Image of Women in Modern China’s Ethnic Minorities

Nationalization of modern ethnic groups in southwest China is a long process, “China” (Han) with “edge” (barbarians) as part of the interaction between ethnic groups. Ethnic identification, national policy and national promotion of knowledge completely changed the traditional ethnic groups in southwest interaction. Recurrent image of ethnic minorities to be dominated by a strong voice, and women’s body image is still an important characterization of this change. From fashion point of view, southwest of man a higher degree of localization has been difficult to distinguish which nation he had had. For example, the history of ethnography in the Qing Dynasty, “one hundred seedlings map” of a class of works is often a “man with clothes from Chinese,” “Women still seedlings along the vulgar,” such account, [1], but Hmong as “barbarians” of the image is most of them look hideous, stout man as the representative body. This kind of description is only a minority of “appearances”, which is hidden at the community, “Physiognomy,” that all the mainstream Han culture or socio-cultural prejudices under the “other” of discrimination. In the contemporary “national minority” image, the mostly ethnic minority women body graceful as the representative. This is because the “barbarians” in the Chinese mind as aggressive “alien”, and thus there is animal-like face, body, and an aggressive male image to represent. In the contemporary minority but as a “fellow”, which Youyi compatriots in women (especially women in the same good) for image characterization. A
In modern China, dressed in traditional costumes of ethnic minority women, often for a variety of arts, literature theme, this theme is also spread through a variety of media. Particularly important meeting places in the country, dressed in traditional costumes of ethnic minority women representatives, but also people with the focus of media attention. Established early in the new Chinese film, Han Chinese often plays the role of liberator, while the minority were arranged to be liberators of the image. New China, the film’s visual depiction of the lifestyle of ethnic minorities, the Han Chinese is easy to take for granted that they are civilized, the savage ethnic minorities is simple, credulous, and therefore gullible. This is precisely the film’s common ethnic awareness of the potential, the external of the performance is the new Chinese national minorities to establish the initial theme of the film’s creative staff is basically done by the Han Chinese to bear. Although the performance of the contents of the film are scenes of life of ethnic minorities, but to act as a narrator but by the Han, so the views are not necessarily the Han ethnic minorities. The main theme of the film not as a minority of the minority self-expression, but the Han Chinese ethnic minorities of the re-construction. In this context, ethnic minorities has become the theme of this movie is some kind of wavering, the location of the imagination suspension, loss of ethnic culture of its own as an independent carrier of the characteristics, and thus become an imaginary object of Han nationality, complete its load clear ideological function. In this position of ethnic minorities living on the object re-construct the process of ethnic identity is extremely natural and “female” identity draw on the equal sign. Yang Likun Yunnan minorities in shaping the image of women contributed, she played the Golden Flower, Ashima to purity, goodness, the beautiful image of women far beyond the scope of the entertainment industry, they become beautiful and good honest Yunnan minorities representative image. Film to create artistic images of women and minorities in the southwest mountains and beautiful lakes, vast land integration, deep rolling in among the people of this fertile land. Film “Third Sister Liu” created a good image of women in ethnic minorities, the film Huang Wanqiu superb play, “Third Sister Liu,” so that the whole of China and the world to know the people from one side of the Zhuang. Like “five” of the in Dali Bai, “Ashima” in the Yi in Yunnan, “Third Sister Liu” has become a household name, famous Chinese and foreign Zhuang image of women.
Many minority described the main theme of the film is often women, especially those dressed in ethnic clothing and very beautiful girl of objectivity. Five Golden Flowers, Ashima and other minority women in Yunnan has already become the representative image, and Zhuang Autonomous Region created by the sea song Third Sister Liu became the girl in Guangxi Zhuang ethnic minority women, the representative of the image. In this context, the theme of ethnic minority women being held multiple meanings of representation. First, she is an old society has been damage and humiliation of women, she finally moving toward a new life. Become a national heroine, new symbols, a symbol of personal destiny but also direct the development of ethnic minorities as a whole fate. They suffered from slavery, a new life in the new society. This is taken in 1960, “Moya Dai” has been fully reflected: Before the liberation of the beautiful young woman meters Dai Khan, refusing to take liberties with the headman of the old pair of insult, has been accused of “Piper’s Ghost” and burned alive ; liberation meters Khan’s daughter in the People’s Liberation Army with the help of a doctor become a Dai (Dai language known as “Moya”), and get rid of the harmful superstition. As a representation in the national theme of this article, contains the theme of national liberation, and yet the image of the external manifestations of women’s liberation, the performance of two generations of mother and daughter in a different social system very different fate. Similar themes of the film are “Jingpo girl”, a more direct demonstration of the heroine’s fate in the government working group before and after the advent of the great differences, thus revealing her identity and status on behalf of the Jingpo changes. It is due to the expression of diverse women’s identity, to provide viewers with a variety of effects to accept the possibility. Theme of the film in minority, women’s performance also has a desire to throw the color, love the expression on the theme of the movie minority pushed to the foreground to be painted. Films are mostly minority women dressed in colorful ethnic make clothing, she often beautiful and intelligent, sing and dance, as an object to stimulate viewing pleasure. In the “war Reaches the Border” at the end, a group wearing bright colors and brilliant girl opt to skirt arranged Jingpo danced, but also because the performance of these and be filled with a strong ethnic atmosphere of praise. As a result, ethnic minority prominent theme of the film image of women, but their point of view and in the absence of minorities on the basis of personal and cultural experience to shape the female characters in the image, temperament, and details of performance, has also been a minority criticism and opposition. Such as the “caravan to the mountains ringing” in the Han Chinese actor Sun Jingqiong Hmong girl playing the evaluation of labor is as blue female high school students, but also go to the market Hmong women wear when the film is also not as sloppy. [2]
Southwest China seems to many of the ethnic composition of the beautiful women of all ethnic groups are concentrated in the scene of the clothing, high-pitched voice mellowed and graceful limp walk in the steps inside. Many describe the film and television work in Yunnan always happy to show it all, such as “Lusheng Love Song”, “Ashima”, “Peacock Princess”, etc., these works will undoubtedly satisfy the curiosity of the outside world for minorities, but also create many beautiful moving image of ethnic minority women. However, little attention can be found, these images are mostly shaped by male writers, male writers according to some folk tales adapted from. [3] in the 1950s and 1960s the art of Chinese filmmakers less and less freedom, coupled with increasingly intense political climate, making minorities more than the film functions as a false “Exotic Places”, with to meet the audience for the film “outside world” of desire, but the nation-state through the stereotyped image of the object of the minority, and their inclusion in the framework of socialism in China in an effective manner. This assimilation of the object and intent of the “Five Golden Flowers” is far more apparent. The film tells a minority youth in five named “Golden Flower” minority girls to find her lover’s story. Minority characters in the film again in a stereotyped appearance: singing and dancing, gorgeous clothing, accessories and wearing a bright soft spot for romance. Like the film, “five”, “Ashima” description minority women’s lives such works of art by means of appropriate construction of the Han and minority relations. In the “five” in minority women is portrayed as enthusiastically socialist construction “model workers.” This ideology of ethnic minorities and Han Chinese identity, to ensure the maintenance of Han Chinese in the country’s cultural leadership in the national discourse of the necessity and legitimacy. Nevertheless, people should be aware of minority film tribute to the image of women is very superficial. These films on the “unity” and “national harmony” and it is mostly Han Chinese audience a spectacle, but also from the concept, these wonders are constructed on a defined point of view is undoubtedly the top center of the Han. Therefore, in the “Third Sister Liu”, in the oppression by the landlords and the class must unite against the enemies of these two points is expressed as the Zhuang and Han women have the same fate. Now the image of the majority Han ethnic minority women is not significantly different from the kind of singing and dancing, gentle and demure image of the early ethnic minority women are no longer really make the audience believe that these people were “liberated”.
Shaping the discourse of modern people that they are familiar with a variety of exotic locales and between life there is a huge gap between civilizations, they are always inevitable in a high view of civilization’s attitude to enjoy “strange customs.” Creative modern art one of the methods commonly used, is to emphasize the geographical mystery minority, in order to stimulate the recipient’s sense of curiosity and worship, and then expect to reach the receiver from the sense of the mysterious story behind the guide. Various ethnic minority women face because of their special clothing, headgear and other aspects of decorative and by the time the artists of all ages. In the Mao era in art, the right way in order to lyrical praise of the socialist new China, works in real life, minority women account for a large proportion of the image always. From today’s perspective, the image of women as with both of these “health of working women” and the general sense of “beauty” in nature, so they will include both political science and biological functions. For example, “National Illustrated” cover the second phase in 1976, is a former serf Monba female cadres Cuomu, she was selected as the fourth honor of National People’s Congress, and the image of women with a description of the liberation of the people stand up for Monba the owner. Enlarging our inventory patterns, frequent appearances in which the image of women. Back in China’s national tobacco industry start-up phase, the female characters as enlarging patterns have been common. After the founding of new China, depicting beautiful and charming women of all ethnic groups enlarging the image a lot, such as Li Mei, cigarette girl, mountain girl, Dani, Jiao Li, Miao, sisters, Manluo flower girl Miao, Tujia sister, March third-enlarging; reflected in the folklore of enlarging the image of minority women, such as Third Sister Liu, Ashima and so full of romanticism put people into the world of myth. Issued in 1987, the fourth set of RMB, the use of the Han, Mongolian, Tibetan, Hui, Zhuang, Miao, Victoria, mountains and other 14 ethnic images of women, such as the angle II is the Buyi and Korean girls coupons; Wujiao coupons for the Miao and Zhuang women; One per ticket is Dong and Yao sister; Eryuan coupons are Uighur and Yi women; Wu Yuan coupons Tibetan woman. Their distinctive headgear and clothing dress, showing the different national characteristics and style. New China-designed stamps in the national women’s image also appeared, such as the “national style” series in the Dai, Naxi, etc. In the sports lottery, the vast majority of lottery tickets are also to women wearing traditional ethnic costumes appearance, these lottery form a colorful female World. Today’s magazines stalls, dazzling cover girl who always greets, the image of women seems to be the eternal theme occupies most of the location, there are some ethnic minority women. As representatives of ethnic minority women Ashima, and often appear in the image of women Sani TV commercials, music tapes and other travel magazine in the cover. Those in the Water Festival on the graceful, more song and dance of the Dai girls regularly appear in the magazine cover to attract tourists, wearing skirts of Dai girls get wet after the image into the Water-splashing Festival is the most beautiful a landscape, they indulge in the Water-splashing Festival carnival on the image had already been visitors away the.

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