Ambassador for the UNESCO's "Mondialogo", initiator of Humanity Photo Award (HPA) and President of the China Folklore Photographic Association (CFPA), these impressive titles belong to none other but Mr. Shen Che, a true gentleman.
As what his given name suggests (Che in Chinese means clear or limpid), Mr. Shen Che has a very clear appearance and a very clear mind. In his late fifties and a bit overweight, Mr. Shen is very healthy, robust and easy-going. Smiling seems to be in his nature. But, judging by the above-mentioned titles and his vast experience, he is no ordinary person.
Shen Che was born and bred in Shanghai. What made him special and win his first fame was his 15,000km-long bicycle adventure around China. Starting from
Shanghai in 1980, the two-year trip was a fruitful one. He visited more than 20 Chinese ethnic groups and shot a great number of valuable photos of local folk cultures. Then he spent his time sorting out his pictures and began preparations for the establishment of the Chinese Folklore Photographic Association (CFPA). At the same time, he has also made several successful trips in 17 years to study folklore in more than 20 countries. His book Travel Alone was a sensation throughout China. Perhaps the greatest of Mr. Shen's achievements is that he founded the CFPA and had it recognized by UNESCO and made an inseparable part of world folklore heritage. He even expanded the CFPA to include a world wide Humanity Photo Award, an international photographic contest open not only to professional photographers, but also to amateurs, to all who love to photograph, record, explore and study folk cultures and phenomena.
CRI: It's really hard to quit a job, especially when it was regarded as a a?Golden Bowl' during the 1980's. There are reports comparing your resignation to the present laid off workers. In this sense, to some extent you can be seen as the first person to be "laid off" in China, but you laid yourself off. What led to your decision?
Shen: Firstly, it's because I like photography very much, but there were too many fetters which I had always tried to cast off. Secondly, when I was teaching in
Shanghai Education College (now merged into East China Normal University), I shot many Hakka films, and was thus able to dabble in some folklore. This made me want to know more¡§¡é? Also, the work load in the college was too light for the energetic young guy I was then. Although a teacher of film shooting, I couldn't be wholly dedicated to the mission I like so much. Filming is very complicated, speaking both from the aspects of time and technique, and not all the staff in the college were willing to contribute to the work. But for me, to do it well, I have to dedicate all my time and energy to that. So I was forced to quit my job.
In addition, I was living in the large city of shanghai, but, compared with the spacious and beautiful Chinese territory, it's only a very very small dot. This also inspired me to go out, to learn more about the outside world.
I was full of confidence in my success, despite the uncertain future. I wanted to record Chinese folk culture through my own eyes.
CRI: Among all the peoples and places you visited, what has had the strongest impact on you?
Shen: Well... It's hard to say. Since all of these cultures are part or a branch of the 5,000 year old Chinese civilization. They should be treated as an integral whole. Only by being blended together can they make a complete big Chinese culture.
As time passes, my knowledge of different Chinese ethnic groups is increasing. My understanding of Chinese culture is also improved. This has helped me form an endless desire to learn more. People say I was beginning to carving out my own business when I quit my job and left for the outside world. Actually, I was enjoying my work. For me, it's not the kind of hardship or adventure that outsiders conceive. Instead, it's complete enjoyment, enjoying my interest and my work as well.
If I should single out some most impressive things here, I would like to share with you the story of the Du Long (a Chinese ethnic group). Once I got very sick when I was in the Du Long River Valley; the local people were worried and they dug herbal medicines to treat my disease. If not for their nourishment and heartfelt care, I would have never been able to leave the Dulong River village to seek my future success. That's really impressive. From this and more other experiences, I discovered the highest ambit of folklore photography is not taking photographs or the pictures themselves: It lies in the communication of feelings and passions with people from different ethnic groups. (Actually, you can find many more moving stories in his book Travel Alone)
CRI: Almost all people find your works valuable, highly impressive and enlightening? What do you think of your own works and the nomination pictures?
Shen: My criteria are becoming more objective. With my 20 years' experience, I have found a new definition for the function of folklore photo works. Besides being a means to urge the public to preserve folk lore heritage, pictures should also help to record the world heritage. We won't be able to preserve all the heritage just by the work of a social organization, but through our recording work, at least, on the one hand, we help to leave abundant precious world heritage and also present scenes to later generations.
The third task is to promote the awareness of the government and public to protect the folklore heritage. The true safeguarding force comes from the government, together with public protection measures. The most valuable works are those which strive to save world heritages. With globalization, large amounts of world heritage, especially intangible heritage, vanish.
We also find a new social responsibility in our work, the responsibility for protecting the world heritage. All newcomers are willing to shoulder this social responsibility as they register as our members. We are the only social organization in China which strives to salvage folklore culture. We are now working hard to establish a very effective world wide folklore picture database. Our members at home and abroad and our Chinese peers, with the most numerous cameras in the world, are trying hard to turn their lens from beautiful scenery and girls to record the surrounding culture, possibly culture on the edge of extinction.
CRI: You have done really great work for mankind and for the protection of the world heritage. What is the object of CFPA, or HPA?
Shen: We are working to meet three needs of the world:
The needs from all countries: All countries want peace and want their culture to be protected. It's a most important element.
The second need comes from society. Not all the world's citizens are able to travel widely. But we can share the world by pictures with our kin and friends.
And thirdly, the need falls to the photographers themselves. They can't just shoot commercial or purely aesthetic pictures. The lenses themselves should exert their own cultural might.
CRI: You are honored with many impressive titles. But I found the most moving thing is your exquisite works and feelings. How do you balance these two aspects?
Shen: One's personal career is easily culminated. Many say I have made my fame and all I need to do is to keep at the height of my fame. However, for me, all these titles are just meaningless formats. I have converted my personal business into a global endeavor. I don't care about the form. What I really want, my ultimate target, is to build up a world folklore photo database so that later generations can see our present life and culture. It's the true cultural heritage that belongs to the whole human world.
