, but he’s not proud of me. When I start talking about him, I often have to cry. It’s good to face yourself. Things are much better now. If I’m gonna show my dad the documentary? I’m not sure yet. Maybe later.”

 

BETWEEN CHINA AND AMSTERDAM

“I grew up with Deng Xiaoping, but we learned that Mao was the sun. He was like a God to us.”

WhatsonWeibo Jimmy Little

“Amsterdam has helped me open my eyes to new things. In China, I always felt restricted. In school, I had to wear a uniform and the teachers were very strict. I grew up with Deng Xiaoping, but we learned that Mao was the sun. He was like a God to us. We had one cinema and the only movies we saw were those about Mao fighting against the Japanese. Of course, my parents had it much worse than me and my life was good, but I did not feel free. Amsterdam has changed me. I look differently at life now. I never really saw things over there. I now see fashion, and see different scenes. Like the gay scene – I had never seen something like that before.”

“In China there is a great divide between the rich and the poor. In Amsterdam, there is this overall vibe of people being people – it doesn’t matter if you’re homeless or a celebrity. It’s one of the reasons I love Amsterdam so much; there’s a sense of equality.”

“For me, Holland means freedom. I can dress how I want and say what I want here. In China, I cannot. I was once hit when I tried to take a picture in Hong Kong. I am not sure I want to try to do photography in China anymore. I am more scared to do it there.  I feel safer here. People here are very straightforward, and I like that: yes is yes, no is no. Shit gets done this way.”

“I don’t miss my life in China, but I do miss the food. I used to go back a lot, but now not so much. I sometimes feel a bit caught between China and Amsterdam. I’m a mix of both now. Many of the second generation Chinese who were born in the Netherlands don’t understand me. I was not born here, and our backgrounds are very different. I don’t consider them Chinese like me. But at the same time I can no longer move back to China, because I might be too Dutch now. Although I must admit, I am not as open-minded as Dutch people are. My parents will never be my ‘friends’, like it is for many Dutch here. Anyway, there is no way I could indefinitely move back to China, maybe only for a year or so. I can’t handle the smog. My friends in Shenzhen have started to look old. Besides, there is no life there for me now.”

 

CHOOSING A NEW PATH

“There’s no sweet without sweat – you have to work hard to achieve your dreams. ”

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“Am I a street photographer or a fashion photographer? I am both. Street photography is in my heart. I want to mix street and fashion. My style is raw, I like to keep things as authentic as possible. I’m rather nostalgic and have a soft spot for the 1950s and 1960s. Sherlock Holmes, Dorian Gray, Helmut Newton, Richard Avedon. I love doing everything analog, not digital. I hate social media. I need it because it helps me, but I hate it. I used Chinese microblogs before, now I use WeChat and have Tumblr, Facebook, my blog and my website. I sometimes post very personal stuff and people don’t even see it. Every time you post something on social media you give away a little bit of yourself.”

“The relationship with my parents is now good, but they are more traditional than I am. My mum is somewhat more western than my dad is. My dad is the one I respect most in this world. I love him. But I cannot let go of the fact that I don’t make my father proud. He envisioned another life for me than the one I chose. They’d hoped that I would’ve been married by now, with kids.”

“My dream for the future? I am a one-child-policy kid, and I’ve always been jealous of people with brothers or sisters. I hope to have at least two children one day. And I would really love to have a daughter. I would take her to Disneyland. She can dress up as Batman, I’ll be Robin.”

“I also want to publish a book with my photos. It will be called the Faces of Amsterdam. I hope I can work for high-end magazines. For now, I’ll just keep on working hard. I live by ‘xian ku hou tian’ [先苦后甜, Chinese expression]: ‘there’s no sweet without sweat’. You have to work hard to achieve your dreams. That’s what happiness is, right?”

This interview was conducted and condensed by Manya Koetse in Amsterdam.

To watch the short film about ‘Jimmy on the Run’, see the featured video on top of this article, or go view it at Filming Freedom. For more of Jimmy’s work, see www.jimmyontherun.com.

©2016 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.

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China Celebs

Chinese Social Media Users Stand up Against Body Shaming

Manya Koetse

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Recent photos of famous actress Gong Li that showed her curvier figure have gone viral on Sina Weibo, receiving over 850 million clicks. With Gong Li’s weight gain becoming all the talk on Weibo, the public’s focus on her appearance has sparked an online wave of body positivity posts, with web users rejecting the all-too-common phenomenon of body shaming on Chinese social media.

First, there was the ‘A4 Waist‘ hype, then there was the ‘iPhone6 Legs‘ trend, the ‘belly button backhand,’ and the online challenge of putting coins in your collarbone to show off how thin you are (锁骨放硬币). Over the past five years, China has seen multiple social media trends that propagated a thin figure as the ruling beauty standard.

But now a different kind of trend is hitting Weibo’s hotlists: one that rejects body shaming and promotes the acceptance of a greater diversity in body sizes and shapes in China.

On August 26, Weibo user @_HYIII_ from Shanghai posted several pictures, writing:

Reject body shaming! Why should we all have the same figure? Tall or short, thin or fat, all have their own characteristics. Embrace yourself, and show off your own unique beauty!

The post was soon shared over 900 times, receiving more than 32,000 likes, with the “body shame” phrase soon reaching the top keyword trending list of Sina Weibo.

 

Gong Li Weight Gain

 

The body positivity post by ‘_HYIII_’ is going viral on the same day that the apparent weight gain of Chinese actress Gong Li (巩俐) is attracting major attention on Chinese social media platforms such as Weibo and Douyin.

The 54-year-old actress, who is known for starring in famous movies such as Farewell My Concubine, To Live, and Memoirs of a Geisha, was spotted taking a walk with her husband in France on August 24. The photos went viral, with media outlets such as Sina Entertainment noting how Gong Li had become “much rounder” and had put on some “happy fat” (幸福肥).

By now, the hashtag page “Gong Li’s Figure” (#巩俐身材#) has received more than 850 million (!) views on Weibo, with thousands of people commenting on the appearance of the actress. In the comment sections, there were many who lashed out against the focus on Gong Li’s weight gain.

“She just has a regular female body shape. Stop using ‘white / skinny / young’ as the main beauty standard to assess other people,” one commenter said, with another person writing: “Why do you all keep focusing on her figure, did she steal your rice and eat it?!”

 

“Why do you all keep focusing on her figure, did she steal your rice and eat it?”

 

Some people suggested that the COVID19 pandemic might have to do with Gong Li’s weight gain, with others writing: “If she is healthy is what matters, skinny or fat is not the way to assess her beauty.”

What stands out from the discussions flooding social media at this time, is that a majority of web users seem to be fed up with the fact that a skinny body is the common standard of women’s beauty in China today – and that accomplished and talented women such as Gong Li are still judged by the size of their waist.

 

Say No to Body Shaming

 

In light of the controversy surrounding Gong Li’s recent photos and the following discussions, posts on ‘body shaming’ (身材羞辱) are now flooding Weibo, with many Weibo users calling on people to “reject body shaming” (拒绝#body shame#) and to stop imposing strict beauty standards upon Chinese women.

The pressure to be thin, whether it comes from the media or from others within one’s social circle, is very real and can seriously affect one’s self-esteem. Various studies have found an association between body dissatisfaction and social pressure to be thin and body shaming in Chinese adolescents and young adults (Yan et al 2018).

The main message in this recent Weibo grassroots campaign against body shaming, is that there are many ways in which women can be beautiful and that their beauty should not be merely defined by limited views on the ideal weight, height, or skin color.

Over the past decades, women’s beauty ideals have undergone drastic changes in China, where there has been a traditional preference for “round faces” and “plump bodies.” In today’s society, thin bodies, sharp faces, and a pointy chin are usually regarded as the standard of female ideal beauty (Jung 2018, 68). China’s most popular photo apps, such as Meitu or Pitu, often also include features to make one’s face pointier or one’s legs more skinny.

This is not the first time Weibo sees a growing trend of women opposing strict beauty standards. Although the word ‘body shaming’ has not often been included in previous trends, there have been major trends of women opposing popular skinny challenges and even one social media campaign in which young women showed their hairy armpits to trigger discussions on China’s female aesthetics.

Especially in times of a pandemic, many netizens now stress the importance of health: “Skinny or fat, it really doesn’t matter how much you weigh, as long as you’re healthy – that’s what counts.”

Also read:

 

By Manya Koetse

 

References

Jung, Jaehee. 2018. “Young Women’s Perceptions of Traditional and Contemporary Female Beauty Ideals in China.” Family and Consumer Sciences Research Journal 47 (1): 56-72.

Yan, Hanyi ; Wu, Yingru ; Oniffrey, Theresa ; Brinkley, Jason ; Zhang, Rui ; Zhang, Xinge ; Wang, Yueqiao ; Chen, Guoxun ; Li, Rui ; Moore, Justin. 2018. “Body Weight Misperception and Its Association with Unhealthy Eating Behaviors among Adolescents in China.” International Journal of Environmental Research and Public Health 15 (5): 936.

Spotted a mistake or want to add something? Please let us know in comments below or email us. First-time commenters, please be patient – we will have to manually approve your comment before it appears.

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

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China Arts & Entertainment

China’s New Hit Drama ‘Nothing But Thirty’ Thrives in the “She Era”

Chinese latest hit drama ‘Nothing but Thirty’ has 20 billion views on its Weibo hashtag page.

Yin Lin Tan

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China’s latest TV drama hit Nothing But Thirty is flooding Weibo discussions. With over 20 billion views on its hashtag page, the show is one of the most popular shows of the season and demonstrates that China’s ‘she era’ (ta shidai 她时代) dramas are all the rage. What’s on Weibo’s Yin Lin Tan explains.

“Have you heard of ‘independent at the age of thirty’ (sān shí ér lì 三十而立)?” Wang Manni asks, her hair pulled back neatly and white shirt cleanly pressed. “I hope that, before I’m thirty, I’ll be promoted to supervisor.”

Riding on the wave of female protagonist (‘heroine’ 大女主) shows that have been taking over China’s entertainment scene, Nothing But Thirty (三十而已) is a 43-episode drama by Dragon Television that follows the challenges of three different women who have reached the ever-important age of thirty.

In a society where women are often expected to be married by their late twenties, a show like this, which tackles women’s present-day struggles, both in their personal and professional lives, has resonated with many.

In fact, the show is so popular that at the time of writing, the show’s hashtag (“Nothing But Thirty”, #三十而已#) has over 20 billion (!) views on Weibo.

 

Depicting the struggles of China’s thirty-something women

 

Nothing But Thirty revolves around the lives of three female leads from different walks of life. Gu Jia (Tong Yao) is a capable businesswoman turned full-time housewife; Wang Manni (Jiang Shuying) is an independent, career-oriented sales assistant; and Zhong Xiaoqin (Mao Xiaotong) is your run-of-the-mill office lady.

For Gu Jia, the birth of her son was what truly transformed her into a full-fledged housewife. In many ways, she seems like a perfect wife and mother: well-educated, capable, and thoughtful. But, eventually, she too has to face life’s challenges.

Driven and hardworking, Wang Manni is confident in both her looks and abilities. Her immediate goal, at least at the start of the show, is to achieve professional success. Throughout the show, her resilience is put to the test, personally and professionally.

Zhong Xiaoqin is described by many netizens as the most “average” or “normal” character. She is kind-hearted -sometimes to the point of being a pushover -, and has spent years at the same company without rising the ranks. Though her story might seem mundane at first, this peace is disrupted when her marriage takes a turn for the worse.

 

A story that resonates with the masses

 

“The show attracted wide attention, and it strongly resonated with female audiences. Many thirty-something working women saw their own lives reflected in the show,” Xinhua recently wrote about the show.

Nothing but Thirty currently carries a 7.6 out of 10 rating on Douban, an online reviewing platform.

Though some reviewers criticized how the later episodes of the show were unnecessarily draggy, most praised it for its portrayal of strong female characters, good acting, and largely realistic depiction of women above the age of thirty.

“I saw myself, and also saw the friends beside me,” a reviewer notes.

In China, women are, more often than not, burdened with expectations of getting married and settling down by the time they are in their late twenties. If you’re single and thirty, that’s made even worse.

Those who fall into this category carry the derogatory label of “leftover women” (剩女), a term that reflects how single women above the age of thirty are seen as consolation prizes or even unwanted goods.

Thirty is thus an incredibly important number, especially for women — something that’s clearly reflected in the show’s concept trailer.

Aside from societal expectations of starting a family, some women now also take it upon themselves to build their careers. In fact, you can chase after professional success without burdening yourself with the idea that you must be married – a notion exemplified by the character of Wang Manni.

Nothing But Thirty also showcases the sheer diversity of experiences for women above thirty: you don’t have to be married, you don’t have to be super capable, and you don’t have to be thinking about having children. Each woman goes through her own unique struggles and isn’t necessarily endowed with the so-called “protagonist’s halo.”

Ultimately, the popularity of the show is driven by the three female leads and the actresses who bring these strong characters to life.

By telling a story that is relatable and touches on relevant social issues, namely on expectations of women in society, Nothing But Thirty was able to achieve widespread popularity and is adding another notch on the trend of China’s ta shidai (她时代) dramas. 

 

The rise of ta shidai shows

 

Ta shidai literally translates to “her era” or “the ‘she’ era.”

Ta shidai shows explore what it’s like to be a woman in China today. The female characters are diverse when it comes to both their backgrounds and character arcs; they might have different jobs, different levels of education, or different personalities. These shows mostly center around a strong female lead and/or a main cast that is primarily female.

More importantly, they often feature capable women and how these women overcame the odds to achieve success.

Recent shows like The Romance of Tiger and Rose (传闻中的陈芊芊) and Sisters Who Make Waves (乘风破浪的姐姐) also fall under this category, as do somewhat older hit shows such as Ode to Joy (欢乐颂) and Women in Beijing (北京女子图鉴).

The Romance of Tiger and Rose is set in a society in which women are in charge and men are subordinate, in a daring reversal of gender roles. Though the show has been criticized for using social issues to attract attention, it gained a decent following for tackling topics like gender inequality and women’s rights.

The Romance of Tiger and Rose (传闻中的陈芊芊)

A reality TV competition that swept the Chinese entertainment scene, Sisters Who Make Waves attempted to rebuke stereotypes of women over 30 as “leftover women.”

The show brought together female celebrities above the age of 30 (the oldest competitor was 52), and had them go through a series of challenges, culminating in a girl group formed by the final competitors.

Nothing But Thirty is just another example of a show that’s attempted to depict the realistic struggles of women in modern-day China.

More Chinese dramas that feature women — specifically, their struggles and the expectations that society places on them — are slated to be released in 2020.

Over the past few years, more attention has been focused on women’s rights in China. As feminism becomes an increasingly important topic of discussion in China, strongly facilitated by social media and not without controversy, companies are likely to hop on the bandwagon and continue producing shows that fall squarely in the ta shidai category, given the genre’s rising popularity.

Though we can’t expect every single show to perfectly, accurately, and realistically portray women’s struggles, the fact that more stories like these are being produced already helps bring such conversations into the mainstream. 

Hopefully, the trend of ta shidai shows is a sign that these issues won’t just be tackled on camera, but in real life as well. 

 
Read more about Chinese TV dramas here.
 

By Yin Lin Tan

 Spotted a mistake or want to add something? Please let us know in comments below or email us. First-time commenters, please be patient – we will have to manually approve your comment before it appears.

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

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