Empress Wu Zetian (624-705 AD) was the only woman to be the sovereign ruler of imperial China. A teenage concubine of the Tang Emperor Taizong, she seduced his son while the emperor lay dying. Recalled from a nunnery as part of an intricate court power-game, she caused the deaths of two lady rivals, before securing her enthronement as the Emperor Gaozong’s consort. She ruled in the name of her husband and two eldest sons, presiding over the pinnacle of the Silk Road, before proclaiming herself the founder of a new dynasty.
Worshipped as the Sage Mother of Mankind and reviled as the Treacherous Fox, she was deposed aged 79, after angry courtiers murdered her two young lovers. The subject of countless books, plays, and films, Empress Wu remains a feminist icon and a bugbear of Chinese conservatism. Jonathan Clements weighs the evidence of her life and legacy: so charismatic that she could rise from nothing to the height of medieval power, so hated that her own children left her tombstone blank.
Seventeen years after it was first published, my biography of Empress Wu gets an audiobook release, read by Kathleen Li.
There is a poem on the wall of Shanghai’s Jewish Refugee Museum that stopped me in my tracks. It was written by Dan Pagis (1930-1986).
In the last room in our house At the edge of a wondrously curled cloud A Chinese rider raced by on his horse Out of breath – embroidered in silk. And now, when I no longer know whether He dissolved in the cloud or burned down with the house I realise we were both wrong and that We were one, each embroidered on the other.
Shanghai comes into its own when it is directly involved in the story being told. Which is why I urge visitors not to go in search of the all-China generic galleries to be found at the massive museum in the city centre, but to look for those places where Shanghai celebrates itself. There is, for example, the charming Shanghai City Museum, which remains the only real reason to visit the Oriental Pearl Tower in Pudong. Readers of this blog will already be aware of my enthusiasm for the Longhua Martyrs Cemetery, which enumerates the many Party-approved heroes and heroines who fought to make Shanghai what it is today.
Shanghai’s Jewish Refugee Museum is another fascinating place, a monument to a phenomenon that supposedly came and went long, long ago. It is a surprisingly lavish venue chronicling the lives of 13,732 exiles from Nazi Germany as they tried to make the best of life in Shanghai, one of the few places in the world that offered them sanctuary.
Pictures are not permitted in the museum interior, possibly as a result of the same trepidation that requires all visitors to leave their cigarette lighters at the entrance. But the story told inside, like that in the Martyrs Cemetery, manages the difficult task of taking a tale of misery and misfortune, and reframing it as a celebration and commemoration. There is some treatment of the Jews already present in the International Settlement, where, as regular readers will already know, a thriving community of Russian émigrés tried to make do and mend after fleeing the 1917 Revolution. But the museum’s primary interest is in the years between 1938, when the first Jewish refugees arrived from Germany, and 1956, the year in which the last of them disembarked for new lives in Australia, Canada and multiple other places.
In a diverse mix of dioramas, video footage and exhibits, the museum tells the tale of the sudden ferment of Jewish and European friendships, feuds and families, the new careers and businesses that sprang up to serve this sudden influx of newcomers, and the long, long tail of their associations and connections. Permitted visa-free entry to Shanghai after most other places around the world had refused them access, the Jews soon had to contend with the city’s Occupation by the Japanese, which led to the creation of the Shanghai Ghetto in 1943. The end of the war in 1945 soon pivoted into a Civil War between the Communists and Nationalist Chinese, while the last of the Jews scrambled to find safe passage to another country.
A sign at the door exhorts anyone with family connections to Shanghai’s Jews to make themselves known to the curators – and clearly there have been several cases where visitors have become exhibits, captured on film discussing their grandmother’s wedding dress or the day they ran the gauntlet of Japanese military police.
Sometimes, one gets a sense of real happiness in a museum. It is very rare, but every now and then, the narrative on display becomes a descant of jubilation – I have felt it before only rarely, most memorably at the Norway’s Resistance Museum in Oslo. The Jewish Refugee Museum veritably beams with pride at the way that materialist, money-grubbing Shanghai suddenly flung open its doors to a foreign people in need, and at the many hundreds of strangers who come to its doors eight decades later, to announce that their ancestors still speak fondly not only of violin concertos on the Roy Roof Garden and pastrami at Horn’s Snack Bar, but also of the way that China became so intimately and briefly part of their lives, leaving them each embroidered on the other.
Detail of Ye Yushan’s sculpture “Liberation and Development”
Just around the corner from the tourist-magnet Longhua Temple is one Shanghai’s most exciting museums – a facility dedicated to framing the story of China’s Revolution in terms of its relationship to Shanghai itself, where so many of the fights, protests and strikes that defined it took place.
The Longhua Martyrs Cemetery makes fantastic use of its space and location, built over the site of the former prison and execution ground where so many Communist martyrs were created. The site has, at some point, been both a holding area for the Nationalist Kuomintang government and a detention centre for the Japanese invaders in World War Two. Twin walls, carved with the names of victims of the Kuomintang, snake around the gardens, leading off from the main entranceway, which is dominated by chunky statues not of individual revolutionaries, but of the spirit of Revolution itself, represented not only by soldiers, but by nurses and mothers, students and musicians.
The path towards the museum
The museum itself tracks the rise of the People’s Republic of China through its early stops and starts, including relative obscurities such as the Rebellion of the Small Swords Society, in which part of Shanghai turned into a Triad enclave, mysteriously joined by European supporters, or the activities of the Su Bao (Jiangsu Daily), a newspaper shut down by the imperial authorities in 1903 for daring to question the rule of the Emperor. The story of the Su Bao is told through the life of its star writer Zou Rong, whose pamphlet The Revolutionary Army was the cause of the newspaper’s downfall. Zou himself died in prison in 1905 and was awarded a posthumous general’s rank by Sun Yat-sen. He is depicted here in a lush oil painting, as a “Soldier of the Revolutionary Army”, wielding a pen instead of a sword.
“Zou Rong, a Soldier of the Revolutionary Army” by Zhao Qi
Zou’s story is only the first of dozens of vignettes that anchor the stories of China’s revolutionaries in context and commemoration. There are dioramas and relics, photographs and statues, video-on-demand testimony and even a looped ballet video, each telling the story of a particular individual’s role in lifting China out of its “Century of Humiliation.” It was a humbling and immersive experience, easily one of the best museums I have visited in China, on a par with Changchun’s Museum of the War of Chinese People’s Resistance Against Japanese Aggression.
Detail of “Nanjing Road, May 30th Incident” by Jin Shanshi
I soon ran into the exhibit on Zhang Tailei, whose statue so struck me in the pantheon of revolutionaries outside Guangzhou Martyr’s Park last December, but also many other similar incidents in which “failed” protests helped China’s revolutionary movements gain momentum and popular support. One absolutely massive widescreen oil painting celebrates the May 30th Movement, a series of protests and strikes in Shanghai that led to the “Shanghai Massacre” of 1925, in which nine protestors on Nanjing Road were shot and killed by members of the Municipal Police.
Detail of “Nanjing Road, May 30th Incident” by Jin Shanshi
I was particularly taken with the works of the artist Chen Jian, who has supplied a series of tableaux for the museum, some of them about specified individual subjects, others about more general themes. Chen’s work includes a moody, cramped depiction of Communists studying in their prison cell, and the beautifully modernist “The Arrestee”, in which two plainclothes police officers lead an unrepentant Communist to a prison van. The picture is suffused with an unsettling physicality, as one of the officers seems to be leaning into his task, as if he is having to bodily drag a prisoner who stands confident with the gravity of being on the right side of history.
“The Arrestee” by Chen Jian
Other artists tackle the problematic history of the Longhua Cemetery as the location of White Terror firing squads, such as Wang Shaolun’s “On the Execution Field”, in which a diverse collection of Chinese subjects wait glumly for their imminent deaths.
“On the Execution Field” by Wang Shaolun
In one of the most moving exhibits, the museum relates the story of Cai Bozhen and Wu Zhongwen, who were married in the prison van that took them to their deaths, a soaringly romantic revolutionary story that has already been immortalised in a movie, for which extra drama was piled on with “The Internationale” substituting for the Wedding March.
Cai Bozhen and Wu Zhongwen
Revolution, for the museum, is a state of grace towards which China groped during its Century of Humiliation, and then fought to maintain in the years that followed. There would be scope here, in a truly comprehensive installation, for an entire extra gallery about the Chinese who lost their lives in some of wrong-turns of the subsequent Chinese state, like the Great Leap Forward and the Cultural Revolution, but such discussions are characteristically muted.
Instead, it favours the idea of revolutionary spirit as something that burned in the hearts of the characters whose stories are told in the exhibits, and should be nurtured and encouraged in everyone. Pointing out that it presumably also flourished in at least some of the millions of people who were starved, beaten or executed during Maoist purges and social experiments in the 1950s and 1960s would ruin the brilliantly told story of a past that marches ever onwards towards a utopian present.
Detail of “Shanghai Small-Swords Society’s Uprising” by Wang Duchen, Wang Ducai et al.
Nor does the museum have much time or space for those revolutionaries who were inconveniently Nationalist. The Nationalist authorities, with whom the Communists themselves fought from 1911 to 1949 (and technically still fight today on Taiwan), might equally lay claim to be the inheritors of the Small Swords Society or the Su Bao, but their contribution is downplayed here. That, perhaps, is only to be expected in Shanghai of all places, where Chiang Kai-shek authorised vicious putsches against Communists, many victims of which died on these very premises.
Detail of “Shanghai Campaign” by Chen Jian
Instead, the museum’s narrative of the martyrs of the Revolution continues into the 1950s and beyond, with tales of derring-do on numerous Cold War battlefields, and selfless sacrifices by soldiers, firemen and other public servants.
“The Vision” by Li Peng
The visitor is guided out past one final giant oil painting, “The Vision” by Li Peng, which looks down on the contemporary Pudong cityscape from a vantage point somewhere high above the Bund. This, it seems to say, is what you now have, because of their sacrifices.
As the visitor heads towards the exit, past the classrooms and library, there is one final exhibit. The museum doesn’t have anything so gauche as a gift shop, but it does have a wall of free bookmarks, filed chronologically. Each bears the image and description of a Martyr of the Revolution, encouraging the visitor to take a piece of Revolution home with them. I couldn’t find any of my newfound favourites on the day, so I settled for Qiu Jin.
The Longhua Martyrs Cemetery and its attendant museum are gold-star examples of the new “Red Tourism”, and an absolutely fascinating example of “the story people tell themselves about themselves.” It is easily the most interesting place I have visited in Shanghai, not least because it finds a way to put Shanghai itself front and centre in the story of the birth of modern China.
We were supposed to be in Kunming for lunch time, but a rockslide in the mountains caused us to take a four-hour detour, and we didn’t reach our hotel until 20:00. So, no chance for my plans to see the Flying Tigers Museum in town. Our final stop on the road trip was a ramshackle yellow hut, stuck behind a new shopping mall. Its paint was peeling and its plaster falling off, it was being used as a shed, but it is one of a handful of surviving French station-houses from a century ago.
My PTC (piece to camera) went as follows: “The French didn’t have a toehold in the Chinese hinterland, but they did have a colony in what is now Vietnam, and built this railroad from there to the capital of Yunnan, to exploit the local resources. This is one of only a handful of surviving station-houses, but it’s practically inaccessible, and largely forgotten.” I had three chances to say it, although one was blown by the arrival of a train. The director has two cuts to work with – hopefully the light is right on one of them, and there is no noise pollution.
I earn my money not by saying these words, but through the hundreds of little arguments I have with the director about the order the words come in. Each PTC is written on the spot, but I have to fight over tiny nuances of meaning, so that we don’t get into trouble with Standards & Practices for saying something unverifiable, or waste our footage by saying something on camera that turns out to be wrong.
So I’m there saying we have to say “Chinese hinterland”, because the French did have a toehold in Fujian and Shanghai. We have to say “what is now Vietnam” because Vietnam did not exist as a political entity at the time, and if we say Indochine, some viewers won’t know what that is. We have to say “capital of Yunnan” because nobody has heard of Kunming, but we will have already explained where Yunnan is in the episode. We have to say “the local resources” because we can’t remember what they are, except for tin, and we know there was more than tin. We say a “handful” because we only have one source that names them as three stations, and S&P insist on two sources or we can’t state any facts at all.
And we say “largely forgotten” because the Chinese will moan if we tell the truth, which is that they have left it entirely derelict because the achievements of the colonial era mean nothing to them, even as they reinvent the wheel, with a new railway line running parallel to the one that has already been there for a hundred years. Maybe I earn my money after all, because I had less than five minutes to thrash all of the above out, and less than five more to get it on camera before we were back in the bus.
Jonathan Clements is the author of A Brief History of China. These events appeared in Route Awakening S02E01 (2016).
We are now in Xizhou, near Dali, in an area that is largely Bai, and which has somehow embraced heritage in a way entirely unlike the rest of China – I have not seen a skyscraper for two days. Closer to the coast, “heritage” seems to mean that everywhere gets a shopping mall and a car park, and a bunch of hawkers selling plastic machine-guns. But out here, it means that the old architecture is retained, with acre upon acre of quaint pointy-gabled houses, temples and taverns.
Green foothills loom above us on all sides – they will eventually merge into the Himalayas. This is the locus of the old Tea-Horse Route, a lesser-known trade network that sent tea into Tibet to buy ponies for the Chinese market. Salt, tea and trinkets would cross over the mountains into Burma, often carried by porters lugging their own weight or more, singing a song that went:
Six steps up and rest
Seven steps down and rest
Eleven steps flat and rest
You’re stupid if you don’t rest.
I’ve heard that someone would bang a gong at the end of each verse, signalling the next brief stop. Two hours’ drive into the mountains bring us to Shaxi, once the centre of the Tea-Horse network, now a slightly-touristed heritage town, selling wood carvings and Yunnan coffee. The place is plainly on the backpacker trail, and boasts an untold number of boutique cafes, tea houses and restaurants. Lunch is dry-fried beef in crisped mint leaves, Yunnan ham in tofu and goji berries, and tasteless mushroom fronds harvested with a sickle from the nearby canal.
My job is to walk around town reiterating what I’ve just told you, until two Bai dressed like Marlboro Men trot past on ponies. A price is swiftly agreed, and I am hoisted up onto Zhitu (Red Rabbit), an uncomplaining little horse supposedly descended from the pack animals of the old trading routes, so that I can continue my explanation while riding along. I look ridiculous, like a gorilla perched on a sausage dog. I am taught how to say whoah in Bai, which turns out to be waah, something I would probably end up saying anyway if Red Rabbit were to bolt. But we walk through three iterations – a wide-shot, a close-up and a safety, and he doesn’t throw me, and I clamber down and tell him he is a good little horse before I kiss him goodbye.
“Why did you do that!?” asks the aghast director.
“I’m British,” I explain. “We only show affection to dogs and horses.”
Jonathan Clements is the author of A Brief History of China. These events appeared in Route Awakening S02E01 (2016).
Tantor Media is releasing an audiobook version of my First Emperor of China, read by the wonderful Kathleen Li.
In 1974, Chinese peasants made the discovery of the century . . . Thousands of terracotta soldiers guarding the tomb of a tyrant.
Ying Zheng was born to rule the world, claiming descent from gods, crowned king while still a child. He was the product of a heartless, brutal regime devoted to domination, groomed from an early age to become the First Emperor of China after a century of scheming by his ancestors.
He faked a foreign threat to justify an invasion. He ruled a nation under twenty-four-hour surveillance. He ordered his interrogators to torture suspects. He boiled his critics alive. He buried dissenting scholars. He declared war on death itself.
Jonathan Clements uses modern archaeology and ancient texts to outline the First Emperor’s career and the grand schemes that followed unification: the Great Wall that guarded his frontiers and the famous Terracotta Army that watches over his tomb.
This revised edition includes updates from a further decade of publications, archaeology and fictional adaptations, plus the author’s encounter with Yang Zhifa, the man who discovered the Terracotta Army.
I meet the people I dubbed Victor and Margaret in the hotel elevator, where he is shouting at her.
“For God’s sake, woman. You have to tap the card on the thingy or it won’t go anywhere.”
She fumbles in her purse and he stares, fuming, at me, as if to say I don’t believe it.
“It’s all right,” I say. “If you’re heading down, the lift is already going that way, so you don’t need to tap your card.”
“How about that, dear?” says Margaret. “He speaks Chinese.” And she finished with a little smirk that I translate as: And he knows how the fecking elevator works.
The 260 express bus goes straight from Central, Hong Kong’s version of Liverpool Street, through the Aberdeen tunnel to the south side of the island. Where there were once skyscrapers and teeming millions, there are suddenly winding mountain roads and secluded beaches. The bus goes past Deepwater Bay, where the beach is protected by a shark net, and two superyachts lurk ominously in the roadstead, and then Repulse Bay, where what first appear to be bungalows turn out to be the tops of twenty-storey towers, reaching up the steep slopes from a tiny bit of flat land at sea level.
This is where the smarter bankers and brokers live, in little villas on the hill-tops. And there, at the end of the bus line, is Hong Kong’s Leigh on Sea, the seaside town of Stanley. A little shaded pier juts into the bay – it is ten o’clock in the morning and it is already crowded with half a dozen fishermen. There’s an old colonial government building now converted into a seafood restaurant, and – surprise, surprise – a pub called the Smuggler’s Rest that offers fish and chips.
I’m here because the internet makes it sound like a shopper’s paradise, “the place to buy all your souvenirs.” But it isn’t. There are exactly none of the souvenirs I want, nor is there the promised calligraphy master, as someone on the internet has confused “calligraphy master” with “guy who will write your name on a grain of rice.” There are polyester cheongsams and Bruce Lee T-shirts, and I want exactly none of it.
I share the bus on the way back with a soft-spoken broker from Edinburgh and his half-Chinese son, whose name I don’t catch, but I presume to be But Why, because it’s all he ever says. They’re off to Specsavers for But Why’s first ever eye test, and his Dad is explaining why there are men cutting down trees, and why there are cars in the road, and why the bus has stopped at traffic lights. What a life it must be, living by the sea but being able to be in Bank of China building 40 minutes away… except that is surely true of anyone who lives in Leigh as well.
“Zhao Tuo accepting the title conferred by the Han empire” — oil painting by Pan Jiajun, Liao Zongyi, Chen Keng, Zhai Shutong and Xu Guosheng, from Guangzhou’s Museum of the Palace of the Nanyue King.
Zhao Tuo was a general in the service of the First Emperor of China, whose march south left him as the satrap of much of what is now Guangdong. By the time the Qin empire fell, Zhao Tuo had practically gone native, proclaiming himself the ruler of a newly envisioned “Nan (Southern) Yue” – a federation of several of the peoples he had conquered, sprawling across Guangdong, Guangxi and into what is now north Vietnam. For this, he is remembered in Guangdong as the first proponent of Guangdong as an independent state beyond China, and in Vietnam as the first ruler of “Vietnam” – Nanyue, in fact, is pronounced Namviet this far south, and when rulers centuries later wanted to come up with a name for a kingdom a little bit further to the south of here, they reversed the characters to make Vietnam.
Zhao Tuo lived to be 103, and he was succeeded by his grandson, who ruled for ten more years, and was himself buried in a marvellous jade suit. By then, there had been some wily diplomacy from what was now the Han empire to the north, including a diplomatic marriage to a Chinese princess, which meant that the court and royal family were all at loggerheads about whether to go even more native, or to give up and allow themselves to be rebranded as the lords of China’s southernmost province. Eventually, it all ended in tears, with a palace coup and a war with the Han, and it all came apart soon after.
Zhao Tuo and his courtiers lived in an opulent palace, of which very little remains today except smashed pots and a few bits of wood. The museum signage tries very hard to make it sound fun, but glum Cantonese people mope around the site looking at holes in the ground. The most amazing thing for me is the king’s garden, because although none of the shrubbery remains, there is a very clear outline of his sculpted watercourse, a veritable babbling brook that snaked through the garden, and around a bend deliberately designed to create a little whirlpool. It turns out to be the first documented landscaped garden in Chinese history – I can feel the first chapter of a history of the Cantonese people taking shape.
For roughly a century, Guangzhou (Canton) was the centre of a little kingdom with its own unique style, mainly in doubled animal icons where one creature was blatantly visible, and its counterpart was twisted and hidden within the curlicues. Nanyue was known for its swords, and what appears to be evidence of sea trade with ancient Persia.
As with similar sites, like Chengdu, the presence of a quasi-independent state, however brief, and the finding of an iconic symbol to represent it – in this case, an entwined dragon and phoenix – is a hot political potato in China. Nobody wants to talk openly about the possibility of a federal China (an idea once supported by a young Chairman Mao), or of the linguistic reality that it is composed of eight separate “nations”. Ten years ago, such historical curiosities were celebrated as part of China’s glorious ethnic diversity. In the hardline 2020s, as mosques are homogenised and domestic differences denied, such discussions veer towards the Party’s forbidden realm of “historical nihilism.”
And so the museum at the Tomb of the Nanyue king tiptoes around the fact that this 1st century BC ruler, son of the long-lived first king, was the ruler of an independent southern Chinese state. Nor does the museum literature dwell on the actual history of Nanyue, instead wandering off on a time-wasting tangent about a collection of ceramic pillows that helps bulk out the museum collection.
We drive an hour or so through the Xinjiang countryside and the vineyards of the Turfan Depression, to the Loulan Winery, which is not actually in Loulan at all, but has purloined its name. A private Chinese enterprise, it started up in the immediate years after the Deng Xiaoping economic reforms, transplanting French and Italian vines to Turfan soil. The chef de domaine is French: Grégory Michel, a man from Provence who could not possibly have wanted to live here, except for the handy fact that he is married to a Chinese woman and hence regards it as something of a cushy posting.
Grégory shows us around the huge factory, with giant steel vats towering thirty feet above us. We all wear little white coats, mine looking particularly petit since it is designed for a little girl, or so it seems. It’s a far cry from Ismayil’s hand-cranked meat grinder, repurposed to mash grapes. Grégory’s industrial-size, conveyor-belt macerator is big enough to throw a whole person into.
The Loulan Winery is clearly pushing for the luxury tourist market. We wander faux caves decorated with Buddhist art, and sit in an elegant VIP room, with posh chairs of knotted rope, and a giant slab of a Viking table.
Grégory plainly has no idea that a convoy of Buicks is about to descend on his factory, but brightens with each passing moment when he realises that we are the advance party for an entire posse of journalists, who are shadowing our travels in a long crocodile of cars. “I shall get zem drunque!” he promises me, as we wander the pipes and vats.
We do the interview to camera in French, which ought to help the programme look suitably cosmopolitan, and puts a smile on Grégory’s face, which is very difficult with a Frenchman.
The advance car of the convoy turns up at lunchtime, and we snatch the chance to get some shots of me driving it past some vineyards. Meanwhile, the usual too-many-cooks cacophony of the publicity team is at full throttle. Even though they approved my speech outline two days earlier, they have now decided that they wish that my speech was 20 minutes longer. Luckily for them, I am precisely the sort of guy who can write an extra page about Wine on the Silk Road in sixty minutes.
I do my speech about the stories associated with wine on the Silk Road, including the arrival of grapes in the Han dynasty, the sozzled poetry of Li Bai in the Tang, the Mongols drinking themselves to death, and so on. It fills the time nicely and gets several laughs. Grégory then takes to the stage while his minions pour samples for the crowd, and within another 20 minutes, everybody is thoroughly munted on Chinese wine.
The Loulan Cabernet Sauvignon is very nice. This being China, I have never actually been able to have it chilled before, and it is perfectly drinkable. Grégory has plainly done a good job on quality control, although it remains to be seen if he can turn a profit. He says that the cost of making a bottle of wine in China is roughly the same as making one in France, but the local market won’t bear high prices, and the country is so big that simply putting a bottle in every off-licence costs 1000 times as much. Most of the price label of a bottle of Loulan wine is taken up with marketing.
We are invited to dinner, but need to be in Urumqi for the evening, so we hitch a lift with our local fixer, Ali. Halfway to Turfan, the producer calls for a toilet break (we have long since learned not to ask for any more details), and I lurk outside the bogs with Ali, while he sucks on a cheroot that smells like someone has set fire to an old sofa.
“I realised yesterday,” says Ali, “how difficult your job is. You really have only a few seconds to get it right, and there are people on their phones, and shouting at the crew, and there are radios in the background, and people knocking on the door, and the sun moves – you actually become aware of the fact that the sun is moving and there are clouds in the sky… it’s very hard.”
He doesn’t know that he makes it worse by subjecting me to the Gipsy Kings for a two-hour drive through the desert, but I suppose it is his car.
Today, Mr Jiao is supposed to be showing me the remaining parts of the process for making hempen Bai Yi clothes. We’ve been shooting the process out of order, so it’s only on day two that we get to harvesting the hemp itself. He takes us to a tiny little patch of weeds at the edge of a cornfield – it is no bigger than a minibus, but turns out to be the only hemp in the village. The director’s plans to have us wandering through acres of it has to be rewritten on the spot.
She decides instead to do an aerial drone pass of the pair of us reaching the patch, where three Bai women in their black wimples and blue tabards are hacking at the copse with sickles. But they are so quick at it that the director has to beg them not to cut it all down before we can get to the wide shot. I am told to stand in the field with Mr Jiao and talk to him about hemp, not the world’s most riveting subject. Our drone is supposed to sail over our heads, recording us and the village above us. Except suddenly I hear a sound like a hedge trimmer hitting a bucket of turtles, and realise that the overhead shot has failed to take into account the presence of terraces. Our Yuneec Q500 Typhoon has scythed its way several feet into a stand of corn before coming to a halt, meekly bleeping a distress signal. Mr Jiao fishes it out and returns it, minus one propeller. Luckily, we have spares.
Meanwhile, the wimple-wearing sickle-girls have got bored. One has wandered off entirely, and the other two are stripping some of the hemp stalks to make a basket. They have to be herded back to work. I manfully wade in with a sickle, and hack out a bunch of hemp stalks, stripping their leaves away and casting aside the long stalks. I put the leaves in a basket and head up to Mr Jiao, feeling pleased with myself.
“What are you doing with those?” he asks.
“These are to make the thread, right?”
“No,” he says. “We feed the leaves to the pigs. It’s the stalks that we use to make the thread.”
There is the sound behind me of furious crossings-out in the director’s notebook. As we move on to the huocao stripping and the hemp bark stripping. We are running so late now that the director just puts the camera on the ever-changing numbers of women in wimples, and tells them to get on with it.
“I can’t help but notice,” I hiss to her behind the camera, “that we have basically spent two days filming a documentary about string.”
At last, we have the result, or rather, one they made earlier. To great fanfare, I hold up Mr Jiao’s Bai Yi traditional tunic, a grotty thing which has not seen a steam iron in the last decade. Making it takes up half a harvest of hemp from their little plot, which turns out not to be theirs at all, but shared by the whole village, who must now wait six months for another crop.
He proudly puts his tunic on, while explaining that it used to be daily wear, but in a common refrain, “nobody can be arsed” and so now they only wear them on special occasions. He tops the ensemble with a blue belt and a man-bag made of leather, which he keeps his phone in.
“Suits you,” I can’t help saying, and he giggles in response.
We are already two hours late for the three-hour drive to Xizhou. The director pleads that we can’t stay for dinner, so we are waved off with a sack of pomegranates, some fresh-made poppadoms, and some nan bread. There is a cup of home-made chili sauce that goes with them, but our fixer drops it in a cowpat on the climb up the hill back to the minibus.
The Official Schoolgirl Milky Crisis Blog 