Culture and Art Museum of migrant workers

Culture and Art Museum of migrant workers

Sponsored by the Youth Art Troupe of migrant workers, the Museum of migrant workers' culture and art is a non-governmental public welfare Museum founded in 2007 in PI village, Jinzhan township, Chaoyang District, Beijing, China. It can truly record and reflect the life of migrant workers, and jointly record their own culture and history.

Basic information

Over the past 30 years of reform and opening up, China's urbanization economy has developed rapidly, which is inseparable from the labor and contribution of hundreds of millions of working brothers and sisters. The culture and history of migrant workers are recorded through the Museum of migrant workers' culture and art. All kinds of articles related to working life and work (photos, letters, temporary residence permit, employment permit, payroll, IOU, labor contract, work injury certificate, daily necessities, work clothes, labor tools, newspapers, books, policy documents, work literature and art works, etc.), which can truly record and reflect the working life history, and jointly record the workers' own culture and history. The purpose of establishing the museum is to:

1、 Through the extensive collection and collation of cultural and artistic works and other types of goods and materials related to the migrant workers, we can establish the archives of migrant workers' cultural and historical data, truly record the development process of migrant workers and witness the historical changes of migrant workers from the standpoint and perspective of migrant workers;

2、 By holding all kinds of special exhibitions and cultural and artistic exchange activities, we can carry out public opinion advocacy for the whole society, publicize and create a cultural atmosphere for migrant workers, and increase social attention, understanding, respect and support for migrant workers;

3、 Through the daily reception of visitors, holding various kinds of cultural and historical exchange and training activities of migrant workers, the museum has become an educational research and training base of migrant workers' cultural history;

4、 Through cooperation with relevant experts and scholars, government agencies, non-governmental organizations and individuals, the cultural history of migrant workers is carried out

.

Collection

Temporary residence permit for Exhibit 1

An important signal of China's reform and opening up is that farmers move to cities to work. In the first 10 years, they mainly worked in township enterprises, but the scale was not large. The number of people began to increase around 1988. After 1992, it has become a trend for farmers to move to coastal areas and big cities to work. After the abolition of the system of taking in and repatriating in 2003, more and more farmers entered the city. The temporary residence permit reflects the characteristics of this period, and the first donation received by the museum is the temporary residence permit, which is also the most received items. As a migrant worker and a farmer, Wang Dezhi, one of the founders of the "workers' home", was the first to donate several versions of his temporary residence permit, which became the "No.1 exhibit" of the museum.

Wang Dezhi's Beijing temporary residence permit has changed a lot from 180 yuan to 5 yuan in the first time: C is a newcomer, B is a mixed Beijing for some time. Wang Dezhi, a young man from Inner Mongolia who has been living in Beijing for 13 years, now holds a b-book. Although he still checks his temporary residence permit on New Year's day, after the Sun Zhigang incident in 2003, Wang no longer has to worry about being taken back when walking on the street. A worker presented to the museum a copy of "look at them" compiled by Zhou Yongping, director of China Youth Development and Policy Research Institute of China Youth College of political science, which recorded the oral records of 100 migrant workers in Beijing. Among them, the experience of Zhao Honglei, a migrant worker in Cangzhou, Hebei Province, is even more strange.

Han Jun, an expert on rural issues in the development research center of the State Council, believes that the employment system centered on the management of employment card is obviously discriminatory against the peasants who go out to work, which damages the equal employment rights of the peasants who go to cities. In fact, it does not really play a role in guiding the orderly flow of peasants.

Three account books

Sun Heng told Ma Xiaoduo, the person in charge of "Tongxin hope home", the news of collecting exhibits. Ma Xiaoduo heard very excited, decided to donate his account. Ma Xiaoduo has three Hukou: Rural Hukou in Liyang, Jiangsu Province, urban hukou in Shenzhen and urban hukou in Beijing. It took Ma Xiaoduo 20 years to get this Beijing hukou. In 1982, after graduating from high school, Ma Xiaoduo, 16, left his hometown in Liyang, Jiangsu Province and came to Beijing to work as a nanny. The first batch of nannies came to Beijing with a total of 50000 people, 30000 from Anhui Wuwei and 20000 from Liyang. They were all rural girls, mainly working as nannies at the heads of all levels. Later, there was a film "the girl from Huangshan", which was set against this background. Ma Xiaoduo's experience is very similar to the fate of the protagonist in the film. She went to the home of a vice chairman of the CPPCC National Committee to work as a nanny. "As the first batch of 50000 baby sitters, we actually sent a signal that a large number of migrant workers began to enter the city." Ma Xiaoduo said.

According to the survey conducted by the "migrant workers problem research and document drafting group" in 2007, the term "migrant workers" appeared for the first time in the sociological communication of the Chinese Academy of Social Sciences in 1984, and then it was gradually widely used. At the same time, the reality of poverty makes a large number of farmers actively break free from the shackles of land.

In 1990, she went to Shenzhen because Shenzhen's registered residence system is loosening. She applied for a job as a salesman in an electronic company in Shenzhen. At the same time, three years later, the company helped her handle a Shenzhen City Hukou index. "Holding that hukou, I want to cry. I don't know if it's worth it. I've been fighting for a long time just to get rid of the identity of a rural person, but that's my hometown." Ma Xiaoduo married and returned to Beijing in 1996, but still registered in Shenzhen. Although her daughter was born in Beijing, she also registered in Shenzhen. In 2001, when the child was old enough to go to school, the husband's unit "lined up" to transfer his and his daughter's Hukou to Beijing. It took 20 years before and after that. At this time, facing the paper of Beijing hukou, Ma Xiaoduo has no feeling. "I don't feel happy and I don't have a sense of belonging. I used to yearn for the mainstream life of the city. Once I had it, I found that it was just like that. So I'm back among the workers. "

New culture of migrant workers

Sun Heng said: "without us, the mainstream culture of the city is influencing our thinking and values. What should the life prospects of 200 million migrant workers look like? What we are doing now is to create a new culture that belongs to this group. " Oxfam's Wang Ying Yu added: "to put forward the concept of" new culture "is to emphasize the value of labor and rebuild the self affirmation and identity of this group." "Workers' home" has opened four love second-hand supermarkets in picun, louxinzhuang, magezhuang, etc.; beside the main road of picun, the love supermarket with less than 10 square meters has attracted many villagers. These second-hand clothes and recycled goods are in good quality, the key is that they are cheap.

Wang Dezhi, who once dreamed of going to the Spring Festival Gala, is now the store manager of the "home of workers" love supermarket. He is still developing his literary and artistic expertise. "I wrote several cross talks and made a DV." This DV short play called "Pi village" shot representative migrant workers including Lao Wang, a car repairer at the entrance of the village. It was also collected as a "cultural relic" for exhibition.

According to the regulations, the competent department will examine and approve the qualification of the museum. There are clear requirements for the temperature of the exhibition room and the number of exhibits. Moreover, the exhibits should be appraised by experts. The staff of the museum are required to have more than five years of cultural and museum work experience, and the curator should have a university degree or above. "Fortunately, according to the regulations, there is also a preparation period during which the museum can open. We will try our best to make it pass the inspection." He thought, "this museum will definitely be free to visit in the future. Maybe it can be built into a cultural station in the village

。”

Visit information

Picun, where the Museum of culture and art of migrant workers is located, seems to be on the opposite side of some kind of modernist Urban Imagination: the scattered, unplanned buildings are scattered, the potholes and uneven roads are lined with the front faces of workshops, and the graveyard is next to the street. The prosperity and desolation here are two sides of one, like the hybrid and marginal scenes of city, village and village It seems to be challenging those normative statements about modern society and order. It's hard to imagine that there is a "Museum" on the edge of the city, which is forgotten and abandoned by the city, unless you go through the slightly crowded but orderly exhibition hall, the narrow and always popular projection room and library, or sit down in the tent theater outside the exhibition hall to watch a drama rehearsed by nearby workers and residents. I'm afraid it's even more difficult to imagine that this small courtyard with only over 100 square meters, in fact, plays a key role as a cultural center in the vast urban village area between the fifth and sixth ring roads of Beijing. It is also an important platform for cultural exchange and community construction of migrant workers across the country.

Since June 2010, the entire exhibition hall of the "Museum of culture and art of migrant workers" has been moved to the queen Sophia Museum in Madrid, followed by the world palace of culture in Berlin, the National Museum of art in Bolivia and the Museum of Anthropology and folklore. The starting point of all this is only the spontaneous organization of a few migrant workers.

find by hard and thorough search

Sun Heng, the director of the Museum of culture and art of migrant workers, is the main initiator and planner

Chinese PinYin : Da Gong Wen Hua Yi Shu Bo Wu Guan