British Journal of Photography,
Love/Ukraine, issue 7907, 2022

Words by Izabela Radwanska Zhang

“It’s very strange”, says Youqine Lefèvre. “This moment was so important in my life, yet I don’t have any direct memory of it.” Speaking in a melodic Belgian French accent on a video call from Namur, Lefèvre wears her dark brown hair in a neat box fringe and looks at me through a pair of dark-rimmed glasses. “I have to believe what other people show me and tell me about it.” Lefèvre was born in China but was adopted when she was just eight months old. In July 1994, her soon-to-be adoptive parents arrived at an orphanage in the small city of Yueyang, about 160 km north of Changsha, Hunan province, along with five other Belgian couples. She was one of six baby girls, aged between six months and three years, carried out that day by the orphanage carers to meet their new families. Soon they would travel back to Europe to start a new life.
Lefèvre’s new photobook, The Land of Promises, begins on this same day. The dummy was nominated for the Mack First Book Award last year, and the project will be published by The Eriskay Connection this may. It opens with Lefèvre’s personal story. The artist invites us to leaf through her adoption and identification documents, followed by photographs that her adoptive parents took before, during and after their meeting with Lefèvre. The orphanage was a simply building – we see group shots of the couples, the tiny babies in their cots, and finally, the moment parents and children meet. Meanwhile, the book’s second half focuses on how China’s one-child policy has affected its citizens. It is a tragedy that continues to impact the life of every Chinese family and Lefèvre’s as well.
Growing up in Namur, a small city in central Belgium, Lefèvre always understood that she was adopted. As someone of Chinese origin, she was in the minority. Older children at school taunted her with racist insults, which Lefèvre internalised and hid from her white parents. They loved their daughter but could never understand what she was experiencing. “When I was young, I had a very difficult relationship with my country of origin.” Her struggle to make sense of her culture led to feelings of shame and anger at being ‘different’. And those led to Lefèvre rejecting her Chinese culture altogether: “I didn’t want to know anything about it.”
It was only in 2017, at the age of 23, with a photography degree under her belt and preparing for an MA at KASK in Belgium, that Lefèvre finally felt ready to delve more deeply into her past. Accompanied by her father, the pair travelled back to the Chinese city where they first met. They were granted permission to visit the now-disused orphanage – special authorisation was needed – but photographs inside were forbidden. “I felt very distant”, she says, recognising the area from pictures taken by her parents in 1994. “What was more moving was when we visited the police station”, continues Lefèvre, who, growing up, was told she was found in the streets as a baby and given to the local police, who took her to the orphanage. But, aside from a hand-written police report, no other documents exist to prove that story.
Lefèvre and her father also visited the neighbourhood where she would have been found. She photographed it. “Now I have a clear idea of how it looks”, she says. “The police station and the nearby district existed in my head in name, but not as images. As a photographer, it was super important to be able to make these pictures. It was my way to appropriate this in my story and have a tangible trace of it.”
During that first trip, it became clear to Lefèvre that to understand her adoption, she needed to learn more about China’s birth-control policy. In 1980, attempting to curb the country’s population, the Chinese government implemented a nationwide initiative restricting families to having a single child. The rules were relaxed over three decades years later, in 2016, when families were allowed up to two children. In 2021, this increased to three.
Lefèvre spent the next two years immersed in research. The more she learned, the more her story began to unravel. The photographer slowly unpacked the Western generalisations with which she had grown up. These included the idea that Chinese families preferred sons who could support them in old age and that unwanted baby girls were killed and abandoned in the streets. Sadly, such tragic events happened, but not in every case. “There are so many explanations regarding the preference for having a son,” says Lefèvre. “It’s not as simple as we think. It is more nuanced.”
Lefèvre was particularly impacted by the book China’s Hidden Children: Abandonment, Adoption, and the Human Costs of the One-Child Policy (2016) by the late Kay Ann Johnson. Johnson, a American professor of Asian studies and the adoptive mother of a baby girl from Wuhan, carried out extensive research on adoption and the birth-control policy in China. She found that, in Chinese tradition, it was desirable to have a baby boy and a girl; a balance, a ‘complete’ family. “The Western media’s exaggerated claims about China’s preference for sons gave cover to the more systemic violation of human rights, imbedded in government policy”, Johnson writes. Indeed, many families tried to resist the policy. Some hid their ‘unauthorised’ second children, including adopted ones.
Others were not so ‘lucky’. According to China’s Health Ministry, some 366 million abortions resulted from the policy. “Abortion was not a choice, but a compliance”, the psychotherapist Kate YiJia Yan shared during her 2018 TEDx Talk, titled Facing Secrets’s from China’s Single Child Policy. If a child was born outside of the quota, parents had to pay expensive fines. The families who could not afford the payment could have their possessions and property seized, and government officials had the right to ‘remove’ the child and place it in an orphanage.
In her writing, Professor Johnson humanizes and empathises with the Chinese families forced to make unthinkable decisions. She also seeks compassion for the millions of birth parents who suffered greatly after their children were taken away against their will. “Such understanding, I imagined, could help mitigate feelings of bitterness against [my daugher] birth parents, and above all help assuage a young child’s often unspoken worries about ‘what was wrong with me’, ‘what did I do wrong to lose my parents’, worries that my daughter articulated when she was only three years old”, Johnson writes.

 

“Drawing on personal archives, documents and an intimate series of portraits, Youqine Lefèvre reclaims the narrative of her life story. In her new photobook, she investigates the lives of people in China and the continuing impact of the country’s birth-control policy.”

 

The most significant discovery Lefèvre made links to a national adoption law implemented by the government in 1991 – before she was born, in 1993. The law, which was “heralded as paving the way for international adoption”, writes Johnson, made it much harder for Chinese families to arrange adoptions for their out-of-quota babies within their community, even their country, and penalties for the ‘unauthorised’ children increased. More and more, people abandoned babies to avoid fines. However, “the economy of international adoption began to grow, and now there was much to gain [for the orphanages and the government]”, says Lefèvre. Since the early 1990s, Western families have adopted some 100,000 Chinese babies, with each international adoption bringing in a mandatory $3000 donation plus admin fees and expenses. Children became China’s latest export.
Lefèvre returned to China again in 2019, this time alone and for two months. Most of the images in The Land of Promises were made during this trip. She travelled through Beijing, Suzhou, Yunan province and Nanjing, and used organisations such as The Mothers’ Bridge of Love and CouchSurfing to connect with local guides, translators and volunteers. She photographed in the cities and in the countryside, but found herself more drawn to the rural landscapes. Initially, she hoped to find and photographs the heihaizi – those born out of quota. To this day, these individuals are not registered and do not have a Hukou – a national ID card that allows them to participate in society. Officially, they don’t exist. But finding them was much harder than she anticipated. “To the Chinese people, I am a foreigner”, she says. People were not always forthcoming with their stories. “In China, you never really know if people are telling you the truth or if they’re saying what they think the government would want them to say.”
Instead, she photographed the people she met. Although Lefèvre doesn’t speak Mandarin and sometimes needed a translator, she could still share intimate moments with them. This closeness and understanding is reflected in the portraiture, both dignified and tender. Page after page we are introduced to families, children, couples and more elderly individuals through quiet portraits and first-person accounts of their thoughts towards marriage, having children or having siblings. Jiang, born in 1998, is against marriage and says that being an only child made her ‘selfish’. Lucia, who has a son, says she would have preferred to have a daughter. Many people married yound and had a child soon after. The worry of who will look after them when they are old is a common preoccupation. The more we see, the more we understand how profoundly the policy has affected their thoughts and perspective. “I try to capture a moment of introspection”, says Lefèvre. “A lot of things are still quite unconscious in my way of photographing, but when I photograph someone, I try to capture a moment of letting go. Although it can be difficult in front of a camera.”
When Lefèvre reflects on her family archive, particularly on the group shots of six white couples holding their adopted babies, she feels conflicted. Her view on international and transracial adoption is much more political. “The images are difficult to look at because I see the violence of it”, she explains. Before the couples arrived at the orphanage, they received a tour of China’s touristic highlights, such as the Forbidden City in Beijing. “You realise that it’s a system. [The groups of parents] all did the same thing. They all had the same images of the same places.” Although we may never know the truth, it is important to understand that many adopted babies were not orphans. “We, the children, are the objects of this transaction”, she says. “If they could, I think that most of the [biological] parents would have kept their baby girls.”
On the other hand, she sees love. “I see the love of the biological families for their children, and I see the love in the adoption. From the parents to the child, and the child to its family” she says. “I think you can also question love through this project.” It is love when a parent wants, or needs, the child to be something before it is even born? Which actions were out of love, and which were not?
“Concerning the Chinese birth-control policy, I have a desire to search for meaning and attempt to understand what happened to me and why. And to expend this towards a more global context”, says Lefèvre. “[This book] is my humble attempt to try to understand, as someone who grew up in the West, what happened in China by meeting its people. [It was also motivated by] a desire to reconnect with my roots and discover my origin country. First, it was photographed, filmed and told by others – my parents, the other adoptive parents. Then I went behind the lens. Today it is me who tells, who shows. It’s a resumption of agency since I was deprived of it at the very beginning of my life.”

 
 

Paris Photo – Aperture, PhotoBook Awards, 2022

 

The Land of Promises is “an ambitious, touching project, one with a lot of heart and a lot of complexity — one that comes with tenderness and care.”

The back cover of The Land of Promises succinctly narrates the story of six Belgian families who, in 1994, traveled together to China to adopt six girls. One of those girls is the author, Youqine Lefèvre. This delicate, softbound book opens with an insert printed on newsprint, a facsimile of her own adoption file, and full-bleed reproductions of snapshots from her family’s trip to the orphanage. The rest of the book draws on Lefèvre’s research into China’s one-child policy and features a crisply seen and beautiful portfolio of photographs she made during return visits to China. Lefèvre deftly brings together her own narration, interview with Chinese individuals about family, and facts about China’s birth-control policies. According to Leslie M. Wilson, this material “helps the viewer walk through this journey with Lefèvre.” The Land of Promises is “an ambitious, touching project, one with a lot of heart and a lot of complexity — one that comes through with tenderness and care.”

 

Amandine Gay, .tiff magazine #9, 2021

 

The Land of Promises is an invitation to explore transnational and transracial adoption in China and Belgium, both in the present day and in the past. One can imagine that during China’s one-child policy era Belgium represented “the promised land” for baby girls whose parents had to give them up. And yet, as Youqine Lefèvre’s work unfolds, and she moves from her parents’ archives to her own images, the perspective shifts. When she visits her birth country, China becomes the land of promises—of finding her roots? Her birth family? Herself? ⁠

Such an ambitious promise is easy to break, which explains the palpable melancholy in Youqine Lefèvre’s pictures. Her work also conveys the ambiguity of her position: as an adult adoptee visiting her birth country, she his “an outsider within”, so close to her photographic subjects and yet so far away. From this perspective, art is the new land of promises for Lefèvre, who uses multiple supports (film, paper, etc.) in her photographic practice to create a world where she can live her truths. The work produced by the artist thus generates the artist. Youqine Lefèvre is not only reclaiming her own narrative, but challenging the status of archives that in her hands become both art and a political statement. ⁠

Ultimately, The Land of Promises is an invitation to decentre whiteness and the Global North in the visual narrative surrounding transnational and transracial adoption.

 

“Youqine Lefèvre is not only reclaiming her own narrative, but challenging the status of archives that in her hands become both art and a political statement.”