Globalisation – sinner or saint?

On the one hand, the ‘Global Standard’ is about best practices. On the other, globalization is about finding the least common denominator, blowing it out to monolithic Goliath dimensions, and wiping out the cultural richness and diversity of small local offerings. At what point does David win, and at what point do market forces and ‘consumer choice’ change the story?

Many globalization critics in the developed world are concerned with the dangers of oversimplifying culture and the loss of heritage. Still others link it to terrorism and social unrest. According to Newsweek’s European economics editor, Stefan Theil (Comment section of the Financial Times, January 8th 2008), German and French textbooks are particularly critical, attributing violence and armed resistance to globalisation, and ‘brutal, savage, and American’ to Capitalism. Another textbook Theil cites, explains that India and China are successful capitalist economies because their freedom is limited by state ownership and protectionism. I find these quotes surprising, after my two years living in Beijing. China is a fascinating and unique example of the harmonious coexistence of a communist regime and hyper-capitalism.

Rock concerts, clubbing, KTV (karaoke bars), shopping, movies, and online gaming are now typical Chinese youth activities. The Beijing Opera performers possess skills unparalleled in other parts of the worlds, that are passed down from master to student. As audiences dwindle, lost to a new relevance, so does the already meager income of the talented musicians and performers. The art form is dying as young people chose more lucrative occupations. Can the Beijing opera’s secrets survive through the interest of foreigners and culture enthusiasts? Can it be integrated, in part, into the Modern Dance revolution that is taking place in Chinese Tier 1 cities? Ghaffar Pourazar, the first foreigner to graduate from the Beijing Opera School, has devoted the last 14 years protecting and promoting the ancient art form. A British-born Iranian, Ghaffar plays the Monkey King, but also has adapted A Midsummer Night’s Dream into Chinese Opera and has written and produced a story about a Monkey with AIDS to increase awareness of the disease in Chinese schools. In talking with Ghaffar, I can tell that he accepts the new tastes of Chinese young people. He does not want the art form to be preserved as a dead language and a museum piece. Instead he is working to adapt to the new tastes and new needs, and predicts that the extreme lack of interest in the old art forms will be replaces with new interest when the tide turns.

Global ‘corporate giants’ exist because of the human instinct to explore and to want what others have. They thrive when they offer something that locals find valuable.