Block+SARS,+Defend+the+Homeland--Zhao+Bandi


 * Block SARS, Defend the Homeland**


 * Title: Block SARS, Defend the Homeland
 * Artist: Zhao Bandi
 * Date: 2003
 * Period: Contemporary
 * Country of Origin: China
 * Cultural/Ethnic Affiliation: Han Chinese
 * Medium: Photography
 * Dimensions: 38" x 47"
 * Museum/Collection: unknown
 * Accession Number: unknown
 * Current Location and Manner of Display: unknown
 * Provenance: unknown

Zhao Bandi uses photographic satire, with the __#|assistance__ of a plush, toy panda, to rebel against the CCP's authoritarian agenda.
 * Introduction:**

//Block SARS, Defend the Homeland// is a photograph of a young, Chinese man (Zhao Bandi) wearing a camouflaged hat and jacket, with a green scarf around his neck, and a surgical mask on his face He is holding a realistic green toy machine gun. He is sitting back-to-back with a stuffed toy panda who is also wearing a surgical mask and holding a toy replica of an automatic weapon. These two figures sit at the ready behind a wall of what looks to be stuffed, white, __#|plastic trash bags__, possibly meant to seem like a barricade of sandbags. Behind the figures is a green metal railing for a staircase and a brick wall. At the the top of the photos is a white bar with bold red Chinese characters. At the bottom of the photo, the phrase "BLOCK SARS, DEFEND THE HOMELAND" is printed in large hollow sans-serif capital letters.
 * Description:**


 * Formal and __#|Contextual__ Analysis:**This work, like many of Zhao's is a kind of satire of contemporary public service announcements, or PSAs, issued by the government's Propaganda Bureau. These posters alert China's populous to guard against drug use, SARS, AIDS, or to encourage safe sex practices, family planning, and good health and proper hygiene practices. The PSAs might provide useful or helpful information except that the Propaganda Bureau still writes the copy like 1950s "partyspeak" making them hard for the audience to decipher negating their potential helpfulness (Goldkorn, 1999). In the article "Artist or Ad Man" Zhao points out that slogans like "Strenuously Carry Out the Four Do's Campaign!" meaning "Respect yourself. Behave well. Be alert, Be independent", or "Hold High The Banner of Deng Xiaoping Thought" meaning "Get rich without harming the peasants or the workers.", are fine reminders, but the dated language is a hindrance. Zhao feels that they lack humanity and humor, which is what prompted him to parody the PSAs like this one about the danger of SARS. (Goldkorn, 1999). Zhao suggests that his toy panda named Mi, represents China and it's people, and so as the panda prepares to defend itself from SARS, so should the Chinese people. To some, the government posters are the CCP's way of trying to control the people, and Zhao rebels by making satirical photographs that seem to support the government's agenda. Here, Zhao illustrates the nearly futile efforts of trying to control an extremely dangerous communicable disease in a country as densely populated as China. How logical is it, really, to defend against a virus (or anything for that matter) with a toy gun?

This image and many others in the series were displayed in 300 light-boxes along the Beijing __#|subway__ system, and in smaller form inside train cars. Others have hung in atypical places like outside galleries or on pedestrian bridges where they can be seen by more commuters. Instead of working with a gallery, he worked directly with the Beijing subway authority, and procured funding from Kodak and his printing company in exchange for the inclusion of their logos. Zhao, who lost interest in the gallery world early in his career, aims to find better ways to reach the masses. After gaining international acceptance at the 1999 Venice Biennale for a more traditional body of oil paintings, he realized that art and society were not connected, and he wanted to work in a way that would rectify this (Goldkorn, 1999).

//Block SARS, Defend the Homeland// was the subject of controversy when two other media outlets published the poster without acknowledgement of Zhao's copyright. The trial itself became a performance as the artist clutched Mi and read a letter from his ex-girlfriend in his defense. The letter spoke in detail of Zhao's sick obsession with the stuffed panda, and named it the direct cause of her leaving. She also states, possibly in response to Zhao's insistence that the SARS poster was his, that it could have nothing to do with him. In the end Zhao won the case, and created a 15 minute video called "A tale of Love gone wrong for Pandaman (A Court Case Nov. 11th, 2003, And also a Story about the End of a Love Story)" (ShanghART Gallery, 2009).

Zhao has been working with, Mi, the stuffed panda since 1993. He has a personal affinity for the animals, and insists on being called "Pandaman". Zhao feels that pandas have never been given a loveable public face. He points to the fierce looking Giant Panda sculpture erected near the Asian Games village in 1992 as an example of their usual visual treatment (Goldkorn, 1999). He has used the stuffed panda as a player in his work, as a symbol for the Chinese people, a representation of China's one child law, and as a voice for criticism of authority. In 2007, he used the panda for inspiration behind a tongue-in-cheek fashion show during Beijing's Fashion Week. Some of the outfits were silly and others slightly raunchy. In response, the city of Chengdu, known for its panda reserves, considered legislation that would ban people from using the image of a panda for commercial purposes. They did not want to see their prized animals used in parodies such as this. Lucky for Zhao, the ban which might threaten the entirety of his work has yet to pass. (Tingting, 2011). Zhao's idea of appropriate use of the panda image does have its limits. Upon the release of the movie "Kung Fu Panda" in 2009 and its sequel in 2011, Zhao and other Chinese artists and scholars protested on the grounds that this was "kidnapping" of Chinese culture and symbols for Hollywood's financial gain. Stories about the controversy appeared on popular Chinese blogs. Many readers commented that Zhao was a hypocrite, or that he was using this as a way to promote his own work (Stout, 2011). Whatever the case, he did get attention.


 * Other Works:**

//Print Sources//
 * References.**
 * Fibicher, B., Frehner, M. (Eds.) (2005). //Mahjong: Contemporary Chinese art from the Sigg Collection.//Ostfildern-Ruit, Germany: Hatje Cantz Publishers.
 * Images of works from a collection and brief descriptions of the works and artists.
 * Grosenick, U., & Schubbe, C. (Eds.) (2007). Zhao Bandi, In //China art book//. (pp.48-55). Köln: DuMont Literature.
 * A collection of Contemporary Chinese artists, brief biographies, descriptions, and images.

//Online Sources//
 * 798 Art District. (2010). Retrieved from @http://www.798district.com/798/en/home/
 * Zhao Bandi works with the 798 Art District in Beijing. This site provides information on the 798 district and the artist.
 * Artzine: A Chinese Contemporary Art Portal. (2008). Zhao Bandi. Retreived from []
 * Primarily an image source with show dates for the artist.
 * Goldkorn, J. (1999). Artist or Ad Man: the Whimsical Art of Zhao Bandi. //Beijing Scene//, 6(2). Retrieved 22 April 2009. []
 * A review of Zhao Bandi and his works.
 * ShanghART Gallery. (2009). Zhao Bandi. Retrieved from @http://china.shanghartgallery.com/galleryarchive/artists/name/zhaobandi
 * Biography, images, and information on Zhao Bandi and //Block SARS, Defend the Homeland//.
 * Stout, K. L. (2011, May 31). //"Kung Fu Panda 2" backlash in China?//. Retrieved from //http://newsstream.blogs.cnn.com/2011/05/31/kung-fu-panda-2-backlash-in-china///
 * This article covers Zhoa Bandi's initialtion of a boycott against the movie "Kung Fu Panda 2" on the grounds that it steals Chinese culture, twists it and then profits from it.
 * Tingting, X. (Ed.). (2010, April 21). //Panda Man Zhao Bandi//. Retrieved from []

====** Lesson Title: ** The Public Service Poster Project    ====
 * Grade Level: ** 9th-12th
 * Time: ** 8   fifty-five minute class periods

This lesson meets the following [|National Standards for Art Education] NA-VA.9-12.1: Understanding and applying media, techniques, and processes (2,3). NA-VA.9-12.2: Using knowledge of structures and functions (1,2). NA-VA.9-12.3: Choosing and evaluating a range of subject matter, symbols, and ideas (1,2,4). NA-VA.9-12.4: Understanding the visual arts in relation to history and cultures (1,2,3). NA-VA.9-12.5: Reflecting upon and assessing the characteristics and merits of their work and the work of others (2,4).
 * Standards: **

This lesson meets the following [|National Educational Technology Standards for Students] 1. Creativity and Innovation (a, b) 2. Communication and Collaboration (a, b, c, d)  3. Research and Information Fluency (a, b, c)  4. Critical Thinking, Problem Solving, and Decision Making (a, c, d)  5. Digital Citizenship (a, b, c, d)  6. Technology Operations and Concepts (a, b, c)


 * Central Concepts: **
 * Public Service Announcement (PSA): messages in the public interest disseminated by the media without charge, with the objective of raising awareness, changing public attitudes and behavior towards a social issue.   The central concepts in this artist’s work are the use of satire with public service announcements and the impact it has when introducing comical viewpoints. Taking issues related to him and his environment to be explored and spotlighted through large posters. The inclusion of text that refers to an epidemic happening across the world (SARS) and the use of medical attire (surgical masks) provide the viewer with a sense of urgency. In this lesson the students will use their Public Service as the text in the image.
 * Satire: the use of irony, sarcasm, ridicule, or the like, in exposing, denouncing, or deriding vice, folly, etc. The central concepts in this artist’s work are the use of satire with public service announcements and the impact it has when introducing comical viewpoints. Taking issues related to him and his environment to be explored and spotlighted through large posters.

Students will work with a partner to develop a public service poster that relates to school environment/school issues. The assignment will be a collaborative PSA that brings attention to an issue relating to issues found in interviews. Each group must include objects that reflect issue chosen; there must be the inclusion of at least one group member, and simple text. Group members will display written rationale that explains their issue chosen, how it is depicted in the PSA and why they chose it.
 * Lesson Activities: **

Activity 1: “Get to the Artist.” Discussion of Zhao Bandi’s Work. (1 class period) Step 1: With the use of a projector and Power Point the instructor will display Zhao Bandi’s work Block SARS, Defend the Homeland for the class and engage students in a discussion of the work. Sample Questions: What message is being portrayed? Is this an effective Public Service Announcement? Is it suppose to be?

(Discussion of what satirical comedy is and how it is applied in the poster) // Step 2: // Students are placed in groups of two and are required to first interview school community members and brainstorm school environment/school issues. Step 3: The teacher will then introduce the lesson assignment— a public service announcement poster that relates to school environment/school issues and explains its guidelines.

Activity2: //“Sketch all about It”// Researching and sketching PSA (1 class period) //Step 1:// Both students will navigate the Web and research possible ideas for creating their public service announcement poster; finding and comparing different designs/compositions about similar announcements. Each group must reference one of Bandi’s service announcements and post to a class Google Doc. // Step 2: // Groups will be asked to save and reference research that contributes/inspires their public service poster. // Step 3: // In sketchbooks each student will compose five thumbnail sketches before deciding together the final composition and inclusion of material to best-fit announcement.

Activity 3: //“Photo Documentary Hour!”// Digital Camera and Photography Tutorial (1 class period) // Step 1: // Teacher gives students demonstration of using both digital camera and its multiple settings. // Step 2: // Teacher gives a presentation on photography techniques including using the zoom features, composition within the frame, and proper lighting techniques. // Step 3: // Students begin setting up (staging) their locations and then use digital camera to take photos for their poster.

Activity 4: “Practice Makes Poster” Adobe Illustrator  Tutorial (1 class period) Step 1: Teacher demonstrates how to use Adobe Illustrator and its possibilities. Providing students with YouTube tutorial links they can view on their own for further exploration in the program. Step 2: Students are able to practice using program and become familiar with its features. Step 3: As a class students will spend the last fifteen minutes of class critique progress and receive constructive feedback from peers. Discuss if the satire of the image is represented and if the image needs adjustments.

Activity 5: //“Post-it!"// Working on the PSA Poster. (1 class period)     Step 1: Students will have time in class to continue working on their poster.  Step 2: Once completed students will be asked to give a written rationale for their poster using Microsoft Word, that will be printed out and placed with their printed poster.

Once student groups have decided on a public service announcement to address a school issue (Activity 2) they will be assessed on their research and completion of five thumbnail sketches. After groups have completed their poster using Adobe Illustrator.
 * Assessment: **


 * Self Assessment for Public Service Poster Project || Excellent || Above Average || Average || Below Average || Not Completed ||
 * Ability to work efficiently in a group. || 20-16  ||  15-11  ||  10-6  ||  5-1  ||  0  ||
 * Interview/investigation of school issues was thoughtfully consider for PSA || 20-16  ||  15-11  ||  10-6  ||  5-1  ||  0  ||
 * Craftsmanship and comprehension of materials and processes. || 20-16  ||  15-11  ||  10-6  ||  5-1  ||  0  ||
 * Time on Task || 20-16  ||  15-11  ||  10-6  ||  5-1  ||  0  ||
 * Creativity || 20-16  ||  15-11  ||  10-6  ||  5-1  ||  0  ||

Grading rubric will be used at the end as a summative assessment in making sure all aspects of the assignment have been completed. The instructor will make a final assessment based on the student’s ability to work in a group, their use of materials, how clearly their public service is communicated and their written rationale.

**__References:__**

 * []
 * []
 * National Standards for Arts Education, Visual Arts, Grades 9-12
 * National Educational Technology Standards for Students