Critical Music series: This series of posts focuses on individuals, groups, or organisations that have played notable roles in the history of critical music practices in China. These practices appears in many different guises, often related to concepts such as “experimental music” or “sound art”, although neither term is entirely satisfactory in describing the practices which often exist in many hybrid forms. My adoption of the term “critical music” (following the writings of G Douglas Barrett) attempts to avoid the limitations of these terms, while highlighting the active nature of the sound component of the practices. These posts will primarily take the form of interviews, each one aiming to place the subject within the general history of critical music practices in China, and contextualise their current practice within their overall development.
Welcome to the fifth interview in this series. This is an interview with Rong Guang Rong (A Rong) and Ambra Corinti. In 2010 A Rong and Ambra founded Zajia in Beijing, an influential arts space and bar in the Gulou – a very traditional urban area in the centre of town, characterised by the network of hutong (thin alleyways surrounding the imperial palace in central Beijing). For Zajia, these hutong provided an everyday community setting far from the more or less segregated art districts of Beijing. Zajia became an important hub for experimental music performances, amongst many other things. Its story demonstrates how such physical venues appear and survive, and ultimately how they reach the end of their lives – giving insights into many aspects of how the community and infrastructure for critical music is developing in China. In the latter part of the interview A Rong talks about his activity as a documentary film-maker. He recently won an award at the Rotterdam International Film Festival for his most recent film, and he has various ongoing documentary film projects that will survey experimental music and sound practices in China.