Puer tea was produced in Yunnan, consumed mainly in Guangdong, Hong Kong, and Tibet, but became a fad in Taiwan during mid-1990s, which later spread back to Hong Kong, GuangDong, Yunnan, the entire China, and also to ...Puer tea was produced in Yunnan, consumed mainly in Guangdong, Hong Kong, and Tibet, but became a fad in Taiwan during mid-1990s, which later spread back to Hong Kong, GuangDong, Yunnan, the entire China, and also to Korea, Japan and Southeast Aisa. This paper analyzes how and why Taiwan, which knew very little of Puer tea before 1990s, has played such an important role in the globalization of Puer tea. I argue that it＇s not only the historical contingencies, especially Hong Kong＇s returning to China in 1997, that gave Taiwan the opportunity to import aged Puer tea that had stocked in Hong Kong for years; more importantly it was Taiwan＇s sophisticated tea tasting culture that provided the fertile ground for the development of a taste considered valuable and hence a fad for aged Puer. This taste of aging tea has since come to be the foundation of Puer tea market as the value of Puer has become to be evaluated on the degree of aging and Puer has been traded as though futures or stocks, resulting in the craze for this once little-known commodity and the globalization of its consumption. The case of Puer tea suggests that as we follow Appadurai＇s suggestion and pay attention to five cultural flows--ethnoscapes, mediascapes, technoscapes, financescapes and ideoscapes--when studying globalization, we may benefit also from focusing on the ＂sense-scape,＂ or the intense cultural flow of sensory information around the world.展开更多
Becoming a tea art practitioner, or charen （茶人）, involves cultivation of body and mind. This paper attempts to document the long-term process of bodily and mindful cultivation from an anthropological, participant-...Becoming a tea art practitioner, or charen （茶人）, involves cultivation of body and mind. This paper attempts to document the long-term process of bodily and mindful cultivation from an anthropological, participant-observation, and self-reflective point of view. I will describe my experiences from entering the world of Taiwan Residents tea art through learning the great variety of teas and the techniques for making them, designing my own tea sets, and performing in tea gatherings. This learning process has gone well beyond what is required of a researcher, or a good observer, because it has not only allowed me to understand, interpret, and analyze the aesthetics and ritual of Taiwan Residents tea art but it has also required that I ＂designs＂ or be creative in presenting Taiwan Residents tea art to my own cultural members. This substantially changes my status from the objective observer my profession requires, to a dedicated performer and even a designer/creator of my own culture. My self-reflexivity in this process points to not only methodological issues but also theoretical ones, including recent academic interest in materiality, cultural performance, lifestyle, bodily discipline, and the senses. Through self-reflection, I intends to reveal connections among them.展开更多
文摘Puer tea was produced in Yunnan, consumed mainly in Guangdong, Hong Kong, and Tibet, but became a fad in Taiwan during mid-1990s, which later spread back to Hong Kong, GuangDong, Yunnan, the entire China, and also to Korea, Japan and Southeast Aisa. This paper analyzes how and why Taiwan, which knew very little of Puer tea before 1990s, has played such an important role in the globalization of Puer tea. I argue that it＇s not only the historical contingencies, especially Hong Kong＇s returning to China in 1997, that gave Taiwan the opportunity to import aged Puer tea that had stocked in Hong Kong for years; more importantly it was Taiwan＇s sophisticated tea tasting culture that provided the fertile ground for the development of a taste considered valuable and hence a fad for aged Puer. This taste of aging tea has since come to be the foundation of Puer tea market as the value of Puer has become to be evaluated on the degree of aging and Puer has been traded as though futures or stocks, resulting in the craze for this once little-known commodity and the globalization of its consumption. The case of Puer tea suggests that as we follow Appadurai＇s suggestion and pay attention to five cultural flows--ethnoscapes, mediascapes, technoscapes, financescapes and ideoscapes--when studying globalization, we may benefit also from focusing on the ＂sense-scape,＂ or the intense cultural flow of sensory information around the world.
文摘Becoming a tea art practitioner, or charen （茶人）, involves cultivation of body and mind. This paper attempts to document the long-term process of bodily and mindful cultivation from an anthropological, participant-observation, and self-reflective point of view. I will describe my experiences from entering the world of Taiwan Residents tea art through learning the great variety of teas and the techniques for making them, designing my own tea sets, and performing in tea gatherings. This learning process has gone well beyond what is required of a researcher, or a good observer, because it has not only allowed me to understand, interpret, and analyze the aesthetics and ritual of Taiwan Residents tea art but it has also required that I ＂designs＂ or be creative in presenting Taiwan Residents tea art to my own cultural members. This substantially changes my status from the objective observer my profession requires, to a dedicated performer and even a designer/creator of my own culture. My self-reflexivity in this process points to not only methodological issues but also theoretical ones, including recent academic interest in materiality, cultural performance, lifestyle, bodily discipline, and the senses. Through self-reflection, I intends to reveal connections among them.
