China's Domination of the Arctic's Cultural Sphere
The Arctic region is witnessing a significant change with China's increasing engagement, transforming not only the geopolitical landscape but also the cultural one.
China's infrastructure projects in the Arctic, such as the China-Iceland Arctic Research Observatory and China's Yellow River Station in Norway, bear distinctly Chinese design, style, and motifs. This is evident in the subtle nods to Chinese pagodas at the China-Iceland Arctic Research Observatory, symbolising harmony and spiritual ascent in Chinese tradition. Similarly, the Halogaland Bridge in Norway, described as "Norway's new landmark", showcases a special relationship with China.
The CCP's aim of a "rejuvenated" China is not merely dominant but prescriptive, one able to shape global norms and order in its image. This is evident in China's naming of strategic assets and geopolitical ventures with cultural allusions, such as the "Silk Road on Ice" for the "Polar Silk Road". The built environment is a vehicle for China's ideological and cultural messaging, with design shaping spaces and the meanings attributed to them.
Names are significant in shaping identity and influencing how nations perceive and relate to one another. The Xue Long 2 ("Snow Dragon 2"), a flagship icebreaker launched by China in 2019, and the Fu Lion sculptures standing sentinel at the entrance of China's Yellow River Station in Norway, are examples of this cultural symbolism.
China might not only resolve its "Malacca dilemma" but also refashion identity and history, not just of the Arctic, but of the entire world. In Chinese tradition, snow is often depicted as a mystical and cleansing force, symbolizing purity and renewal. The dragon, in Chinese tradition, is emblematic of power and authority, marking the emperor's divine right to rule. It seems the CCP shares this view, viewing design as the most direct means of shaping spaces and the meanings attributed to them.
Infrastructure is rarely just infrastructure; it is also a means of shaping spaces and the meanings attributed to them. This is evident in China's activities in Stockholm, where Chinese artwork may soon adorn the station walls, another quiet claim of identity and ownership. The subway is often a reflection of urban identity and linked, in psychological terms, to a kind of collective subconscious.
China's activities in the Arctic are central to its global approach, with the aim of shaping global norms and order in its image. Since 2018, the China National Arctic and Antarctic Administration (CNAAA) has taken over the leadership of polar programs in China. As China continues to inscribe itself into the Arctic landscape and its historical narrative, a message of familiarity resonates: China belongs to the Arctic, and the Arctic to China.
