My college drawing is a simple representation of my family structure with a backbone of Chinese culture. Although I present simple elements of the humble family of three both my father and my stepmother as well as myself, I also bring out other important features that explain the family fabric in my family. Initially, I have my biological mother looking at the family because my parents are separated. I have also included by a nanny who has run the domestic chorus in our house ever since we moved to America when I was fourteen. The onlookers in my collage picture make a significant element as a symbolic representation of the diverse elements in the Chinese culture where a child is responsible for being accountable not only to his or her immediate parents but to other adults with significant impact on his life to ensure that respect and family continuity of the culture exists. Although, at first glance, one would not understand the concept of the Chinese culture portrayed in the college social stratification is evident in the theme of my profile story.
The Chinese social stratification is a hierarchy mode of systematic classification of individuals. The Chinese society has a close-knit interconnectedness between each other in the family unit and the community at large. Personally, am of Chinese origin though we migrated to America when I was at the age of 14 years, the heritage of the culture and social norms learned back in China have a great impact on my life. The social hierarchy categorizes into three distinct sub-groupings based on their power strength, financial status, and social placements. They form a few upper class, minority middle class, and majority lower class. In China, Daniel and Smitherman (1990), states that the upper-class social stratification of the society consists of the royal family members and the business class. These are the people of high social status, and, they enjoy power control and monetary freedom. The royal family people belong to noble families from ancient times. The business class owns mega-entrepreneur entities. They are believed to run the economy due to their high contribution to their economic control. According to Hofstede (1990), the middle or service class people consist of the layman members of society. This category of people constitutes the majority population in Chinese social classification. They consist of low scale businessmen and servicemen, which run small scale businesses and other salaried people. Finally, the lower class or labor class categorizes wage earners who lack financial stability. These people fall vulnerable to Chinese privileges and live off government grants.
However, the modern social status of the ancient Chinese is taking a new turn after evolutionism steer-headed to reduce the social classification gaps. He pioneered the tapering of income/wealth differences as well as educational gaps. Today the social status differences have receded in China and other developed countries with the support of its people's social mobility agents. Chinese culture is not static in nature and form. Although much has been diversifying over the years many conventional values and elements that were acquired from the original Chinese concept have evolved to prestigious elements of individual identification. China prides in artistic value for cultural preservation. This art form exists in real-time, whenever successive artist needs to return to the drawing board hit after hit so as to advance what was done by their predecessors. Therefore, it is worth noting that no single China piece has to be an all-time hit. Every new release is defaced by the growth of the Chinese industry and advancement in classification. Categorization of different China styles has also not been stationary with firm emphasize on the composition elements, vocal techniques, and instrumental piece work. In my Collage, I presented the image of my family members, although my parent's divorce after our migration to America and my Dad remarried there are very prestigious chine culture properties that have kept my family afloat. We have a lot of affection and respect for each other making everyone living in harmony despite the radical changes in our family setup for adjustments. Turbulent change has in the recent era being experienced in China style and perception. For instance, the China style of gospel China presumed classical vocal and instrumental composition, a fact that has taken a drastic turn to explore untraditional texture, rhythm, and tone in the modern composition of these artworks.
Change of sceneries from China to living in America has exposed to new and diverse culture. Although we meet other fellow Chinese immigrants the evolution of new culture among the new community have a way of preserving the conventional elements of our culture. The growth and diversification of China in the modern China landscape has to be very vibrant across different cultures. Heavy investment and effective intellectual management have given the industry potential stamina. Stakeholders' investment into the elements of China production and composition has eradicated hitherto diminutive growth (Samovar & Porter, 1995). China style has in recent decades experienced rapid changes due to the advancement of modern media technology. It has facilitated an expansion of China knowledge and accelerated styles and tastes due to the widening audience and competition.in the 20th-century China varieties increased and user access intensified. Currently, evolving China styles and ideas have diversified since the dissemination of masterpieces has become instant (Katriel, 1990). The diversification of lifestyle and culture have preserved our Chinese value for the family fabric, At the age of 22 years am able to make independent decisions regarding the position I hold in the family in the understanding of the shared elements from the diverse cultural differences between us and other people we socialize within the new environment we are living in. Although at times holding on to immigrant's culture in diverse society looks rigid personally I take pride on the elements of our Chinese culture that define my personality and the socialization elements that define me as an individual.
Artistic success in the China industry is classified with the popularity a composition has gained from the intended audience. However, this popularity is only short lived. Thus for any Chinese to be categorized successive, he/she should not rely only on one realize but should develop new China genres, instrumental composition and dissemination methods. Influential Chinese and composers have over the years been dedicated to serving the rapid increasingly transit of audience and information. Classification of their Chinese genres performance is based on the popularity gained. This differs from one song to the next. China production from the same composer is categorized different depending on the style of advancement in the work of art (Halualani, 2006). Although many elements in the genres of Chinese culture have different identification of character the dissemination and representation of human understanding of pictorial literature and artistic talent. Artistic talent has to be vibrant by the use of Chinese culture in many space drawing highlighted attention on social ideologies and political positions. The use of Chinese artistic culture widens the scope of the audience reached by the artistic characteristics previously targeting a specific audience. More people are exposed to the attractiveness and diverse skills applied in college painting to convey important messages to the masses. Therefore, it's important to use Chinese culture to increase the number of people who appreciate this artistic venture in larger public space. A marginalized scope like immigrants will be able to appreciate the evolution of art through cultural diversification when it brought closer to them in their foreign home.
Drawing China immigrants' attention and in-depth understanding of Chinese culture as a form of entertainment requires the intensive display of the artistic skills on the artistic understandings. Therefore, it will be crucial to acquire the authorization from the municipality for the establishment of the cafe as a platform for the intended publicity. The inclusiveness on the project will enable marginalized members of the community to have new understanding and association with Chinese culture especially the China immigrant fraternity. Chinese culture paintings help increase value-added understanding of the social, cultural or political phenomenon in a viral presence in public space. Previously, hidden communication to a certain characteristic of the audience opens to inclusivity of subjects. Whenever the use of Chinese culture through responsible representation and proper occupation on public spaces our modes of communicating out thoughts ensure responsibility on displayed content (Chen, 1998). The use of different artistic representation like the collage picture among other outdoor art is geared towards audience understanding and appreciation of various aspects of visual styles. The form of artwork has over the years been used to display social and political motives on public and private spaces to elite values, opinions, and sentiments (Chen, 1998). However, Chinese immigrants in traditionally patriarchal societies do not feature much on street art that is otherwise associated with social vices. The tradition of spraying on walls and other public spaces done by irresponsible artists is prohibited when the local authorities like the municipality have to license and regulate Chinese culture. Thus more responsible content will be displayed for social appreciation of art. The integration of artistic talent and evaluative understanding of the target audience requires the ethical consideration on logical and social presentation of contents. The artist understands the social needs in artistic appreciation within a certain target group. Therefore, whenever the audience for any Chinese cultural work visually appreciates the color themes and other integrative aspects used to display any artwork in public space, their respective needs are addressed through quantitative and qualitative values of their responses. The artist of Chinese culture requires very sensitive to the expectations and outward perception brought about by the potential understanding and appreciation of Chinese culture theories and practices (Katriel & Philipsen, 1990).
In conclusion, it is strongly agreeable that Chinese-style is not a repetitive ordeal but a diversifying venture whose growth is heavily dependent on the end user consumer needs just like any other commercial industry. Though, all-time China production has gained ample popularity among masses. The composition should not stagnate to the same China style but need to grow with the growing demand and changes, especially in technological evolution in the 21st century and beyond.
Chen, L. (1998). Chinese and North Americans: An epistemological exploration of intercultural communication. In J.N. Martin, T.K. Nakayama, L.A. Flores (Eds.), Readings in cultural contexts (pp. 357-369). Mountain View, CA: Mayfield.
Daniel, J. L., & Smitherman, G. (1990). How I got over: Communication dynamics in the Black community. In D. Carbaugh (Ed.), Cultural communication and intercultural contact (pp. 27-40). Hillsdale, New Jersey: Lawrence Erlbaum.
Halualani, R.T. (2006). "'This Is The Way Things Are!': Making Sense of Gender Roles in Cultures." In M.K. Lustig & J. Koester (Eds.), Among us: Essays on identity, belonging, and Intercultural Competence (Second Edition) (pp. 104-108). Longman Publishing
Hofstede, G. (1998). I, we, and they. In J.N. Martin, T.K. Nakayama, L.A. Flores (Eds.), Readings in cultu...
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