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Bizarre Buildings & Ambitious Architecture of Rural China: Here’s Chinese Vlogger ‘Schlieffen’

Chinese vlogger Schlieffen explores a bizarre and amazing side of rural China many have never seen before.

Anna Wang

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“Making Hebei great again” is one of his slogans. Schlieffen is China’s first self-proclaimed ‘agritourism’ vlogger, showing Chinese netizens the unexpected sides of Hebei, an “almost invisible” province in Northern China. Anna Wang explains.

It all started in May of 2018 when Schlieffen (@史里芬Shǐlǐfēn) launched his first video titled “World’s Biggest Tortoise” (“世界上最大的王八“), introducing a 1680-square-meter turtle-shaped sports venue at Hebei’s Lake Baiyangdian.

An example of wondrous Hebei architecture (image via https://xw.qq.com).

Ever since that time, Schlieffen has grown out to become a popular Chinese vlogger and blogger who is active on various social media platforms. Focusing on unexpected architecture in lesser-known parts of China, he has a fanbase of thousands of followers, from Weibo to Bilibili.

His fourth video, “A Trip to Hogwarts Hebei” (“霍格沃茨河北分校之旅”) launched him to stardom in his channel’s first month.

The video documents the bizarre architecture of the Hebei Academy of Fine Arts, which has been compared to the ‘Hogwarts’ School of Witchcraft and Wizardry from Harry Potter due to its bizarre castle campus.

The Hebei Academy of Fine Arts is one of the wondrous places Schlieffen introduces in his vlogs. (Image via Twoeggs.com).

Schlieffen’s 4-minute video shows the vlogger’s exploration of the ‘Hogwarts’-like area. After a long drive down a country road, he arrives at the so-called ‘Empire Square’, which is surrounded by three magnificent rococo, Renaissance and Gothic-style buildings.

The center building, adorned with dramatic towers and turrets, is the school’s administration building. Imagine grading student work in a medieval castle in the middle of a cornfield!

Guiding the viewer through the premises, Schlieffen shows the hotel and conference center on the left; the interior is crammed with densely arranged pillars and painted ceilings  – which might be a homage to the Sistine Chapel, without the high ceilings.

The pseudo-European buildings are somewhat laughable on their own, but there’s a lot more. The campus is divided in two halves: one is European-themed, and the other one focuses on ancient China. The two are separated by a manmade “Mediterranean” lake complete with manmade islands covered in artificial palm trees.

Schlieffen’s videos always follow a similar pattern. He often uses a wide-angle lens and speeds up the video to four or even eight times its normal speed, with quick edits – no shot lasts longer than 3 seconds. Each video begins with the vlogger getting off from a train or getting out of a car from where he starts his tour. “Please hold on and sit tight,” is one of his signature phrases.

 

They suddenly seemed to realize that there were parts of China they had no clue about.

 

“A Trip to Hogwarts Hebei” soon started making its rounds on Chinese social media, and was especially shared among well-educated netizens and white-collar workers, who suddenly seemed to realize that there were parts of China they had no clue about.

The Chinese term “shanzhai” (山寨) is a derogatory term for “knock-off goods,” but it literally means “mountain village.” The assumption is that people from rural mountain villages cannot afford real luxury goods, so they buy cheap counterfeits made in poorly run factories. The metropolitan middle class already knew about shanzhai Louis Vuitton bags, but they weren’t aware that hillbillies were capable of building a 288-acre shanzhai Hogwarts.

Schlieffen’s video on the noteworthy Hebei Academy of Fine Arts has currently been viewed over nine million times on Miaopai alone.

After the success of his initial videos, Schlieffen continued filming knock-off world wonders in Hebei. By now, he has made fifty vlogs, including those on wondrous places such as Hebei Jerusalem or Hebei Venice.

‘Hebei Venice’ is one of the spots highlighted in one of Schlieffen’s vlogs. Image via http://blog.sina.com.cn.

Through the course of his vlogging career, Schlieffen expanded his field of interest to include any attraction teetering on the thin line between ambitious and ridiculous.

Whether sharing images and videos on the world’s largest cement elephant or the biggest turtle sculpture, Schlieffen’s posts always attract hundreds of likes. One of his other popular videos explores the somewhat bizarre site of the Baoding Zoo.

 

Hebei is an almost invisible province, as transparent as the air – I used that invisibility to make myself visible.

 

There are not many online influencers focusing on Hebei, a place that is not exactly known for its glamor and charm. At a December 2018 event hosted by Chinese tech news site Huxiu.com, Schlieffen said that “Hebei is an almost invisible province, as transparent as the air – I used that invisibility to make myself visible.”

Hebei, a coastal province in Northern China, contains two municipalities under the direct control of the central government: Beijing and Tianjin. People often say that Beijing and Tianjin are the flavorful ‘fillings of a dumpling’ while Hebei is ‘the plain wrapper.’

Under the current household registration system, being a resident of Beijing or Tianjin means better social welfare than the rest of Hebei. Thus, the ‘brain drain’ from Hebei to the cities has been ongoing for decades.

When people talk about Hebei, they usually describe it as an uneventful place, but Schlieffen’s representation of Hebei completely changes their idea of the region, turning it into a place where people can be wildly ambitious.

Their ambitions can take on two forms: first, they are obsessed with huge, grand buildings. Second, they want to include every aesthetic they can think of, Chinese or European, ancient or contemporary. These ambitions come together in a brazenly unsophisticated form of architecture.

Hotel in Hebei in one of Schlieffen’s videos (天子大酒店).

Schlieffen (1992) was born and raised in Hebei. After college, he went to England for graduate school until 2018.

While he was studying abroad, a new wave of Chinese vloggers launched their careers in mainland China. Many of them, such as the female vlogger Zhuzi (@你好_竹子), were studying abroad in Western countries. They shot and shared short videos of their daily lives, satisfying their audience’s curiosity about life in a strange land.

Schlieffen began to seriously consider vlogging as a career after finishing his studies and returning to his hometown. He found that his prospective audience seemed to have grown tired of watching Chinese exchange students living happy, fashionable lives overseas. As a lover of traveling, he decided to start his own travel vlog.

Schlieffen, image via Sina News.

In an interview with Li Dangxin for Huxiu.com, Schlieffen explains: “You have to ask yourself time and time again why the audience wants to watch your videos.” Careful consideration led him to shoot the bizarre buildings in Hebei.

There are tens of thousands of Hebei natives working in big cities, Schlieffen thought; they care about what’s going on in their hometowns, but they haven’t necessarily seen these incredible buildings in person. They would be his first audience and if they shared his posts, his videos would surely go viral.

Things happened just as Schlieffen expected. Well-educated white-collar workers who had left their hometowns behind were stunned by Schlieffen’s discoveries and collectively reposted his videos with their friends.

 

“Making Hebei great again.”

 

Even after having produced dozens of vlogs and posts, Schlieffen is not worried about running out of stories. After his initial success, he also began covering stories in other provinces.

Schlieffen found that if a village’s richest man happens to be the local party secretary and is also a Chinese People’s Political Consultative Conference (CPPCC) member, you’re sure to find ridiculous architecture in that village.

These locally powerful people often want to put up monuments and realize impressive structures to build on their legacy. Their power often goes largely unchecked in the various corners of Chinese -more rural- provinces, and their subordinates will not question them – those with the ability to challenge them aesthetically have probably already fled to bigger cities.

One example features in Schlieffen’s video on the Long Wish Hotel International. Boasting an elevation of 328 meters, the hotel is ranked No. 8 in China and No. 15 worldwide in terms of height. It isn’t in densely populated Beijing or Shanghai, but in Huaxi village in Jiangsu province. When asked why one would build such a gigantic hotel in a rural area, the village party secretary answered: “Because we can.”

The gigantic hotel in Jiangxi, image via http://blog.sina.com.cn.

The hotel in Huaxi has nouveau riche written all over it. Every corner is decorated with glittering sculptures made with gold, silver or crystal. There are miniatures of Tiananmen, the White House and Arc De Triomphe in the village. On top of the White House stands a miniature Statue of Liberty.

In reporting on all these wondrous places and buildings, Schlieffen avoids making strong statements about them. Instead, he often makes playful or edgy comments. His slogan “Make Hebei great again” also means different things to different people. Some instantly understand his application of the phrase, while others simply take it literally.

What is noteworthy is that Schlieffen rarely offends locals. He’s welcomed wherever he visits. After he made a video about Wan Jia Li, a hotel/shopping mall in Hunan, the owner supposedly even invited Schlieffen to visit his home, saying: “My home is more fun than my business.”

Being featured in one of Schlieffen’s video can be lucrative for places in Hebei and elsewhere, as these places in rural areas will suddenly see a flux of visitors. Hebei Academy of Fine Arts has even become a popular destination for wedding photos.

Schlieffen is convinced he has found the right perspective from which to observe China’s rapidly changing areas. Meanwhile, his next video is on its way. “Please hold on and sit tight,” Schlieffen says again. Enjoy the ride. 

By Anna Wang

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©2019 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com

Born and raised in Beijing, Anna Wang received her BA from Peking University and is a full-time author/translator. She has translated Alice Munro's The View from Castle Rock into Chinese. Her latest work is Inconvenient Memories, an autobiographical fiction about her coming-of-age amid the Tiananmen Square Protests. She is living in Southern California.

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China Society

The Concept of ‘Involution’ (Nèijuǎn) on Chinese Social Media

Nèijuǎn (involution) has become a commonly used term on Chinese social media, but what is it?

Manya Koetse

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Chinese TV drama A Love for Dilemma (“小舍得”) has reignited an ongoing debate about the problem of ‘involution’ in Chinese society today.

A scene from the Chinese TV drama A Love for Dilemma (“小舍得”) has reignited online discussions on the concept of nèijuǎn 内卷, “involution,” which was also a top buzzword in China in 2020.

A Love for Dilemma is a 2021 TV drama directed by Zhang Xiaobo (张晓波), who also worked on other hit series including Nothing But Thirty. This season’s popular TV drama A Love for Dilemma is themed around family, parenting, and China’s competitive education system.

In the series, two stepsisters compete against each other over the school results of their children. The family’s ‘grandpa’, played by famous actor Zhang Guoli (张国立), tries to create harmony around the dinner table between his daughter and stepdaughter, but the rivalry between the two and how they raise their children intensifies nevertheless.

Scene from A Love for Dilemma.

While stepsister Tian Yulan urges her little son to work hard in school and focus on his grades so that he can go to the best high school and university, sister Nan Li places more emphasis on the general development of her children and wants them to enjoy their childhood. Both mothers, however, question their own choices when facing challenges with how their children perform at school.

The specific scene that has ignited current discussions is a dialogue between the husbands of the sisters, who sit outside to talk about the education system and how it sometimes feels like everyone is in a theatre watching a show together until one person stands up from their seat. This makes it necessary for other members of the audience to also stand up, until everybody is standing.

The dialogue continues, with the two talking about how it does not stop at the people standing up. Because then there are those who will take it a step further and will stand on their seats to rise above the others. And then there are even those who will grab a ladder to stand higher than the rest. But they are still watching the same show and their situation has actually not changed at all – except for the fact that everybody is now more uncomfortable than they were before.

Many netizens found it striking how this dialogue explains how the term ‘involution’ is used in China nowadays. After the show aired, the hashtag “How to commonly explain involution” (#如何通俗解释内卷#) became a trending topic in the week of April 19, receiving 260 million views in a few days.

 
What Is ‘Involution’?
 

As explained by Jialing Xie in this top buzzword article on What’s on Weibo, involution describes the economic situation in which as the population grows, per capita wealth decreases. Since recently, this word has come to be used to represent the competitive circumstances in academic or professional settings in China where individuals are compelled to overwork because of the standard raised by their peers who appear to be even more hardworking.

The term ‘involution’ and how it is used today comes from a work by American anthropologist Clifford Geertz titled Agricultural Involution – The Processes of Ecological Change in Indonesia (1963). In this work, Geertz explores the agricultural dynamics in Indonesia during the colonial period’s Cultivation System, where a radical economic dualism existed within the country: a foreign, Dutch economy and a native, Indonesian economy (p. 61-62).

Geertz describes how the Javanese faced a deepening demographic dilemma as they saw a rapidly growing population but a static economy, while the Dutch, who organized Javanese land and labor, were only growing in wealth (69-70). Agricultural involution is the “ultimately self-defeating process” that emerged in Indonesia when the ever-growing population was absorbed in high labor-intensive wet-rice cultivation without any changing patterns and without any progress (80-81).

When Geertz used the term ‘involution’ to describe the dynamics in Indonesia, he built on the work of another American anthropologist, namely Alexander Goldenweiser, who also used the term to describe “those culture patterns which, after having reached what would seem to be a definitive form, nonetheless fail either to stabilize or transform themselves into a new pattern but rather continue to develop by becoming internally more complicated” (Geertz 1963, 81).

 
The Involution Concept in the Chinese Context
 

The popular use of the Chinese translation of ‘involution’, nèijuǎn 内卷, started to receive attention in Chinese media in 2020. It is deviating from the original use of the term and is meant to explain the social dynamics of China’s growing middle class.

As suggested in the article “‘Involution’: The Anxieties of Our Time Summed Up in One Word” by Zhou Minxi (CGTN), the popularity of the term comes from “a prevalent sense of being stuck in an ever so draining rat race where everyone loses.”

China’s ever-growing middle class is now facing the question of how they and their children can remain in the middle class in a situation where everyone is continuously working harder and doing all they can to rise above the rest. Xiang Biao, a professor of social anthropology at Oxford University, is quoted by Zhou:

The lower class still hopes to change their fate, but the middle and upper classes aren’t so much looking upward, and they are marked by a deep fear of falling downward. Their greater fear is perhaps losing what they already have.”

The term ‘involution’ often comes up together with criticism on China’s ‘996’ work system (working from 9am-9pm, 6 days a week). Although Alibaba founder Jack Ma once called the 12-hour working day a “blessing,” the system is a controversial topic, with many condemning how Chinese (tech) companies are exploiting their employees, who are caught in a conundrum; they might lose their sanity working such long hours, and might lose their job and future career prospects if they refuse to do so.

But the term also comes up when discussing China’s education system, where competition starts as early as kindergarten and the pressure on children to succeed in the ‘gaokao’ college entrance exam starts many years before it takes place.

This image shows the “juan” 卷 character from ‘nei juan’ (involution) changing into a person on their bike with laptop. Image via http://www.bajieyou.com/new/431e6ef39aac4a6da232671122f66ff4

This discussion also came up with a now-famous image of a student riding his bike while also working on his laptop, using every moment to study. This was then also called “Tsinghua Inversion” (清华内卷), referring to one of China’s top universities, where competition is so vicious that students must double their efforts to catch up with others.

 
‘Involution’ Discussions on Chinese Social Media
 

By mid-2020, ‘involution’ attracted the attention on Weibo when popular academic accounts started discussing the term. Recently, ‘involution’ is used so often on Chinese social media that it has already gone beyond its original context, leading to many people discussing its meaning.

“We are forced to work overtime and are unable to resist, and yet it seems that everyone is doing it out of free will,” one Weibo user says, with another person adding: “The abnormal state of inversion has already become our normal state.”

A popular legal blogger (@皇城根下刀笔吏) on Weibo writes:

It is an internal bottomless vicious cycle of competition. For example, everyone used to work eight hours per day, five days per week. Then one company comes up where people work twelve hours per day, six days per week. Then this company will have major competitive strength in the market economy. But the outcome is that other companies are also compelled to do the same in order to compete. As time goes by, all companies will shift to a twelve-hour workday, six days a week, and job applicants entering the market can’t find any eight-hour workday positions for five days a week anymore. So, if another company wants to beat its competitors, it will have to introduce a seven-day workweek. And then other companies will need to follow in order to make a living. That is involution.”

By now, there are various images and memes that have come to represent the meaning of ‘involution’ in present-day China, such as one cram school sign saying: “If you come we will train your kids, if you don’t come, we will train the competitors of your kids.”

“The society’s resources are in short supply and to obtain the limited supplies, people are all madly practicing their skills to obtain them – regardless if they need them or not,” another Weibo user says.

Most comments relating to the discussion of ‘involution’ on Chinese social media express a sense of fatigue with an ongoing rat-race in the education and employment market.

On the interest-based social networking platform Douban, there are even some support groups for people who feel stuck in ‘involution’ and are looking for a way out. The “Center for Victims of Involution” (内卷受害者收容中心) group has over 3000 members, with smaller groups such as “Let’s Escape Involution Together” (我们一起逃离内卷) having a few dozen participants.

The generation that is mostly affected by this sense of socioeconomic stagnation is the post-90 generation. In 2020, a record high of 8.74 million university graduates entered the job market, but their chances of finding a job that suits their education and personal expectations are slim; many industries are recruiting fewer people than before in an employment market that was already competitive before the COVID19 pandemic. It leaves them facing a troubling Catch 22 situation: they will be stressed and pressured if they do not find that top job, but when they do, they are often also stressed and pressured.

It is a recurring topic on social media. Five years ago, a song by the Rainbow Chamber Singers (彩虹室内合唱团) titled “The Sofa Is So Far” immediately became a hit in China. Many young Chinese recognized themselves in the hardworking and tired people described in the lyrics, which started with: “My body feels empty / I am dog-tired / I don’t want work overtime.”

How to get away from the involution rat race is also a much-discussed topic on Weibo, where the hashtag page “How can young people resist involution” (#年轻人如何反内卷#) has received over 280 million views.

Some suggest the answer to ending the vicious cycle is to find a way to get rich fast, others suggest that not getting married and staying child-free is also a way to alleviate the pressure to participate in this zero-sum game.

Tech blogger Sensai (@森赛), who has over 2 million followers on Weibo, advises young people to find their true interest and to invest in it before the age of 30. Doing something that sparks joy, such as learning a new language or working on art, might start as a hobby but could turn into a valuable side business later, Sensai says.

For some, however, that goal seems unattainable. “I am already working 15 hours a day, how could I ever do that?!”

“This is just bringing us into a whole other level of involution,” others write.

In order to watch A Love for Dilemma (小舍得), the show that started so many of these discussions this month, you can go over to iQiyi or YouTube.

By Manya Koetse

References

Geertz, Clifford. 1963. Agricultural Involution: The Processes of Ecological Change in Indonesia. Berkeley & Los Angeles: University of California Press.

Zhou Minxi. 2020. “‘Involution’: The anxieties of our time summed up in one word.” CGTN, Dec 4 https://news.cgtn.com/news/2020-12-04/-Involution-The-anxieties-of-our-time-summed-up-in-one-word-VWNlDOVdjW/index.html [20.4.2021].

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China Arts & Entertainment

Chinese Movie “Sister” Stirs Discussions on Traditional Family Values in China

The movie ‘Sister’ has sparked online discussions on whether or not personal values should be prioritized over traditional family values.

Manya Koetse

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Mainlaind Chinese drama My Sister (我的姐姐, also known as ‘Sister‘) was just released in theatres and is sparking online discussions on family relations and the role of women in China.

After the hit movie Hi, Mom (你好,李焕英) received praise earlier this year for focusing on the role of mothers within Chinese families, this film zooms in on the role of older sisters.

My Sister, directed by Yin Ruoxin (殷若昕), revolves around the story of An Ran, an 18-year-old daughter who is unexpectedly facing the major responsibility for her 6-year-old brother after the tragic loss of their parents. While trying to find her own path in life, she suddenly has to step into the role of caregiver for her younger sibling. But does she want to take on this role?

Actress Zhang Zifeng (张子枫) is playing the main lead in this movie, which touches upon the issue of dealing with traditional family values and personal dreams and ambitions. Sister reveals the difficulties women face within the traditional Chinese-style family structure and the sacrifices they make for their parents, their children, siblings, and their husbands; and how the roles and tasks that are expected of them also clash with their own ideas about happiness and fulfillment.

For An Ran, the relationship with her little brother is troublesome. As a young girl, she had to pretend to be disabled in order to allow her parents to have a second child, preferably a son (under the One Child Policy, families with children with disabilities were allowed to have more children). Now, as a young adult, she once again has to sacrifice her own individual freedom in order to let her brother thrive.

The renowned Chinese sociologist Li Yinhe (李银河) dedicated a lengthy post to the movie on her Weibo account, where she called the film “fascinating” and “thought-provoking.”

Li suggests that multiple social issues play a role in this film. First, there is the conflict between individual-oriented values and traditional family-oriented ethics. While traditional Chinese ideas about family require An Ran to put her brother first and move personal self-fulfillment to the backseat, An Ran is a young woman who grew up in a rapidly modernizing China where women are more empowered and independent. Why should she sacrifice her personal education and career in order to devote herself to raising her brother?

Another social topic that plays a major role in this film is the deep-seated cultural preference for sons over daughters. An Ran literally had to make herself weaker in order for her brother to be brought into this world – and in doing so limiting the possibilities for her future career, – with these patriarchal practices prioritizing the thriving of sons over the happiness of daughters. An Ran’s anger and resistance show that traditional ideas about male superiority clash with modern-day Chinese society, where profound changes within gender relations are already taking place.

“Sisters do not dislike their little brothers,” one Weibo commenter wrote: “What they dislike is the hidden meaning behind their brother.”

Another female blogger responded: “Within my family, from my grandpa’s generation up to myself, it is actually the women who discriminate against women. I think these are deeply rooted ideas that can’t be changed. Look at my second elder aunt; she had seven children, all girls, and only four were left. The others were given away. However, my grandfather has always been good to me, and has never made me feel any less than the boys. Yet my grandma and my mother sometimes make me doubt about my life.”

Under the hashtag “How to Evaluate the Movie My Sister” (#如何评价电影我的姐姐#), which attracted 150 million views on Weibo, many ask the question of what they would do if they were An Ran. Would you take care of your little brother? Or would you leave his care up to other family members and choose your own path in life?

“If it were me, I’d raise my brother. Although it’s actually the parents’ problem, the little brother is innocent.”

“If it were me, I wouldn’t raise him,” another commenter writes: “Although the little brother is innocent, I wouldn’t want to sacrifice my life for him. And it might be a better choice to leave him with other family members than with me.”

These discussions also triggered the hashtag “Should Personal Values Be More Important Than Family Values?” (#个人价值必须高于家庭价值吗#). One top commenter raised the issue of ‘what if this was about a little sister instead of about a little brother,’ again provoking the idea that existing gender roles and the preference over sons play a major part in these discussions.

“These traditions no longer suit this era of a developing society. Let me ask you this question: would the little brother also take care of his sister once she grows old?”

“Personal values should always have priority. If you are not happy yourself, how could you ever take care of your family?”

“I have the perception that the family-oriented concept is deep-rooted. Although there consistently are new values and personal-oriented viewpoints, when it comes to real problems, most people will still be family-oriented.”

One commenter wrote: “What are ‘values’? What is the family in modern-day society? What does it mean to prioritize something? If we don’t first clarify this, the discussion becomes meaningless.”

Meanwhile, all the online discussions on Sister have boosted the film. By now, the movie has already become a box office hit and defeated the American Godzilla vs. Kong.

By Manya Koetse

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.

©2021 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com.

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