This absolutely gorgeous female relative wants to empower the women of Shanghai nightlife

In rural China in the 19th century, poor women from Jiangyong County in southern Hunan province prepared a secret document called Nüshū.

Its characters, dominated by women and incomprehensible to men, are seen in thin, understated clothes, like the feet of a spider crawling on paper.

Women used the writing system to communicate with each other their intimate thoughts in Chinese society, divided by power and gender, the diversity that still exists today.

This former origin has inspired the founders of the new NVSHU, a unique feminist musical that was launched in 2018 among today’s Shanghai sunset.

Lhaga Koondhor (also known as Asia Eyez), Amber Akilla and Daliah Spiegel launched the project last year by offering deejaying lessons for women, non-binary and LGBTQ in the local electronic music scene.

But more than that, they relied on giving these marginalized people, as well as emerging producers, DJs and artists, a place of assembly in the city.

Although this type of DJ workshop has been constantly expanding in the West, in Shanghai, NVSHU is the first of its kind.

As exiled DJs, Koondhor and Akilla joined together in their similarly moving stories in a western club industry dominated by white people.

Despite coming from different backgrounds, Spiegel, originally from Vienna, moved to Shanghai in 2014; Koondhor and Akilla emigrated from Switzerland and Australia, respectively, in 2017, all three sought to awaken “a space that allows women and LGTBQ to DJ without feeling threatened,” says Akilla.

In their eyes, NVSHU is a much simpler network of educators and participants with similar values ​​organized on social networks rather than a “closed membership club,” says Koondhor.

NVSHU offers lessons in English and Mandarin, and though its founders are native speakers of English, they are careful to impose their native language on local students and extend their attention to every corner of what they do.

As an activist, Akilla is well aware of the limits of trying to transfer Western feminist ideas to Shanghai, The goal of NVSHU is to facilitate marginalized people through music education, but it is also the focus of open political debate with their students.

I can’t tell a woman growing up here how she should know her sexuality or gender identity,” says Akilla.

That’s kind of colonization. You can only help people on their journey.

Speech on FGM is different in China than in Australia and Europe; they all share the goal of gender equality, but in recent years, China’s Women’s Rights Movement has been faced with repression by a strong government.

In its early days, the Chinese Communist Party put the nation’s nationality as part of its ideology, with equal work adding to the country’s economic stability, such that in the 50s and 60s, the nation had a strong participation of women in the working class of the world. .

However, market reforms in recent decades have resulted in a large number of women losing their jobs compared to men, and since 2007, the Chinese government has sold propaganda to encourage young and educated women to get married, to have children, and to share cultural values.

Gender roles. More than 20 people who refuse to follow are considered unfit as sheng nu or “the remaining women”, but in response to this, the Chinese Women’s Rights movement has found ways to bypass Internet Internet control of the country and gather power in social networks, even increasing their voices for the global Metoo movement.

The founders of NVSHU consider themselves women and volunteers, but their main goal is to facilitate empowerment through personal expression, an act of power itself.

We want to encourage people to explore their creativity,” says Akilla.

We started with music as a tool to make it, but we hope that the confidence people gain from learning and practice like deejaying can support them in other areas of their lives.”

The goal of NVSHU, then, is to apply an inclusive vision to Shanghai’s emerging nightlife, which serves as a unique opportunity for people to explore their creative freedom.

The nightlife world, after all, is still an empty canvas. Because of the strict policies used by the Mao Zedong Cultural Revolution in the 60’s and 70’s, several genres and instruments of musicThe cells were ruled harshly for decades;

After Mao’s death in 1976, the country entered a new era of modernization and accelerated economic development,

but there was still no popular nightlife in China until the 1990s. An underground club event, as a result, is still in diapers NVSHU and his contemporaries, a collection of left fielders like the Boysof Asian Dope and record labels such as the genome 6.66 Mbp, fully analyze this cultural aspect in their terms.

For Koondhor, electronic music provided a way to express himself. In his youth before entering the music industry, Koondhor worked as a financial apprentice strategist at the Swiss bank, following in the footsteps of the bank’s senior family.

“The weekend was my escape,” he says, an opportunity to become a personal version of myself.

The club’s culture became a playground for cheek-style information: a black mark under her eye for Lisa Lopes’s “Left Eye” or compressed DIY.

Akilla, who has always favored the comfy wardrobe and suit jackets, says that “casual design has very little limit on femininity, so the one thing the bottom line has taught me is how to learn.

Included is a living proof of the role of music as a powerful way to express its identity:

The NVSHU Red Bull document, which was launched in February, presents one of its mentors, Jirui Lin, a girl from the coast of Guangdong with a flair for techno, gabber and musical debris.

In the movie, she wears dresses and black dresses and adorns her face and temporary tattoos in rebellion against her traditional parents.

Being here, I’ve started to reconsider the meaning of freedom for me,” Koondhor adds.

As city independence continues to evolve, NVSHU is at the forefront, and more women are being encouraged to follow suit.


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