12 Girls Band

The Western Exotism of Twelve Girls Band


Abstract:
This paper offers an historical overview of the hybridization process between Western and Chinese musical traditions and elaborates on the relation between trans-modern and commercial music by analyzing a questionnaire on 12 Girls Band. Recruited from China’s major music conservatories and trained to play traditional Chinese instruments, the band—backed up by Western artists—mixed Chinese and Western music, traditional and contemporary sensations, ethnic and pop features and soon became one of the most successful and international Chinese popular music groups. My presentation on this group will emphasize the concept of commercial appropriation and distribution of a cultural identity trough the process of selection, invention, and utilization of traditions. It will also explore what it means today to juxtapose Asian and Western notions of popularity, sensuality and world music. Tied up with these notions are issues of national and cultural identity. Drawing on Said’s, Bhabha’s and García Canclini’s interpretations of Orientalism and colonialism, I will demonstrate that 12 Girls Band incorporates images of otherness, foreign aesthetic, and commercial and musical standards, while simultaneously feeding Western interest for the exotic and the pan-Asian request of global acceptance. Finally, I would like to expose the risk of a decline of traditional music due to a vulgar process of commercialization that would take it away from from its ritual and social functions and toward the fields of global entertainment or a touristic celebration of the past.
Introduction:
In contemporary China, the dichotomy China–West still appears as a work in progress, which suggests that the Chinese have maintained, despite the overture to a global cultural and economical context, a clear self-awareness while at the same time constructing their relation with and perception of the other and of the West. This resistant self-awareness influences the ways in which the modern Chinese imagined and construed the West. In her Occidentalism: A Theory of Counter-Discourse in Post-Mao China, Xiaomei Chen has identified two tracks of occidentalist discourses in modern China: “one is the official Occidentalism, in which the West is portrayed as the demon and the other one is the anti-official Occidentalism, advanced by various groups of the intelligentsia, in which the West becomes a useful metaphor for their critique of domestic oppression”113. Those divergent ways underscore the importance of considering the essential differences that arise in the construction of Orientalism and Occidentalism.
Diverging from Edward Said’s critique of Orientalism, in which he presents the East-West dichotomy in order to stress western hegemony, the presentation of Occidentalist discourse has shown that such relationships can be bidirectional depending on the specific socio-cultural context. As we will see in this essay, one example is the Westernization of traditional Chinese music carried out by 12 Girls Band. One of the reasons for this phenomenon is the fact that Asians’ perception of the West is shaped not only by the western, international, and global climate of the modern world but also by the domestic context in which such a perception is created. As Timothy Dean Taylor argues in Beyond Exoticism. Western Music and the World:
“It’s important to know how musical practices signifying non-western peoples entered the western European musical vocabulary and how occidental thought shaped the pan-Asian cultural conditions of early-twentieth-century music. In the era of globalization, new communication technologies and the explosion of marketing and consumption have accelerated the production and circulation of tropes of otherness. We have to consider the World Music as a cultural production created under rubrics including multiculturalism, collaboration and hybridity; in this way we can scrutinize contemporary representations of difference” 76.
This consideration should be applied not just to music or cultural production but also to Asians’ construction of their own identity because their image is also often constructed and presented under and for the Western gaze. As stated in the article “China and Occidentalism”
[…]this practice of presenting Self for Western Other has been given various terms, such as Orientals’ Orientalism, self-imposed Orientalism and cooperative Orientalism. But to the extent that is predicated on a projection by non-westerns onto the west on which they set out to present their own cultures, it also amounts to a form of Occidentalism. If this exercise of Occidentalism acts on an anticipation of how the western other is to gaze at the self, there seemsto be another way in which the western other is shown more accessible and cooperative for the self. In this presentation the East and west/self and other divide central to Said’s critique of Orientalism becomes increasingly blurred. It thus calls for considerations of various contexts in which such conceptions are imagined and construed. This call for historical specificity perhaps marks the most notable contribution that the discourses of Occidentalism have made to our understanding of the world.2
In this identitarian process, it is necessary to discover how authenticity gets defined in a global world. I argue that authenticity tends to be based on very particular elements of local culture that get transplanted to a global scale. Those elements are changing and mixing each other very rapidly, thus ceasing to be representative of the starting cultures to end up representing a new third, in-between (to use Homi Bhabha’s term) realities.
In this constructive structure, it will be crucial to formulate a comparative analysis of mainstream appropriation of cultural forms and practices that are producing worldwide homologation or similar results. Said’s Orientalism theorizes that dominant mainstream cultures typically act in an imperialistic and ethnocentric manner that defines their own identity and that of the other. We can think about a commercial-oriented representation of culture that happens not just because, as Said explained, the development and maintenance of every culture require the existence of another different and competing alter-ego but also because the marketing pressure of the cultural sector needs easy and fast common elements even if it produces an apparent diversity. An example of this identitarian forced process, as previously mentioned, is the international success of the 12 Girls Band and their projection of the gendered and sensuous Chinese self. Their style can be considered simultaneously global and popular. Although it has attracted many Chinese and non-Chinese audiences, it has also drawn a lot of criticism, from both sides, regarding the group’s sexism and its vernacular representation of music emerging from traditional and Confucian China.
In this context, Joseph Lam posits, “according to a Confucian ideology and practice music should be used to cultivate virtues not to corrupt people’s aspirations and topple nations with sexy women performing vulgar sounds”37. To refute such criticism, supporters of the band and their music argue that China has a long tradition of men hiring women to entertain their male eyes and ears. In short, the music of 12 Girls Band encapsulates the new politics that the engendered and sensuous China wants to create .
In conclusion, I think that we have to change the paradigm West-East. The end of Orientalism and Occidentalism means exchanging roles for new third realities in which there is a new subject-object relationship between Self and Other. The West must cease to be only a subject; it can become also an object. Likewise, the Orient must stop being just the object to become also the central subject and vice versa. In this way, the subjective Idealism switches from Western colonial modem times to a Third-World postcolonial new time in a fruitful way, thus creating, through a hybrid process, new stimulating cultural creations.














The hybridization of Western and Chinese music:
The discussion about Occidentalism and China or about the Westernization of the Chinese cultural tradition appear to be new because China’s long and strong historical and cultural tradition has remained quite resistant to Western influence and has maintained its cultural heritage. However, the hybridization of Western and Chinese music has an interesting history in China. As Johanna Namminga explains[MSOffice1] , “the trend towards adopting Western styles in music started early in Chinese history with the first traders and colonization. The cultural imperialism brought by colonization created a trend towards Westernization which has continued throughout Chinese history”3.
Is very interesting to analyze the assimilation of the Western music in China as well the Western influences on their culture.
As can be seen so far, the Chinese conception of music in its traditional sense is rather different than the Western view. As Johanna Namminga postulates:
“The function of music in Europe for the last thousand years had been mostly artistic and religious, embellishing life rather than being essential to it. In contrast to this, Chinese music has a function which is pervasive and which permeates into every experience of human living, which is fundamental to life itself, and expresses itself in all kinds of activity”5.
Therefore, we can notice that the traditional Chinese views about music are as quite different from those of Western cultures: the Chinese conceive music as permeating life, whereas in the Western mind, music is an accessory to life. Chinese people’ views of music can be seen as changing with the growing influence of Western civilization on the Chinese culture.
There have been many different sources of Western influence throughout Chinese history, each one having a different effect on Chinese society. Some aspects of exposure to Western culture have helped Chinese culture while others have harmed it. Although Western cultural imperialism has been prevalent in Chinese society, the influence has not been all negative. Western musical influence in China began with early Christian missionaries in the late 1700s and early 1800s, who taught the Chinese traditional Christian hymn songs. The Chinese were eventually colonized by European countries. During this time period, the Chinese began to adopt Western music as their own. The influences of colonization on the Chinese and their eventual adoption of Western ideas were initially a demoralizing loss of their own cultural identity. Western representatives so thoroughly dominated the Chinese that Western culture even became part of the creation of the Chinese society. Yet, although Western culture became the high form of culture, traditional Chinese culture did not simply disappear. Instead, early forms of hybridization began to occur with the blend of Western popular music and Chinese folk-music. After Mao Zedong's death, Chinese culture regained much of its vitality. After Deng Xiaoping was named president, he began to make social reforms that greatly helped Chinese culture to flourish once again. Traditional and Western music were no longer banned, foreign trade was restarted, tourism was promoted, and new relations began with foreign countries, especially the United States. By the same token, radio stations began another time to broadcast popular music and mood music was played in public instead of military marches. The music industry once again began to flourish. The reforms that Deng Xiaoping made helped Chinese culture and began the cultural and musical hybridization of Chinese and Western music. However, with this interest in imported music, not only Western music was sampled, but also the music of Japan, India, Taiwan, and other Eastern cultures. It is easy to assume that the West forces its culture upon other societies through globalization and cultural imperialism. However, as China has shown, cultures will take parts of Western cultures that suit them while at the same time sampling from cultures that are non-Western.
China has a long, tumultuous music history with times of prosperity and times where music was greatly restricted. The music of China has gradually adopted many of the characteristics, styles, and ideals of Western music while still making it their own unique music. The trends of modern Chinese society show an increasing interest in Western music and a continued hybridization of the two. Although China has been greatly influenced by western imperialism, especially in cultural, its recent history has shown that despite this, the Chinese have used what has been imposed upon them to create a music form of their own.
I begin the analysis of this cultural production from the creation of a girl band by using their website: HTTP://WWW.12GIRLS.ORG/. I report some passages, in order to better understand the philosophy of this project. Curiously, in the “About us” section of the web page there is a simple presentation of the group (About band), but a much more detailed presentation of the company (About Company) and of the band’s artistic producer (About Wang Xiaojing). It could be argued that while, after thousands of years of cultural heritage, Chinese music still maintains its gentle and elegant flavor, the emergence of a new genre in Beijing had made its mark: the result is the 12 Girls Band. The name of this musical group signifies the symbolic choice of various aspects of Chinese numerology with twelve months in a year and, in ancient mythology, twelve jinchai (golden hairpins, which represent womanhood). Inspiration was also drawn from Yue Fang, the female chamber orchestras that played in the royal courts of the Tang Dynasty. Most important than the number is that those twelve young (which actually numbers 13, including one alternate), attractive (“they had to be beautiful. Twelve beautiful girls standing on a stage is a spectacle in itself, even without any music” said Wang in an interview) Chinese women clad in trendy clothing present a sort of new folk interpretation of various Chinese traditional instruments. In fact, the group presents traditional Chinese music mixed with modern pop, jazz, and rock. According to the band builder, reforms had to be made in order to make Chinese folk music more enjoyable and to help it enter the international market: “Mr. Wang Xiaojing, in accord with his goal formed in the beginning, also actively got in contact with craft brothers abroad and did his best to introduce 12 Girls Band to the international market. Beijing Shi Ji Xing Die Cultural Communication Limited Company and the Japanese Platia Company have begun to cooperate in opening up new markets for 12 Girls Band: the North America. It is expected that 12 Girls Band, on the behalf of both Chinese music and Eastern music, will manage to penetrate into the mainstream music market of North America. Our goal is Grammy Awards” as explain in the 12 Girls Band web page.[MSOffice2] .
The idea of forming a musical group like the 12 Girls Band took shape in June 2001. Through a long recruitment phase (“A great number of campus students and graduates from three major professional musical academies -- the Central Conservatory of Music, China Conservatory of Music and Central University for Nationalities -- participated in the competition” (n.p.)), the twelve girls were found. All of the members of the band not only excel in traditional music instruments like “thegu zheng, pi pa, er huandyang qin, but can also master some less familiar instruments like thedu xian qin, tu liangandju chi qin” (n.p.). Up to this point, the project seems a normal selection process but, as reported in the band presentation, Wang also noted that besides musical skills and accomplishments, another important requirement for recruitment was style and charisma. The 12 Girl Band not only provides audiences with modern Chinese folk music, but also emanates visual appeal: “After much picking and filtering, 12 beautiful girls got enrolled” (n.p.).
Watching some videos of the band and of traditional Chinese music, I realized that the band's stage presence diverges greatly from that of traditional Chinese musicians. In fact, traditional performers played various instruments while seated; these women, however, stand tall and use their body language to emit a strong atmosphere of youthful vigor. Their adapted folk music incorporates the percussion and electronic music from the West, which makes the traditional Chinese vibes more rhythmic and enthusiastic. However, there were different opinions from the beginning. Some were optimistic about 12 Girls Band and its new performing modalities for folk music, while others doubted whether Chinese folk music would become popular. Among other concert reviews found in one of the band’s forum, Andrew Kao, a sixteen-year-old Asian-American, states: “I was never really attracted to traditional Chinese music, but I listen to Mandarin pop,” Kao said. “The 12 Girls Band reminds me of Superstar, by S.H.E.; in Superstar there was a mix of Chinese traditional music and American rock. I think that factor contributed greatly to its chart-topping ratings” (n.p.) Others, like Ada Lee for example, had a harsher assessment. “They’re selling out Chinese classical music; it’s too commercialized. Chinese music is really classical. … [The Twelve Girls Band] doesn’t match” (n.p)
In spite of the critics, the band became very popular, especially among young people everywhere in Asia. It cooperated with a Japanese company to debut their first album on July 24, 2003, which had already sold 1.8 million copies; a subsequent 32-date tour in Japan sold out in ten minutes. Their second album, Shining Energy, went platinum since its release in March. In Japan, they have appeared in advertisements for cell phones and chocolate, and look-a-likes have even appeared in a pornographic video. Rei Miyazaki, an editor at the Tokyo-based music magazine Oricon, stated: "nobody thought a foreign band could ever do that, much less a Chinese one" (n.p.) Entertainment industry publication Variety wrote, “China dolls take traditional music off the shelf” (n.p.). Likewise, Time Asia called them “China’s first exportable supergroup” (n.p.).

The inclusion of performances such as a medley combining themes from Mozart and Beethoven to the Mexican standard La Llorona, interpreted with Lila Downs, was a clear indication that ensemble founder Wang Xiaojing intends to take the 12 Girls into even broader territory. Eastern Energy, which is geared specifically for the American market, features versions of Coldplay’s hit “Clocks” and Enya’s “Only Time,” entered at Number 62 on the Billboard 200 album chart. Their charting marked the highest debut in Billboard history by an Asian recording artist. It also debuted in the Top 10 on the Internet Album Sales Chart, keeping company with names such as Tim McGraw and Usher. Mainstream media has also picked up on the Chinese phenomenon: in the United States the promotion for the band has been large, including advertisements on major cable networks, billboards, in print publications. Wal-Mart and Amazon are selling their CD. To quote TIME magazine:
“There's something mesmerizing about the band's graceful stage presence, their technical virtuosity -- and most of all, their euphoric expressions as they play their instruments. The entrancing and expansive music on the new Romantic Energy reflects the group honoring their heritage, combined with a genuine love for all styles of music -- from complex classical works to enduring pop tunes. The aura of a beaming morning sun colors the album's title song; and a lovely wistful version of Simon and Garfunkel's El Condor Pasa brings a new dimension to a beloved classic. (n.p.)”
Trans-modern music or commercialization of music
In this final part of my analysis, I would like to consider whether 12 Girls Band can be conceived as an example of trans-modern music or as a case of commercialization of traditional music. Before doing it, I will also analyze a multiple-choice questionnaire I prepared to collect data from Chinese and Chinese-American teachers and students at the University of California, Merced. Tthere were 49 responses, with 44 being valid for analysis. There were responses from 44 students and 5 teachers. It is necessary to clarify the conceptual situation in which culture, society and theories are placed. We are undoubtedly living a reality that is difficult to analyze if we start from modern concepts; as explained by modernity was in crisis: “everything he left out of his project was to his detriment...” (n.p.) Consequently, we should use the term postmodernity to define a reality where the subject “…moves away from univocal and clear opinions; acquires multiple profiles, becomes a fractal figure…”. (n.p.) Yet postmodernity in turn has also failed, as it is incapable of explaining the new reality where global discourse has re-emerged and where, at the same time, the fragments of postmodernity come together. Thus, according to Rosa Mª Rodríguez Magda,“the dispersed fragments have been included thanks to the virtual revolution of the information society” (n.p.). Therefore, I suggest to use the term transmodernity and trans-modern music to describe this new reality. This concept is employed by the Spanish philosopher influenced by Jean Baudrillard, and will in turn be adapted by different authors in their fields of research to analyze new cultural manifestations and to differentiate them from previous ones. New events and new cultural productions are based on different ideas to those in modernity or postmodernity. As Enrique Dussel states, “…transmodern theories are those that proceed from marginalization to claim their own place opposite Western modernity. This emergence of subordinate studies, of border epistemology, leads to the postcolonial reflection which is also referred to as post/imperial/Western/colonial reasoning (W. D. Mignolo) or as the idea of cultural hybrids by N. García Canclini. The concept of transmodernity will allow us to define new cultural currents, which may be called transnational or transcultural – irrespective of the name we give them, these hybridizations have characteristics that clearly differentiate them from those present in the modern or postmodern era.

In this new reality, there is a mix that goes from the global to the local, rather than just the global, as happened in modernity: from the metropolis to the colony, from the Eurocentric “empire” to the periphery or to other “empires”. Nor is it solely a study from a local perspective for a local audience, as was the case in postmodernity, but rather it is a dialogue between the global and the local and between the local and the local (we can refer to a new reality, glocal), given that population flows have led to mixed races both in colonizing countries and in colonized countries, which at the same time has generated trans-ethnic communities in the heart of delineated regions and transterritorial ethnic communities. Dussel sees, in his Transmodernidad e Interculturalidad, this as:
“developing universal cultures, which assume the challenges of modernity and even European-North American postmodernity, but from another perspective, also from their own cultural experiences, therefore creating a combination of cultures which are not considered individually but rather as fragments forming a new culture, a type of hybrid”49.
Understanding the term transmodernity will help us understand the transnational and cultural hybridization processes. In particular, it will reveal that creative processes are actually the product of a cultural hybridization in which the actors converse under equal conditions. Processes, then, are imposed by the global market, appearing more like the processes of modernity, that is, an appropriation of subordinate cultures by Western society.
I have based my analysis of 12 Girls Band on the understanding that dialogue at local levels and even between the global and the local is possible, but I would stress that transmodernity or the processes of hybridization are not always conflict-free and do not always allow horizontal dialogue. The global market imposes its tastes, appropriates them from subordinate cultures and, as stated by Enrique Dussel, “removes everything in these cultures related to anticapitalism and then assumes them”101. Consequently diverting from true hybridization. Globalization and transnationalism tend to remove meaning from subordinate cultural manifestations. They assume them for marketing purposes thus stripping them of their defining resistance. The danger of transmodernity is not the loss of differences, as happened in modernity, but rather, as the Argentinean sociologist García Canclini states: “that only marketable differences find a place and that ever more concentrated market management reduces the audience’s options and their dialogue with the creators. This is the greatest risk, not the imposition of a single homogeneous culture”69.
There are clear examples of Pan-Asian, Latin American, Afro-American and mixed-race cultures in an attempt by the market to remove political content and protest from the different movements, and draw them all together in a simplified but profitable model. As García Canclini states, MTV appears to be the central producer of mixed-race culture but there is not a trace of the real richness of a multicultural-intercultural interaction; instead, it proposes a Benottonization of culture meanings for circulation of racial and ethnic clichés and banalities that cultural marketing share in order to create a bigger customers’ network. The transnational market is appropriated with local cultural initiatives, given that it has understood that culture is an industry that generates a considerable amount of money. As reported by the Beijing Weekend, Warner Music executive Kazuma Tomoto formed his own record label, Platia Entertainment, to successfully launch the Twelve Girls Band in Japan. This provided earnings of almost of $50 million. Then, he developed the idea of bringing the Twelve Girls Band to North America with Ken Pedersen (a Virgin Records executive behind the world music-oriented Luaka Bop and Real World), Ray Cooper (former Virgin Records America president and one of the key developers of the Spice Girls, who helped design the group's presentation to the American and European markets) and Phil Quartararo (EMI North American Executive Vice-President. Their coordinated promotion in the United States included TV spots on the History Channel, A&E, CBS and MTV – along with print coverage of the band in the Los Angeles Times, San Francisco Chronicle, Chicago Tribune and CNN.com.
In this context, one of the most ferocious criticism in the survey I carried out was linked with the sexual exploitation of the musicians. The most chosen (75%) of the possible answers of the questionnaire, at question number 8 (Do you think we can consider them cases of gender commercial discrimination or it’s just marketing?) was: It is a clear example of sexual discrimination. Central to the septet's appeal are dance beats and, well, sex appeal. Appearing in publicity shots wearing skin-baring outfits, and strategically-placed instruments.
Also, question number 5 (Do you think their music it’s an example of westernization -is a process whereby societies come under or adopt the Western culture- of Chinese traditional music?) clarify a lot the perception of the group. The yes (15%) and no (20%) options obtain only the 35% of the answer, the third (It’s a natural evolution of a cultural process) the 5% and the last one (It’s not Chinese traditional music anymore) the absolute majority with a 60%.
Given all these reasons and analyzing all the questionnaire answers-even if it’s just a partial representation of the potential 12 Girls Band public, it would be naïve on my part to think that all cultures can converse among one another with the same level of opportunity and in a horizontal manner. It is clear that the global market, basically controlled by western majors or by western stereotype and ideals, continues to impose his tastes and culture. This homogenization is apparent in all fields, including cultural production.

Finally, trying to answer the initial question “is 12 Girls Band a cultural hybridization?” we have to answer no. In fact, if we accept N. García Canclini description of the process as “socio-cultural processes in which structures or discrete practices, which existed independently, are combined to generate new structures, objects and practices.”20 we cannot speak in this case just of cultural global process in which the distinction between ‘us’ and the ‘other’ disappears. Rather, it seems to be a transplantation and transformation of Western music in the non-Western parts of the world, where Western music has become part of the national soundscape.

In my view 12 Girls Band is a carefully packaged musical product: gentle enough to please New Age fans, unusual enough as a visual presentation to have some appeal in the MTV-oriented Western music media. In practice, that means retaining just enough Chinese flavor to create an exotic sheen without alienating listeners unaccustomed to the moan of the erhu (a two-stringed fiddle) or the plink of the pipa. The manager Wang Xiao-Jing creation - the 12 Girls Band - is a living embodiment of China's national strategy of "harmonious growth" and their sales strategy is reminiscent of that employed by the United States and Britain, decades ago, with groups like the Go-Gos, Bangles, Bananarama, SpiceGirls and by other countries liked Japan with Princess Princess, Turkey with Volvox, Brazil with Scatha, Finland with TikTak and Australian with Bond.

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