Critical Music 6: Interview with Li Jianhong and Wei Wei

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 appear 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 sixth interview in this series, and the last for a while. It’s a real pleasure and an honour to be able to publish this interview with Li Jianhong and Wei Wei, the couple who in their various ways have been central figures in the experimental music scene in China for many years. Originally from Hangzhou, Li and Wei Wei were both involved in the music scenes in that city before coming to Beijing around 2011. Since then they have been highly visible with their solo projects as well as performing together under the names Mind Fibre and Vagus Nerve. This interview concentrates on their early musical development, the 2pi Festival that Li founded in Hangzhou in 2003, and their thoughts about improvisation and the state of the experimental music scene in Beijing.

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Critical Music 5: Interview with Ambra Corinti and Rong Guang Rong

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 appear 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.

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Critical Music 4: Interview with Zafka (Zhang Anding) (part 2)

Welcome to the second, and final, part of this interview with Zafka (Zhang Anding). Here he discusses China Youthology, the brand consultancy he co-founded, as well as his involvement in Yao Dajuin’s Revolutions Per Minute exhibition of sound art in China, working with the rapper J-Fever, and his recent performance with Sheng Jie for the Pixel Echo series of concerts. Finally Zafka discusses his thoughts on the political significance of sound and the current state of experimental sound in China.

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Critical Music 4: Interview with Zafka (Zhang Anding) (part 1)

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 appear 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 fourth interview in this series. Today I am honoured to be able to publish the first part of an interview with Zafka (Zhang Anding), an experimental musician, sound artist, and founder of the brand consultancy, China Youthology. Zafka’s story takes us from the early practices of experimental music and sound art in China in the late ’90s, his first bands through to his investigations of field recording to tap the political power of sound, and his more recent work on sound in relation to social media and online platforms. Over the years Zafka has been involved in many of the important festivals and exhibitions related to sound art held in China, including Revolutions per Minute, Get it Louder, Mini Midi, and Pixel Echo, and in this interview provides a critical perspective on a wide range of aspects of the development of sound practices there.

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