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The Performance of Intercultural Communication: China's "New Face" and the 2008 Beijing Olympics

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The Performance of Intercultural Communication: China's University of Denver Digital Commons @ DU Electronic Theses and Dissertations Graduate Studies 8-1-2011 The Performance of Intercultural Communication: China's "New Face" and the 2008 Beijing Olympics Patrick Shaou-Whea Dodge University of Denver Follow this and additional works at: https://digitalcommons.du.edu/etd Part of the Asian Studies Commons, and the International and Intercultural Communication Commons Recommended Citation Dodge, Patrick Shaou-Whea, "The Performance of Intercultural Communication: China's "New Face" and the 2008 Beijing Olympics" (2011). Electronic Theses and Dissertations. 165. https://digitalcommons.du.edu/etd/165 This Dissertation is brought to you for free and open access by the Graduate Studies at Digital Commons @ DU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. THE PERFORMANCE OF INTERCULTURAL COMMUNICATION: CHINA’S “NEW FACE” AND THE 2008 BEIJING OLYMPICS _______ A Dissertation Presented to The Faculty of Social Sciences University of Denver __________ In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy __________ By Patrick Shaou-Whea Dodge August 2011 Advisor: Bernadette M. Calafell ©Copyright by Patrick Shaou-Whea Dodge 2011 All Rights Reserved Author: Patrick Shaou-Whea Dodge Title: THE PERFORMANCE OF INTERCULTURAL COMMUNICATION: CHINA’S “NEW FACE” AND THE 2008 BEIJING OLYMPICS Advisor: Bernadette M. Calafell Degree Date: August 2011 Abstract This dissertation explores Chinese communication practices. I focus on the performance of intercultural communication and how the "New Face” of China was performed to the world and in day-to-day intercultural communication encounters during the 2008 Olympics. I analyze the Olympic Volunteer Training Manual as performative text as well as interviewed Beijing Olympic volunteers about their encounters with international visitors. Specifically, I discuss why the Olympics were a crucial moment for China to unveil its “New Face” to the world, what the “New Face” of China entails, and the reasons why China is in need of a new image on the world stage. I argue that we need to use Chinese concepts and conceptualizations to understand the cultural context, political climate, and deeply complex historical foundations China has when we question Chinese communication practices and performances. I reconceptualize the concept of face with Performance theory to show how the presentation of “New China” and the "New Face of China" during the Olympics was a performance based on “harmony” and the Confucian values of ren (humanism) and li (ritual propriety). Furthermore, I concentrate on how the “New Face” of China and harmony were actually performed by Olympic volunteers on the ground in both public and hidden transcripts. While the Volunteer Training Manual works to performatively generate an image of New China, volunteers on the ground doing intercultural communication that they had learned during ii training sessions also generated an image of China on the ground, contrary to images in the U.S. imaginary, and in day to day encounters. Although China went to great efforts to present China as a harmonious society, on the ground we see that within harmony there is difference (in communication, performance, and practice) and negotiation through the struggles of everyday life Chinese deal with. More importantly, we find new possibilities and yearnings for peaceful coexistence. iii Acknowledgements Acknowledgement and thanks go to Bernadette Calafell. Those conversations beginning the winter quarter of 2007 complicated my identity as an intercultural scholar and my personal investment in research, my slippage between truth and truthfulness, and imagining what the walls of academic halls would say if they could speak. Thank you for being my ally and opening the doors of possibility where there is so much hope. Acknowledgement goes to Roy Wood, Darrin Hicks, Margie Thompson, and Frank Dance for your support and guidance. I am also grateful to my support group in Beijing for our conversations about all things China: Sunnia, Richard, Carol and Erik, Alberto, Mark, Niffy, Kyle, Paul, Donovan, and Peter. Thank you. Acknowledgement and thanks go to my UCD colleagues who have provided encouragement and inspiration to finish my dissertation. Special thanks to Sonja Foss for “Destination Dissertation”. It was a bright, guiding light that got me going. Thanks go to my family: Brian, Dad, Aunt S-J, Mark, and Mom for giving me the seeds of passion for Chinese culture and language. Thank you for giving me strong roots from which this orchid could blossom. You have taught me that with blood, sweat, and tears anything is possible. Finally, acknowledgement and thanks go to my fiancée, Beibei. Our conversations in the liminal space have given me new perspective into my own taken for granted culture and communication practices. From this liminal space I have found comfort and inspiration in the cultural uncertainties of life abroad and from which to inspire and hope for. Thank you for your love, patience, and support. iv Table of Contents Chapter One: Introduction ………………………………………………………………1 A note on Mandarin and pronunciation ..................................................................1 Introduction ……………………………………………………………….......…2 My relationship with China …............................................................................…3 The 2008 Beijing Olympics …………………………………………….……..6 China unveils itself to the world ………………………………….………….….8 Finding “Face” in an Olympic façade ……….…………….…...………………..9 China’s “New Face” .…………………………..………………………………11 Communication for a new image: A rationale ………..….………………...…....13 My place in this study ………………………………………………………….16 Communication and cultural difference ……………………………………..…19 From Intercultural to Chinese Communication harmony …....………………...20 Reflexivity in the IRB Process………………………………….….…………...25 Preview ……………………………………………………………………..…37 Chapter Two: Approach and Design ……………………...……………………………40 Humanistic scholarship ………………………………………...………….…..40 From Intercultural Communication to a Critical Performance ….………….….41 A Critical Performance paradigm …………………….………..………………45 Face reconceptualized …………………………. ….……………………….....52 “New Face” performed offstage in a harmonious taxi ……..…………...………56 Manual for Beijing Olympic Volunteers ………………………………………60 The questions …………………….…..…………………………………………61 Research approach ……………..………..………………………………………62 Recruitment policies …………………………………………………………….63 Chapter Three: Manual for Beijing Olympic Volunteers …….………………………..67 Hosting the Olympics ……………………………………………………….…67 Volunteers’ “Dedication of Love” …………………………………………….68 Beijing Olympic Volunteers: Cultural ambassadors of China ….……………..71 Structuring harmony: Olympism and China’s “New Face”……………………..72 Manual as performative text …..……………………………………………….77 Affirmation ……………………………………………………………………..79 Concealment …...……………………………………………………..………..79 Euphemisms ……….………………………………………………….………..81 The appearance of unanimity ………………………………………………...82 “Smiling Face of Beijing” Campaign …………………………………………..82 “One World, One Dream” …………………...…………………………………83 On controlling the body and performance …………………………………….84 One world, many dreams …..……………………….………………………….86 Chapter Four: Volunteer Interviews .…………………………………………………..92 Responsibility to conversational partners …...…………..……………………..93 v Confucianism, harmony, and dialogic performance ……….…………………..96 The New China ……....……………………………………………………….100 Performing New China ……………………………………………………….106 Hidden transcript and surface performance of New China ……………….…..113 Harmony …………………….………………………………………………..120 Volunteer training …………………....…………...…………………………..123 Filial Piety …………………………………………………………………….129 Examples of Intercultural Communication: More hidden transcripts .……….133 Chapter 5: Conclusions and Closing Remarks …………………………........................139 Reflexivity and political purpose ……………………………………….…..140 Bridging Performance Studies, Chinese Communication Studies, and Intercultural Communication Studies ……….........……………………….143 Harmony in a Performative text ………………………………………………147 Surface performance, hidden transcripts, ren, and li ………………….……150 A hegemonic harmony or harmonious hegemony? ………………………….152 Possibilities of the Internet in New China …………………………………....153 Future directions & ongoing conversations …………………………………..155 Works Cited ……..……………………………………………………………………158 Appendix A …………………………………………………………………………...169 Appendix B ……………………………………………………...……………………170 Appendix C ……………………………………………………………….…………..171 Appendix D ……………………………………………………………………......….172 Appendix E ………………………………………………………..............………….173 Appendix F ………………………………………………………………………....…..174 Appendix G ……………………………………………………………….......………175 Appendix H ……………………………………………………………………….….176 Appendix I …………………………………………..............………………………..177 Appendix J ……………………………………………….......……………………….178 Appendix K …………………………………………………………......…………….179 vi Appendix L …………………………………………………………………...………181 Notes…………………………………………………………………………..………182 vii Chapter 1: Introduction A note on Mandarin and pronunciation A language is generated in relationships – the relationship between letters, words, and meanings. Language is a tool of communication that helps build and maintain relations. Chinese is no exception. Communication in mainland China is primarily done with the official language, “Han yu”, meaning
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