90
ELIZABETH L. JOHNSON
loom does not appear to have been part of the inventory of Han Chinese material culture, this leads one to speculate that the Hakka may have learned the technique through contact with pre-Han people in the hill areas of Kwangtung where they settled. This is, at least, one possible explanation for their use of this technique.
NOTES
1 The research reported here was done in Kwan Mun Hau Village, Tsuen Wan, during 1975-76, following my dissertation research which was done in the same village in 1968-70. The work was supported by the Joint Centre on Modern East Asia, at York University in Toronto.
2 Recent research reports on Tsuen Wan include:
Graham E. Johnson, "Leaders and Leadership in an Expanding New Territories Town", The China Quarterly, March 1977, pp. 109-125. Elizabeth L. Johnson, "Women and Childbearing in Kwan Mun Hau Village", in Women in Chinese Society, Margery Wolf and Roxane Witke, eds., Stanford, Stanford University Press, 1975.
An exhibit of patterned bands, and Szechwan peasant embroideries, was held at the University of British Columbia Museum of Anthropology from April 15-June 15 of this year, with the title "Chinese Peasant Textile Arts: Kwangtung and Szechwan Provinces". The exhibit was prepared by the students of Anthropology 431.
3 I wish to express my gratitude to my informants in Kwan Mun Hau Village, who not only introduced me to the subject of patterned bands but were also very patient in supplying me with information about them. I should also like to thank my very able research assistant, Jennifer Woon Chi-yee.
4 Dr. James Hayes has raised the interesting question of whether the bands used on these occasions would be woven in the colour and style of the wife's or the husband's village or would always be red (a lucky colour). Unfortunately I cannot answer this question without further research.
5 Some of the mountain songs were learned while others were sung in a kind of spontaneous repartee between two groups, often of men and women. The form of the wedding and funeral songs was learned, but the content varied according to the feelings which the individual singer wished to express.
6 See: James Hayes, "Itinerant Hakka Weavers", Journal of the Royal Asiatic Society, Hong Kong Branch. Vol. 8, 1968, pp. 162-165. Aijmer, in his article "Expansion and Extension in Hakka Society” (Journal of the Royal Asiatic Society, Hong Kong Branch, Vol. 7, 1967, pp. 42-79 (p.48)) mentions home weaving of fabrics, but this was apparently not done in Tsuen Wan, at least in recent memory.
7 For a general study of this phenomenon, see Aijmer, op. cit.
8 G. W. Skinner states that this was also true of Szechwan peasant embroideries. G. William Skinner, "Marketing and Social Structure in Rural China, Part I" The Journal of Asian Studies, vol. xxiv, no. 1, November 1964, pp. 3-44 (p.40)
Page 105
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90
ELIZABETH L. JOHNSON
loom does not appear to have been part of the inventory of Han Chinese material culture, this leads one to speculate that the Hakka may have learned the technique through contact with pre-Han people in the hill areas of Kwangtung where they settled. This is, at least, one possible explanation for their use of this technique.
NOTES
1 The research reported here was done in Kwan Mun Hau Village, Tsuen Wan, during 1975-76, following my dissertation research which was done in the same village in 1968-70. The work was supported by the Joint Centre on Modern East Asia, at York University in Toronto.
2 Recent research reports on Tsuen Wan include:
Graham E. Johnson, "Leaders and Leadership in an Expanding New Territories Town", The China Quarterly, March 1977, pp. 109-125. Elizabeth L. Johnson, "Women and Childbearing in Kwan Mun Hau Village", in Women in Chinese Society, Margery Wolf and Roxane Witke,' eds., Stanford, Stanford University Press, 1975.
An exhibit of patterned bands, and Szechwan peasant embroideries, was held at the University of British Columbia Museum of Anthropology from April 15-June 15 of this year, with the title "Chinese Peasant Textile Arts: Kwangtung and Szechwan Provinces". The exhibit was prepared by the students of Anthropology 431.
3 I wish to express my gratitude to my informants in Kwan Mun Hau Village, who not only introduced me to the subject of patterned bands but were also very patient in supplying me with information about them. I should also like thank my very able research assistant, Jennifer Woon Chi-yee.
4 Dr. James Hayes has raised the interesting question of whether the bands used on these occasions would be woven in the colour and style of the wife's or the husband's village or would always be red (a lucky colour). Unfortunately I cannot answer this question without further research.
5 Some of the mountain songs were learned while others were sung in a kind of spontaneous repartee between two groups, often of men and women. The form of the wedding and funeral songs was learned, but the content varied according to the feelings which the individual singer wished to express.
6 See: James Hayes, "Itinerant Hakka Weavers", Journal of the Royal Asiatic Society, Hong Kong Branch. Vol. 8, 1968, pp. 162-165. Aijmer, in his article "Expansion and Extension in Hakka Society” (Journal of the Royal Asiatic Society, Hong Kong Branch, Vol. 7, 1967, pp. 42-79 (p.48)) mentions home weaving of fabrics, but this was apparently not done in Tsuen Wan, at least in recent memory.
7 For a general study of this phenomenon, see Aijmer, op. cit.
8 G. W. Skinner states that this was also true of Szechwan peasant embroideries. G. William Skinner, "Marketing and Social Structure in Rural China, Part I" The Journal of Asian Studies, vol. xxiv, no. 1, November 1964, pp. 3-44 (p.40)
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