[ { "id": 204601, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1963", "page_number": 82, "title": "RAS-1963", "content_text": "BRITISH LEGATION AT PEKING\n\n71\n\n1866 the student-interpreters put on an amateur theatrical performance, consisting of Our Wife, and To Paris and back on £5. The female parts were all taken by the students, and it was voted a great success. The faces of the Chinese servants, watching from the back of the hall, gave Mitford a lot of quiet amusement. The next summer he was staying in a temple which he calls Ta Chio Ssu or \"Temple of Great Repose\", about twenty-three miles from Peking, having moved there with all his furniture together with chickens and a cow and its calf. But even there he could not entirely escape the despatches. \"Copying despatches with the thermometer at 100° in the shade, with a basin of water and a towel at one's side for very necessary hand-wiping, and a pad of blotting-paper over the blank part of one's paper, is indeed an affreux métier.\" The climate took its toll, and Mitford mentions two of his young companions who died of fever.\n\nMitford left Peking for Japan in 1866. In the same year Major Crossman of the Royal Engineers was sent out from England by the Government to inspect the British Legation and Consular Buildings in China and Japan. From one of his reports, written at Shanghai in July 1867, we can glean some more information about the early development of the Legation at Peking. For instance he gave a hint as to the origin of the Legation Chapel when he wrote: \"There is a large house opposite to the Chinese secretaries' quarters, used partly as a theatre and partly as a lumber-room, well and solidly built, which can be converted into a good church by the addition of an external porch, removing the flooring of the upper storey so as to throw it open to the roof, and by the addition of some wood work and ornament, to give it a somewhat ecclesiastical appearance.\" He also mentioned that the number of student-interpreters was shortly to be increased to thirteen.\n\nMeanwhile Sir Frederick Bruce had been succeeded by Sir Rutherford Alcock at the end of 1865, while Sir Thomas Wade was promoted to be Minister in 1871, a post which he held for the next twelve years. In 1883 he was succeeded by another ‘old\n\n14 Parliamentary Papers, \"Reports from Major Crossman and Correspondence respecting the Legation and Consular Buildings in China and Japan\", 315 of 1868, No. 7, p. 22.\n\n!\n\n1", "txt_file_path": "txt/dfo323lmgvd/RAS-1963.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/4m90m091v", "rank": 0 }, { "id": 204604, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1963", "page_number": 85, "title": "RAS-1963", "content_text": "74\n\nChinese Imperial Carnage Sheds and enclosure\n\nJ. L. CRANMER-BYNG\n\nRed Temple\n\nBowling Alley\n\nStudents Kitchen Mess\n\nHan Lin Library HALL\n\nKrosk Essay Hall Kosk\n\n \n [brar]\n Servants Store Room\n \n \n Teachers\"\n QVYI Students' O'tri\n \n \n Theatre\n \n \n\nMinister's House\n\nFives Court\n\nLarge Pavilion\n\n2 Chinese Doctor's O't'es a't'rs Chupet\n\n2 Wall 7\" thick 12\" high\n\nEscort QI'm Small Pavilion\n\nConstable's Bell Tower Chapt Minister's Stables\n\nStone Trans Gateway\n\nAssistant Chinese Secretary\n\n \n £ 22 22 2\n Accountant Stables Surgery Escort Otrs Stabler, Simbler.\n \n \n G D G D OF OF\n Tennis Courts 2nd Sect Chancery Chancery Assistant\n \n\nOpen space of Mongolian Market\n\nN Servants\n\nSCALE\n\n0 100 150 200 Ft phonepa 400\n\nSecretary of Legation Cemetery\n\nPlan of British Legation at Peking in 1900.\n\nCanal Wall 2′′ x 12′′\n\n12 Adapted from a plan in \"China in Convulsion\" by A H. Smuth, published by Fleming H Revell Company, NY 1901", "txt_file_path": "txt/dfo323lmgvd/RAS-1963.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/4m90m091v", "rank": 0 }, { "id": 205061, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1966", "page_number": 17, "title": "RAS-1966", "content_text": "JOHN J. NOLDE\n\nlarger prefecture of Kwangchou, whose administrative center was at Canton. Kwangchou itself was one of the fifteen prefectures which made up the province of Kwangtung, the latter being linked with the neighboring province of Kwanghsi to form the Viceroyalty of Liang-Kwang. Kwangchou prefecture was about 25,000 square miles in size and was occupied by a population of about five to ten million people.\n\nNow, when this area appears in the standard histories of nineteenth century China it is usually as the stage-setting for the activity of the foreigner and the conflict between the Western barbarians and Chinese officialdom. There are long accounts of the nature and organization of the Canton trade. H.B. Morse wrote six volumes on the East India Company. The diplomatic historian is concerned with the Amherst mission of 1816 and the Napier mission of 1834. There are detailed accounts of the effect of the dissolution of the Company on the Canton trade. And, of course, there are numerous descriptions of the Opium War and its causes and consequences.4\n\nIt would seem, somehow, that the history, if not the day to day living, of the people of the Hong Kong-Macao-Canton axis (if not all China) was inseparably linked with the foreigner, his exploits, the Canton system, and the opium traffic,\n\nBut what was really \"going on\"? What was life really like?\n\nThe most striking fact about the area during those times was not the foreigner and his trade but the deplorable state of civil administration. It was in chaos. Official authority did not extend much beyond Canton. Banditry and brigandage were the order of the day inland. Secret societies harassed government officials and private individuals at will,\n\nPiracy, especially, was a problem.\n\nIn the early years of the century a large pirate fleet under the leadership of one Cheng I had been organized. While his theatre of operations extended from Swatow to the Philippines, and perhaps as far as Borneo, most of his activity was centered in these waters. Commanding a fleet of hundreds of junks and thousands of men, Cheng I virtually terrorized the coast.", "txt_file_path": "txt/dfo323lmgvd/RAS-1966.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/bz60k0811", "rank": 0 }, { "id": 205235, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1966", "page_number": 191, "title": "RAS-1966", "content_text": "185\n\nSCHWARZ, Miss Marjorie D.*\n\nSCOTT, A. C.\n\nSCOTT, J. M.\n\nSELLERS, D.\n\nSELLETT, G.*\n\nSHAW-KENNEDY, Miss Anne\n\nSHEKURY, Miss E. SHEPHARD, A. J. SHING, D.-\n\nSHU, Dr. H. T. - SHUI, Chien tung\n\nSIEGEL, H. W.\n\nSINFIELD, G. H. C.*\n\nSLEVIN, B.\n\nSMALL, Dr. D. H.\n\nSMITH, Leslie*\n\nSMITH, Miss M. H. SMITH, S. H.*\n\nSOONG, N.\n\n-\n\nJ\n\n+\n\n-\n\nc/o Mrs. R. L. Smyth, 1635 Green Street, San Francisco, California, USA.\n\nAsian Theatre Program, University of Wisconsin, U.S.A.\n\nHong Kong & Shanghai Banking Corp., H.K.\n\nc/o Dept. of Commerce & Industry, Fire Brigade Building, H.K.\n\n\"Pinecrest\", N.K.I.L. 3543 Tai Po Road, Kowloon.\n\nRoom 812 Hilton Hotel, H.K.\n\n14 Braga Circuit, Kowloon.\n\nAdministrative Officer, Police H.Q., H.K.\n\nFlorida Mansion, Block C, 11th Floor, Paterson Street, H.K.\n\n70 Mt. Davis Road, Ground floor, H.K.\n\nTsing Hua College, 263 Prince Edward Road, Kowloon.\n\nc/o Bayer China Co., Ltd., Room 1916 Union House, H.K.\n\nc/o Royal Bank of Canada, 20 King Street, West, Toronto, Ontario, Canada.\n\nc/o 1st floor, Police Headquarters, Arsenal Street, H.K.\n\nDental Unit, Queen Elizabeth Hospital, Kowloon.\n\nFlat 10-B, Dragon View, 39-41 MacDonnell Road, H.K.\n\n52 Mount Nicholson Gap Flat, H.K.\n\nc/o Messrs. Scott & English Ltd., P. O. Box 1555, H.K.\n\nAsia Magazine, 31 Queen's Road, Central, H.K.\n\n2. Queen's Road, Central, H.K.\n\nH.K. Tourist Assn., Caroline Mansion, H.K.\n\nSPERRY, H. M.*\n\nSTANLEY, Major H. F.\n\nSTANTON, W. T.*\n\nSTEWART, Miss Elizabeth H.\n\nSTEWART, Miss E. M.\n\nSTOKES, J.\n\nSTONEY, G. S.\n\nSTONEY, Mrs. G. S.\n\n+\n\nDina House, Duddell Street, H.K.\n\nDiocesan Girls' School, Jordan Road, Kowloon,\n\nc/o The Housing Manager, Hong Kong Housing Authority, Ma Tau Wei Estate, Kowloon.\n\nQueen's College, Causeway Bay, H.K.\n\nFlat 1, \"Ravencourt\", 24 Mount Austin Rd., H.K.\n\nAs above.\n\n* Life Member\n\nPlease notify the Hon. Secretary of any inaccuracy", "txt_file_path": "txt/dfo323lmgvd/RAS-1966.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/bz60k0811", "rank": 0 }, { "id": 205447, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1967", "page_number": 209, "title": "RAS-1967", "content_text": "202\n\nSCHWARZ, Miss Marjorie D.*\n\nSCOTT, A. C.\n\nSCOTT, J. M.\n\nSELLERS, D. M. SELLETT, G.*\n\nSERSALE, Miss S. M.\n\nSHEKURY, Miss E.\n\nSHEPHARD, A. J.\n\nSHING, D.\n\n-\n\n-\n\nSHU, Dr. H. T.\n\n-\n\nSIEGEL, H. W.\n\nSIMPSON, R. F.\n\nSINFIELD, G. H. C.*\n\nSLEVIN, B. F.\n\nSMALL, Dr. D. H. SMITH, Leslie*\n\nSMITH, Miss M. H. SMITH, S. H.*\n\nSMYTH, Miss L.\n\nSO, Dr. Chak-lam\n\nSOONG, N.\n\nSPERRY, H. M.*\n\nSTANLEY, Major H. F. -\n\nSTANTON, W. T.* STARRETT, A. V. STEWART, Miss E. M.\n\nSTOKES, J.\n\n-\n\nSTONEY, G. S..\n\n+\n\n+\n\nc/o Mrs. R. L. Smyth, 1635 Green Street, San Francisco, California, U.S.A.\n\nAsian Theatre Program, University of Wisconsin, U.S.A.\n\nHong Kong & Shanghai Banking Corp., H.K.\n\n70, Mt. Nicholson Gap, Stubbs Road, H.K.\n\n\"Pinecrest\", N.K.I.L. 3543 Tai Po Road, Kowloon,\n\n11-A, Cameron House, 40 Magazine Gap Road, H.K.\n\n14 Braga Circuit, Kowloon.\n\nAdministrative Officer, Police H.Q., H.K.\n\nFlorida Mansion, Block C, 11th Floor, Paterson Street, H.K.\n\n70 Mt. Davis Road, Ground floor, H.K.\n\nc/o Bayer China Co., Ltd., Room 1916 Union House, H.K.\n\n\"Woodside\", University of H.K., Pokfulum, H.K.\n\nApt. No. 406, 1061 Don Mills Road, Don Mills, Ontario, Canada.\n\nc/o 1st floor, Police Headquarters, Arsenal Street, H.K.\n\nDental Unit, Kennedy Road, H.K.\n\nFlat 10-B, Dragon View, 39-41 MacDonnell Road, H.K.\n\n52 Mount Nicholson Gap Flat, H.K.\n\nc/o Messrs. Scott & English Ltd., P. O. Box 1555, H.K.\n\nPhysiotherapy Dept., Queen Elizabeth Hospital, Kowloon,\n\nDept. of Geography & Geology, The University, Pokfulum, H.K.\n\nAsia Magazine. 31 Queen's Road, Central. H.K.\n\nLime Rock Road, Lakeville, Connecticut, US.A.\n\nH.K. Tourist Assn., Caroline Mansion, H.K.\n\nDina House. Duddell Street, H.K.\n\n5 Douglas Apts., 22 Old Peak Road, H.K.\n\nFlat 3A, 4 Mt. Davis Road, Pokfulum, H.K.\n\nQueen's College, Causeway Bay, H.K.\n\nFlat 1, \"Ravencourt\", 24 Mount Austin Rd., H.K.\n\n* Life Member\n\nPlease notify the Hon. Secretary of any inaccuracy", "txt_file_path": "txt/dfo323lmgvd/RAS-1967.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/0c488p70g", "rank": 0 }, { "id": 205677, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1968", "page_number": 219, "title": "RAS-1968", "content_text": "214\n\nRYAN, Rev. Father T. F.\n\nL\n\nRYDINGS, H. A..\n\n+\n\nWah Yan College, 281, Queen's Road, East, H.K.\n\nH.K. University Library, H.K.\n\nSAUNDERS, Hon, J. A. H. c/o H.K. & Shanghai Banking Corpn., H.K.\n\nSCHALLER, Miss K.\n\nSCHOYER, B. P. -\n\nSCHWARZ, Miss Marjorie D.*\n\nSCOTT, A. C.\n\nSCOTT, J. M.\n\nSELLERS, David M. -\n\nSELLETT, G.*\n\nSERSALE, Miss S. M.\n\nSHAW-KENNEDY, Miss Anne -\n\nSHEPHARD, A. J.\n\nSHEKURY, Miss E.\n\nSHOEMAKER, John F. -\n\nSHING, D.\n\nSHU, Dr. H. T.\n\nSIEGEL, H. W. -\n\nSINFIELD, G. H. C.* -\n\nSIMPSON, R. F.\n\nSKELSON, R. E.\n\nSLEVIN, B. F.\n\nSMALL, Dr. D. H.\n\nSMITH, Leslie*\n\n+\n\n+\n\n+\n\n+\n\nH.K. Diocesan Girls' School, Jordan Road, Kowloon,\n\n37, Northbridge Road, Greenwich, Connecticut, 06870, U.S.A.\n\nc/o Mrs. R. L. Smyth, 1635 Green Street, San Francisco, California, U.S.A.\n\nAsian Theatre Program, University of Wisconsin, U.S.A,\n\nHong Kong & Shanghai Banking Corp., H.K.\n\nc/o H.K. Government Office, 54 Pall Mall, London, S.W. 1, England.\n\n\"Pinecrest\", N.K.I.L. 3543 Tai Po Road, Kowloon.\n\n11-A, Cameron House, 40 Magazine Gap Road, H.K.\n\n2B Fairland Towers, 7B Bowen Road, H.K.\n\nc/o Colonial Secretariat, H.K.\n\n14 Braga Circuit, Kowloon,\n\n73 Kadoorie Avenue, Kowloon.\n\nFlorida Mansion, Block C, 11th Floor, Paterson Street, H.K.\n\n70 Mt. Davis Road, Ground floor, H.K. c/o Bayer China Co., Ltd., Room 1916 Union House, H.K.\n\nApt. No. 406, 1061 Don Mills Road, Don Mills, Ontario, Canada,\n\n\"Woodside\", University of H.K., Pokfulum, H.K.\n\n43 Magazine Heights, 17 Magazine Gap Road, H.K.\n\nc/o 1st floor, Police Headquarters, Arsenal Street, H.K.\n\nDental Headquarters, Kennedy Road, H.K.\n\nFlat 10-B, Dragon View, 39-41 MacDonnell Road, H.K.\n\n* Life Member\n\nPlease notify the Hon. Secretary of any inaccuracy", "txt_file_path": "txt/dfo323lmgvd/RAS-1968.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/66833948d", "rank": 0 }, { "id": 205936, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1970", "page_number": 16, "title": "RAS-1970", "content_text": "10\n\nwilling help has been of great value to me as President and to\n\nthe Council generally.\n\n13th May, 1970.\n\nLectures in 1969 comprised:-----\n\n20 January\n\nDr. M. W. M. Lau\n\n24 February\n\nJ. R. JONES\n\nThe F. A. Nixon Collection of Nestorian Crosses and the Fr. Finn Collection of Finds on Lamma Island\n\nDr. Morris I. Berkowitz\n\nThe Effects of Resettlement on the Plover Cove Villagers\n\nProf. P. G. O'Neill\n\nThe No Theatre of Japan Today\n\nMr. K. M. A. Barnett\n\nRemoving Some Barriers to Comprehension\n\nAspects of Hong Kong Marine Fauna\n\n11 March\n\n8 April\n\n15 April\n\nDr. Lamarr B. Trott\n\n28 April\n\nAnnual General Meeting.\n\n5 May\n\nMr. Holmes H. Welch\n\n24 May\n\n\"The Role of Religion in Chinese Life\n\n9 June\n\n11\n\n23 June\n\nA Tour of Old Shau Kei Wan organized by\n\nMr. J. W. Hayes.\n\nDr. Hugh D. R. Baker\n\nThe Chinese Lineage Village: A Pyramid of Kinship\n\nDr. R. K. Murton\n\nWild Life in Hong Kong\n\n29 September\n\nMr. J. C. Y. Watt\n\n23 October\n\n17 November\n\nThe Use of Jade in Old China\n\n\"Look Around\" Tour on Hong Kong Island\n\norganized by Mr. J. W. Hayes.\n\nMr. G. E. Johnson\n\nFrom Rural Committee to Spirit Medium Cult", "txt_file_path": "txt/dfo323lmgvd/RAS-1970.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/ww72j0241", "rank": 0 }, { "id": 206137, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1970", "page_number": 217, "title": "RAS-1970", "content_text": "210\n\nBOOK REVIEWS\n\nby prolonged contact with the urban environment. Excellent material for comparison with the Plover Cove situation exists in the Tai Lam Chung (1956) and Shek Pik (1960) removals. Like the Plover Cove villages, they were agricultural villages which were removed to urban Tsuen Wan to allow the construction of reservoirs. They have been resettled for a number of years, however, and a brief survey of their religious practices would provide the Christian Study Centre with a most interesting supplement to its information on the Plover Cove villages.\n\nHong Kong, 1970.\n\nELIZABETH L. JOHNSON\n\nNOTES\n\n1 p. vii of the book under review.\n\n2 More information on this village removal can be found in M. I. Berkowitz, \"Plover Cove to Tai Po Market: A Study in Forced Migration.\" Journal of the Hong Kong Branch of the Royal Asiatic Society. Volume 8, 1968, pp. 96-108.\n\n3 p. 142.\n\n* V. R. Burkhardt, Chinese Creeds and Customs. 3 vols. Hong Kong: South China Morning Post, 1955, and Wolfram Eberhard, Chinese Festivals. New York: Henry Shuman, 1952.\n\n3 p. 100.\n\n6 Ibid.\n\n7 Ibid.\n\n8 Ibid.\n\n9 See, for example, pp. 14-15, 116-117.\n\nTRADITIONAL CHINESE PLAYS, translated, described and annotated by A.C. Scott, Ssu Lang visits his mother, Ssu Lang T’an Mu, The Butterfly Dream, Hu Tieh Meng, The University of Wisconsin Press, 1967, Madison, Milwaukee, and London, pp. ix, 165, 13 photos hors-texte.\n\nA. C. Scott, the best Western specialist of Chinese and Japanese theatre, here gives us a translation of two Peking operas. The first, Ssu Lang visits his mother, is a tragedy which takes place in the second half of the tenth century, under the reign of the Sung. The son of a famous general has been taken prisoner by the barbarians, but, because of his fine looks, he is married", "txt_file_path": "txt/dfo323lmgvd/RAS-1970.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/ww72j0241", "rank": 0 }, { "id": 206615, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1972", "page_number": 163, "title": "RAS-1972", "content_text": "H.K.'S CENTRAL MARKET AND THE TARRANT AFFAIR\n\n157\n\npay during his suspension to the date at which his post was abolished, but he could do no more. The injustice was acknowledged but, as the Friend of China put it, it was \"but miserable redress in a pecuniary light.\"32\n\nTarrant's connection with the Central Market ceased on 28 December 1849 when he assigned his quarter share of the profits to Chow Aqui, one of Hong Kong's biggest Chinese businessmen at that time.33 Chow had extensive property interests in the Lower Bazaar area, had run Hong Kong's first theatre and had had the opium monopoly for a few years. Curiously enough, allegations had been made a few years previously that he was able to use Government police officers to protect his monopoly and Caine was inevitably linked with the allegation. The lease of the Market came to an end in 1850, the term being expired but Chow was given a renewal for two years from 10 March 1851 at the same rent and the lease was further renewed on two subsequent occasions.35\n\n16\n\nThis account illustrates two quite diverse matters. First, it shows the extent to which Chinese in Hong Kong adapted themselves to the institutional demands of a British colony. Although the whole system of law was alien to them, the transactions memorialised in the Land Office show the extent to which the possibilities of English Law were utilised to their commercial advantage, even though on some occasions it is difficult to follow at this remove the complexity of their dealings. If they did sometimes find themselves on the losing side in the Supreme Court, there were a significant number of Chinese businessmen in Hong Kong itself whose names recur over the years and who were, presumably, successful. Several have been named in this article but there were perhaps about a dozen or so in this category.* They, in addition to the Europeans, learnt to take advantage of the British system.\n\n37\n\nThis account also touches on the problem of the integrity of the colonial Government of the time. While it is true that the Chinese who came to the island may not have expected what the European would have regarded as an incorrupt government, it is also true that the circumstances of the colony in its early days gave opportunities for corruption which some were not slow to use. Though there was little at this time or later that could definitely be proved against\n\n* On this subject see Rev. Carl T. Smith's article \"The Emergence of a Chinese Elite in Hong Kong\" at pp. 74-115 of the 1971 Journal. (Ed).", "txt_file_path": "txt/dfo323lmgvd/RAS-1972.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/gm80qf99h", "rank": 0 }, { "id": 206802, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1973", "page_number": 79, "title": "RAS-1973", "content_text": "SWATOW (CH’AOCHOW) HORIZONTAL STICK PUPPETS\n\nHELGA WERLE*\n\n# Introduction\n\nThe so-called Swatow puppets are in fact wrongly named. This is due to a confusion which requires some explanation. In Western languages the adjective Swatow is used to attribute a dialect, culture or people etc., when the Chinese themselves speak of Ch’aochow. This is because the British gained access to the Ch’aochow area by the opening of the port of Shantou (Swatow) by the Treaty of Tientsin in 1858. Chinese know that the city of Ch’aochow heads one of the 8 prefectures of the province of Kwangtung and is situated on the Han River about 40 miles from the sea and as far from the border with Fukien. Swatow itself, a port with about 85,000 inhabitants in 1925, is in the delta of the Han River, five miles from the open sea.\n\nIn this article the term “Swatow” has been replaced by the use of the proper Chinese description of Ch’aochow.\n\nCh’aochow developed very early into a culturally independent area. Its seaboard position and flourishing port gave it the necessary economic basis and exposed it to various cultural influences. Culturally and linguistically, it is more like a prefecture of Fukien than of Kwangtung. Its dialect is distinctly different from Cantonese, so are its customs and its music, which all deserve to be studied in detail for the value of its rich ancient tradition. Among its cultural assets, the Ch’aochow puppet-theatre is truly amazing, with unique features found nowhere else in the world.†\n\nThe author has studied in the Sinology departments of the Universities of Munich, Hamburg, and Cologne. She has been a resident of Hong Kong since 1966 and has followed up her studies with field work in Taiwan, Indonesia, Cambodia, Thailand and the Philippines. She is particularly interested in folk art and theatre and is at present on the staff of the Hong Kong Arts Centre Ltd. She has published various articles on puppet theatre and folk art.\n\n† For the Introduction, see L. Richard (translated, revised and enlarged by M. Kennelly), Comprehensive Geography of the Chinese Empire and Dependencies, Shanghai, T’usewei Press 1908, pp. 206 and 210. Also J. Dyer Ball, Things Chinese or Notes connected with China (5th edition, revised by É. Chalmers Werner), Kelly & Walsh, Shanghai, Hong Kong etc., 1925, pp. 689-690. For the Min dialects of which Ch’aochow and Swatow are part, see R. A. D. Forrest, The Chinese Language, Faber & Faber, London, 1958, pp. 225-232.", "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r", "rank": 0 }, { "id": 206805, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1973", "page_number": 82, "title": "RAS-1973", "content_text": "76\n\nHELGA WERLE\n\nThe hands are made of wire (Plate VII) which facilitates the fastening of the sticks or arms, but their appearance is ugly.\n\nThe sticks have the length of chopsticks. Made of iron, they form a small ring at one end and have a wooden handle on the other, to prevent the sticks from slipping out of the hands. The third stick is thicker and is hooked into a hole at the puppet's back from below. The puppeteers tell that in Ch'aochow some puppets were considered so precious that they were handled with sticks made of pure gold.\n\nNeither the waist nor the stick is movable.\n\nThe Historical Background in Ch'aochow\n\nAlthough well proportioned and even beautiful, this puppet has many technical disadvantages compared to the Cantonese rod-puppet or the Fukienese string or glove-puppet. The reason for this incongruousness can be found in the dominance of Ch'aochow's ancient leather shadow-puppet tradition, which was definitely well established in the Ming dynasty in that area. One can assume that it existed earlier but any proof is lacking so far.\n\nIn Ch'aochow these shadow-puppets were cut out of cowhide (which is very rough when compared to the donkey-hide used in North China or Szechuan) which was coloured. They have two-jointed arms and legs and are handled with three sticks attached to the hands and the back of the two-dimensional puppet. The author has seen such Min-nan shadow-puppets in Taiwan, and some old Ch'aochowese confirmed that the Ch'aochow ones had exactly these features. By the end of the last century, supposedly under the strong influence of the extraordinary perfection of the string and glove puppets of Ch'uan-chou, Fukien, a new type of puppet evolved, a hybrid with the beauty of a Ch'uan-chou puppet, but handicapped in movement by the technique of a two-dimensional puppet. The name paper-shadow-theatre chih-ying-hsi was also applied to the new puppet. These two kinds of puppets existed side by side for one generation, and according to witnesses the leather shadow-puppets disappeared in the 1920s.\n\nIt is yet possible to receive first-hand accounts of the time when puppets were much used. An educated elderly Ch'aochow gentleman, Mr. Su related that in his childhood, at the beginning of the Republic, there were still 3 different kinds of puppets: shadow, horizontal stick-puppets and a third kind which he describes as...", "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r", "rank": 0 }, { "id": 206808, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1973", "page_number": 85, "title": "RAS-1973", "content_text": "SWATOW HORIZONTAL STICK PUPPETS\n\n79\n\nthe Pear-Garden Opera School, the Ch'aochow actors and puppe-teers have backstage a tablet or image of Feng-huo-yuan T’ien-yuan-shuai. Feng, the First Heavenly Commander. His biography can be found on page 125 of E.T.C. Werner, A Dictionary of Chinese Mythology, and reads as follows: \"Tien Hung-i, his real name, was the second of three brothers, Hsun-liu and Chih-piao who, during the K'ai-yuan Period (AD 713-742) of the T'ang Dynasty became famous court musicians....\n\n\"They were such skilled players that even clouds stopped to listen to them, and the la-mei hua (very fragrant flowers which open only in the coldest part of the winter) blossomed. The Emperor having fallen ill, saw them in a dream playing the mandolin and violin, and was promptly restored to health. As a reward he bestowed on them the title of Marquis.\n\nA ravaging epidemic having broken out, the Grand Master of the Taoists sought the musicians' aid. T'ien Yuan-shuai had a large shen-chou, spirit-boat, built, and called together a million spirits, whom he instructed to beat drums placed on it, whereupon all the demons came out of the city to listen to the music, and were seized and expelled by the musician and the Taoist Grand Master. This is said to be the origin of the dragon-boats to be seen everywhere in China on the fifteenth day of the first moon,\n\nChang Ta-shih having recognised his great ability and power, memorialized the Emperor, who canonized the three brothers as Marquises, and all the members of their family and near relatives were given posthumous titles.\"\n\nThis account indicates clearly the Feng was chosen as a patron: namely for the beauty of his music and its magical power of exorcising the evil spirits. It shows a very basic approach to music and brings to mind the many opera and puppet-performances which are staged by the Ch'aochowese at all festivals and ceremonies that deal with ghosts of which the main one is the Ta-chiu in the 7th lunar month. As a contrast it is interesting to know that the Peking opera actors have chosen T'ang Ming Huang, who already in his life time was a patron of opera as a sophisticated entertainment of the court.\n\nAnother interesting characteristic of Ch'aochow puppets (though not unique to them) is the ceremonies required to cleanse the theatre stage. Besides the veneration of the patron saint the ceremony of", "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r", "rank": 0 }, { "id": 206812, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1973", "page_number": 89, "title": "RAS-1973", "content_text": "SWATOW HORIZONTAL STICK PUPPETS\n\nCh'aochow Puppets in contemporary China and overseas\n\n83\n\nLiu Fu-kuang §✯ an educated person of about 40, who is the most outstanding Ch'aochow orchestra-leader here, is closely connected with the Hsin-shun-hsiang puppet-troupe. He came to Hong Kong in 1959. According to him, puppet-troupes completely disappeared in Ch'aochow after the establishment of the People's Republic in 1949. This is probably because their performances were intimately connected with the festivals of the myriads of local deities, the worship of which was strongly discouraged by the Communists. In 1957, Liu Fu-kuang saw the last troupe, called Shant'ou Ying-hsi-t'uan 4⇓✯D (Shadow-play-troupe of Shant'ou) perform in Swatow. He believes that not even one troupe is now left in Ch'aochow, after a history of about one thousand years and a hundred active troupes fifty years ago.\n\nPeople from Ch'aochow make up a large percentage of the Overseas Chinese population of South East Asia and Ch'aochow opera flourishes there; but there is said not to be one single \"paper-shadow-play\" troupe overseas. This shows that from the great tradition of puppet-theatre, only the two troupes in Hong Kong are left. It is therefore the last chance to savour and study this tradition before its extinction which, at least at the moment, appears to be inevitable.\n\nBIBLIOGRAPHY\n\nBatchelder, Marjorie H.: Rod-puppets and the Human Theatre, Columbus, The Ohio State University Press, 1947.\n\nHuang Chun-ming: The Forbidden Puppets' in Echo of Things Chinese, Taiwan, October 1972, pp. 24-34.\n\nJacob & Jensen: Das Chinesische Schattentheater, Stuttgart, 1933.\n\nMargareta Niculescu: The Puppet Theatre in the Modern World compiled by Union Internationale des Marionettes under Margareta Niculescu, George G. Harrap & Co. Ltd., London, Toronto, Wellington, Sidney, 1967.\n\nTsim Tak-lung (compiler): Puppet-demonstration on pages 45-47 of ‘Chinese Theatre in Hong Kong', Proceedings of a Symposium, Nov. 22-23, 1968, Centre of Asian Studies, University of Hong Kong, 1968.\n\nBurger, Helga: 'The Cantonese Stick-puppets', in Kaleidoscope, Hong Kong, March/April 1973.\n\n\"The Far Eastern Puppet Theatre' in Souvenir Book of the Hong Kong Arts Festival, 1974.", "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r", "rank": 0 }, { "id": 206874, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1973", "page_number": 151, "title": "RAS-1973", "content_text": "NOTES AND QUERIES\n\n145\n\nning among other matters the subjugation of the non-Chinese tribes of the interior.*\n\nAt the age of 71 he was appointed Vice-President of the Board of Civil Affairs in Nanking and later Vice-President of the Censorate. He died in great poverty in 1587 aged 74, his friends defraying the cost of his burial.\n\nIn November 1965 the editor of the Shanghai Wen Wei Pao, Yao Wen-yuan, who was also a left-inclined literary and theatre critic, published an article in which he criticised an historical drama \"The dismissal of Hai Jui\" written by the then Deputy Mayor of Peking, Wu Han. Yao's article was the opening volley in the Great Proletarian Cultural Revolution which created such turmoil in China and purged so many of the senior communist cadres including Wu Han himself. Yao rose quickly and by 1969 was sixth in the leadership of the Chinese People's Republic only to slip to a lower position at the 10th Party Congress in August 1973. Yao, still a member of the Politbureau, is reported to be the son-in-law of Chairman Mao and a close associate of the radical Madame Mao.\n\nWu Han's historical play which cost him so dearly was criticised by Yao as an analogy of Mao's treatment of his \"loyal minister” Peng Te-huai, the Minister of National Defence purged by Mao in 1959. P'eng had been very outspoken in his opposition to two of the things closest to Mao's heart, the Great Leap Forward and the establishment of the People's Communes.\n\nHai Jui is well known to many Chinese as the minister who steadfastly opposed corruption. A legend told to me in Singapore by an elderly Buddhist nun recounted how Hai Jui as a very young junior official had been posted to the Swatow region (Ch'aochow) where a group of tyrannical landowners together with the local magistrate's police runners were terrorizing the people. The legend then told of Hai Jui's fight, first against his local superiors in support of the poor, later against the Prime Minister and finally against the Emperor himself. Hai Jui was forced to commit suicide, she said, to compel the Emperor to take notice of the problems of the masses and for this he was deified by the subsequent Emperor and is now one of the patrons of the Ch'aochow people.\n\nSee, in part, Herbert A. Giles, A Chinese Biographical Dictionary (London and Shanghai, Bernard Quaritch and Kelly and Walsh, 1898) pp. 242-243. Also W. F. Mayers, The Chinese Reader's Manual (Shanghai, American Presbyterian Mission Press, and London, Trübner and Co., 1874) pp. 45-46. Ed.", "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r", "rank": 0 }, { "id": 206900, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1973", "page_number": 177, "title": "RAS-1973", "content_text": "BOOK REVIEWS\n\n171\n\nELIZABETH HALSON: PEKING OPERA, A SHORT GUIDE, Hong Kong University Press, London, New York, 1966, HK$20.\n\nI do not think that Elizabeth Halson has a background of sinological studies, but she has the advantage of having spent some time in Peking and she was obviously an avid theatre-goer. Judging from the contents of the book, she must have been there before 1963, as she describes only the traditional style of opera, which was banned in that year and has not been allowed to be performed since, whilst the book itself was published already in 1966. She must have learned Mandarin and spent a lot of time in and around the theatre, collecting material, talking to actors and anybody available who would give answers to her questions on opera. In her book she describes in a comprehensive way what she could grasp in such a short time, which might have been two years. This is naturally far too short a time for a foreigner to penetrate more than the surface of such a complex and abstract art as Peking Opera.\n\nIt seems, too, that she had not many books to rely on, neither Chinese nor European. It is obvious that she did not have the book on Peking Opera by A. C. Scott, The Classical Theatre of China, with which I shall compare it, because she does not use his material as a background, but starts again where he had to start. The difference is that Scott has been in China and Hong Kong for about 8 years, between 1947-1955 and that he has a profound knowledge of the Chinese language, the former society, the realities and the culture in general. Today he is considered an authority on Peking Opera, with many books on this subject to his credit.\n\nScott's book on Peking Opera is the most authoritative work yet to appear in any European language. When I first saw Miss Halson's book, I was not surprised to find the subject treated in the same way as in his book, because as a foreigner you are first led by your eyes, as western ears are mostly very slow to adapt to Chinese language and music.\n\nWhat distinguishes the Peking Opera from other forms is its complicated system of symbols, which are organized in rules for the appearance, movements and voices of the actors and for the sparse stage properties. Opera was the entertainment of the court, and therefore its society is reflected in it, its thinking and behaviour.\n\n* Published by Allen and Unwin, 1957.", "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r", "rank": 0 }, { "id": 206901, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1973", "page_number": 178, "title": "RAS-1973", "content_text": "172\n\nBOOK REVIEWS\n\nThere are emperors, princes, ministers, generals, scholars, officials and the corresponding female parts, their sons and their daughters. They are dressed in gorgeous costumes and they sing and speak in a very literary language, and artistic voice, which even for ordinary Chinese is difficult to understand. As a contrast there are the common people, the servants and soldiers, who are dressed mostly in a simple dark gown and often appear as clowns with a white patch painted into the middle of their face. They speak in the common Peking dialect, sometimes even making rude jokes, in order to amuse the public and give it a chance to relax between listening to the very strenuous singing parts. This can also be found in the traditional western theatre. However, Miss Halson does not mention this technique of contrasting the two groups of society in behaviour, appearance and language, and does not give any background to the social groupings and their relationships, and to the examination system of Imperial China, all of which are absolutely essential for any understanding. Scott, at least, touches on the subject in his introduction.\n\nMiss Halson divides the roles into four major forms: male, female, painted-face roles and comic characters, with their subdivisions of young and old, military or scholar, attributing to them appearance, acting and voices. The book is illustrated with ten plates, very artistic brush-drawings by a Japanese artist called Ishizuka; these show ten different characters which give the reader very good impressions of the appearance of the actors. Scott also has about 10 sketches, beautifully done by himself, but not systematically chosen or arranged.\n\nScott tries to describe a subject in a very detailed way, whereas Miss Halson only touches upon subjects, giving only a few examples. For instance: under the section of costumes Mr. Scott gives all the major forms with all their subdivisions and their Chinese names, often as many as ten. Miss Halson only introduces the major costumes, but she has the advantage of having a detailed technical drawing of each. There is, for example, the costume representing an armour, worn by generals and commanders. It has four flags or pennants sticking out at the back of the neck. The costume is very stiff and heavily embroidered, consisting of a front and back-flap, the latter cut into stripes; there is a tigerhead-design on the front, the arms are tight, as this actor has to perform acrobatics. Scott's description is already more interesting; he says that there is", "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r", "rank": 0 }, { "id": 207147, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1974", "page_number": 218, "title": "RAS-1974", "content_text": "212\n\nNOTES AND QUERIES\n\nsurvey. Sir E. Belcher, accordingly, landed on Monday, January 25, 1841, at the foot of Taipingshan, and on the hill, now occupied by the Chinese Recreation ground, Captain Belcher and his officers, considering themselves the bona fide first British possessors, drank Her Majesty's health with three cheers, the spot being thenceforth known as Possession Point. The Point remained an open space and came under the management of the Chinese Recreation Ground Committee created in 1890.\n\nIn 1887 there was a rearrangement of streets to the south of the Recreation Ground. With the change there was a renaming. The western terminus of Hollywood Road was shifted from the present Possession Street to what was known as Gap Street, so that Hollywood Road emptied into Queen's Road on the south side of the Recreation Ground rather than on its east side.\n\nOn the south side of old Gap Street across from the Chinese Recreation Ground the original St. Stephen's Anglican Church opened in 1866. Here also the Baxter Memorial School was built in 1872 in memory of Miss Sophia Harriet Baxter. She had come to Hong Kong in 1860 and until her death five years later established schools for Chinese, Eurasians and orphans. St. Matthew's Anglican Church now occupies a part of the original site granted to the Church in 1864.\n\nThe neighbourhood could have been regarded as a good missionary area for it was dominated by establishments devoted to pleasure. Nearby was a theatre, and the present Possession Street was lined with brothels in the nineteenth century. It was also, however, near a more sobering district.\n\nThe hillside between Possession Point and West Point was used as a Chinese burial ground. The I-tsz Temple, built to house commemorative tablets for Chinese residents who died without a family to remember them, and, temporarily, for those whose families were in their home villages in China, was behind Possession Point on Tai Ping Shan Street. It adjoined the burial ground and thus, in accordance with Chinese practice, was in a convenient location to be used as a depository for those who were about to die. Publicity regarding conditions at the temple started a movement to provide better medical services for the Chinese community. This resulted in the formation of Tung Wah Hospital. It was opened officially in 1872 across the street from the I-tsz Temple, occupying land that was a part of the old burial ground.", "txt_file_path": "txt/dfo323lmgvd/RAS-1974.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/x633mp077", "rank": 0 }, { "id": 207149, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1974", "page_number": 220, "title": "RAS-1974", "content_text": "214\n\nNOTES AND QUERIES\n\ngood size bed rooms, with dressing and bath room to each; two servant's rooms; a front and back verandah, closed with venetians, each 100 feet long and 12 feet wide, flat roof convenient for exercise and affording a fine view of the harbour and its entrances. Commodious outbuildings for servants, store room and offices; a large compound, garden, etc., whole surrounded by a good fence. Situated on the ridge at West Point and now in occupation of Jamieson, How and Co.\n\nThere was not a ready sale. A business depression prevailed and the location was too remote from the European section of Victoria.\n\nBelow the bungalow Jamieson, How and Co. built a large godown on Marine Lot 57 in 1842. Ten years later this property was sold at auction. The premises on the Marine Lot were described as consisting of \"a costly and recently improved residence, granite godown, pier, outhouses, shrubbery\". The West Point Bungalow was described as beautifully situated immediately opposite on the hill. Both properties were bought by Yorick Jones Murrow.\n\nIn 1854 the West Point Bungalow was used as a military barracks. This left it the worse for wear. Because of its dilapidated condition the Rhenish Missionary Society was able to purchase the property at a reasonable price in 1857. They needed a centre in Hong Kong as they had been forced from their stations on the mainland by the outbreak of hostilities between Britain and China. In 1859 the Government repossessed the property as a site for a new Civil Hospital.\n\nThe area north of Queen's Road extending to Ko Shing Street was the original beach. The land between Queen Street on the east and Wilmer Street on the west can be divided into six main sections. The first (Marine Lot 68) is a rectangular lot three houses wide and bounded on the east by Queen Street. The second section (Marine Lots 68A, 69, 69A, and 70) is intersected by Tsung Sau Lanes East and West. The third section (Marine Lot 58) is the former Ko Shing Theatre property with Wo Fung and Kom Yu Streets. The fourth section (Marine Lot 57) is bounded on the west by Sutherland Street and contains In Ku Lane. The fifth section (Marine Lots 71, 71A, 72, 72A) lies east of Sutherland Street and is intersected by Li Sing Street. The sixth piece (Marine Lot 200) is a triangular lot with its narrow point on Queen's Road and its west boundary Wilmer Street.", "txt_file_path": "txt/dfo323lmgvd/RAS-1974.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/x633mp077", "rank": 0 }, { "id": 207163, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1974", "page_number": 234, "title": "RAS-1974", "content_text": "228 \n\nNOTES AND QUERIES \n\nThe few houses on the southern side of Boundary Street, just completed for the Credit Foncier d'Extreme-Orient, were the only buildings around; further at the junction of this street with Prince Edward Road was 'Mignon', a small bungalow occupied by Miss Santos; the rest was either carved out of Chinese gardens or totally undeveloped. Across what was later on to become La Salle Road was a garden lot of some three acres which Brother Aimar had acquired lately from Mrs. Chan Kwing Min, the wife of the former Waichow war-lord [the present site of La Salle Primary School]; there was a small Chinese house on the grounds, in which the Canadian Sisters of Our Lady of the Angels, newly arrived in the Colony, resided temporarily. There was not a single house standing on the southern side of Prince Edward Road. \n\nThe locality was admirably situated, equally distant from Kowloon City and Kowloon Tong: two abundant reservoirs for a Chinese school population; and Homantin, where a large number of Portuguese families then resided. \n\nThe Hong Kong architectural firm of Messrs. Little, Adams and Wood was engaged to draw up plans. This was the same firm that had designed not long before the nearby Diocesan Boys' School. In their plans for the new College they incorporated features of ecclesiastical architecture that we do not find in the D.B.S. building, such as columned porticos and a domed chapel. The dome is one of the most interesting architectural features to be found in Kowloon. The Great Hall was said to be modelled after the Theatre Royal of Naples, and the mushroom columns in the open area under the Great Hall reminds one of the pillars under the demonstration building of the Medical Faculty in Paris. The buildings were designed to accommodate 700 pupils, 350 of these being Portuguese boys living in Kowloon, and as Brother Aimar remarked at the Foundation Stone Laying, “We thought it only right to provision, as in St. Joseph's, for an equal number of boys of Chinese parentage and for a boarding department.\" (South China Morning Post, Nov. 5, 1930.) \n\nThough the land was bought in 1924, the plans for the building were not approved until 1929. The following year Governor Sir William Peel laid the foundation stone. The building was first occupied for classes in December, 1931, and the following month", "txt_file_path": "txt/dfo323lmgvd/RAS-1974.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/x633mp077", "rank": 0 }, { "id": 207311, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1975", "page_number": 79, "title": "RAS-1975", "content_text": "NOTES ON CHIUCHOW OPERA (MA)\n\nHELGA WERLE\n\nMs. Helga Werle, whose article on Chiuchow (in Mandarin Chao-chou) puppets appeared in the 1973 Journal, describes two typical plays of the Chiuchow opera, and gives background information about this particular regional theatre of China. Ed.\n\nIn urbanized Hong Kong today one can see a performance of Chiuchow Opera at City Hall or Lee theatre two or three times a year, but the traditional purpose of this opera is the shen-kung hsi—a performance to celebrate the birthday of a deity. Many areas of Hong Kong have their organized Chiuchow communities centred upon the temple of a certain deity.\n\nThe Chiuchows have innumerable deities, often completely different from the Cantonese. Some of those worshipped in Hong Kong with temples erected in their names are:\n\nLi-shan lao-mu\nT'ai-i chen-ren\nLi lao-ch'un 李老君\nCh'i t'in ta-sheng\nSan-shan kuo-wang\nSan t'ai-tze lao-yeh\nMu-ch'a Chin-ch'a and No-ch'a called the three princes \"san t'ai-tze\", the three sons of Li Ching 李靖\nHan Chung-kung\n\nTo ensure the prosperity of each temple community the birthday of its deity must be properly celebrated. The most outstanding members of the community are chosen to form the prestigious festival committee, which has the duty to collect the necessary amount of money (between 50 and 100,000 HK$) to organize a worthy celebration. And what could rejoice a god's heart more than the luxury of a series of opera performances? After the dates are decided with the consent of the deity involved a large space is booked with a Government office (usually a public playground),\n\nPlates 5-12 at rear of the volume illustrate this article.", "txt_file_path": "txt/dfo323lmgvd/RAS-1975.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j0995146d", "rank": 0 }, { "id": 207334, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1975", "page_number": 102, "title": "RAS-1975", "content_text": "94 \n\nH. J. LETHBRIDGE \n\nemployment; but few stayed with the department. Most took to their gypsy life again, once they had accumulated a few dollars, and left for either Shanghai or Singapore, or simply went to earth in Tai Ping Shan or Wan Chai until disinterred by the police, always on the look out for European destitutes. \n\nThere were always some troops on garrison duty in the colony or manning the various fortifications designed to repel a seaborne invasion. The garrison normally was small and numbered usually less than 1,500 men. But numbers fluctuated markedly at times. In March 1860, for example, over 14,000 troops (10,000 British and 4,000 French) were being drilled in a vast tented camp on two square miles of the Kowloon peninsula, leased from the Viceroy of Kwangtung and Kwangsi, and awaiting transportation to the theatre of operations in the north. A witness of these events wrote that 'the streets of Victoria were thronged by soldiers and sailors; commissaries and staff officers were to be seen everywhere; all as busy as mortals could be'.7 \n\nIt was a policy of the government and the military to keep troops if possible out of European Victoria—the central commercial district—and to confine their debaucheries to special areas of the colony. Thus five brothels were specially opened at Wan Chai in the 1850s when soldiers at that time were prohibited by their officers from entering the central districts of the city. For soldiers on outpost duties access to Victoria was difficult in any case: \n\nGarrison life at these outposts is usually melancholy; society is impossible, as the fortifications are eight miles by water from the city, and communication over the mountains is arduous. It is not a question of which is the better of the two, but which the worse, to be of the British Garrison Artillery or the Chinese Lighthouse Service.& \n\nThere were usually more sailors than soldiers ashore in Hong Kong, or afloat in the harbour, at certain times of the year. During the three winter months, the British China squadron was stationed in Hong Kong; in summer most naval vessels left Hong Kong for the north and other stations. The large number of sailors, who at times outnumbered the civilian European population, was supplemented by merchant seamen of many nationalities; for by the 1890s Hong Kong had become, after London, Liverpool, and Port Said, the fourth largest port in the world in terms of seagoing tonnage", "txt_file_path": "txt/dfo323lmgvd/RAS-1975.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j0995146d", "rank": 0 }, { "id": 207549, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1975", "page_number": 317, "title": "RAS-1975", "content_text": "NOTES AND QUERIES \n\n309 \n\nwith Taoist exorcisms and are performed at wedding ceremonies to obtain from Heaven the happy union, using the ritual of a local Taoist folk religion heterodox cult of the Three Ladies' (三娘). The 'Three Jesters' are called by the puppeteers the \"Three Brothers' (三兄弟) or, individually, the Great, Second and Third Wang Yeh.* \n\nSchipper then explained that he and his informants had made many conjectures in order to identify the Three Jesters. He believed tradition links the Three Brothers (Three Jesters) with the Three Tien Brothers and thus with Tien To Yuan Shuai, and this seemed to him to be better founded than other conjectures. He continued that the identity of T'ien is extremely confused, and claimed that T'ien is reputed to be the master of T'ang Emperor Ming Huang (唐明皇) and to have taught the actresses of the Peach Garden (梨园), popularly believed to be the first academy of the theatre. Iconography, he said, represents T'ien the puppet as the 'laughing lad', similar to T’ien To Yuan Shuai. \n\nSchipper observed that when the plays are of the northern Fukienese type, the Three Jesters are identified with T'ang Ming Huang, the patron of the theatre of North China. When the play is Southern Fukienese or Ch'aochow, T'ien To Yuan Shuai (Chief Marshal T'ien) is the patron, and the Three Jesters are identified with him. The T'ang Emperor is also often referred to in Taiwan and South East Asia, where he is also accepted as the God of Actors bearing the title of the Imperial Prince or King of the Western Ch'in (Hsi Ch'in Wang Yeh, 西秦王爷) or Hsi Ch'in Lao Wang Yeh (西秦老王爷), or, on Taipei and Keelung altars just as Hsi Ch'in Wang (西秦王). (He is called the King of the Western Ch'in because of his exile in Szechuan, in Western China). His image is more colloquially referred to as The Young Gentleman (小哥) and less respectfully as The Old Boy (老郎). Schipper agreed all this might seem highly incongruous, but, he continued, the tradition which links the 'Three Brothers' (The Jesters) with Tien To Yuan Shuai (Chief Marshal T'ien) seems, as we said earlier, better founded than others. \n\nWang Yeh \n\nSchipper has linked the Three Jesters with the Fukienese epidemic gods by the title of Wang Yeh. He also noted the legend \n\n* More often than not Wang Yeh (Imperial Princes) in Fukienese communities are epidemic deities.", "txt_file_path": "txt/dfo323lmgvd/RAS-1975.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j0995146d", "rank": 0 }, { "id": 207763, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1976", "page_number": 151, "title": "RAS-1976", "content_text": "136\n\nW. A. REYNOLDS\n\nport for the work came from American United China Relief (UCR) funds through the American Friends Service Council (AFSC); there were members from Canada, U.S.A., New Zealand, as well as China itself; and the self-sufficiency required was much greater than that of other FAU groups.\n\nThe original plan, worked out in late 1940 and early 1941, was for a group of forty men, equipped with 20 trucks, a mobile operating theatre and mobile workshop, to undertake two tasks. The first was the transport of medical supplies into China from Burma and the second provision of medical teams to work with civilian and military hospitals. The proposals had the support of the British Fund for the Relief of Distress in China under Dr. H. Gordon Thompson, the Foreign Office, the U.C.R. and the AFSC. The trucks and equipment were purchased in the US and shipped to Rangoon where they were assembled and driven up to China. Dr. R. B. McClure, a Canadian medical missionary born in China, was appointed to lead the Unit.\n\nIt will be remembered that in 1941 Japan occupied all the coast of China, transport up the railway to Kunming from Hanoi had ceased and the only land routes into the western provinces still held by the Government of the Republic of China under Marshal Chiang Kai Shek were the Burma Road and the road from the USSR via Sinkiang. When the Sino-Japanese war widened into the Pacific War on December 8, 1941, about half of the FAU group had arrived in Burma and China, the first trucks were being assembled in Rangoon and the rest of the party and equipment were on the high seas. All arrived safely and the Unit undertook a number of interesting tasks during the Burma fighting of 1942.1\n\nMedical Services and Supplies in China\n\nDespite the diversion of manpower and loss of trucks and fuel in Burma the work of transporting medical supplies in China got underway in 1942. In 1941 there were four organizations concerned with military and civilian medical services:—\n\n1) the Army Medical Administration (AMA)\n\n2) the Chinese Red Cross (CRC)\n\n3) National Health Administration (NHA) Weishengshu (衛 生 署) with its civilian hospitals and clinics.\n\n4) Over 100 mission hospitals, responsible to their own Mission Boards.", "txt_file_path": "txt/dfo323lmgvd/RAS-1976.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/hq382988q", "rank": 0 }, { "id": 208027, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1977", "page_number": 66, "title": "RAS-1977", "content_text": "50\n\nW. A. REYNOLDS\n\nLiu-Chi. The group we met were lively and interesting, many having been expelled from universities under Kuomintang control. Another evening we were invited to see a film at the American Army Observer Section which was established there under Colonel David Barrett in July 1944. There was also an invitation to mid-day meal with Marshal Chu Te. My memory is that there was not much conversation as Yu Chin-lung found him taciturn, my Chinese was inadequate, and the others were tongue-tied in the presence of the famous soldier. On leaving Yenan we were each presented with a warm woollen blanket of local manufacture (I still have mine) and I was given a painting, which I had uncautiously admired, by the Bureau chief of the Medical Service. I was also presented with a made-to-measure Army uniform complete with cap and badge.\n\nMedical Work in the Border Region\n\nThe day after unloading we were taken to see the hospital named after Doctor Norman Bethune. Plate no. 17 shows the operating theatre. One of the famous 'three constantly read articles' of Chairman Mao Tse-tung is a eulogy of Bethune, delivered on December 21st 1939 soon after his death.\n\nAt the Bethune Memorial Hospital we were shown how supply difficulties had been overcome, including steel dental picks forged from railway line. We asked about medical supplies from the USSR since 1941 and were told that there had been some, perhaps five, plane loads (say 15 to 20 tons). The supplies we had brought included a portable X-ray with a petrol-driven generator.\n\nThe problems of civilian and military medical work in the Border Region are fully described by Margaret Stanley in a current series of articles in Eastern Horizon*. She was a member of the Friends Service Unit (the successor organization in China to the Friends Ambulance Unit) Medical Team 19 which went to work in the area in 1947. She revisited Yenan in 1972 and writes not only of her memories of the medical work but also the contrast between then and now.\n\n* Vol. XVI No. 3, March 1977 & No. 4 April 1977 onwards. There is also a good picture of what life in the Shensi countryside was like to be gained from the accounts given in Gunnar Myrdal's book Report from a Chinese Village. Penguin.", "txt_file_path": "txt/dfo323lmgvd/RAS-1977.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/np198x23n", "rank": 0 }, { "id": 208547, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1979", "page_number": 4, "title": "RAS-1979", "content_text": "THE U.S. AND THE QUESTION OF HONG KONG 1941-45\n\n15\n\nurgent consent of the United States Chiefs of Staff to detach a British naval force from the British Pacific Fleet to accept Japan's surrender and assume full powers of military administration in the colony.63 The Japanese accepted defeat on 14 August. However, the British Pacific Fleet assigned for service at Hong Kong, under the command of Rear-Admiral Sir Cecil Harcourt, did not arrive until 30 August. During this interval of a fortnight, the question of Hong Kong sorely tried the British government and placed the United States government in an uncomfortable position.\n\nHong Kong again became a serious point of contention between Britain and China. This time the argument was not whose sovereignty was to be set up but who was to receive Japan's surrender there. Despite the assurances given by Chiang Kai-shek on 16 August, and repeated on 24 August, that China had \"no territorial ambitions\" in Hong Kong and regarded it \"as a matter which would require eventual settlement through diplomatic channel\", the British Foreign and Colonial Offices insisted that Sir Cecil Harcourt receive Japan's surrender on behalf of Britain by virtue of her sovereignty over Hong Kong.64\n\nThe prime minister, now C.R. Attlee, appealed to the American president for assistance. Fortunately for Britain, Truman, who had assumed the presidency on Roosevelt's death in April, was in favour of a cautious policy. While being conscious of his predecessor's views regarding the future status of Hong Kong, he, however, decided to adhere to the \"recognition of the established rights\", although he told both Britain and China that such recognition \"did not in any way represent U.S. views regarding the future status of Hong Kong.\" General Douglas MacArthur was therefore instructed to arrange for the surrender of Hong Kong to the British commander.65 Again fortunately for Britain, MacArthur was known for \"his support for the cause of the British Empire in the Far East.\" In fact in October 1944 he had specifically expressed that he \"fully appreciated the need for British forces to recapture Hong Kong.\"66\n\nChiang Kai-shek, on the other hand, insisted on his right to accept Japan's surrender at Hong Kong as commander-in-chief of the China theatre. He was therefore most distressed by Truman's agreement with the British. To avoid embarrassing Truman, Chiang now suggested that the Japanese forces in Hong Kong should surrender to his representative in a ceremony in which both", "txt_file_path": "txt/dfo323lmgvd/RAS-1979.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/2801w5938", "rank": 0 }, { "id": 208573, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1979", "page_number": 30, "title": "RAS-1979", "content_text": "THE U.S. AND THE QUESTION OF HONG KONG 1941-45\n\nFar Eastern Affairs in the Department of State in 1944, terms “the most difficult supply operation of the entire war\" over the towering hump of the Himalayas. The second difficulty was connected with the priority given to the European theatre. The result was that much of the promised materials to China was often diverted, much to the distress of Hornbeck and others, from its original destination for the European fronts.? Speaking in more specific terms, by late September 1942, US$3.1 billion worth of lend-lease materials were sent to the British Empire, $750 million to Russia, and only $112 million to China. The disparity became even more remarkable by early June: $7,030,000,000 to the British Empire, $1,899,000,000 to Russia, and only $133,000,000 to China.8\n\nUnder the circumstances, it is understandable that the United States should entertain grave anxiety regarding China, especially over a possible collapse of Chinese resistance against Japan. This concern, which the Chinese did everything to keep alive, was universally shared by senior men in the Washington government, including the president himself, H. L. Stimson, then secretary of war, Henry Morgenthau, secretary of the Treasury, Leahy, and many involved in Far Eastern affairs in the Department of State, principally Hornbeck.9 While some doubt was expressed as to how much China could and was willing to contribute to the war effort in the east, the consensus was that her collapse would be a fatal blow to the United Nations, especially the United States, in the Pacific theatre. This event, therefore, must be prevented at all cost.\n\nIt was only natural that the United States, torn by anxiety, should be obsessed with the desire to compensate China as best she could. Consequently, the American government announced at the beginning of 1942 a loan of 500 million dollars to China, with next to no strings attached.10 Meanwhile, the move to push for the allies' recognition of China as one of the great powers, of which Hornbeck claimed himself to be the originator, became increasingly prominent in the American government.11 The outcome was the American insistence that China be included as a signatory, together with Britain, the U.S.S.R., and the United States, of the Declaration of Four Nations on General Security, signed in Moscow on 30 December 1943, and that Chiang Kai-shek, together with Roosevelt and Churchill, be a party to the Cairo Declaration, issued on 1 December 1943.12 The American eagerness to compensate naturally did not allow Madame Chiang Kai-shek's visit to the United States,\n\nPage 30\nPage 31", "txt_file_path": "txt/dfo323lmgvd/RAS-1979.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/2801w5938", "rank": 0 }, { "id": 208586, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1979", "page_number": 43, "title": "RAS-1979", "content_text": "16\n\nCHAN KIT-CHENG\n\nAmerican and British representatives would be invited to participate. After the surrender he would authorize the British to land troops for the reoccupation of Hong Kong.37 In a private letter in reply to Chiang, Truman reiterated that his decision was in no way related to the question of British sovereignty in Hong Kong.68\n\nChiang Kai-shek remained reluctant to concede the main point. However, he realized that he needed American aid in getting his forces to Hong Kong. Consequently, he communicated a further compromise to Truman on 23 August: he had notified the British that, as supreme commander of the China theatre, he agreed to delegate his authority to a British commander to accept the surrender of Japanese forces in Hong Kong.69 Although Truman regarded Chiang's concession as \"quite reasonable\" and hoped that it would settle the matter,70 it was not acceptable to Britain. While he deplored the Sino-British friction, Truman clearly did not contemplate taking further action.71 It was therefore a relief both to Britain and the United States that Chiang eventually accepted Britain's revised offer that Harcourt accept Japan's surrender on behalf of both Britain and Chiang as supreme commander of the China theatre.72\n\nHong Kong was thus reverted to British rule, much as the Americans, both in official and unofficial circles, had clamoured against during the Pacific War. Such clamouring, especially during the first half of the war, no doubt troubled the British and encouraged the Chinese. But, in the main, American wartime policy, if one can at all speak of a conscious and consistent policy, regarding the postwar status of Hong Kong had been characterized by much talk and little action. \"Hopes\", \"wishes\", \"opinions\", \"views\" were abundantly expressed to Britain, but little can be said of direct and persistent American pressure on the subject.\n\nNOTES\n\n1 Author's article, \"The Question of Hong Kong during the Pacific War, (1941-45)”, The Journal of Imperial and Commonwealth History, II, no. 1 (October 1973), pp. 56-78.\n\n2 C. Thorne, Allies of a Kind (London, 1978), p. 156.\n\n3 Thorne, ibid., pp. 172-3, referring to opinions cited in the New York Times, the Chicago Daily News, and the Christian Science Monitor.", "txt_file_path": "txt/dfo323lmgvd/RAS-1979.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/2801w5938", "rank": 0 }, { "id": 209154, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1981", "page_number": 57, "title": "RAS-1981", "content_text": "RELIGIOUS RESPONSE TO MODERNIZATION IN TAIWAN: THE CASE OF I-KUAN TAO†\n\nHUBERT SEIWERT*\n\nIntroduction: Modernization and religious change in Taiwan\n\nSince the middle of the last century China has been a theatre of far-reaching political, economic, social and cultural changes. The most obvious manifestation of these changes has been the revolution of 1911, sealing the end of a monarchy which had endured for more than two thousand years. But the defeat of the Manchu dynasty marked the closing of an epoch not only politically: the revolution of 1911 was also a decisive turning point in the cultural development of China. The traditional culture which so long was the pride of every Chinese scholar underwent an almost complete reevaluation. To the revolutionary intellectuals of the first decades of the twentieth century this traditional culture was the ideological expression of the overthrown feudal system. The construction of a new society should, therefore, not be a mere change of political institutions but had to comprise the formation of a new intellectual culture as well.\n\nThe central target of this cultural-revolutionary movement was Confucianism, which was regarded as the ideological foundation of the old social system. At the same time this movement also had distinct anti-religious tendencies aimed not only at the religious components of Confucianism but at all kinds of religion, traditional Chinese as well as foreign. Religion and superstition were inconsistent with the scientific worldview which had been imported to China from Europe and America.\n\nThe critical attitude of the Chinese intellectuals towards religion was certainly one of the factors which contributed to the decline of traditional Chinese religion in the twentieth century. But there were other reasons, too. On the popular level, the arguments of the intellectuals were probably of no great significance for the religious behaviour of the common people. More important were the changes\n\n*Universität Hannover\n\n† Parts of this article were read at the XIVth Congress of the International Association for the History of Religions, August 1980 at Winnipeg, Manitoba.", "txt_file_path": "txt/dfo323lmgvd/RAS-1981.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/ff36bt18m", "rank": 0 }, { "id": 209207, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1981", "page_number": 110, "title": "RAS-1981", "content_text": "96\n\nThere is no slavery carried on.\"\n\nCARL T SMITH\n\nIn commenting on the questions raised in Parliament the editor of the South China Morning Post said there could not be much harm in the traditional Chinese custom when throughout the eighty years of the Colony's history no steps had been taken to abolish it. The children in domestic service had the full protection of the law and there was no evidence that they were frequently ill-treated. What few cases are brought before the courts are sharply dealt with. He did admit that some reform might be needed, \"to guarantee the child's rights and those of its parents\", but any changes should only be introduced gradually and with the co-operation of the leading Chinese, \"whose services have never been withheld in any case having for its aim the uplifting and enlightenment of the people\".3\n\nReaction in Hong Kong -- Mass Meeting at Tai Ping Theatre – July 1921\n\nThe Chinese elite \"establishment\" in Hong Kong was disturbed by the discussion in Britain of one of their long established customs. They and the Hong Kong Government were also annoyed by a letter published in the correspondence column of all four English newspapers written by Mrs. Haselwood, the wife of a Commander in the Naval Dockyard. Her husband was officially warned that unless he stopped his wife from airing the question, he would be superseded and sent home. He refused to submit and was shortly sent home where he retired on half-pay. The Haselwoods, however, continued their campaign in Britain. When the Hong Kong Government was asked to explain Commander Haselwood's early termination of service in Hong Kong, it replied that the activities of his wife were \"causing annoyance to the Chinese community\".\n\nThe leadership of the Chinese community was sufficiently aroused by the statements being made in the English press concerning the practice that it called a mass meeting to be held at the Tai Ping Theatre in July, 1921. The meeting was convened by the two Chinese representatives on the Legislative Council, the Hon. Ho Fook, brother of Sir Robert Ho Tung and one-time compradore of Jardine, Matheson and Co., and the Hon. Mr. Lau Chu-pak, compradore of Messrs. A. S. Watson and Co. Also particularly mentioned were S. W. Tso, a solicitor, Chow Shou-son, a Hong Kong-born former official of the Chinese Government who had extensive business interests in Hong Kong, and Chau Siu-ki, shipping and insurance magnate.\n\nThe theatre was crowded with about three hundred including a", "txt_file_path": "txt/dfo323lmgvd/RAS-1981.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/ff36bt18m", "rank": 0 }, { "id": 209583, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1982", "page_number": 240, "title": "RAS-1982", "content_text": "218\n\nCARL T. SMITH\n\nSim-ple Assemblies for young he's and shees, Races, Regattas, Croquet, Sunday Teas. But, hark, the Prompters warning whistle blows, And bids me bring my prologue to a close.\n\nSome of the local references are lost to us today, but then they brought smiles, if not laughter. A history of the Amateurs picks up some of the lighter side of life in Hong Kong in the past.\n\nTHE CURTAIN RISES\n\nSoon after Hong Kong was established as a British military base in China officialdom encouraged amateur theatricals as a wholesome diversion from the tedium of military life.\n\nThe first attempt to bring drama to Hong Kong was to have been a combination of professionals and amateurs, but the project came to an abrupt end before it was well under way. A flamboyant Frenchman from Singapore named Gaston Dutronquoy announced in November 1842 that he had obtained the permission of the authorities to erect a theatre \"on a grand and imposing scale\" behind his tavern, the London Hotel, which was located on Queen's Road.\n\nHe informed an interested public that though the Theatre was not yet built, the actresses had already arrived. Backed by a claim of official sanction and available talent, Mr. Dutronquoy with his own flair for the theatrical announced \"to the nobility, gentry and clergy of this flourishing and opulent Colony that their Theatre is advancing rapidly towards completion. It is on a most splendid scale, and what with the pieces that will be performed, the scenery that will be produced, and the splendid assemblage of rank, beauty and fashion which they hope to be honoured with, there is no doubt but that the blaze of splendour will dazzle the eyes of all beholders\". He assured his public that the actresses' \"beauties and talents are only to be surpassed\n\n† As I wrote this paper more for entertainment than scholarship, I have not included documentation. The notices and reviews of the plays have been found in the local press: The Friend of China, The China Mail, The Hong Kong Register, The Daily Press, The Hong Kong Telegraph and The South China Morning Post. The appended list of performances and dates has been compiled from the same sources.\n\nPage 240\n\nPage 241", "txt_file_path": "txt/dfo323lmgvd/RAS-1982.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mk61z420p", "rank": 0 }, { "id": 209585, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1982", "page_number": 242, "title": "RAS-1982", "content_text": "220 \n\nCARL T. SMITH \n\nestablished brothels, a gambling hall, opium divans, a temple, his family house and the Theatre. \n\nAs the location and arrangements of Acqui's Theatre were not very satisfactory, there was a movement to build something more suitable. Immediately after the first performance of the Amateurs, it was announced that plans for a new theatre were under consideration. The China Mail, 8 January 1846, gave its full support: \n\nWe are glad to learn there is at length a fair prospect of a Theatre being erected in Hong Kong. The project was suggested last year, and as it not only met with general approbation from the public, but received the sanction of His Excellency and the support of the civil and military servants of the Government, it is rather inexplicable how it was suffered to drop. We are indebted, we believe, to the same parties who lately favoured the public with an amateur performance in the Lower Bazaar, for taking the matter up again, and they seem now to have begun very properly by first testing the feelings of the middle classes upon the very important point of subscriptions. We are assured that the amount already subscribed for is more than half what will be required to erect a spacious building, adapted alike for the purposes of a Theatre and a Ballroom, or a hall for public meetings. With some proofs of support from the community at large, we trust the Governor's patronage will be continued, and the merchants and official gentlemen will take the matter up in good earnest, and complete what has already been auspiciously begun. When the plans are sufficiently matured we would suggest the propriety of bringing them before the public in a well-defined shape, by circular, or advertisement in the public papers. For this purpose our columns will be at the service of the committee gratuitously. \n\nA meeting to enlist shareholders was held at the house of Leonard Just, a watchmaker, in February 1846. The eventual outcome of the meeting was the erection of the Victoria Theatre on the hill behind the Hong Kong Club. The lot was up Wyndham Street somewhat to the south of Wellington Street.", "txt_file_path": "txt/dfo323lmgvd/RAS-1982.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mk61z420p", "rank": 0 }, { "id": 209590, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1982", "page_number": 247, "title": "RAS-1982", "content_text": "225\n\nmanagement. We hope they may not be out of pocket as the Garrison Company was last year.\n\nAfter the initial ballyhoo about the Committee, described as a \"scolding given in true washer-woman style\", which only amused the town, the season was a great success. A slightly sour note was injected into the 1862-63 season because only four performances were given, while it had been announced when advertising for subscriptions that there would be six. Complaints compounded in 1863-64 when prices were advanced to a sum which was thought to be \"just beyond the limit to which a class were prepared to pay for entertainment\". Consequently, the theatre for the first performance was only half filled.\n\nThe 1865-66 season also began inauspiciously. At a meeting in November to arrange for the coming season, there was such poor attendance that it was feared the Amateurs might have to give up.\n\nWhen the Amateur Dramatic Corps looked back on its history, it gave its founding date as 1860, however, in the announcements of the group in the 1860s it is called the Hong Kong Amateur Theatrical Society.\n\nTHE THEATRE ROYAL\n\nAmateur dramatics took on a new vigour with the organisation or reorganisation of the theatrical group in 1860. Revived interest emphasised the need of a suitable theatre. Until the opening of the Theatre Royal in the City Hall in 1869, various makeshift arrangements had to be made after the Victoria Theatre was closed in the 1850s.\n\nIn 1861, the China Mail looked toward the future:\n\nWe hope the time is not distant when a neat permanent building constructed on the best known principles of acoustics will take the place of the temporary mat sheds, which need so much exertion on the performers' part, and indulgence on that of the audience. The acoustics are bad. Now that the capability of having these entertainments annually is beginning to be procured, it would be well to take measures soon, to", "txt_file_path": "txt/dfo323lmgvd/RAS-1982.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mk61z420p", "rank": 0 }, { "id": 209591, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1982", "page_number": 248, "title": "RAS-1982", "content_text": "226 \n\nCARL T. SMITH \n\nsee what should be done toward erecting a permanent theatre\". \n\nThe year following, 1862, plans for a Theatre and Assembly Room were on view at the Hong Kong Club. They were estimated to cost $34,000, but a newspaper reporter was more realistic. In his opinion \"a glance shows it would cost $60,000 at least\". \n\nSomething as ambitious as this had to wait some years. It was finally realized with the opening of the City Hall in 1869. In the meantime, mat sheds, a large room in St. Andrew's School and the Club Lusitano were used. \n\nA public meeting in 1864 resolved that the Amateur Theatrical Matshed should be kept and a committee appointed to see to its preservation. One happy feature was the debt-free state of the theatre following a successful season. During the 60s there were notices of the Queen's Theatre on Queen's Road East. It was probably the adapted godown mentioned in the columns of Jarrett in his series \"Old Hongkong\" in the South China Morning Post. A Theatre Royal was on military ground, used not only for performances by the Garrison but also by visiting professional dramatic companies. In 1865 it was announced it was to be pulled down \"for much needed barrack improvements\". After its demolition, the Garrison amateurs used the Murray Barracks Canteen. \n\nThe general public expressed its appreciation to the military for permitting the theatre to occupy their ground. It had, however, been a hot, stuffy place, poorly ventilated. \n\nTYPES OF DRAMA \n\nAll the early productions of the amateurs were described variously as farce, burlesque, comic drama, facetious tragedy, vaudeville comedy or burlesque extravaganza. \n\nPerhaps the first play of a mere serious tone was given in 1875, when \"Plot and Passion\" by Thomas Taylor and J. Lang was presented. It was noted, however, that a drawback to such a play was its love scenes, as these were difficult when played by males only companies. The reviewer thought that while it \n\n! \n\n!", "txt_file_path": "txt/dfo323lmgvd/RAS-1982.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mk61z420p", "rank": 0 }, { "id": 209602, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1982", "page_number": 259, "title": "RAS-1982", "content_text": "237\n\nAnd then a good old China Hand you'll Be.\n\nSuch references brought drama down to the daily life of the theatre goer in Hong Kong.\n\nHOME GROWN PLAYWRIGHTS\n\nThe Hong Kong Daily Press in 1894 published a play by Henry E. Pollick entitled \"Soso: A Drama of the Day\". It does not seem to have been staged in Hong Kong.\n\n\"The Cook: an Idyll of the Peak\" was produced at the Theatre Royal in 1912. It was written by R.M. Crosse, of the Royal Artillery. The plot revolved around a search for a cook when a mess of the 445th Regiment, comfortably stationed at the Peak, had to replace their competent cook who had disappeared a few days before the expected arrival of the Brigadier General.\n\nTwo years later Mr. Crosse wrote another more ambitious piece which he characterized as \"a musical stunt in two acts\" entitled \"The Idol's Eye\". The first act was set in England at a garden party. The second act's setting was the How Kwik monastery in the Province of Kwangtung. One of the principal characters Lai On is the \"boy\" of an official in the Chinese Maritime Customs. He penetrated into the monastery to secure the Idol's jade eye by the pretext of becoming a novice. In case any should have been put off from attending by the problem of the language a Chinese character might use, they were informed that “Lai On speaks both grammatical and ‘Pidgen' English during the piece. Grammatical English is used where Lai On would naturally talk and think in Chinese. 'Pidgen' is reserved for his conversation with foreigners\". The How Kwik monastery scene enabled Mr. Crosse to introduce Chinese religious ceremonies and temple music into the play.\n\nAt the time, the public was being captivated by musicals with an Oriental setting, and Mr. Crosse, who was soon to return to England, hoped to have his work produced there. I do not know if he was successful.\n\n† Pollick may not have been a resident of Hong Kong.", "txt_file_path": "txt/dfo323lmgvd/RAS-1982.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mk61z420p", "rank": 0 }, { "id": 209616, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1982", "page_number": 273, "title": "RAS-1982", "content_text": "251\n\n1932/33\n\n1933/34\n\n21 Feb. 1933 \"Nine to Six\" all female cast (Aimee and Philip Stuart, 1930) performance at Kings Theatre.\n\n—\n\n11, 12, 13, 14 Apr. 1934 \"The First Mrs. Fraser\" (St. John Ervine, 1929) performance at China Fleet Club to 1941.\n\n17, 20, 21, 23, 24 Feb. 1934 Armstrong)\n\n1934/35\n\nJ\n\n5, 6, 7, 8 Dec. 1934\n\n1935/36\n\nvenue\n\n\"Ten Minute Alibi” (Antony Mackenzie)\n\n\"Fresh Fields\" (Ivor Novello)\n\n18, 19, 20, 21 Dec. 1935\n\n1936/37\n\n4, 5, 6, 7 Nov, 1936\n\n—\n\n1937/38\n\n7\n\n\"Musical Chairs\" (Ronald Rattigan)\n\n\"Night Must Fall\" (Emlyn Williams)\n\n7, 8, 9, 10, 11 Dec. 1937 - \"Outward Bound\" (Sutton Vane)\n\n23, 25, 26, 27 Feb. 1938\n\n—\n\n\"French Without Tears\" (Terrence)\n\n1938/39\n\n8, 9, 10 Mar. 1939 \"The Shining Hour\" (Keith Winter)\n\n1939/40\n\nT\n\n22, 23, 24 Feb. 1940 \"The Circle\" (Somerset Maugham)\n\n(Note: all notices are taken from the English newspapers in Hong Kong, in most cases from editions of the dates given).", "txt_file_path": "txt/dfo323lmgvd/RAS-1982.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mk61z420p", "rank": 0 }, { "id": 209701, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1982", "page_number": 358, "title": "RAS-1982", "content_text": "336\n\nBOOK REVIEWS\n\n(No. 92) are equally successful in giving new perspectives on the human life of Hong Kong.\n\nAll in all, this volume is recommended to anyone wishing to own a superbly produced volume of intelligently conceived and masterfully produced photographs of Hong Kong.\n\nP. H. HASE\n\nChukoku Saiki Yengeki Kenkyu (Ritual Theatres in China). By Issei Tanaka, Institute of Oriental Culture, The University of Tokyo, 1981, xvi + 926 pp, Index.\n\nThis impressive book contains the results of the author's researches during the period of ten years since he joined the Institute of Oriental Culture, University of Tokyo, in 1972. Trained as a sinologist, Prof. Tanaka started his study on ritual theatre in China from a historical viewpoint. Later his research focus shifted to field studies, particularly in Hong Kong. Between 1978 to 1981 he visited Hong Kong eight times and stayed here in total for eleven months. Most of the data presented in this volume are his field reports collected during his time in Hong Kong, and these form a mine of fascinating material which will prove to be of great value to many scholars.\n\nIn addition to presenting the field reports, however, the book analyses three aspects of ritual theatre in China. One of these is the origin of ritual theatre. Based on historical data, the author traces the process of transformation of ritual theatre from ancient times to the present. Through these studies, he points out that the original form of ritual theatre was aimed at exorcising or controlling evil forces or at celebrating beneficial forces and seeking their assistance. Theatre of this kind can still be found in Hong Kong. The ritual theatre of Hoklo and Ch'ao-chou people in Hong Kong are mostly performed for exorcising, i.e., these theatrical performances are mainly aimed at freeing orphan souls and wandering spirits. Cantonese ritual theatre, on the other hand, is of the latter type, celebrating the deities' birthdays and beseeching their blessing.\n\nThe second aspect is concerned with the social organization of ritual theatre. The author classifies Chinese local theatre,", "txt_file_path": "txt/dfo323lmgvd/RAS-1982.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mk61z420p", "rank": 0 }, { "id": 209761, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1983", "page_number": 20, "title": "RAS-1983", "content_text": "In addition to her work on the Kau Sai fishing people, Barbara's writings during the 1950s and 1960s touched on a number of other aspects of Chinese society, including the structure and operations of Chinese small factories in Hong Kong and the organization of Hakka guilds in Borneo. Moreover, Barbara's data on Kau Sai were incorporated into her comparative study of the role of credit and loan facilities in peasant commercial production and also informed her essay on sex roles in southeast Asia—a valuable and perhaps underestimated introductory essay to the book, which she edited, on the impact of the changing public status of women upon the private domestic lives of both sexes in the various countries of southeast Asia. Barbara's writings on \"conscious models\" explored the problems of the manner in which the actual behaviour of the Kau Sai fishing people had been influenced by the traditional pattern of the classical Chinese family, the role of ideological models in promoting \"the uniquely long continuity and wide similarity of the Chinese socio-cultural system\" and, more generally, the relevance of Levi-Strauss' notion of conscious models to the analysis of the relationship between various local sub-cultures within Chinese society and the wider Chinese socio-cultural system. 8\n\nDuring the 1970s, Barbara became increasingly concerned with the social and cultural dimensions of opera in south China. Undoubtedly, Barbara's work on conscious models was an important factor in the development of this interest, for her first essay in this new area dealt with the role of opera as a disseminator of Chinese culture among the local communities of south China, such as that of Kau Sai. Sadly, Barbara died just at the time when her thoroughly-researched and well-written articles on popular Chinese drama were beginning to appear in print. Perhaps our greatest loss as a community of China scholars is that the potential of Barbara's endeavours in this area of Chinese social life can no longer be realised. Perhaps, too, the loss will be felt just as keenly by others whose concerns lie outside the China field. When Barbara chose Chinese opera as her topic for the Jane Ellen Harrison Memorial Lecture, which she gave at Newnham College in 1978, her lively presentation and thoughtful analysis of the symbolism of traditional Chinese theatre won the interest of a large non-specialist audience. It is hoped\n\nxix", "txt_file_path": "txt/dfo323lmgvd/RAS-1983.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j9607p61v", "rank": 0 }, { "id": 209992, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1983", "page_number": 251, "title": "RAS-1983", "content_text": "229\n\np. 60. Day, Peasant Cults, pp. 107-108.\n\np. 60. Burgess, J. S., The Guilds of Peking, New York, 1928, p. 179.\n\np. 69. A Gazetteer of Place Names in Hong Kong, Kowloon and the New Territories, Hong Kong, 1960, p. 138.\n\np. 69, Maugham, W. Somerset, On a Chinese Screen, London, 1922, p. 138.\n\np. 70. Broomhall, Marshall (ed.), Martyred Missionaries of the China Inland Mission, with a Record of the Perils and Sufferings of Some Who Escaped, London, 1901, p. 8.\n\np. 74. Burkhardt, V. R., Chinese Creeds and Customs, Hong Kong, 1953-58, Vol I, p. 106.\n\np. 81. Ball, Things, p. 75.\n\np. 86. Ibid. p. 668.\n\np. 90. Williams, S. Wells, Middle Kingdom, Vol I, p. 340.\n\np. 92. Ibid.\n\np. 93. Doré, Researches, Vol V, p. 533.\n\np. 94. Ibid, p. 535.\n\np. 97. Ball, Things, pp. 499-500.\n\np. 101. Barnett, K. M. A., The Peoples of the New Territories' in Braga, J. M. (ed.) The Hong Kong Business Symposium, Hong Kong, 1957, p. 265.\n\np. 102. Hashimoto, Mantaro J., The Hakka Dialect, London, 1973, pp. 1-2, p. 109. Obraztsov, Sergei, (translated by MacDermott, J. T.) The Chinese Puppet Theatre, London, 1961, pp. 27-28,\n\np. 110. Dolby, William, 'The Origins of Chinese Puppetry'. Bulletin of the School of Oriental and African Studies, 1978. Vol XLI. Part 1, pp. 109-110.\n\np. 112. Spencer, Cornelia, Made in China: the Story of China's Expression, London, 1947, p. 122.\n\np. 114. Burkhardt, Creeds and Customs, Vol I, p. 13.\n\np. 114. Clemens, John, Discovering Macau: a Visitor's Guide, Hong Kong, 1972, p. 121.\n\np. 114. Werner, Dictionary, p. 503.\n\np. 117. Lo Hsiang-lin, Hong Kong and its External Communications before 1842: the History of Hong Kong Prior to British Arrival, Hong Kong, 1963, p. 83.\n\np. 118. Peplow and Barker, Around and About, pp. 4-5.\n\np. 122. Ride, Lindsay, \"The Old Protestant Cemetery in Macao', Journal of the Hong Kong Branch of the Royal Asiatic Society, Hong Kong, Vol III, 1963, p. 14.", "txt_file_path": "txt/dfo323lmgvd/RAS-1983.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j9607p61v", "rank": 0 }, { "id": 210079, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1984", "page_number": 50, "title": "RAS-1984", "content_text": "29\n\n2. Historical precedents: many of the sets of temple oracles, and certainly the major ones (B-1, B-2), contain somewhere near the edge of the printed slips short sentences which are rather titles than complete sentences. W. Eberhard has done a preliminary examination of these and states that they refer to historical or legendary events from China's past often known to the general public through popular dramas. Although traditionally the majority of the rural people in China were illiterate, they would naturally know the stories referred to in the oracle slips from their own experience of stage performances in the village. Drama, and in modern times puppet theatre, have been effective ways to educate the people in the countryside, especially since these stories usually contain a moral lesson, and extol such national virtues as filial piety, righteousness, integrity, loyalty, patriotism, etc. By attaching a reference to a famous event of the past to the oracle, the ordinary uneducated worshipper would understand the basic meaning of the oracle: what happened long ago to hero so-and-so, also applies today to the problem at hand. Eberhard quotes eleven examples from set B-2 (the Kuan Ti oracles), from which I pick the following one:\n\n“No. 10: Meng Chiao passes the examination at fifty”, thus very late in life. Meng was a friend of the scholar Han Yu (768-835)... The oracle indicates that success will not occur until very late...\"22\n\nThe application from the story to the particular request made by the worshipper seems to be very clear: Whatever was asked for will not be immediately granted but the petitioner will succeed in the end. The worshipper is encouraged not to give up but to remain patient.\n\nIn a table at the end of his article, Eberhard lists for B-1 and B-2 the number of plays or stories that he has been able to identify, i.e., to find the corresponding drama and/or story in literature. Very likely some titles refer to local dramas and are thus not easy to identify. In B-1 (the 100 Kuan Ti oracles) 83 are identified, whereas for 10 oracles the titles are missing (I presume in the set available to him). What is interesting is that the titles of the two sets under study (B-1 and B-2) are not the same, and they are probably", "txt_file_path": "txt/dfo323lmgvd/RAS-1984.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/5h73wh572", "rank": 0 }, { "id": 211153, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1987", "page_number": 214, "title": "RAS-1987", "content_text": "189\n\nspeedily attracted a considerable boat population and the profits accruing from the supply of provisions and necessaries at once raised many from poverty and infamy to considerable wealth. The shelter and protection afforded by the presence of the fleet soon made our shores the resort of outlaws, opium smugglers, and indeed of all persons, who having rendered themselves obnoxious to the Chinese laws, had the means of escaping hither.\n\nIt was not to be expected that Hongkong would attract at that time the best elements of the Chinese people. Hongkong was occupied by the British at a time it was at war with China.\n\nThe Chinese, who flocked to Hongkong to take advantage of opportunities to trade, sell produce, construct roads, level sites, erect buildings or find employment in foreign residences and business firms, were regarded as collaborators and traitors by Chinese with a national pride.\n\nThe majority were people who had no established place within the approved Chinese social system. Many were boat people who were traditionally regarded as an inferior class.\n\nOthers were those who could find no employment in their native place. Still others were renegades escaping from Chinese justice.\n\nThere were, of course, also the honest shopkeeper, tradesman and labourer, but the community was dominated by the less respectable class.\n\nThe chief personage in the Chinese community during the years immediately after the British occupation of the island was a man known familiarly as A-king, or more formally as Loo King. He came into possession of a substantial section of the Chinese part of town known as the Lower Bazaar (Sheung Wan).\n\nAlong with other business interests, he operated a gambling establishment, a theatre and brothels. Beside the wharf adjoining his main business premises he had erected a small temple.", "txt_file_path": "txt/dfo323lmgvd/RAS-1987.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/rx919b522", "rank": 0 }, { "id": 211488, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1988", "page_number": 204, "title": "RAS-1988", "content_text": "180\n\nsafer for them to spend the night with us, as we were farther away from the seacoast.\n\nWhen I went to work the next day, I found that our office had been converted into a kitchen to feed the many volunteers (reportedly many ladies of the night) who had come to help. Our morgue was filled with bodies of civilian victims. The wounded were treated in several hospitals. The enemy planes had strafed some on land and some at sea in their fishing sampans, most of whom ironically were ethnic Japanese. Rumours were rampant about spies and sabotage, and of Japanese citizens being sent away to relocation camps. On the whole the Japanese wanted to show their loyalty to the United States and many Nisei volunteered to serve in the European theatre, forming the famous 442nd Battalion that fought so bravely in Italy and with such a great loss of lives. Among them was Samuel Sakamoto, husband of my good friend, Edna Sakamoto. A quiet gloom settled over the city and even the skies remained cloudy and depressing for weeks. It was not until after the Battle of Midway that the heavens seemed brighter and our spirits lighter. During the war years we found it so stifling with all windows covered to ensure total darkness that we chose to go to bed early and spend our waking moments listening to the radio. Amos and Andy and Allen's Alley were my favourite programmes. Occasionally I could catch Tokyo Rose's propaganda over the air.\n\nIn 1945 I was granted a leave of absence from work and clearance from the military to leave for the mainland to visit Mrs. Johnson. I left on 16 March 1945 on a small vessel, the S.S. Permanente, which was escorted by an armed submarine chaser. Because of the threat of being torpedoed, everyone was required to wear trousers and to carry an emergency kit. About twenty hours out to sea, an alert sounded. Although most of the passengers kept calm, my roommate became hysterical. She was a Jewish woman taking her infant daughter back to New York, leaving her husband, a defense worker, in Honolulu. It was rumoured that an enemy submarine had been sighted. Fortunately nothing happened. It took us eight days to cover a distance that normally took four and a half days. I left San Francisco for Lincoln, where I stayed with Mrs. Johnson for three months. While there, on 12 April 1945, we heard the sad news of President Roosevelt's death over the radio. I took this opportunity to visit Dora, Tso-chien and Eugene in Chicago before", "txt_file_path": "txt/dfo323lmgvd/RAS-1988.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/ft84gb83q", "rank": 0 }, { "id": 211591, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1989", "page_number": 6, "title": "RAS-1989", "content_text": "CONTENTS\n\nPRESIDENT'S REPORT\n\nHON. TREASURER'S REPORT\n\nHON. LIBRARIAN'S REPORT\n\nARTICLES:\n\nDan Waters\n\nLIBRARIES\n\n138 1937. vii\n\nAR\n\nIn the Steps of Lu Pan: Reminiscences of Building in Hong Kong\n\nK.J.P. Lowe\n\nHong Kong, 26 January 1841: Hoisting the Flag Revisited\n\nKeith Stevens\n\nThe Jade Emperor and his Family, Yu Huang Ta Ti\n\nKeith Stevens - Fukienese Wang Yeh (Ong Ya [Hokkien])\n\nP.H. Munro-Faure\n\nThe Kiukiang Incident of 1927\n\nA.D. Blackburn\n\nHong Kong, December 1941 July 1942\n\nChan Ka-yan\n\nJoss Stick Manufacturing: A Study of a Traditional Industry in Hong Kong\n\nP.H. Hase\n\nCheung Shan Kwu Tsz, An Old Buddhist Nunnery in the New Territories and its Place in Local Society\n\nJ.H. Haan\n\nThalia and Terpsichore on The Yangtze, Survey of Foreign Theatre and Music in Shanghai 1850-1865\n\nFred Dagenais\n\nJohn Fryer's Early Years in China: I. Diary of His Voyage to Hong Kong\n\nChan Wing-hoi\n\nThe Dangs of Kam Tin and Their Jiu Festival\n\nxxi\n\nxxiii\n\n8\n\n18\n\n34\n\n61\n\n77\n\n94\n\n121\n\n158\n\n252\n\n302\n\nNOTES AND QUERIES:\n\nE. Sinn\n\nNotes on the Robert Hart Papers at the University of Hong Kong Library\n\n376\n\nP.H. Hase\n\nA Song from Sha Tau Kok on the 1911 Revolution\n\n382\n\nP.H. Hase\n\nThe Mutual Defence Alliance (Yeuk) of the New Territories\n\n384\n\nP.H. Hase - More on The Man the Emperor Decapitated\n\n388\n\nIssei Tanaka\n\nThe White Tiger\n\n389\n\nKeith Stevens - British Chinese Labour Corps Labourers Buried in England\n\n390\n\nAnthony Siu Kwok-kin\n\nThe History of Hong Kong: From A Village to A City\n\n391\n\nAnthony Siu Kwok-kin\n\nHistorical Records\n\nAnthony Siu Kwok-kin\n\nBOOK REVIEWS\n\nTai Yu Shan from Chinese\n\n394\n\nA Tung Lo Wan\n\n399\n\n400\n\nV", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211669, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1989", "page_number": 84, "title": "RAS-1989", "content_text": "59\n\ndeities are not pestilence deities. The confusion has been compounded by the Fukienese themselves when over the years they unconsciously accepted all deities bearing the honorific Wang Yeh as protectors from epidemics.\n\nNOTES\n\nThe term Wang Yeh is best translated perhaps as 'The Excellencies'. It was a title given to imperial princes or lords, and interestingly it was also a term used by robbers for their brigand chief. See Plates 9-14 for illustrations to this article.\n\n2 There has long been controversy whether the Pestilence Wang Yeh are shen (Supernatural beings, spirits or deities) or kuei (shades of the human dead and pejoratively used for ghosts, spectres and demons). One god carver in Singapore explained that Pestilence Wang Yeh are \"half-deities\", (pan shen) that is half-shen and half-kuei. However, whilst a number of Pestilence Wang Yeh have ferocious faces, the great majority are portrayed as standard deities with no indication of demonic characteristics. An elderly and authoritative Fukienese god carver in Singapore explained in hushed tones that the Pestilence Wang Yeh are neither gods nor demons, are feared but not revered, and not only protect against plague but also cause it. They are, he repeated, semi-deities from the lower echelons of the bureaucracy of the Afterworld who do not like the human world and therefore cause trouble and bring calamity and misfortune. However, if prayed to they are quite prepared to care for devotees who seek protection. For this reason, more often than not the scale of devotion and offerings to the Pestilence Wang Yeh is greater than that provided to more powerful but orthodox gods.\n\nE\n\nDoolittle J. Social Life of the Chinese 2 Vols: New York: (1865).\n\nA god carver in Singapore suggested that Pestilence Wang Yeh have been given surnames so that no particular surname group is left without a specific deity to worship.\n\nThe only time that all images can be guaranteed to be on their altar in their temple is during the temple's annual festival.\n\nThe altar of Chu Wang Yeh in a temple in Lukang, Taiwan was destroyed by a flood some fifteen years ago. Of the three Wang Yeh images in the temple at that time (Chu, Ting and Nieh) only one image, that of Chu, was recovered. Although a new temple has been built for the three but only containing one image, the one of Chu recovered from the flood, devotees have largely stopped away. They seem to have lost confidence in deities who were unable to protect themselves against disaster.\n\n7\n\n**At Cheung Chau Island in Hong Kong in the afternoon of the third day (of the chiao festival of ritual purification held every ten years) a ('paper boat') ritual to chase away the Demon of Pestilence is performed. A Taoist issues orders to a Heavenly Envoy to carry off the boat and puts the Demon of Plague on a boat and leaves it in the outer seas. The Heavenly Envoy, like the King of Ghosts (Yenlo Wang), has a fierce-looking face. It is an image of about one metre high and the boat is a small one of about one and a half metres long. A Taoist lifts the Heavenly Envoy to a stage in the matshed theatre and chants a question-and-answer song which instructs the Heavenly Envoy. Having finished that, the villagers then put the Heavenly Envoy into the boat loaded with offerings. The boat is taken to the sea shore and left on the waters.\" Tanaka Issei: \"The Jiao festival in Hong Kong and the New Territories\", The Turning of the Tide Religion in China Today: Hong Kong Branch, Royal Asiatic Society, and Oxford University Press (Hong Kong); (1989), p. 287.\n\n8 There is a K'ang Yuanshuai, ie Marshal K'ang, on several Taiwanese altars where he", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211768, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1989", "page_number": 183, "title": "RAS-1989", "content_text": "158\n\nTHALIA AND TERPSICHORE ON THE YANGTZE A SURVEY OF FOREIGN THEATRE AND MUSIC IN SHANGHAI 1850-1865\n\nJ. H. HAAN\n\n\"Thanks for the merry laugh that cheered our hearts\n\nFor loud applause that bade us top our parts. For mirth, that taking all things for the best\n\nMade even a blunder seem a clever jest'.\"*\n\nThus an epilogue to an evening of theatrical entertainment in 1852 that was given for the foreign community of Shanghai, and it sums up nicely the attitude with which generally speaking the efforts of the local amateurs were greeted. What happened on the stage in this outpost of Western civilisation may not have been very exciting or very daring but still it seems interesting enough to go into in more detail than has been done before now.2\n\n1. Some notes on foreign life in Shanghai\n\nUntil the first Anglo-Chinese War of 1839-1842, foreigners were severely limited in China. In fact only one port, Canton, was open for external trade and merchants had to reside part of the year in the so-called foreign factories. After the war several treaties were concluded with Western nations (England, France, United States) in which the right of foreigners to settle themselves in a number of cities on the China Coast was granted.\n\nAmong these cities was Shanghai, and it was not long before a predominantly British community came into being. A Foreign Settlement was delimited, Land Regulations (a kind of constitution) were issued in 1845 and 1854, a Municipal Council of foreign merchants was formed as early as 1846,3 houses in colonial style were built, roads and a race course laid out, a drainage scheme begun and a home-like church erected. To the south of the Settlement the French had their own Concession, while to the north an American settlement gradually developed. Problems abounded, sometimes caused by the obstructions of foreign residents;\n\nOrdinary reference notes are indicated thus: (1); notes in which additional information is supplied thus: (1x).", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211770, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1989", "page_number": 185, "title": "RAS-1989", "content_text": "160\n\nminority in the foreign community.' The effects of this discrepancy on the local dramatic scene will be dealt with later.\n\nBy far the greater part of those who came out to China were active as merchants or mercantile assistants; in general, they were in their late twenties or early thirties, and lived together in the hong of their firm. During business hours they traded in silk, tea, opium, and sundries; leisure was sought mainly in sports: racing, fives, bowling, cricket; by some in the Shanghai Library (established 1849), or the North China Branch of the Royal Asiatic Society (founded 1857). All, however, seemed to love the amateur theatricals that were put on several times a year.\n\nII. Theatrical Criticism\n\nIn order to appreciate the information that has come down to us about the theatre in early Shanghai, some attention should first of all be paid to the way in which contemporaries wrote about it. (For reviews see the Calendar of Performances).\n\nThe main, in fact the only, source as regards the early history of the foreign settlement in Shanghai is the “North China Herald”, a weekly that was founded in August 1850. A daily edition, the “North China Daily News” was begun in 1864, but the surviving copies date back only as far as July 1866. Other papers were published in the period under discussion, notably the \"Shanghai Recorder\" (1862-1869), but of these too all trace is lacking, with the exception of one volume (1865) of the \"Shanghai Commercial Record”, the overland edition of the \"Shanghai Recorder\". So we have perforce to rely mainly on the \"North China Herald\"; and, to be sure, a worse source can be imagined. In its pages at the least we find the facts about which plays were performed and what kind of musical entertainment was enjoyed. That is, until about the beginning of 1866, for after that date there is a noticeable decrease in theatrical notes. Then one has to resort to the Daily News.\n\nAll articles, which could be as long as a column, were anonymous, or, in a few cases, signed with an initial or a pseudonym. Not that it matters very much, for generally speaking the critic, if we may call him so, went to considerable lengths to avoid any harsh treatment of the amateurs on the stage. Apparently it was not deemed proper to pull the rug from under a handful of well-meaning gentlemen who devoted their", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211778, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1989", "page_number": 193, "title": "RAS-1989", "content_text": "168\n\nso called Christy's Minstrels --- a famous group in the United States, yet it may be doubted severely whether it was the same one that visited Shanghai.\n\nEight years later, the first company to come down to Shanghai from Hong Kong, where they had also been playing, was the one led by a Mr. C.R. Faylor. On February 10 1864 Lytton's The Lady of Lyons was on the bill as the opening piece, but the Herald thought it a failure in consequence of \"that portion of the company which had been collected in Shanghai and pressed into service\". How this is to be understood is not quite clear. Did Faylor's company consist of only a few actors, who were to be supplemented by local worthies? But then, who else could they be but amateurs, the darlings of the foreign community? However this may be, on May 9 at an evening in which also the \"Royal Shanghai Ballet d'Action\" [so far for fancy names!] participated, the \"celebrated comedy Nature and Philosophy or Eighteen Years Labour Lost” was given. As members of the company were mentioned Mr. and Mrs. C.R. Faylor, Mr. and Mrs. E. Yeamans and Major Pegus. Amateurs almost always adopted stage names in order to hide their real identity, but with professional actors it may be assumed these names were real.\n\n45\n\nA more substantial contribution to the amusement of the Shanghai public was made by Lewis' Dramatic Company. It was of Australian origin and the \"musical director and manager\" was Charles Edouin. Other members of the group were Tilly Earl, Mrs. Gill, Lizzie Naylor, Jenny Nye, T. Andrews, Henry Birch, J.B. Creswick, W.B. Gill and nearly the whole Edouin (or, rather, Bryer) family: Julia, Rose, John and Willie. Rose (1844-1925) married G.B. Lewis and became later an actress at, among others, the Maidan Theatre in Calcutta. Her brother Willie (1846-1908; his real name was John Edward Bryer) first appeared in public when he was six; after the tour to Australia, India, China and Japan he played in Melbourne, California, New York and London.46 In 1862 the \"Lewis' Equestrian Australian Troupe\" had visited the port with \"six of the best horses ever landed in China**,** but in 1864 the company had turned to drama and from October 6 until their departure in December an eight week season provided an unprecedented shower of farces, burlesques and even some quality pieces like Sheridan's The Rivals and the prison scene from Shakespeare's King John (Act IV, sc. 1), in which the role of prince Arthur was played by an actress, Julia Edouin, who took \"the house by storm\".48 The success of the company was apparently so great that they returned in March of the following\n\n47", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211794, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1989", "page_number": 209, "title": "RAS-1989", "content_text": "184\n\nstyle which distinguished it from the hongs by which it was surrounded. Finally there was a musical evening at the Town Hall of the neighbouring French Concession in early February 1865. The \"Hôtel Municipal” was erected in 1864 and stood at the Rue du Consulat, between the Rue de l'Administration and the Rue du Nord.\n\n117\n\nPlaybills were used to advertise the performances in the Settlement (of Calendar, 23.4.1857). Early this century there still existed such a bill dating from 1853, but I have never seen one. They were printed at one of the printing offices in Shanghai. The main ones were those of the North China Herald (Custom House Road - Hankow Road) and of the London Missionary Society which had a large compound on Temple Road (Shantung Road). The printing press of the latter of course mainly turned out religious publications in Chinese, but though the missionaries may not have been regular patrons of the theatre, one source states that playbills for their performances had been printed at \"the Missionaries' house\"\n\nVI. The Audience\n\n**119\n\n120\n\nThe subject of the audience has already been touched upon several times and it is clear that the public, on the whole, liked what it saw and saw that it liked. This did not mean that all entertainments drew heavy crowds. Usually the dramatic companies had a full house, but the interest in music was decidedly less. Whereas Thalia enjoyed at times so many ardent admirers that some were obliged to stand the whole evening, her colleague often had to content herself with the cream of society. But there was always an excuse, or so it seems, for the small numbers in the concert hall; either it was the \"wretchedly wet state of the weather' or the heat:\n\n122\n\nor maybe parsimony prevented people from going, for when M. & Mme Simonsen (violin and singing) gave a recital in May 1865 they failed to draw a large public, but when the admission price was reduced to $3 a full audience was presented. 12 This brings to mind a story of a much later period when the famous Scottish comedian Sir Harry Lauder had the audacity to raise the by then apparently immutable prices of $3-5 by a dollar and had to face a near empty auditorium.\n\n124\n\n121\n\nBearing in mind the population structure in the Settlement the audience, of course, consisted for the greater part of men. This, however, was all the more reason to note the attendance of the ladies. Time and", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211796, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1989", "page_number": 211, "title": "RAS-1989", "content_text": "186\n\nwho evidently had no 'tender cares' to occupy them, manfully maintained their seats in front, and remained so spellbound as to forget entirely the courtesies of gallantry and good breeding. We are of opinion that a perusal of Lord Chesterfield's 'Hints' might be a useful exercise for such as have no innate impulses to enable them to understand and practice what is conveyed in the phrase 'Place aux Dames' when those fair patronesses choose to honour public entertainments with their presence\".\n\n129 Once front seats were shunned by ladies, but that was not the case in mid-century Shanghai. In the Regulations to be Observed on the Evenings of Performances at the Shanghae Theatre printed in the North China Herald of February 14, 1857, it was even stipulated that, \"after the front row had been set apart for the exclusive accommodation of H.B.M. Consul and the French and American Consuls, the seats numbered 2 to 6 will be reserved for ladies, and the gentlemen who escort them.\"\n\nVII. The Plays\n\nFrom the references above, and even more from the Calendar of Performances, it will be clear that the dramatic fare in Shanghai consisted for the greater part, nay for nearly one hundred percent, of pieces that could easily amuse the people. That is to say: farces, comediettas, burlesques, melodramas, burlettas, musical comedies or whatever name may be invented for the genre. There is no space here, nor is it within the scope of this Survey, to give an analysis of these plays, so I shall keep myself to some general remarks.\n\nMost pieces that were performed dated from the 19th century, but there were some from the previous one, like Henry Carey's The Dragon of Wantley (1737), a short three-act opera with music by John Frederick Lampe which burlesqued the Handel style works which were then in vogue (but hardly a century later); and James Townley's (or was it David Garrick's?) High Life below Stairs which one rather antiquarian critic thought \"worth whole bales of farces of the 'Box and Cox' pattern\". Sheridan's The Rivals (1775) was also on the programme several times (although not on that of the local amateurs) but it is remarkable (and, considering the travesties that were common, maybe just as well) that a classic comedy like Goldsmith's She Stoops to Conquer was not tackled.\n\n130\n\nOf contemporary authors the most prolific was John Maddison Morton and it should cause no surprise that his plays took top of the bill: no", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211801, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1989", "page_number": 216, "title": "RAS-1989", "content_text": "A CALENDAR OF PERFORMANCES \n\n1850 - 1865 \n\n191 \n\nIntroduction \n\nInstead of giving a rather dull summing up of dates and plays, I have added to almost each performance excerpts from the reviews which appeared in the local paper(s), with explanatory note if necessary. The material is not equally abundant on all occasions. Sometimes only a few lines were published, sometimes more than a column: actors were not always mentioned and there are hardly any details about the staging of the plays. With respect to the actors and musicians, cast lists have been given only when real names were available. In the excerpts numerous instances will be found of stage names as adopted by Thespian residents. It is unfortunate that their true identity cannot be ascertained; nevertheless, I had to include them, especially those who made a \"career\" of sorts in the Shanghai theatre. Perhaps one day it will, through e.g., private correspondence in some archives, become possible gradually to lift the veil. It should be reminded that female characters with the amateurs were always played by men. Only in the professional companies is a Miss really a Miss. \n\nAll reports about the wonderful acting qualities of the amateurs should of course be seen in their proper perspective. It has been said in the Survey that we cannot be sure how good or bad the performances were, but it must be assumed (and the 1852 Epilogue hints as much) that things were liable to go wrong and that the acting was rather crude, certainly not as polished and natural as we are used to today. That was often not even the case with professional players in that time, let alone amateur ones. \n\nIn the papers, playwrights were almost never mentioned, so other sources had to be used in order to establish authorship. Invaluable in this regard are: Allardyce Nicoll: A Dictionary of the Drama, of which unfortunately only Volume I (A-G) was published; The Player's Library; and, to a lesser extent, T.A. Brown: A History of the New York Stage. \n\nComposers of musical pieces performed at concerts were similarly not always mentioned. Where possible, I have tried to supply the missing information. \n\nIn Appendix I will be found an author list of plays with full titles and in Appendix II an alphabetical list of plays staged in Shanghai; both with dates of performances. \n\nAs far as feasible, the pieces in the Calendar have been entered in the order they were represented on a particular night. \n\nAbbreviations: \n\nT. Type of play \n\nC.: Company \n\nF.: Features \n\nBGM: Boletim do Governo de Macao \n\nCM: China Mail \n\nNCH: North China Herald \n\nSCR: Shanghai Commercial Record \n\nTh. Theatre \n\nN.: Note \n\nR.: Review \n\nN.N.: Not Named \n\n1849-1850: First theatrical season, but no titles of plays have been recorded.", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211808, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1989", "page_number": 223, "title": "RAS-1989", "content_text": "198\n\nT: Farce (1 act) C: Amateurs\n\nF: Music\n\nTh: D\n\nR: This was the last theatrical entertainment organised by Horatio BUSKIN and he could look back on a successful \"career\" as manager. Only the music had flagged of late (tonight \"a buzz in a box near the proscenium represented the music — we were ten feet away from it and it was therefore lost upon us\" the days of \"Sir George Smart and Messrs Thalberg\" and \"Koenig\" were over).\n\n—\n\nTo make up for these shortcomings \"Mr. CLAY as Honeybun (in the Infanticidal Farce) was, as he always is, first rate\". In Slasher and Crasher the public witnessed the debut of \"Miss Polly DEXTER as Rosa, affording hope of a new evening star of the first magnitude\" (NCH 23.2.1856).\n\n14.8.1856 (Thur)\n\nN.N.: The Nigger Doctor and his Patient Patient or the First Lesson in Surgery\n\nT: Negro farce\n\nC: Travelling American Company (Messrs Baker, Woodward and Montgomery) Th: Old Theatre (C)\n\nN: The whole evening was announced as a \"Grand Ethiopian Musical Soirée\"\n\nR: An advertisement only was published in the NCH of August 9. In it the above mentioned gentlemen (formerly of the New York Serenaders) praised their performances as having been \"the theme of universal admiration during the past four years throughout the East Indies as well as the Australian Colonies\". In addition to the farce, the programme consisted of \"Negro songs, interspersed with willy saying and doings peculiar to the African race in America\".\n\n19.9.1856 (Fri)\n\nConcert by Ali Ben Sou Alle and some local amateurs.\n\nInstruments: Turkophone, \"Turkophonini\", clarinet, piano.\n\nProgramme:\n\nG. ROSSINI: Two overtures. V. BELLINI: Selections from \"La Sonnambula\". F. MENDELSSOHN-BARTHOLDY: \"The Fairest Flower\" (song). Some German songs, The \"Shanghai Redowa Walse\", Medley of English, Scottish and Irish airs. Th: N.N. (C)\n\nR: Tonight was the occasion of the first real concert in the Settlement's history. It was given by Mr. ALI BEN SOU ALLE, a Turk who, after a study at the Conservatoire de Paris, had been appointed Directeur de Musique de Marine in Senegal (which had been French since 1871) in 1844. In 1847 he returned to Paris to enter the orchestra of the Opéra Comique, but the following year he went to London where he found employment in the orchestra of Her Majesty's Theatre at the Haymarket. He learned to play some instruments that had been invented by Adolphe Sax, the Belgian musician (1814-1894) and thereafter he made an extensive tour to Australia, Java, Singapore, Manila and China (CM 16, 10, 1856). In Hong Kong and even Canton he had appeared in August and October 1856 (CM 7.8. 14.8. 21.8. 16.10.1856). In between he gave two recitals in the Yangtze port. In the Survey it has already been stated that the soloist entertained the public with performances on several instruments that had been rechristened Turkophone and Turkophonini: in reality they were the Saxophone and (probably) the soprano saxophone. Well may we ask how these instruments, which were only of recent origin (1840s), were received by an audience completely unused to their sound. The artist interpreted a selection from Bellini's \"La Sonnambula\" on the \"Turkophone\" and the critic wrote that \"the compass of the instrument is very great but we confess to some disappointment as regards its quality of tone, and correctness of tone also, in some few notes, and altogether we think it an imperfect instrument", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211820, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1989", "page_number": 235, "title": "RAS-1989", "content_text": "210\n\nBagshaw and Bradshaw, the critic had to admit that \"what it was all about we were utterly unable to discover\" (NCH 4.6.1859).\n\n15.2.1860 (Wedn)\n\nL.S. BUCKINGHAM: \"Take that Girl Away\" (1855)\n\nT: Comedy (2 acts)\n\nC. SELBY: \"A Fearful Tragedy in the Seven Dials\" (1857)\n\nT: Farce (1 act)\n\nC: Amateurs\n\nTh: N.N. (F)\n\nN: First performance of the season\n\nR: The new theatre was only a small one and therefore it was announced in the Herald of February 11 that \"admission will only be given to ticket holders. Tickets will be distributed with the Bills to the various Hongs and any Gentleman who may be accidentally omitted will be supplied on written application to the Manager\". From time to time politics continued to turn up in the playhouse. It was the time of the English and French wars in China; the United States was not taking part in them, only sharing in the spoils, yet the following remark closed the review: \"We beg permission to observe that we should have been glad to have seen the 'Star Spangled Banner' floating over the proscenium along with the colours of France and England. All honour to the Anglo-French Alliance! But our American cousins form, in every respect, so important a section of this community that the absence of their flag on an occasion like Wednesday evening would seem to be a discourtesy of which we feel very sure that the worthy management never was intentionally guilty\". Tonight, and on March 15, the faces of Messrs. PICKWICK, BRUSHWOOD, and TINTINNABULUM as well as that of Mrs. NESBIT were absent from the stage; others like Miss WALTERS and Mr. PETREL had remained. Making their debut were Mr. ADOLPHE, \"gifted with both self-possession and a good voice\"; Mr. WITHAM who, as Cuttle (in Take that Girl Away) \"displayed a steadiness and a clearness of enunciation calculated to make him a valuable actor in 'utility' parts\"; and Mr. NATIVE whom the reviewer thought \"better fitted to shine as a sentimental than as a grotesque lover\". Miss WALTERS was \"dressed to perfection, played as well as ever (can we say more!) and was charmingly feminine\". In A Fearful Tragedy in the Seven Dials, there was the first night of Mr. C. AITCH as Slumpington for whom **a great future success in 'character parts' was predicted. These hopes were not realised, however, for I have not found his name again. For the umpteenth time, the Herald judged the pieces that were represented weak - to put it mildly. (NCH 18.2.1860).\n\n15.3.1860 (Thur)\n\nT. TAYLOR: \"Still Waters Run Deep\" (1856)\n\nT: Comedy (3 acts)\n\nJ.M. MORTON: \"Poor Pillicoddy\" (1848)\n\nT: Farce (1 act)\n\nC: Amateurs\n\nF: Music by the band of H.M.S. Imperieuse\n\nTh: N.N. (F)\n\nN: Second performance of the season\n\nR: This second night took place in a house that was \"crowded in every part\" and proved \"in every respect highly successful\". The \"Man on the Bund\" had no longer a say in the theatrical reports, and the piece about which he had been so dissatisfied (see 23.4.1857), Still Waters Run Deep got a far better critique now: \"in that scene in the second act in which the villain Hawksley is unmasked, the interest was raised to an exciting pitch and sterling dramatic ability displayed by the performers\". No actors were mentioned, but in Poor Pillicoddy, a \"young gentleman made his first appearance", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211822, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1989", "page_number": 237, "title": "RAS-1989", "content_text": "212\n\n26.12.1861 (Thur)\n\nConcert by Signor Robbio, violin, and some local amateurs, Programme:\n\n4\n\nL. VAN BEETHOVEN; Trio for strings in E-flat opus 3, V. BELLINI: “Norma”, the aria 'Casta Diva' arranged for violin, C.A. DE BERIOT: Tremolo\", C. GOUNOD: **Meditation upon J.S. Bach's first prelude\", i.e., the famous Ave Maria, C.M. von WEBER: \"Der Freischütz”, cavatine (presumably \"Und ob die Wolke sie verhülle”, act III), arranged for cello and piano. Sir Henry BISHOP: \"Home sweet home\" (from the opera \"Clari, the maid of Milan'), Sr ROBBIO: \"Grande Valse Diabolique“, In addition: some quartet and solo singing by amateurs.\n\nTh: N.N.\n\nR: Today the second concert by the violinist Signor ROBBIO came off \"for a very large audience\". In November he had made his debut in Shanghai but because of a gap of three November issues in the file of the Herald I have been using no details can be given. Once more, however, the paper seems to have been discontented with the selection of the pieces. Not so tonight, with the exception of one composition by Sr Robbio himself, **a work of the Paganini school” of which the critic was evidently not a lover. About the interpretations by the violinist, though, there was but praise; e.g. \"he greatly charmed his audience by the power and feeling with which he executed the beautiful air from Norma, 'Casta Diva'\". So all was enjoyable, the more so as \"for the moribund piano used at the last concert a fine 'Broadwood' was substituted, which displayed to great advantage the admirable playing of the gentleman to whom St Robbio was so much indebted for his accompaniment\". One letter writer went even so far as to exclaim that such delights in Shanghai are indeed 'like angels' visits few and far between' \"' (NCH 28.12.1861).\n\nFebruary and March 1861\n\nPerformances by \"Lewis' Australian Hippodrome” Loc: Commercial House in Hongkew\n\n-\n\n―\n\nוי\n\nN: During the months of February and March \"Lewis' Equestrian Australian Troupe\" gave a large number of performances, of which the first one was announced for February 15 and the last for March 17. The public was entertained with horses and artists, among whom Mr. and Mrs. COUSINS, Mr. BARLOW, Senior RAPHAEL, Jessi GARDONI, **Austin Shanghai**, and “Little Ella\". For all, benefits were held in March. It was not the first time that the troupe had operated on the China Coast. In December 1859 they had visited Hong Kong (CM 15.12.1859, 22.12.1859).\n\n13.2.1863 (Fri)\n\nJ.M. MORTON: \"Our Wife, or the Rose of Amiens\" (1856)\n\nT: Comic drama (1 act)\n\nH\n\nA. MAYHEW & H. SUTHERLAND EDWARDS: The Goose with the Golden Eggs T: Farce (1 act)\n\nC: Amateurs (Local and British officers)\n\n13.2.1863 (Fri)\n\nJ.M. MORTON: \"Our Wife, or the Rose of Amiens\" (1856)\n\nT: Comic drama (1 act)\n\nA. MAYHEW & H. SUTHERLAND EDWARDS: \"The Goose with the Golden Eggs' T: Farce (1 act)\n\nC: Amateurs (Local and British officers)\n\nF: Music by the band of the 67th regiment\n\nTh: Theatre Royal (G)\n\nN: First performance of the season\n\nR: Casts:", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211826, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1989", "page_number": 241, "title": "RAS-1989", "content_text": "216\n\nR: Nearly five years after his last recital in Shanghai, Martin SIMONSEN returned to the port, this time as a member of \"Mr. Smythe's troupe\". There was also the novelty of a lady singer, Miss Amelia BAILEY, who \"could not fail to render the entertainment attractive even had her voice been less excellent than it is\". This was the last night of a series for which public interest had not been particularly large; only on July 31st had there been an \"excellent house\" and in a reproaching comment, the Herald trusted that the company would \"meet with more uniform support at Hong Kong, the residents of which are reputed more willing to put up with a little heat for the sake of an evening's amusement\". (NCH 1,8,1863).\n\nOctober 1863\n\nOn October 24, the North China Herald informed its readers that \"the Circus Company announced more than a year ago as upon its way to Shanghai has at length arrived and promises to be a valuable means of dispelling the ennui inseparable from winter in China\".\n\n17.10.-23.10.1863\n\nA series of promenade concerts by Miss Amelia Bailey (singing) and Marquis Chisholm (piano), as well as the Rhenish Band.\n\nTH: N.N. (H)\n\n7.11.-13.11.1863\n\nA continuation of the concerts mentioned above.\n\nR: In spite of the meagre support met in Shanghai, the Smythe troupe ventured to return in October after a visit to Nagasaki. This time the concerts were more rewarding - financially, for in November it was noticed that “Miss BAILEY has continued to draw crowded houses\" and that she has no reason to complain of the reception she has met in Shanghai\". (NCH 17.10, 24.10, 14.11.1863).\n\n10.2.1864 (Wedn)\n\nE.B. LYTTON: \"The Lady of Lyons\" (1838)\n\nT: Romantic comedy (5 acts)\n\nC: C.R. Faylor's travelling company\n\nTh: Olympic Theatre (H)\n\nR: The port was honoured by a visit of Mr. FAYLOR's theatrical company in February and May. This was after it had toured Macao (in December 1863; see BGM 14.12.1863) and Hong Kong. There it was highly successful, but the first performance in the Yangtze city was unfortunately a failure in consequence of the ludicrous incompetence of that portion of the company which had been collected in Shanghai and pressed into service. The audience, moreover, was riotous in the extreme and displayed the worst possible taste in exciting themselves to increase the confusion on the stage\" (see also Survey, p. 22). (N.C.H. 13.2.1864).\n\n13.2.1864 (Sat)\n\nC. DANCE: \"Delicate Ground\" (1849)\n\nT: Comic drama (1 act)\n\nC. SELBY: \"A Lady and a Gentleman in a Peculiarly Perplexing Predicament\" (1841)\n\nT: Burletta (1 act)\n\nC: C.R. Faylor's travelling company\n\nTh: Olympic Theatre (H)\n\nR: It is not quite clear how many nights were given by the FAYLOR company. The Herald of February 27 states that **it still continues its performances\", but, in view of what had happened earlier, \"naturally enough has not been patronised by any of the ladies resident in the Settlement\". In May, it turns up again in the pages of the paper. (NCH 27.2.1864).", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211830, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1989", "page_number": 245, "title": "RAS-1989", "content_text": "220\n\nR: In the advertisement it was stated that tickets could be obtained from Messrs Lane, Crawford & Co, G.A. Bretts' Auction Room and Astor House Hotel. Lane, Crawford was a general store that had been established in Kiangsi Road (ex Church Street) since June 1862. The Astor House Hotel was situated in Hongkew (see also Survey).\n\n17.6.1864 (Fri)\n\nPerformance by Messrs J.R. Black and Marquis Chisholm (piano)\n\nTH: N.N. (H)\n\nN: Benefit for Mr. Chisholm\n\nR: John Reddie BLACK (1827-1880) was born in Scotland, but went to Australia to earn a living as a singer in the goldfields. After arriving in Japan, 1861, he became the editor of some English newspapers and from 1876-1880 he edited several papers in Shanghai. In 1864 he still managed to combine his two vocations. His entertainment was \"composed of songs interspersed with anecdotes and conversation of the most lively description which he varied every evening. He has a splendid voice and sings with great taste and feeling\" (NCH 4.6.1864). His accompanist on the piano was Mr. L.C. PHILIPPS (cf. 1.4.1864), but the latter died of cholera and his place was taken by Mr. Marquis CHISHOLM who was no newcomer to the Shanghai public. On June 17 he played a fantasia on Japanese airs, composed by himself. As a matter of coincidence there was \"an absence of ladies, many of whom are at present rusticating in Japan\", but for the other evenings \"the audience has always comprised the majority of the ladies resident in the Settlement\". Evidently this had come to be considered as most desirable, perhaps to lend an air of respectability to the performance. (NCH 11, 18.6.1864).\n\n22.6.1864 (Wedn)\n\nH.J. BYRON: \"Il Treated Il Trovatore\" (1863)\n\nT: Burlesque extravaganza (1 act)\n\nC: Shanghai Amateur Burlesque Company\n\nF: Music by the Rhenish Band\n\nTh: Olympic Theatre (H)\n\n+\n\nR: The first night of a new company, the \"*Shanghai Amateur Burlesque Company\" and, if we may believe the Herald, the Shanghai world \"was completely taken by surprise. So minute an acquaintance with stage proprieties was shown that many of the audience were disposed to believe that they were witnessing a display of professional talent”. (NCH 25.6.1864).\n\n29.6.1864 (Wedn)\n\nH.J. BYRON: \"Ill Treated 11 Trovators\" (1863)\n\nT: Burlesque extravaganza (1 act)\n\nT.H. LACY: \"A Silent Woman\" (1835)\n\nT: Farce (1 act)\n\nC: Shanghai Amateur Burlesque Company\n\nF: \"New burlesque music\" by the Rhenish Band\n\nTh: Olympic Theatre (H)\n\nR: This is one of those increasing occasions in which only a short summary was published in the Herald, while the full report had appeared in the North China Daily News, no longer extant for this year. In any case the hope was expressed that more would be seen of the company \"as soon as the cool weather sets in\" (NCH 2.7.1864). According to the advertisement, tickets were obtainable from Lane, Crawford & Co (see 13.6.1864), Hall & Holtz (Ship chandler, general store and bakers; at the corner of Foochow Road (ex Mission Road) and Kiangsi Road (ex Bridge Street); MacKenzie & Co (shipchandlers, general store and general agents on the Yangkingpang in the French Concession); the Astor House Hotel; and Phillips Restaurant (Phillips, Moore & Co, Nanking Road-ex...)", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211834, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1989", "page_number": 249, "title": "RAS-1989", "content_text": "224\n\nF. TALFOURD: \"A Household Fairy\" (1859)\n\nT: Domestic sketch (1 act)\n\n\"Aurora Floyd\".\n\nHED lists the following authors: C.S. CHELTNAM (1863), C.H. HAZLEWOOD (1836), J.B. JOHNSTONE (1836), B. WEBSTER (1863). In addition, Adams' \"Dictionary of the Drama\" mentions W.E. SUTER.\n\nC: Lewis A.D.C.\n\nTh: Lyceum Theatre (1)\n\nN: Benefit of J.B. Creswick\n\nR: NCH 26.11.1864, advertisement only\n\n3.12.1864 (Sat)\n\nL.B. BUCKINGHAM: \"Take That Girl Away\" (1855)\n\nT: Comic drama (2 acts)\n\nJ.M. MORTON: \"A Capital Match\" (1852)\n\nT: Farce (1 act)\n\nC: Lewis A.D.C.\n\nTh: Lyceum Theatre (1)\n\nN: Benefit of Miss Lizzie Naylor\n\nR: NCH 3.12.1864, advertisement.\n\n9.12.1864 (Fri)\n\nBenefit of Mr. Henry Birch of the Lewis Company.\n\nNo titles of plays were mentioned. (NCH 10.12.1864)\n\n10.12.1864 (Sat)\n\nFarewell performance, also the benefit of Mr. Lewis, of Lewis Australian Drama Company. No titles of plays were mentioned (NCH 10.12.1864).\n\nR: No detailed reviews of the Lewis season were published in the North China Herald, only short announcements. It is quite well possible that more nights than the above ones were given, but they have not been recorded. In general, the company had attracted rather full houses, but for the 9th \"home sweet home\" was preferred; \"the unfavourable state of the weather prevented many ticketholders from putting in an appearance\" (NCH 10.12.1864)\n\nNovember and December 1864\n\nPerformances by the \"Christy Minstrels\".\n\nTh. N.N.\n\nR: Another travelling company that visited the port in these months were the \"Christy Minstrels\" (see also Survey). They too managed reasonably to fill the theatre (it was not stated where the performances took place, but as the Lyceum Theatre was occupied by Lewis, it must have been another location - perhaps the Olympic Theatre). \"No boredom here for by a pleasing variety they prevent that weariness which even the finest display of musical talent must, through frequent repetition, occasion\" (NCH 26.11.1864). In September they had visited Macao (BGM 5.9.1864) and before December 10 they departed for Hong Kong (NCH 10.12.1864).\n\n22.12.1864 (Thur)\n\nPerformance by the Portuguese Amateur Dramatic Corps.\n\nR: It was \"as usual largely attended\" (NCH 24.12.1864).\n\n28.12.1864 (Wedn)\n\nR.B. BROUGH: \"Medea\" (1856)\n\nT: Burlesque (1 act)", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211835, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1989", "page_number": 250, "title": "RAS-1989", "content_text": "225\n\n\"Lady Audley's Secret\", for which HED lists the following authors: C.H. HAZLEWOOD (1863), G. ROBERTS (1863) and W.E. SUTER (1863).\n\nC: Shanghai Amateur Burlesque Company\n\nTh: N.N. (I)\n\nR: For the first time we have at our disposal another source than the \"North China Herald\" for reviews of the Shanghai theatre, viz. the \"Shanghai Commercial Record\". In general, though, the reports were in the same vein as those in the Herald had been, but sometimes more information was given and different accents set. Hardly so for tonight's pieces: they \"reflected great credit on the talent of the performers and their endeavour to provide for the amusement of their fellow exiles has we are sure been highly appreciated\" (SCR 7.1.1865). The Herald only published an announcement (NCH 24.12.1864).\n\n11.1.1865 (Wedn)\n\nD. BOUCICAULT: \"The Octaroon\" (1859)\n\nT: Drama (4 acts)\n\nC: Thorne (travelling) Company\n\nTh: Lyceum Theatre (1)\n\nR: Sometimes the availability of two sources does not make it easier to make a judgement about the truth of things. What to think e.g., of the following reports on the Thorne Company: The Herald was short in its weekly summary of 14.1.1865: \"The Thorne Company have given a successful representation of the Octoroon at the Lyceum Theatre and announce a second performance for this evening\" (i.e., Saturday). In contrast, the Shanghai Commercial Record reported in its issue of January 25: \"We have had another theatrical troupe here, calling themselves the Thorne Troupe. But whether it is that Shanghai has had too much of this class of entertainment lately, or that the pressure of the times is so great that people do not care to attend the Theatre, we cannot say. Both these causes combined probably to render the patronage bestowed on the Thorne Troupe extremely small. Indeed, when they opened on Wednesday evening last [this should read January 11 - JH] it was literally to an empty house for we hear there was actually no one present to view the performance. The company, as well they might be, were so disgusted that they left next day for San Francisco where we sincerely trust they will be more successful\" Cf. however, Survey, note $2.\n\n14.1.1865 (Sat)?\n\nAs above?\n\n4.2.-10.2.1865\n\nConcert by Mr. Desvachez and Signor Enrico Grossi. Th: Town Hall of the French Concession\n\nR: The violinist DESVACHEZ returned to Shanghai, this time accompanied by the bass singer Enrico GROSSI who had earlier, in December 1863, performed with the Faylor Company in Macao (see BGM 14.12.1863). The concert had called for favourable comment at the hands of our music critic” — indicating that a more detailed review had appeared in the North China Daily News (NCH 11.2.1865).\n\n15.2.1865 (Wedn)\n\nAnnual Volunteer Concert by the Volunteer Band and the \"Shanghai Amateur Quartet Club**.\n\nTh: Shanghai Club\n\nR: The Commercial Record of 22.2.1865 gave the following impression of this concert: \"The Volunteer Band was assisted by the Shanghai Amateur Quartette Club and several gentleman amateurs. The large room in the Club House was lent for the occasion and we were glad to see it well filled. The gay uniforms of the Shanghai Mounted Rangers, mingled with the more sober dress of the Volunteers gave the room a very gay", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211842, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1989", "page_number": 257, "title": "RAS-1989", "content_text": "232\n\nnot heard before and of which the best that can be said is that they are decidedly original. They seemed an imitation of the noise of braying of donkeys, but still they elicited great applause from the gallery [which was generally not regarded as very complimentary JH] perhaps from a certain feeling of sympathy. An amateur played Weber's \"Aufforderung zum Tanz\" with a \"perfect feeling\". To conclude the evening Mme SIMONSEN sung the \"Valse de concert\" (composer unmentioned) in which \"she displayed her powers more than in any other piece she has sung\" (SCR 22.5.1865).\n\n24.5.1865 (Wedn)\n\nH. MAYHEW: \"The Wandering Minstrel“ (1834)\n\nT: Farce (1 act)\n\nJ.P. PLANCHE: \"The Knights of the Round Table” (1854)\n\nT: Drama (5 acts)\n\nC: Amateurs of the Shanghai Mounted Rangers\n\nF: Music by the Band of the 67th Regiment; prologue read by Capt. Markham\n\nTh: Lyceum Theatre (1)\n\n―\n\nR: In lieu of the old time favourites, Messrs Brushwood, Pickwick, Newcome and Mrs. Nesbit had come new faces. Most foreigners had not yet made Shanghai their permanent place of residence, so turnover in the theatre too was rather high. Tonight could be admired Mr. SMALLWEED who, in the Knights of the Round Table, as \"the blameless king shewed a keen appreciation of his part and while he delivered the burlesque passages with much humour, proved by the taste with which he pronounced the prophetic eulogium on the Queen of England that he need not necessarily confine himself to broad burlesque in order to gain well-merited applause\"; Mr. Edmund (also a member of the Amateur Burlesque Company) won golden opinions as Launcelot, whereas Mr. PEEKT as Merlin \"displayed much cleverness in personating feeble old men\". In The Wandering Minstrel \"Mr. R.T. Larff, better known to the theatrical world as Mr. Wynnge (did this mean that he had two stage names? JH) sustained the reputation he has already gained as a low comedian and makes us the less deplore the absence of the well known and inimitable Brushwood” (last recorded performance 10.5.1860). Of course the female roles were taken by men, which led, as it always does, to some ridiculous scenes: \"The company possesses great strength in the important particular of lady performers. The only drawback which, however, is immaterial in burlesque, lies in the great height and muscular development of the fair ones\". Yet Miss Mary MIDDLESEX \"bore away the palm for natural feminine get-up\" and \"nothing could excel the dash which Kate COVENTRY threw into the part of the vivandière\", (NCH 27.5.1865). That not all patrons were equally pleased became evident from the Shanghai Commercial Record (5.6.1865) when it wrote: \"an allusion which was considered too personal led to a corresponding in our columns\" (i.e. the \"Shanghai Recorder\" which to the great regret of all historians treating the history of foreign Shanghai can no longer be found). At the end of the evening a number of toasts were proposed, among others to \"Alabaster, to whose exertions much of the success of the company was due\". This was a reference to Chaloner Alabaster (1831-1890), the British vice-consul who was also active in the North China Branch of the Royal Asiatic Society. In conclusion the Herald reported that \"the arrangements were excellent and notwithstanding the warmth of the evening and the crowded state of the theatre, the air within the walls did not become oppressively hot. Punkahs were slung over the front seats and during the temporary pauses kept up a current of air\",\n\n27.5.1865 (Sat)\n\nPerformance by Mr. Benjamin Seare. Programme unknown (reading, etc)\n\nTh: Lyceum Theatre (1)\n\nR: Both the Herald and the Record agreed that Mr. SEARE \"is possessed of great talent\"", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211855, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1989", "page_number": 270, "title": "RAS-1989", "content_text": "# BIBLIOGRAPHY\n\n245\n\n1. Archives:\n\n\"London Missionary Society\": Incoming Letters, Central China.\n\n2. Newspapers and Periodicals:\n\n**Boletim do Governo de Macao**, Macao, 1855-1865.\n\n\"China Mail\", Hong Kong, 1845-1860.\n\n\"North China Herald\", Shanghai, 1850-1867.\n\n\"Puck, or the Shanghai Charivari\", Shanghai, 1871-1873.\n\n*Shanghai Commercial Record*, Shanghai, 1865.\n\n3. Books and Articles:\n\nAdams, W. Davenport: \"A Dictionary of the Drama. A Guide to the Plays, Playwrights, Players and Playhouses of the United Kingdom and America from the earliest times to the present\", Vol. I (A-G) (no more published). Philadelphia, 1904.\n\nAppleton, William W.: \"Madame Vestris and the London Stage\", New York - London, 1974.\n\nBarr, Pat: \"The Deer Cry Pavillion. A Story of Westerners in Japan 1868-1905\", London, 1968.\n\nBlack, J.R.: \"Young Japan. Yokohama and Yedo. A Narrative of the Settlement and the city from the signing of the treaties in 1858 to the close of the year 1879\", Tokyo-London, 1968 (reprint of 1880-1881 edition).\n\nBoase, Frederic: \"Modern English Biography\", London, 1965 (reprint of the 1891-1921 edition).\n\nBooth, Michael (Ed): \"English Plays of the 19th century\", Volumes I and IV, Oxford, 1969-1973.\n\nBritish Museum General Catalogue of Books.\n\nBrown, T. Allston: \"A History of the New York Stage from the first performance in 1732 to 1901, 3 vols.; New York 1964 (reprint of 1903 ed.).\n\nBuckley, C.B.: \"An Anecdotal History of Old Times in Singapore 1819-1867, Singapore, 1902.\n\nCarse, A.: \"The Life of Jullien\", Cambridge, 1951.\n\nChesterfield, Lord: \"Advice to his son on Men & Manners in which the principles of politeness and the art of acquiring a knowledge of the world are laid down in an easy and familiar manner\", Chiswick, 1826.\n\nConolly, L.W. and J.P. Wearing: \"English Drama and Theatre 1800-1900. A Guide to information sources\", Detroit, 1978.\n\nCordier, Henri: \"Bibliotheca Sinica\", second edition; 5 vols.; Paris 1904ff.\n\nDavis, Jim (Ed.): \"Plays of H.J. Byron\", Cambridge, 1984.\n\n'Dictionary of National Biography\".\n\nDyce, C.M.: \"Personal Reminiscences of Thirty Years' Residence in the Model Settlement. Shanghai 1870-1900\", London, 1906.\n\nEngle, Gary D.: \"This Grotesque Essence. Plays from the American Minstrel Stage\". Baton Rouge, 1978.\n\nFétis, F.J.: \"Biographic Universelle de Musiciens\", Paris, 1864; Supplement by Arthur Pougin, 1880.\n\nFitzgerald, Percy: \"Principles of Comedy and Dramatic Effect\", London, 1870.\n\n\"The New Grove Dictionary of Music and Musicians\", London, 1980.\n\nHaan, J.H.: \"Origin and Development of the Political System in the Shanghai International Settlement\" in: \"Journal of the Hong Kong Branch of Royal Asiatic Society\", Vol. 22 (1982), p. 31-64.\n\nHaan, J.H.: \"The Shanghai Library: A history of the first foreign library in Shanghai\" in: \"Journal of the Hong Kong Library Association\", 1987.\n\nHartnoll, Phyllis: \"The Concise Oxford Companion to the Theatre\", London, 1972.\n\nHoward, Diana: \"London Theatres and Music Halls, 1850-1950\", London, 1970.\n\nPage 270\n\nPage 271", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211856, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1989", "page_number": 271, "title": "RAS-1989", "content_text": "246\n\nKing, F.H.H. and P. Clarke: “A Research Guide to China Coast Newspapers 1822-1911”, Cambridge (Mass), 1965.\n\nKosch, Wilhelm: \"Deutsches Theater Lexikon\", Klagenfurt, 1960.\n\nKounin, I.I.: \"The Diamond Jubilee of the International Settlement of Shanghai\", Shanghai, n.d. (c. 1939).\n\nKunitz, Stanley (Ed.): \"British Authors of the 19th Century\", N.Y., 1936.\n\nLang, H.: “Shanghai considered socially\", Shanghai, 1875.\n\nLanning, G. and S. Couling: \"The History of Shanghai\", Vol. I.; Shanghai, 1921. MacGuire, Paul: \"The Australian Theatre\", Melbourne, 1948.\n\nMacLellan, J.W.: \"The Story of Shanghai from the opening of the port to foreign trade\". Shanghai, 1889.\n\nMakepeace, Walter, Gilbert E. Brooke and R. St. J. Bradwell (Ed): 'One Hundred Years of Singapore\", 2 vols.; London, 1921.\n\nMaybon, Charles B. & J. Fredet: \"Histoire de la Concession Francaise de Changhai'', Paris, 1929.\n\nMaude, Cyril: \"The Haymarket Theatre, Some Records and Reminiscences\" London, 1903. Mullin Donald (Ed.): \"Victorian Actors and Actresses in Review\", Westport, 1983 National Union Catalogue.\n\n1\n\nNicoll, Allardyce: \"A History of English Drama 1660-1900\", 6 vols,; Cambridge 1952ff. Pal, John: \"Shanghai Saga\", London, 1963.\n\nPearsall, Ronald: \"Victorian Popular Music\", Newton Abbot, 1973.\n\n\"The Player's Library. A Catalogue of the Library of the British Drama League”, London, 1950.\n\nPope, W.J. Macqueen: \"Haymarket, Theatre of Perfection\", London, 1948. Reynolds, Ernest: \"Early Victorian Drama (1830-1870), New York, 1965 (reprint of 1936 edition).\n\nRiemann, Hugo: \"Musik Lexikon\", Berlin, 1916 (8th edition).\n\nRowell, George (Ed.): \"Nineteenth Century Plays”, Oxford, 1972.\n\n“Shanghai Alamanac” 1855, 1856, 1858, 1862; Shanghai, 1854ff years.\n\n**Shanghai t'ung yen-chiu tzu-liao (Shanghai Research Materials), Hong Kong 1972 (reprint of 1936 edition).\n\nSmith, C.; \"The Hong Kong Amateur Dramatic Club and its predecessors\" in: \"Journal of the Hong Kong Branch of the R.A.S.\", Vol. 22 (1982), p. 217-251. Thomson, Peter: \"Plays by Dion Boucicault\", Cambridge, 1984.\n\nToll, Robert C.: 'Blacking Up. The Minstrel Show in 19th century America”, New York, 1974.\n\nTroubridge, St. Vincent: \"The Benefit System in the British Theatre”, London, 1967. Wearing, J.P.: \"American and British Theatrical Biography\", London, 1979. White, Walter: \"China Station 1859-1864\", London, 1972.\n\nWilliams, Harold S.: \"Tales of the Foreign Settlements in Japan\", Tokyo, 1972. Wright, Arnold and H.A. Cartwright: \"Twentieth Century Impressions of Hong Kong. Shanghai and other Treaty Ports of China\", London, 1908.\n\nAbbreviations:\n\nNOTES\n\nBGM: Boletim do Governo de Macao.\n\nNCH: North China Herald.\n\nSCR: Shanghai Commercial Record.\n\n1\n\nPerformance 6.5.1852. NCH 8.5.1852.\n\nOnly passing attention has been paid to the early theatre in Shanghai: Lanning & Couling. p. 429-430: MacLennan: p. 85-86.", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211860, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1989", "page_number": 275, "title": "RAS-1989", "content_text": "250\n\nadvertisement announcing the auction the ground lot was No 32; this can be found on a plan of the Settlement in the archives of the London Missionary Society (Central China, Incoming Letters, Box 1, Fold. 2. Jack D). That the theatre was in a godown adjoining the Commercial House is mentioned in an advertisement for a book auction that was to take place there (NCH 1.7.1854) and another adv. in the NCH 9.8.1856 (“Old Theatre on the premises of the 'Commercial House').\n\n95 NCH 18.4.1857.\n\n96 NCH 25.4.1857.\n\n97 NCH 2.5.1857.\n\n98 According to the Shanghai Almanac for 1855 Crampton's had rented lots 43 and 77. The plan in the L.M.S. archives shows these to be between Church Street and Bridge Street.\n\n26.1.1856.\n\n99\n\n100 NCH 1.1.1859.\n\n101 NCH 26.2.1859.\n\n102 NCH 19.2.1859.\n\n103 NCH 29.10.1864; adv. NCH 7.5.1864.\n\n104 NCH 26.11.1864.\n\n105 Cordier, III, col. 2232.\n\n106 NCH 2.10.1852.\n\n107 NCH 4.12.1852.\n\n108 NCH 28.5.1864.\n\n109 Information supplied at a meeting 16.11.1866; of NCH 24.11.1866.\n\nNCH 22.9.1866.\n\nNCH 17.11.1866.\n\n112 Minutes in NCH 24.11.1866.\n\n113 NCH 24.11.1866.\n\n114 For a brief survey of the Lyceum Theatre see: Shanghai-t'ung, p. 487-491.\n\n115 NCH 3.12.1864.\n\nNCH 25.6.1864.\n\n117 Darwent, p. 99; cf also Maybon & Fredet, p. 264-265. Wright, p. 390.\n\n119 White, p. 23. In the archives of the L.M.S. there are, in the correspondence, a number of references to printing activities, but they of course focus on religious tracts, etc. Only in some instances is there mention of \"commercial papers printed\" or \"Job work\" (letter 19.4.1853; Box 1, Fold. 4, Jack A).\n\n120 NCH 7.5.1853.\n\n121 NCH 12.3.1859.\n\n122 NCH 1.8.1863.\n\n123\n\n124 NCH 13.5.1865, 20.5.1865.\n\nof Pal, p. 121.", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211952, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1989", "page_number": 367, "title": "RAS-1989", "content_text": "342\n\nThe festival was estimated to cost a total of more than one million dollars. The opera cost $357,000, paper images $150,000, temporary structures $150,000, and the puppet theatre $110,000. The opera was paid for, as is the tradition, from the funds of two lineage trusts, those of the Naam-Kai jou and Ching-Lok jou. Each contributes $180,000. For the other expenses, each of the villagers paid a subscription of $300, with the no. 1 to no. 15 ritual representatives each paying an extra $500,\n\n50\n\nThe main participants were the Dang villagers of Kam Tin. For the purpose of organizing the jiu the villagers were divided into five gu sections. Each section corresponded to a village, except that the Tai Hong gu included, besides Tai Hong Wai, Ko Po, Kam Hing Wai, Tsi Tong Tsuen and Tai Hong Tsuen. Also taking part were the villagers of Ying Lung Wai, the settlement of the second branch of Hung-Yi's lineage outside the heung of Kam Tin. They paid half subscriptions and got the last three places among the 60 ritual representatives. Some of the non-Dang residents in the heung also participated. Those include the Sa Bui Leng villagers and post-War and later immigrants from China who operated farms and shops in Kam Tin. These \"outsiders\", however, could not become ritual representatives. The ritual representatives were to stand for all the villagers in the Taoist rites and in some of the rites the villagers performed on their own. There were also religious activities conducted by every household. At three points of the festival, i.e. the opening day, the main day, and the concluding day, every household came, family by family, to worship at the various ritual sites, and a priest visited each house on the last day to purify the family altar. In addition, each and every person was named in the ritual memorials which were read aloud and sent by fire to heaven, with a copy posted in the ritual area for all to read and check.\n\nMany other villagers in the area were also peripherally involved. They offered their congratulations by having fa-paai banners set up in the festival site, and by paying a formal visit to the site on the main day with their lion/unicorn dances. To wait to receive them the elders of Kam Tin lined up in cheung-saam,\n\nB. Ritual Area\n\nThe festival site was beside the Jau and Wong Temple. A large paang temporary structure was erected. Outside the main structure were three small linked temporary structures for first-aid, the fire services, and the", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211978, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1989", "page_number": 393, "title": "RAS-1989", "content_text": "368\n\nSung, Hok-p'ang et. al. (1984), pp. 1-9.\n\n1973 \"Legends and stories of the New Territories: Kam T'in', JHKBRAS xiii, 1973, pp. 28-40.\n\n1974 \"Legends and stories of the New Territories: Kam T'in\", JHKBRAS xiv, 1974, pp. 160-185.\n\nTaga, Akigoro Tanaka, Issei\n\n1982 Chugoku Sofu no Kenkyu, vol. 2, Tokyo.\n\n1985 \n\nTsui, Bartholomew\n\nWatson, Rubie S.\n\nWolf, Arthur P. (ed.)\n\nA Chiu 亞潮(?) baai 拜 baai-san\n\nBaak Mou-Seung Ú Baak-Ging\n\nBaishe Zhuan\n\nLineage and Theatre in China. Interdependence of Festival Organization, ritual, and theatre in the lineage society of South China, Tokyo.\n\n1989 Village Festivals in China: Backgrounds of Local Theatres. Tokyo\n\nforthcoming\n\n\"Daojiao Yili ya Jishen Kiju zhijian de Guanxi”,\n\nforthcoming\n\n\"Taoist Ritual Books of the New Territories\".\n\n1985 Inequality Among Brothers: Class and Kinship in South China, Cambridge University Press.\n\n1974 Religion and Ritual in Chinese Society, Stanford.\n\nGLOSSARY\n\nchiu-gaan chiu-dou * Chiu-Yip #\n\nchu 柱\n\nChuk Yuen 竹園\n\nChung E\n\nChung Yeung 重陽\n\nChung-Saan\n\nU\n\nBak Bin 北便\n\nBak Dai 北帝\n\nbei 陂\n\nbong 榜\n\nBou-Dak Chi #AM\n\nbui\n\ncha-gwo 茶果\n\nChan Gau 陳九\n\nChan 陳\n\nchau-san\n\n+\n\nChenghua 成化\n\ncheun-ding\n\nT\n\ncheun-fu 巡撫 Cheung-Cheun Yun cheung-saam Chi-Naam Ching Ming U Ching-Lok\n\nChung-Yut Я\n\nchyun 村\n\nDaai-Si Wong ✰±\n\nDaai-Wong E\n\ndaai-yan ★A daai-yau daam\n\ndaam-jung da-jai 打仔 da-jiu 打醮 dan 躉 Dang 鄧\n\nDang Chung 鄧璁 Dao 道 da-saat\n\nDei-Jong Wong E", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211989, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1989", "page_number": 404, "title": "RAS-1989", "content_text": "379\n\nThe Morning Post, Jan 1, 1901\n\nCover Page of La Politique de Pe'kin BM7 Jun, 1914, with\n\nSir Robert Hart on it\n\n1 booklet \"Topside Galan\" illustrated by Bessie L'E. Pirkis, in water\n\ncolour (MS)\n\n10 Chillon College Magazine, Vol II: XI XII (2 copies); Vol III: I,\n\nII, IV, VI, VII, VIII: VOL IV, 1\n\nSchool reports, 1937\n\nBundles of theatre programmes and theatre tickets\n\nMinutes of the Seventh Annual Meeting of the Board of Managers of the\n\nPeking University, January 16, 1906 (University Press)\n\nMisc. clippings, newspapers and magazines\n\nLoose papers, some with Robert's childish scribbling for Granny Some calling cards\n\n3 menus\n\nHong Kong and Shanghai Bank to Lady Hart, 29 Oct 1906\n\n5 photographs in an envelope addressed to E Prince (?) Hart Esq. 1 poem (MS)\n\nInvitations\n\nPostcards to Hart (Moore to Hart, 3 Aug 1909), Lady Hart (5), Bruce\n\n(1), Robert (6)\n\nBOX 5\n\nBundle of misc. letters to Robert\n\nBundle of misc. letters to Mr. & Mrs. Bruce Hart Bundle of misc. letters to Carrie and others\n\nMisc. clippings, scribbling, empty envelopes, etc. Robert Bredon to Lady Hart, 7 Sept 1911 27 May 1912 Bundle of papers for learning meaning and pronunciation of Chinese\n\ncharacters (MS)\n\n1 printed address accompanying the Testimonial to Sir Robert Hart GCMG. with Sir Robert Hart's Reply (Peking, 22 Aug 1890)\n\n1 printed letter, E.B. Drew to Alex. Jamieson, 28 August 1890 Letters to Lady Hart from various persons and institutions mainly\n\nregarding her finances\n\n1 typed letter to Editor of The Times, \"The China Crisis”, from H.\n\nCrouch Batchelor\n\n5 letters to Hart\n\nLetters from Hart", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 212083, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1990", "page_number": 25, "title": "RAS-1990", "content_text": "\"Every Chinese peasant is three thousand years of China in miniature. He may not peruse the books of history, but he has heard the story-teller night after night relate in detail, and with delightful embellishments, stories of the history of China from the time of the early rulers to the present day. He and his wife and children have attended the theatricals where the stories of romance, of adventure, of loyalty, and of virtue have been realistically visualised in the open-air theatre that adorns the square of every self-respecting market town. Their culture thought-patterns are not chosen from present day movie stars but from great men of old. The common people have absorbed, not read, from the master spirits of forty centuries.\"\n\n\"Most Chinese peasants are anything but stupid. Their knowledge of their own folklore and folk history is extensive, although it is far from being historically accurate. Usually the history the country person knows has been learned at the opera, and he is frequently unable to say whether a certain character is a real person who lived at a definite time, or merely the creation of a dramatist. This confusion is the more frequent because so many of the characters of Chinese drama are patterned after actual people of history.\"\n\nI do not wish to suggest for a moment that time has ever stood still. Rather, I am using the impressions gained by Joliffe, Winfield and others to emphasise the immense weight and influence of Chinese traditional education and upbringing upon the people until recent times. With reference to Hong Kong, I would say that their powerful, lingering vestiges here lasted until perhaps two decades ago: until the rapid modernisation and the improvements to the educational and socio-economic structure which began in the 1970s soon shifted the whole basis of society onto a more material level, and together with other changes greatly reduced the influence of the past upon behaviour and outlook.\n\nMy own realisation of the continuing strength of traditional values and practice and their lingering influence upon the people was obtained before these changes had taken hold, and was mainly acquired at first hand in the course of observing and experiencing the responses of the", "txt_file_path": "txt/dfo323lmgvd/RAS-1990.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/d79206299", "rank": 0 }, { "id": 212123, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1990", "page_number": 65, "title": "RAS-1990", "content_text": "42\n\ndisasters. the second is for those who died because of plague. The final reason is to thank the benevolent governors Wang Lai-ren and Zhou You-de of the beginning of the Qing dynasty. In my opinion, all these reasons can be integrated into the first one.\n\n(d) Chan Wing-hoi \"The Tangs of Kam Tin and their Jiu festival\", Journal of the Hong Kong Branch of the Royal Asiatic Society, Vol. 29 (1989) 302-375, a rich and detailed account of the lineage, its temples and villages, and the festival which draws them together.\n\nDr. Faure gradually switched his interest to the Pearl River Delta while Prof. Tanaka, as I was told, is now looking at Sichuan province. Talk on publishing a book on Hong Kong Jiao festivals has been going on for years by members of the \"Research Circle of the Regional Society of Southern China''. In 1990, the editorial board of the society set up a schedule to compile a book focusing on the Jiao festival. It is expected that papers on various aspects will be completed by the end of April 1991. (Correspondence from the society dated 28.12.1990)\n\nSchipper, Kristofer M., \"The Written Memorial in Taoist Ceremonies\" in Wolf, Arthur P. (ed.) Religion and Ritual in Chinese Society (Stanford: Stanford University Press, 1974), 324,\n\nFor example, according to Chan Wing-hoi, villagers of Shek O celebrated their 16th Jiao in 1986 (Chan, 78). The Dengs in Kam Tin claimed to have celebrated their Jiao since 1684 (Tanaka, 918).\n\nSee for instance Basel Mission Archives, doct. Al-6, No. 51 (1869), and doct. Al-7, No. 51 (1870) and Der Evangelische Heidenbote, July 1867, in which a missionary describes how he was forced to go to the Magistrate to get his support before he could avoid having to pay his share of the Jiao expenses. All these cases are from Hsin An County. The Sha Tin poem will, it is hoped, shortly be published by Dr. P.H. Hase.\n\nThese two series are part of the 15 series of historical documents collected by Dr. D. Faure and others in the New Territories. Copies of the collections are kept in the libraries of CUHK, Hong Kong University, Sha Tin Regional Council Library, and Institute of Oriental Culture, Tokyo University.\n\n31\n\nTanaka Chugoku no Sozoku to Engeki [Lineage and Theatre in China] (Tokyo Univ. Press 1985), 608. Jiao festivals celebrated by the powerful communities in Hong Kong like Kam Tin, Ha Tsuen, Lung Yeuk Tau etc., were all performed by the Zhengyi Taoist group, led first by the late Master Lin Pei and now by Master Chan Kau. Another Zhengyi Taoist group is led by Master Chan Wah. However, many Taoist priests work for both groups. There are also other Taoist groups who performed for the Jiao festivals, like a Cantonese group which performed for Ho Chung and a Heklo group for Cheung Chau. In 1983, four out of five Jiao festivals were performed by monastery Taoists. It is not clear whether it was because of tradition or out of economic reasons. A comparison of the two Taoist groups has yet to be made.\n\n14 Choi Chi-cheung **Sho matsuri no jinmei risuto ni mirareru shinzoku ban'i” [Kinship as seen in the name lists of Jiao festival] Bunka Jinnú Gaku 5 (1988): 131, table L. 35 **Shinshi men\" [Section of Believers] in Fanling Wenxian (Historical Literature of Fanling) vol. 8. This brief account records details of the arrangement of the Jiao area, including the contents of couplets, names of deities invited, location and direction of matshed stages, and the sacrifices prepared etc.. See n. 32 for the depositories of Fanling Wenxian.\n\n36 See (1972) Lin Chuan [Lam Tsuen] Xiang Taiping Qingjiao huiyi jilubu in Dapu [Tai Po] Wenzian [Historical Literature of Tai Po] vol. 1. (see n. 32 for depositories)\n\n37 Tanaka Issei's three books, all published by the Tokyo Univ. Press are: Chugoku Saishi Engeki Kenkyu [Ritual Theatres in China] (1981), Chugoku no Sozoku to Engeki [Lineage and Theatre in China) (1985), and Chugoku Kyoson Saishi Kenkyu: Chihogeki", "txt_file_path": "txt/dfo323lmgvd/RAS-1990.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/d79206299", "rank": 0 }, { "id": 212124, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1990", "page_number": 66, "title": "RAS-1990", "content_text": "no Kankyo [Village Festival in China: Background of Local Theatres] (1989). The Jiao festivals studied by Tanaka are as follows:\n\n \n Communities\n Year\n \n \n Cheung Chau\n 1979\n1979, 1983\n \n \n Recorded in\n 1981:74-99\n1985:227-302\n \n \n Ha Tsuen\n 1981\n \n \n \n 1985:199-226\n \n \n Hung Hom, Kowloon *1\n 1978-80\n \n \n \n 1981:771-780\n \n \n Kam Tin\n 1985\n \n \n \n 1989:915-996\n \n \n Lam Tsuen\n 1981\n \n \n \n 1985:359-528\n \n \n Leung Shuen Wan, Sai Kung\n 1980\n \n \n \n 1981:99-113\n \n \n Lin Fa Tei *2\n 1967\n \n \n \n 1985:558-572\n \n \n Lung Yeuk Tau\n 1983\n \n \n \n 1985:609-720\n \n \n Sha Tin, Kau Yeuk\n 1985\n \n \n \n 1989:1041-1112\n \n \n Sha Tin, Tai Wai\n 1987\n \n \n \n 1989:977-1040\n \n \n Sha Tin, Tin Sam\n 1986\n \n \n \n 1989:1040\n \n \n Tai Po Tau\n 1985\n \n \n \n 1985:121.131-138\n \n \n Tuen Tsz Wai\n 1986\n \n \n \n 1989:817-913\n \n \n Yuen Long\n 1983\n \n \n \n 1985:139-198\n \n \n 43\n \n\n*1: From the context, this festival, held on the 14th of the seventh moon, can be best seen as a ghost festival organized by the Hoklo dialect group.\n\n*2: Tanaka did not attend this festival. Analysis of the festival was mostly based on the 1967 account collected by H. Baker.\n\nSee map for the location of places.\n\nJH Tanaka, Ritual Theatres, 5.\n\n班 Tanaka, Lineage and Theatre, 11.\n\n40\n\nfbid., i-ii.\n\n41 Tanaka, Village Festival, i-iij.\n\n42\n\nFaure, David, The Structure of Chinese Society: Lineage and Village in the Eastern New Territories, Hong Kong (Hong Kong: Oxford Univ. Press, 1986), 81.\n\n4.3 Segawa, Masahisa, \"Daa Chiu: matsuri ni arawareru Hon Kon no mura no sugao” [Da Jiao: facets of villages in Hong Kong as shown in the festivals] Kikan Minzoku Gaku Ethnography Quarterly 33 (1985): 21-35.\n\n14\n\nSegawa, Masahisa \"Ta-tsiu [Da-Jiao], feuds, and village alliances: the case of Pat Heung\" (unpublished manuscript, 1991).\n\n45 Choi, Chi-cheung, “Chi o urai ekibyo o harau taihei shinsho\" [Jiao festival: to wash: the land and remove illness] Kikan Minzoku Gaku 40 (1987): 90-105.\n\n4\n\n40\n\nChoi, Jiao festival\", 1046.\n\n47 Choi, \"Kinship\", 147-149.\n\n4#\n\nThough Tanaka wrote that only a few communities in the New Territories celebrated the festival during his seven and a half years' observation (Tanaka, Lineage and Theatre, 608), we are still unclear as to how many communities continue to celebrate it. For instance, the Cheung Long Wai case was not mentioned by any informants. It was known only by an occasional visit to the village. A likely source is the Police since theoretically every festival celebrated in Hong Kong has to receive permission from the police for security measures. The district offices in the New Territories are another source of information. Certainly there were in the past other celebrations which have now ceased for one reason or another (e.g. at Sha Tau Kok, Shuen Wan and Ta Kwu Leng).\n\n49 Segawa, \"Daa Chiu', 35.", "txt_file_path": "txt/dfo323lmgvd/RAS-1990.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/d79206299", "rank": 0 }, { "id": 212250, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1990", "page_number": 192, "title": "RAS-1990", "content_text": "THE OFFERING TO THE WHITE TIGER\n\nIN CANTONESE OPERA\n\nSAU Y. CHAN*\n\n169\n\nIntroduction\n\nSymbolically, the White Tiger is a mystic figure in Cantonese folk religion. Though it can also bring merits to people, it is often referred to as a fierce devil. Thus the ritual known as zae bak fu (Offering to the White Tiger) should be held from time to time so that the harm caused by the White Tiger could be minimized. It is performed in a variety of Cantonese folk religious practices and a comparatively more elaborate form of the ritual has been preserved in the tradition of Cantonese opera, where it is also called zuk bak fu (capturing the White Tiger), zae toi (offering to the performing stage), po toi (breaking or initiating the performing stage), da mau (beating the cat) and occasionally as tiu coi sen (dance of the Deity of Fortune) and tiu jyn tan (dance of the Jyn Tan deity). As it has often been criticized as a superstitious act in mainland China, troupes there have, according to some informants, ceased to perform this ritual in recent decades. Nowadays this operatic form of White Tiger ritual is mainly preserved by troupes performing in Hong Kong, Singapore and Malaysia.\n\nI\n\nThe Exorcistic Function of the Offering\n\nAccording to interviews with many Cantonese operatic employees, whenever a theatre, whether temporary or permanent, is built on a piece of land that has never been used for such a purpose, the performing stage is called a sen toi (new stage) and the White Tiger ritual has to be performed for the protection of members of the troupe and the community which hires the troupe. It is believed that a tiger turns white when it reaches the age of 500. It would then make use of people's mouths to harm other people. Before the ritual is done, if one calls the name of another person, or simply talks, the words will be made use of by the White Tiger and the one who responds will be harmed. In the past, disasters such as the flooding, collapse and\n\n* Music Department, the Chinese University of Hong Kong.", "txt_file_path": "txt/dfo323lmgvd/RAS-1990.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/d79206299", "rank": 0 }, { "id": 212251, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1990", "page_number": 193, "title": "RAS-1990", "content_text": "170\n\nburning of the temporary theatre, and the sudden deaths of the troupe or community members, were believed to be the outcome of either a violation of the taboo, or a bad performance of the ritual. Besides such disasters, harm of a moderate degree can also occur. This might include the sickness of troupe employees, the loss of an actor's voice, the forgetting of one's part and the commitment of some impossible mistakes during a performance. It has also been a custom that local people should stay away from the performance hall or hide themselves at home before the completion of the White Tiger ritual.\n\nWithin the Cantonese operatic troupes which perform in modern Hong Kong, the taboo of shutting one's mouth and keeping quiet is still strictly observed by the two actors, three percussionists and two to three backstage workers who happen to be assigned by the troupe owner to participate in the preparation and performance of the ritual. Such troupe members often avoid laughing and talking from the moment they arrive at the theatre until the ritual is held, even in areas other than the stage. The two actors always stay away from their friends and colleagues and do not talk to each other. Other employees of the troupe try to hide themselves in the dressing compartments of the backstage, or leave the stage area.\n\nAnother tradition connected with the White Tiger ritual concerns the entrance and exit space located between the backdrop and the back wing curtain on both sides of the frontstage. These two areas are called fu dou mun (the tiger's gate of passage) and are referred to as the Tiger Gates in the present paper. It is uncertain whether the White Tiger ritual is related to the Tiger Gates but another taboo requires the employees to enter the frontstage area through the gate at stage left and leave through the one on the other side before the completion of the White Tiger ritual.\n\nAs pointed out by Barbara E. Ward in her paper \"Not Merely Players: Drama, Art and Ritual in Traditional China\", to avoid the breaking of the taboo by outsiders who do not know it, troupe members do not welcome any visits onstage before the ritual is held. However, the present writer has observed that some backstage workers of a younger age often fail to follow the taboos. Some of them said that they did not believe in these taboos and dismissed them as old-fashioned superstitions.", "txt_file_path": "txt/dfo323lmgvd/RAS-1990.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/d79206299", "rank": 0 }, { "id": 212260, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1990", "page_number": 202, "title": "RAS-1990", "content_text": "179\n\nthe profession as a means to solve problems related to the management of the troupe and the theatre. Eventually such management rules were overwhelmed by the profession's religious sentiments and transformed to become an essential part of the employees' religious beliefs.\n\nHsu Francis L.K. 1983\n\nREFERENCES CITED\n\nExorcising the Trouble Makers. Magic, Science and Culture, Westport: Greenwood Press.\n\nChiao, Chien\n\n1986\n\n\"Beating the Petty Person: A Ritual of Hong Kong Chinese\" (in Chinese), in New Asia Academic Bulletin (Volume VI): Special Issue on Anthropological Studies of China, Hong Kong: New Asia College, The Chinese University of Hong Kong.\n\nWard, Barbara E. 1979\n\n\"Not Merely Players: Drama, Art and Ritual in Traditional China,\" in Man, March 1979.", "txt_file_path": "txt/dfo323lmgvd/RAS-1990.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/d79206299", "rank": 0 }, { "id": 212414, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1990", "page_number": 356, "title": "RAS-1990", "content_text": "333\n\ntheatre-going society of pre and post-war London, personified by Noel Coward. Indeed he belonged to that world.\n\nBeaton was an extremely talented man - a man of the theatre (as stage designer); and of films (as artistic designer). He was also an extremely brilliant portrait photographer of celebrities - politicians, film and stage stars, beautiful aristocrats - and a sharp autobiographer.\n\n―\n\nOxford University Press have, indeed, performed a public service in re-printing these two books, products of the propaganda arm of the Allied War effort in World War II. They capture in words and pictures the exotic and heroic backdrop of places and people - the military, of course, but also the peasant men, women and children of the two main theatres of war in the Far East, South East Asia and China. The words of Beaton's travel diaries and pencil sketches provide marginal observations to the photographs which, in most cases, \"speak for themselves\" in usually the direct language of propaganda. (However, it must be admitted that exposures of the manly heroic breasts of the soldiery record as well Beaton's sexual ambivalence, which doubtless lies at the heart of his creative genius).\n\nIt is interesting to note that at the time, in 1942, when these War Correspondent's despatches were being executed, Beaton was anguishing over the artistic dilemma of whether to carry out the assignment, principally as a photographer war-artist, or whether to pursue his more artistic endeavours.\n\nIn conclusion, it is perhaps unfair to Oxford, when they have done a very good job with an introduction by the Keeper of Photographs at the Imperial War Museum, London, illuminating the context of these now exceptional picture archives of the war - for this reviewer to feel a slight pang of disappointment with the reprints when compared with the originals. There the typography, design and format provide an additional dimension of insight into the ethos of that dramatic period of history.\n\nALAN BIRCH\n\nNancy Tapper, Bartered Brides: Politics, Gender and Marriage in an Afghan Tribal Society Cambridge, Cambridge University Press, 1991, xx + 309pp. Bibliography, Index.", "txt_file_path": "txt/dfo323lmgvd/RAS-1990.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/d79206299", "rank": 0 }, { "id": 212532, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1991", "page_number": 86, "title": "RAS-1991", "content_text": "66\n\nsucceeding years.\n\nThe significant turnabout of Sino-American cultural relations, especially arts exchanges, came in 1979 when some ten American performing groups came to China for public appearances while some Chinese groups toured the United States. There were also exchanges of arts educators and prominent artists in that year, some of whose tours were sponsored by the Center for United States-China Arts Exchange, an institution established to that end on 1 October, 1978.\n\nA little earlier there had been a little-publicized thaw in 1978, when a Chinese American's Chinese-style paintings were exhibited in Beijing and the China Film Export and Import Corporation (CFEIC) made its first purchase of an American movie, the Convoy, directly from an American company. Subsequently, the CFEIC purchased a film, Future World, and accepted a gift, the Nightmare, in 1979. In 1979 all three movies were shown to the public. The Chinese television stations soon followed suit by buying a 17-episode TV series which, according to the contract, was to be allowed three transmissions in China in the next four years. On the American side, an American company purchased 14 Chinese movies in 1979 in a single deal.\n\nThe rise of Chinese interest in American arts was also demonstrated in another field, the theatre. In December 1979, a play adapted from an American movie Guess Who's Coming to Dinner was staged by the Chinese Youth Theatre in Beijing. The fever over American arts inaugurated in 1979 was increasingly developed in the following two years. In 1980, 13 American performing arts groups appeared on Chinese stages while the number climbed to 22 in 1981, a record which still stands today.\n\nAfter this high-point, the inflow of American culture fluctuated depending on several factors. In 1983 there was a slight increase followed by a downturn in 1984. In 1985 there was again a revival of American cultural influx.\n\nThe first major group of Chinese artists arrived in the United States in 1980, following a major event in the previous year. As appearances of Chinese artists in the States are more difficult to trace, especially for researchers in China, the statistics in this paper can only reflect major artistic events. In this case, the figures show a slight increase generally.", "txt_file_path": "txt/dfo323lmgvd/RAS-1991.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/k356gt84j", "rank": 0 }, { "id": 212562, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1991", "page_number": 116, "title": "RAS-1991", "content_text": "96\n\nThe interest of the Chinese in American culture was surprising. For example, between 1979 and 1986, 13 American plays were produced by Chinese theatres, including Arthur Miller's Death of a Salesman. The production of Death of a Salesman was not, in fact, an American event because all the people involved directly in the staging were Chinese, except for Arthur Miller who directed the play, and it was a production of the Beijing People's Art Theatre. Nonetheless, it was seen as a symbol of Sino-American affinity and cooperation. The opening night performance in Beijing was attended by the American ambassador to China, and David Rockefeller, Jr. In the Chinese press, the production of the play was hailed as \"the most significant cultural event in China since the Cultural Revolution\".38 This interest in American cultural events in China actually upgraded the intensity of American cultural presence.\n\nOn the other hand, the American involvement in China's arts education was massive and intensive. In 1985, for instance, the number of Americans teaching in Chinese arts institutions roughly equaled the total of artists from all other countries serving in similar capacities. In sum, the eight years between 1979 and 1986 saw an influx of American culture nurtured by as well as resulting from the disproportionate interest of the Chinese in the United States and its culture.\n\nAt the beginning of the process of diplomatic normalization and in the two years following it, China's external relations were almost monopolized by developing the American linkage. The much-publicized visit of Deng Xiaoping to the United States, the signing of dozens of agreements between the two governments, the massive arrival of Chinese students on American campuses, the exchanges of delegations, and the encouragement of non-governmental contacts by the governments and so on, all helped make the impression on the Chinese that the United States was the best in everything and the American linkage was the only relationship to be valued. In the first two years following normalization, an average of 100 Chinese delegations visited the United States monthly.\" Furthermore, the use of arts exchanges to consolidate the general relationship and to win U.S. economic and technological cooperation made arts exchanges a handmaiden of politics.\n\nIn specific terms, when a major American cultural event took place in China, it was praised all around for political reasons, while the necessary objective evaluations of the quality and the artists involved were rarely or sometimes never provided. The flaws in the BSO's", "txt_file_path": "txt/dfo323lmgvd/RAS-1991.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/k356gt84j", "rank": 0 }, { "id": 213483, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1995", "page_number": 79, "title": "RAS-1995", "content_text": "(4) if he treads \"in the air\", this means ascending the staircase. (5) when two men are holding an oar - this indicates the existence of a pontoon bridge for someone to use it to get to a nearby boat or sampan.\n\n(6) two big flags, each bearing the imprint of a wheel, held by a man or woman in each hand, with a noble lady in the middle, indicates that the lady is sitting in a chariot.\n\n(7) punishment or degradation of an official or scholar is indicated by \"taking away his hat\".\n\n(8) if a man wears a heavy balaclava, that means he is on a long distance trip or in severe cold.\n\n(9) there is no eating scene in Peking Opera. Drinking wine is denoted by raising the wine cup, with the right hand, to the lip, and hiding the movement by raising the sleeve of the left arm.\n\n(10) a man without a hat, constantly swinging his hair from side to side or tapping his finger on his forehead, or the constant rubbing of hands means he is in trouble and does not know how to get out of it.\n\n(11) why does an important figure walk from the back of the stage to the centre in a funny gait? This is because the Chinese theatre usually has no curtain, as the Western theatre does, so he has to perform the action in a dignified way.\n\n(12) wiping the eye with the sleeve denotes that the actor or actress is weeping or crying. I don't know why, but possibly handkerchiefs were not used in China in former times.\n\n(13) you will find that, in some of the play, a chair is used to represent the front door of a house or cave house.\n\n(14) a painted cloth screen, with an opening in the middle, represents the city wall and the entrance to the city.\n\n(15) you never see a man sleeping on a bed with a pillow. To portray that he is sleeping, he always sits upright in a chair, with his day clothing on, behind a cloth screen.\n\nThe Painted Face Actors\n\nHow much do you know about these painted Faces? From behind these facades, how much can you make out of it, to foretell the kind of character or personality of the man the actor is trying to represent on the stage? The following few hints maybe of help for you to understand the character of the man in history that the actor is portraying.", "txt_file_path": "txt/dfo323lmgvd/RAS-1995.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/95941j25g", "rank": 0 }, { "id": 213491, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1995", "page_number": 87, "title": "RAS-1995", "content_text": "55\n\npoor doctor escaped to Taiwan on some other score.\n\nThen we learned that the famous playwright Woo Tzu-kwong () married the actress Hsin Fung-hsia () and the couple live happily together until now. It is fair to say that the theatrical people in China, including those actors and actresses, are living a stricter moral life than their counterparts of the European and American origin. I hope that, one of these days, the social differences will be swept away so that men and women can live a non-hobbled life as anybody else.\n\nThe Applause and the Booing\n\nApplause by hand clapping is only a recent invention to the theatres in China. In the old days, applause came spontaneously from the audience when the public felt the singing or acting was beautifully done by yelling the word “Hao” (好) in the third tone. Booing was seldom practiced except for the following few reasons:\n\n(a) when the singer missed or could not keep up with the rhythm or beat of the music;\n\n(b) when the hat fell off from the actor's head to the ground; \n\n(c) in a fighting scene, when his spear, or weapon, fell to the ground.\n\nCoincidentally, booing is delivered by yelling the same word “Hao\" (好) in a different tone, the fourth tone, pronounced as ().\n\n\"The Patron Saint” of the Theatre\n\nYou have probably heard that in China, every trade has its quasi-deity who is worshipped with reverence. The position of this quasi-god equals, in status, the “Patron Saint\" in the Western world.\n\nIn the theatrical profession, they worship Emperor Xuan-zong (玄宗) of the Tang Dynasty - his real name is Li Long-ji (). Xuan-zong is his reigning name.\n\nHe was an exceptionally talented man, possessing charm and charisma. In the second year of his reign, he established, within his palace, a school which he called the \"Pear Garden”, to teach young and talented men and women how to sing and to put on a show. Up to this day, people like to refer to theatrical men and women as \"disciples", "txt_file_path": "txt/dfo323lmgvd/RAS-1995.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/95941j25g", "rank": 0 }, { "id": 213493, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1995", "page_number": 89, "title": "RAS-1995", "content_text": "57\n\n19\n\non the stage and never mention the word \"Meng\" when back stage. What do you do when you have to use the forbidden words in a specific place? You simply substitute, as in the first place, the word “Geng” with the word “Jing”. So instead, the actor will sing, in one play \"Ting qiao lou da chu jing,\" which means \"When I heard the Drum Tower strike the first hour ..\" You will note that in the script the word \"Geng\" remains, but when the singer sings it, he immediately changed it to “Jing” in order to comply with the Taboo. There is no singing back stage, so when someone struck up a conversation with someone else and needed to use the word \"Meng\", you simply say “Da Huang Liang” instead. I have asked many people inside the profession, but no one can tell me why it is so and who started it.\n\nFinal Word of Appraisal\n\nI have written so many paragraphs of anomalies in the setting and acting of the Peking Opera - the question arises as to why the Chinese people still flock to see it. The answer is that the Opera gives them \"beauty\" - beauty in singing, beauty in the acting, beauty in the story as written and acted upon. (Sometimes, though, the beauty is far fetched and subject to logical questioning.) This is why some of the audience will go back to see the play a hundred times and never get tired of it. Certainly, in their heart, they have some fondness toward the acting, the singing which they want to enjoy, which they could not do without, like drugs. In China, we have a word for this kind of mentality, we call it \"itching\". They go back to see the same play many, many times in order to “quench” their itching.\n\nThen what about the anomaly?\n\nIn the psychology of the theatre goers, the whole play is a fake, not the real thing and if there is some small misinterpretation of the story, or the wrong costume the actor wears on the stage, why worry. As long as their \"itching\" is touched and satisfied, everything will be just fine.\n\nA Word of Thanks\n\nOn June 16, 1991, the Shenyang Beijing Opera Troupe was in town for a nine-day performance at the City Hall in Hong Kong. My friend,", "txt_file_path": "txt/dfo323lmgvd/RAS-1995.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/95941j25g", "rank": 0 }, { "id": 213630, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1995", "page_number": 226, "title": "RAS-1995", "content_text": "200\n\n3\n\nand four belong to German prisoners. The remainder are Allied servicemen's graves. The headstones, including those of the Chinese Labour Corps members, are of the usual Portland Stone with the Commonwealth War Grave standard segmental curve on the top (see Plates 1 and 2). This distinguishes them from graves for civilians which are curved but with a piece notched out at each top corner. Stones for Royal Air Force graves are 'winged', with curved tops sweeping upwards slightly at each side.* Few if any of the Chinese who served in Europe in the First World War, one assumes, were Christians. There are no crosses on their gravestones.\n\nOf the two Chinese graves in this cemetery one is unnamed (see Plate I), although there is an army number. This is not unusual. When Chinese labourers were first recruited, pigtails, which could still be found in China at the time, were cut off. Thumbprints were then taken and numbered wristlets were riveted on. The inscription on the first gravestone reads, in Chinese and English, 'Faithful unto death'. The second headstone (see Plate 2) is in memory of Wong Fuk-hing with the proverb, 'A good reputation endures forever.' Wong came from Shan Tung Province, Yeung Sun county. A Chinese person's native place is important enough to be inscribed on his or her headstone. Traditionally, Chinese like to be buried on their native soil.\n\nNot far from Foncquevillers Military Cemetery is an old farm house which, in 1916, stood near the front line of the First Battle of the Somme, the largest land battle Britain has ever fought. Some 57,470 British soldiers were killed on July 1, 1916, the first day of this action. The cellar at the time, linked by a tunnel to the trenches which crisscrossed the area, served as a battlefield operating theatre. On March 19, 1916, two British soldiers were shot at dawn, close by, for desertion. Although my son and I visited this old house owned by Avril Williams, which now serves as a guest house and English tea rooms, she was unfortunately not at home. Her daughter showed us around.\n\nThe chief reason that Avril Williams came here, from England, was so she might visit and tend the graves of those who fought and died: 'So we might continue to live the way we do.' On the headstone of Private George Palmer's grave, who was killed in 1917, a request from his mother is inscribed.", "txt_file_path": "txt/dfo323lmgvd/RAS-1995.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/95941j25g", "rank": 0 }, { "id": 215119, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-2000", "page_number": 215, "title": "RAS-2000", "content_text": "172\n\nof\n\n17\n\nGuo Ziyi, born in Wenzhou in Zhejiang province ca. AD 700 and only deified many years after he had fled from Guo's service [Illustration 8].\n\nGuo, after a dream, became suspicious of Wen's powers to perform miracles, and Wen, realizing the danger he was in, fled and became a butcher. When a heavenly messenger revealed to Wen the evil of taking life, he gave up slaughtering animals and entered a monastery. Later, he moved to a temple dedicated to Tai Shan, the Lord of the Underworld, where he became the senior medium and communicated with the souls of the dead. He was renowned for his ability to bring rain and help devotees stricken by drought.\n\nEpilogue\n\nThese nine individuals, an omnipotent Chinese emperor, and a hero, and general, believed to have been the emperor's personal physician; a powerful victorious general with immense progeny; a garrison commander and the city mandarin who died in defence of an imperial stronghold; and four minor soldiers, referred to as generals who also died for the emperor, have been deified with their images placed on popular religion temple altars within limited areas of south-east China and Taiwan, their legends being eagerly retold by temple custodians and devotees.\n\nThe Rebellion has held Chinese imaginations for centuries - mainly, it would appear, because of the story of the fall of the emperor's concubine bringing to its listeners a mixture of sadness and anger at the weakness of character shown by the emperor.\n\nA Chinese Biographical Dictionary published in 1898 in London by Bernard Quaritch\n\n2 In Hunan province and the Yangzi valley in general, Lao Lang, the patron of the theatre, of musicians and actors, has been identified in a number of places as a deified human named Zhuang Zong. He was said to be the patron of Peking opera but only of such groups touring central China. His image in Hunan portrayed him as a clean-shaven, white-faced young man without any special", "txt_file_path": "txt/dfo323lmgvd/RAS-2000.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/nk328168n", "rank": 0 }, { "id": 215239, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-2001", "page_number": 16, "title": "RAS-2001", "content_text": "Imperial Ideals and Chinese Practical Common Sense in Chan Lau Kit-ching and Peter Cunich (eds.), An Impossible Dream: Hong Kong University from Foundation to Re-establishment, 1910-1950 (Hong Kong: Oxford University Press, 2002). Governor Frederick D. Lugard and the Hong Kong Chinese featured prominently in this article (ahylin@hkucc.hku.hk).\n\nProfessor Norman Miners, was the former Head of the Department of Politics and Public Administration, University of Hong Kong. He is probably best remembered for his seminal work The Government and Politics of Hong Kong, first published in 1975, which ran to five editions.\n\nRobert Nield, F.C.A., F.H.K.S.A., is a certified public accountant and was a former partner with PricewaterhouseCoopers (Hong Kong). He is a Vice-President and the Treasurer of HKBRAS (hiflyer@netvigator.com)\n\nKirsty Norman is an active member of HKBRAS.\n\nKeith Stevens, B.A., served with the British Army and the Foreign & Commonwealth Office until his retirement in 1991. He is an authority on Chinese temples and deities, and Chinese history, and has written prolifically on these subjects. His articles are noted for the splendour of the illustrations (keith.stevens@chgods.freeserve.co.uk).\n\nDr Elizabeth Kenworthy Teather gained her B.A.(Hons) and Ph.D. in the Department of Geography at University College London. She is a Fellow of the Royal Geographical Society. Born in Britain, she spent some years overseas as a teenager (Iraq and Cyprus), emigrated to New Zealand in 1973 and moved to Australia in 1984. She joined the Department of Geography and Planning at the University of New England, NSW, Australia, in 1988. She has a second Honours degree in Theatre Studies completed in 1986, and is also a Licentiate of the Royal Schools of Music (Singing - Performance). From 1995-1997, 1999-2000 and 2001-2002 she was Scholar in Residence, David C Lam Institute for East-West Studies, Hong Kong Baptist University\n\nDan Waters, M.Phil., Ph.D., is a retired assistant director of education of the Hong Kong Government. He has written prolifically on the culture and history of Hong Kong. He is the immediate past-president of HKBRAS (benefit@netvigator.com).\n\nJenny Welch, M.A., now lives with her husband in Hong Kong having spent a number of years in Singapore, Sri Lanka, Nigeria and Australia. Her interests include French culture and language, China and the Chinese, porcelain and history.\n\nxiii", "txt_file_path": "txt/dfo323lmgvd/RAS-2001.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/zg651950g", "rank": 0 }, { "id": 215352, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-2001", "page_number": 129, "title": "RAS-2001", "content_text": "77\n\na] Changhua Laoye Shen\n\nIt\n\nseen in Singapore on a Hainanese wayyang street theatre altar connected in some way with the major China-wide deity Hua Guang Dadi.\n\nb] As with small folk religion temples in all southern Chinese communities there are very minor deities on their altars about whom nothing is known. The following stand on a side altar in a small Hainanese temple on the Tampines Road in Singapore and are largely ignored though they are prayed to by a few devotees, more in passing rather than specifically for protection:\n\nmain deity: The Marquis of the Heaven of the Buddhas, Fo Tian Houwang\n\nSoldier astride a red horse, wearing green and gilt armour, with a pink face, black beard and a sword raised in his right hand.\n\nflanked by: Shata Zunwang Qi Guan\n\nand\n\nSoldier astride a white horse, with green-gilt robes, black beard, brown face and sword raised in his right hand.\n\nYongmeng Yatou Wang San Guan\n\nSoldier astride a black horse, with green-gilt robes over his armour, black bearded and a sword raised in his right hand.\n\nConclusion\n\nThere are some seventy to eighty major Han Chinese folk religion deities to be found in every part of China, and Hainan is no exception. However, in Hainan as in every local community, be it province, county, town or village, and even ethnic group, there are also local deified heroes and worthies not seen beyond their immediate area.\n\nTaken all in all, the range of deities on Hainanese altars is much the same as in all the other southern Chinese Han ethnic group temples. Hainanese communities, however, do have a number of uniquely Hainanese cult deities both on Hainan island as well as within Hainanese communities in south-east Asia. Although their legends are unique to", "txt_file_path": "txt/dfo323lmgvd/RAS-2001.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/zg651950g", "rank": 0 }, { "id": 215775, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-2002", "page_number": 74, "title": "RAS-2002", "content_text": "However, in response to a petition by European merchants in 1835 to the EIC against piracy, some action on the part of the Indian government was taken, through the use of steam warships (for example, the Diana and HMS Wolf). These ships were effective in fighting piracy, and according to LA Mills, 'piracy in the Straits greatly decreased for several years... Conditions never became as serious as they were before 1836.'38\n\nHowever, Turnbull says that these measures only gave temporary relief and that, within a few years, the position deteriorated. Moreover, in the 1850s, a new breed of pirates began to haunt the merchants' commerce. They came from China, and the Chinese imperial government was too weak to suppress them. The main theatre of Chinese operations was the Gulf of Siam, although many vessels were captured near Singapore.40\n\nThe Indian government did not pay much attention to the problem as it was involved in the second Anglo-Burmese war at that time, and as Calcutta had passed no laws to detain suspicious vessels, there were no legal means to curb piracy. In 1857, the Indian legislative council had passed an inadequate law which permitted the right of search, but did not solve the problem of proving intent. No improvement was made to the naval force in the Straits Settlements in the last ten years of Indian rule, which consisted of only three gunboats (a 'lilliputian fleet'41).\n\nEventually the Chinese pirates were gradually eliminated from the Straits waters as a result of a series of treaties and agreements between China and other western powers (such as with Prussia 1861, Denmark 1863, the Netherlands 1863, Spain 1864, Belgium 1865, Italy 1866, and Austria-Hungary 186942), the contents of which included co-operative measures to wipe out piracy. The Hong Kong 'Ordinance for the suppression of piracy' was the first real blow delivered against Chinese piracy.4\n\nThe Indian government played a minimal role with regards to the combat of piracy in the Straits. The problem was brought under control through a list of other factors, including foreign treaties and ordinances, and hence, the merchants' complaints were not without reason, as little credit can be attributed to the Indian administration in this respect.", "txt_file_path": "txt/dfo323lmgvd/RAS-2002.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mp4901278", "rank": 0 }, { "id": 215802, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-2002", "page_number": 101, "title": "RAS-2002", "content_text": "34\n\nBETWEEN THE NINE DRAGONS AND A DIVINE WIND: HOW HONG KONG'S WEATHER MIGHT HAVE AFFECTED AN ALLIED INVASION TO RETAKE THE TERRITORY*\n\nCHOHONG CHO\n\nSynopsis\n\nIn the War in the Pacific during World War II, the question of whether or not to engage Japan directly in China was a major one for Allied planners. If the Japanese weren't enough of a problem, an age-old factor - the weather - certainly would have provided the Allies with additional concerns. The Pacific and Asia are home to some of the most extreme weather in the world.\n\nHong Kong, a possible target in any Allied campaign in China, played host to some of this extreme weather. What this study attempts to do is to consider how Hong Kong's adverse weather conditions could have affected an Allied operation to recapture it from the Japanese.\n\nBackground\n\nAfter Hong Kong fell to the Japanese in December 1941 and Great Britain was expelled from the Pacific, only the U.S. was left to face Japan in this theatre. The U.S. itself was in bad shape, as most of its Pacific Fleet had been mauled at Pearl Harbor. On the Asian mainland, Japan was still busying herself with China and Britain. A stalemate had developed with the former, while the latter was being pushed out of Burma into India.\n\nHowever, the U.S. Navy's (USN) aircraft carriers were not caught in the Pearl Harbor debacle, and during much of 1942, they bore the brunt of the action against the Imperial Japanese Navy (IJN) in the Pacific. In a series of three engagements with the IJN (at Coral Sea, Midway, and Guadalcanal), with inferior numbers accompanied by\n\n*The author would like to thank Mr. Ko Tim-keung for bringing a draft of this article to the attention of the Hon. Editor, and Professor Elfed Roberts for his comments on an early version of the draft.", "txt_file_path": "txt/dfo323lmgvd/RAS-2002.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mp4901278", "rank": 0 }, { "id": 215825, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-2002", "page_number": 124, "title": "RAS-2002", "content_text": "57\n\nbut it was harder to replace soldiers with combat experience.\n\nBecause the weather changes from day to day, so must the extent to which it could influence the approval or rejection of a certain operation in war. Hong Kong's weather, as formidable as it was, could not by itself determine if it merited recapture or not. Nor could any objective's weather be the lone factor. If it was, then many of the war's campaigns would not have taken place. If the control of a specific territory was judged crucial, then the powers concerned would do anything within their capacity to seize or retain it.\n\nNo place in the world has perfect weather at any time of the year. In Hong Kong's case, its worst weather occurs during the middle of the year. Had a Hong Kong operation taken place, Allied planners would have naturally preferred that it take place towards the end of the year. That would give the Allies up to six months of relatively trouble-free weather with which to work.\" A Hong Kong operation was bound to include amphibious landings, and these were very susceptible to bad weather. It was important for the Allies to gain at least a foothold on land, as it would give a political and psychological boost to the Allied war effort, as well as put them in a better position militarily vis-à-vis Japan. The China Coast was a perimeter within Japan's empire, and any breach made here would accelerate Japan's demise. So that first foothold was vital, just as it was equally vital for the Japanese to prevent it. In Japan's history, foul weather had worked in her favour when she had to defend against an amphibious invasion, so it wasn't unprecedented for the weather to play a decisive role in war. For the Allies, the last thing they would want was to see a Hong Kong operation in progress be thwarted by a non-human entity like the weather. Such a contest would be a no-win situation for the Allies.\n\nIn the end, the Allies never carried out any landings on any port on the China Coast. Their destruction of the IJN and blockade of Japan by sea and air was so complete that they didn't have to worry about the Japanese in China, which remained a secondary theatre at the end of the war. Hong Kong's weather was never specifically mentioned as a factor, but was probably on the minds of some Allied planners after the poundings their navies had taken in the last months of the war. Hong Kong returned to British, and eventually Chinese, rule, and was fortunate to have not undergone a destructive campaign for it to change hands again.", "txt_file_path": "txt/dfo323lmgvd/RAS-2002.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mp4901278", "rank": 0 }, { "id": 215941, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-2002", "page_number": 240, "title": "RAS-2002", "content_text": "174\n\nwhich the Police Commissioner handed over $20,000 without question when advised of the plot, though it was claimed that the bribe money came from the Shanghai triads leader Tu Yueh Sheng, then a refugee, albeit wealthy, in Hong Kong. Whatever the truth behind the story, it gained currency as it made the escape of General Yee and Admiral Chan Chak palatable to colonials by portraying it as an honourable act by the British to reward Yee for his assistance in saving them.\n\nIt was almost certainly also a smokescreen to disguise the removal from Hong Kong of something important to the British. MacDougall claimed in 1942 that he had not planned to go but had been persuaded at the last moment by senior government officials. MacDougall however was circumspect, careful not to betray sensitive information in an open letter. He could, however, say that during the last two years his work had 'become increasingly political in character. Officially neutral in the Sino-Japanese War, I had nevertheless behind the scenes consistently exerted what influence I possessed toward blocking and hampering the propaganda and other activities of the Japanese and the adherents of the Wang Ching Wei....I had worked very closely with Chinese organisations and did all in my power, consistent with the interests of the Colony, to aid them.' It should also be noted that he was not an officer of the colonial establishment but belonged to the Ministry of Information. He was to return to Hong Kong on liberation to reinstate the administration. While no high-profile officers escaped with the Chan Chak group, it is probable that some were carrying information. There were men from Army, Navy, and Air Force, and they were chosen for the mission, only one man being a \"guest.\"\n\n* xviii Major Goring was to spend much of the war attached to various strategic planning groups in the China theatre.\n\nThe extent of KMT activity in Hong Kong was considerable. Hong Kong was a sort of open house where all factions of Chinese politics from left to right could operate, as long as they were discreet. Overt acts of terrorism and subversion in other colonies, like the Malayan federation, were suppressed. The territory was also the port through which arms and armaments flowed into China. Technically this was in breach of the Hague Convention as Britain was supposed to be neutral, but there were ways of smuggling and circumventing the system. Baileys, the Hong Kong shipyard, built river gunboats that were outfitted with guns once they entered China. The same technology that enabled\n\nPage 240\n\nPage 241", "txt_file_path": "txt/dfo323lmgvd/RAS-2002.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mp4901278", "rank": 0 }, { "id": 215949, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-2002", "page_number": 248, "title": "RAS-2002", "content_text": "182\n\nstatus, since there were 'so many other senior officers working in the area,' and he saw it as ‘axiomatic that all branches of the service will cooperate and pool their information.' The new section was to have 'full authority to control the movements of all Europeans whether military or civil who had escaped.' Having left Hong Kong less than a month earlier, having by his own admission no knowledge of escape and evasion organisations, he was now to command, and to 'have authority to add to his strength such British or Chinese as are available.' The full story of the BAAG is too complex to tell here, but the transition was not seamless. By 16th May 1942, Ride was given the letter he wanted stating 'from the time of escape until they reach Chiyang all escapees of whatever rank and whatever service will come under your command.' This should be made clear to them at first responsibility. xxii This included the men who had spent so long setting up the groundwork, who had met the Ride group and brought them to safety.\n\nAnother even more fundamental change in direction was the change in emphasis from a general resistance function to an organisation primarily for the escape of Prisoners of War, and particularly of Europeans at that. Ride consistently thought in terms of mass escapes from camp, larger scale and more spectacular than the Chan Chak escape. In the summer of 1942, he planned the escape of 500 or more POWs by junk, and as late as September 1943 proposed paying millions to guerrillas to conquer Canton so an airborne assault of paratroopers could descend on Hong Kong to free the POWs.**** The gathering of intelligence and support of other forms of resistance were corollary to this basic function. An analysis of why the escape of POWs became the central focus of British activity in the Hong Kong region when it was not of paramount military strategic value in the overall conduct of war in the theatre is again beyond the scale of this piece. However, it illustrates that the plans British military strategists had developed to challenge Japanese occupation and to continue the struggle by alternative methods had to adapt to new conditions. SOE and SOE related agencies were by no means silenced in China but continued to play a very important role, even around Hong Kong. The chrysalis opened, but what emerged had to shape itself to a new situation.", "txt_file_path": "txt/dfo323lmgvd/RAS-2002.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mp4901278", "rank": 0 }, { "id": 216424, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-2003", "page_number": 183, "title": "RAS-2003", "content_text": "133\n\nContraband of ordinary commodities such as flour, clothes, etc., may be transported at the risk of the owners, to the ports of belligerent countries.\n\nIn the event of the necessity arising of landing any cargo passing through a Chinese port, the same will be landed and stored at the expense of the owners.\"\n\nArguments arose over whether foodstuffs being exported from China to Japan for consumption by civilians should be considered as contraband of war as they could be used for military purposes. It was agreed that with formal consular certificates, certifying that the goods were not destined for the theatre of war, and stating clearly that the goods were shipped at the owners' risk; foodstuffs could be exported to Japan.\n\nThe day-to-day involvement of the Chinese population and their reaction to foreign soldiers\n\nTheir land and people suffered hardships, casualties, and financial losses without any thought being given to them by the Westerners or the combatants. It has been quite surprising just how few references to China and the Chinese there were in contemporary Western writings.\n\nChinese physical involvement was marginal. Apart from individuals being employed by both sides as spies, bands of Chinese mounted guerrillas were employed by both belligerents; some under Japanese leadership made Russian lines of communication dangerous and effectively tied down ever larger Russian forces. Yuan Shikai, the Viceroy of Chih-li, turned a blind eye to these and similar activities and made every effort to co-operate with the Japanese. Although the Russians were aware of this policy, there was little they could do about it. They did, however, take it out on any individual or groups of Chinese in territories under their control who appeared in any way acting for or sympathising with the Japanese.\n\nBritish illustrated periodicals tended to portray Chinese as ‘exotic and different, something sinister or inferior.' The same journals included not only sketches from their correspondents capturing the gruesome nature of the war in all its chaos, cruelty, and destruction but also photographic images.", "txt_file_path": "txt/dfo323lmgvd/RAS-2003.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/2v242g390", "rank": 0 } ]