Capturing the dark side of China’s underground club scene
- Text by Dominique Sisley
- Photography by Sergey Melnitchenko
When Sergey Melnitchenko first arrived in Chengdu in 2015, he was making ends meet as a model and dancer. It was only when he got a job as a performer in one of the city’s nightclubs, though, that he decided to pick up a camera and start shooting.
Inspired by the seedy backstage life of the venue, Sergey began taking photos of the other performers – a process that introduced him to singers, dancers, clowns, magicians and transvestites. “I realised how many great things were going on, and that’s how the series Behind the scenes was born,” he explains. “There’s no falsehood – it’s not a scene, it’s their everyday life.”
Originally from Mykolayiv city in Ukraine, Sergey spent four months working in the unnamed club, which he says was “more like a huge bar with a stage.” According to him, the Behind the scenes photo series was an attempt to capture the club’s “invisible side”, where there is “more burlesque” than on the stage. “The concentration of sexual fluids is more powerful than oxygen,” he says, of the venue’s heated backstage atmosphere.

Due to China’s ban on strip clubs and sex work, Sergey stresses that employees were limited strictly to dancing, drinking and playing games with customers – though that didn’t stop things from getting sordid. “The only thing that I didn’t like was a show where a Chinese girl started to put a beer on herself, and then visitors could come and pour beer on her,” he remembers. “Every visitor tried to do something more disgusting than the other. They poured beer on her tits, tried to pour it in her ass or on her vagina – so it was really ugly.” Aside from that, he insists that the atmosphere in the club was fun, “friendly” and welcoming.
After two years, the performer and model is still living in China – and while he still works mainly as a dancer, photography is slowly becoming a bigger part of his life. “Everything (inspires me),” he says. “It can be as movies and music, so it can be alcohol and porn… The only thing that I like now is that I’m trying to work in different styles. I don’t restrict myself to one kind of photography.”
Enjoyed this article? Like Huck on Facebook or follow us on Twitter.
You might like
Louis Theroux’s ‘Manosphere’ shows men aren’t the problem, platforms are
No Ws for Good Men — The journalist’s new documentary sees him dive headfirst into the toxicities and machinations of the male influencer economy. But when young creators are monetarily incentivised to make more and more outrageous content, who really is to blame?
Written by: Emma Garland
In the 1960s, African photographers recaptured their own image
Ideas of Africa — An exhibition at the Museum of Modern Art explores the 20th century’s most important lensers, including Seydou Keïta, Malick Sidibé and Kwame Brathwaite, and their impact on challenging dominant European narratives.
Written by: Miss Rosen
Reynaldo Rivera’s intimate portrait of queer Latino love
Propiedad Privada — Growing up during the AIDS pandemic, the photographer entered a world where his love was not only taboo, but dangerous. His new monograph presents inward-looking shots made over four decades, which reclaim the power of desire.
Written by: Miss Rosen
In photos: The newsagents keeping print alive
Save the stands — With Huck 83 hitting shelves around the world, we met a few people who continue to stock print magazines, defying an enduringly tough climate for physical media and the high street.
Written by: Ella Glossop
Inside Bombay Beach, California’s ‘Rotting Riviera’
Man-made decay — The Salton Sea was created by accident after a failed attempt to divert the Colorado River in the early 20th century. Jack Burke reports from its post-apocalyptic shores, where DIY art and ecological collapse meet.
Written by: Jack Burke
The quiet, introspective delight of Finland’s car cruising scene
Pilluralli — In the country’s small towns and rural areas, young people meet up to drive and hang out with their friends. Jussi Puikkonen spent five years photographing its idiosyncratic pace.
Written by: Josh Jones