Tag: pema tseden

 

Pema Tseden
Pema Tseden

The Tibetan Centre for Human Rights and Democracy (TCHRD) expresses shock and condemnation over the detention and hospitalisation of the critically acclaimed and award-winning Tibetan director, writer and producer Pema Tseden at Xining airport in Qinghai Province. Local Chinese authorities used excessive force and violence to detain and interrogate Pema Tseden using the infamous ‘Tiger Chair’ (老虎凳) method and without informing his family members.

According to media reports, Pema Tseden flew in from Beijing to Xining on the night of 25 June when he was detained at the baggage claim area of Xining airport. While on his way out of the airport, he had gone back to retrieve a luggage he had forgotten. In the process of retrieving the luggage, an altercation ensued between Pema Tseden and the airport security officers, which led to the arrival of additional security personnel who then handcuffed and detained Pema Tseden without any explanation. The Xining Airport Public Security Bureau (PSB) charged Pema Tseden of ‘disturbing public order’ and punished him to five days “administrative detention” before taking him to an administrative detention facility in Tsongkha (Ch: Ping’An) town in Tsoshar (Ch: Haidong) city. While in detention, he suffered dizziness, chest tightness, and numbness of limbs, and was later taken for emergency treatment in a hospital in Ping’An.

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Credit: http://chinesevisualfestival.org/
Credit: http://chinesevisualfestival.org/

The Tibetan Centre for Human Rights and Democracy (TCHRD) presents one of the most comprehensive and insightful reviews ever done on the critically acclaimed Tibetan feature film Khyi rgan (“Old Dog”), written and directed by Pema Tseten.

Old Dog was screened and discussed at TCHRD’s annual human rights symposium early this year.

In this guest post, scholar and historian Roberto Vitali ruminates on the film’s varied messages along side the tragedy that continues to unfold in the lives and landscapes of the Tibetan plateau under the Chinese, whose “presence are never mentioned” in the film but stays “thick on screen”. Vitali contends that Khyi rgan moves away from the usual anthropological approach to anything Tibetan, avoiding “explanations and erudite posturings” inherent to the anthropological genre. In one of the greatest tributes to Khyi rgyan’s creator, Vitali writes that no one, be it Tibetan or non-Tibetan, has so stunningly depicted Tibet’s tragedy for the Tibetan cinema as Pema Tseten does.

Roberto Vitali is an independent researcher on Tibetan history and literature, and is “deeply taken by [Tibetan] people’s struggle for freedom.” In his own words, Vitali is “like the one in Pema Tseten’s movie, an old dog, who thinks no Chinese will buy him out.”

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