[
    {
        "id": 210203,
        "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": 174,
        "title": "RAS-1984",
        "content_text": "153\n\nunanimously recommended the re-enactment of the contagious diseases legislation in its entirety including the registration of all brothels, the licensing of their inmates and the compulsory medical examination of all prostitutes whether working in brothels or independently. The Governor quickly accepted the conclusions of the report; a bill was drafted to implement them without delay; and both were sent home for the approval of the Secretary of State.\n\nThe draft bill immediately evoked a storm of protest. To calm the critics both inside and outside the House of Commons the Secretary of State appointed a new Advisory Committee on Social Hygiene and asked it to consider the bill and the report on which it was based. The committee included the redoubtable Mrs. Neville-Rolfe and Lady Astor. It spent little time in considering the arguments put forward in the Straits Settlements for the state control of prostitution, which it considered to be completely discredited. Its final report asserted that, quite apart from the moral arguments, periodical examinations of prostitutes was medically ineffective in checking the spread of venereal disease; no examination could guarantee that a woman was free of disease, and even if she was she could become infected immediately afterwards or be the carrier of the contagion from one client to the next; such examinations merely gave men a false sense of security and encouraged promiscuity. The committee recommended various measures to improve social conditions, better housing, education and more recreational facilities; more doctors and free diagnosis and treatment. Its main conclusion was that all known brothels should progressively be closed down commencing with those frequented by Europeans, and that all sly brothels should be closed as soon as they were detected. The committee's conclusions were unanimous and the Secretary of State, Leo Amery, had no alternative but to over-rule the Governor and direct that the recommendations of the committee should be carried out. This was done and the closure of brothels in the Straits Settlements commenced in 1927.\n\nThe Social Hygiene Committee had only been asked to consider what was to be done at Singapore, but its conclusions obviously applied equally to Hong Kong and other colonies. But no similar",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1984.txt",
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    {
        "id": 210204,
        "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": 175,
        "title": "RAS-1984",
        "content_text": "154\n\nR.J. MINERS\n\ninstructions were sent to Hong Kong so long as the Conservatives remained in power. However, as soon as the minority Labour government of 1929 came into office, various pressure groups, such as the Association for Moral and Social Hygiene and the National Council of Women of Great Britain, set to work, writing to the Prime Minister and the new Secretary of State for the Colonies, Lord Passfield (formerly the Fabian Society reformer Sidney Webb), demanding that Hong Kong should follow Singapore's example and suppress all its brothels. There were also more parliamentary questions from Lady Astor and other sympathetic M.P.s.32 In 1930, there was a change of Governor in Hong Kong: Sir Cecil Clementi left to govern the Straits Settlements, and Sir William Peel from the Federated Malay States was promoted to Hong Kong. Clementi had never shown himself very receptive to policy suggestions from London, and his transfer gave the Colonial Office an opportunity to initiate a change of policy. Before taking up his appointment, Peel saw Lord Passfield in London and was informed that it was the policy of the Labour government that all brothels should be suppressed, but that he should first look into the question and submit a report to London.\n\nPeel sent his views to the Colonial Office in August 1930, three months after his arrival.34 He stressed that the abolition of licensed prostitution and tolerated houses was opposed by the military and naval authorities, senior government officials, and the leading members of the Chinese community who sat on the District Watch Committee. Abolition would probably lead to an increase in the number of sly brothels and streetwalkers, and a greater incidence of venereal disease. It would also make it impossible to deal effectively with the international traffic in women: in Singapore, some measure of control could be exercised at the point of entry where immigrants arrived in a few large vessels, but this was out of the question in Hong Kong, where thousands arrived daily in river steamers, junks, and by land; so the licensing and interrogation of intending prostitutes at the Secretariat for Chinese Affairs was the only way of checking that they were entering the profession of their own free will. The Governor finally suggested that if the Secretary of State was determined upon the suppression of brothels, a start could be made by refusing to register any new prostitutes; but he would prefer to await full details of the results",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1984.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/5h73wh572",
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    },
    {
        "id": 211828,
        "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": 243,
        "title": "RAS-1989",
        "content_text": "218\n\n1.4.1864 (Fri)\n\nR.B. BROUGH: \"Crinoline\" (1856)\n\nT: Farce (1 act)\n\nJ.M. MORTON: \"A Most Unwarrantable Intrusion\" (1849) T: Farce (1 act)\n\nN.N.: \"The Debut\"\n\nC: Messrs Shannon and Phillips with an amateur company\n\nTh: N.N. (H)\n\nR: Not too enthusiastically the Herald wrote that \"had Messrs PHILLIPS and SHANNON been better supported the performance would probably have proved a more decided success\". Must it be supposed that the amateurs were locals, who were otherwise so much lauded? (NCH 2.4.1864).\n\n4.4.1864 (Mon)\n\nRepeat of 30.3.1864,\n\n18.4.1864 (Mon)\n\nFirst performance by a Portuguese Amateur Dramatic Corps. TH: N.N.\n\nR: This first performance by a local Portuguese company was considered favourably: \"the arrangement of the costumes and acting were all good and amply rewarded a visit even by those who may not understand the Portuguese language\". (NCH 23.4.1864)\n\n25.4.1864 (Mon)\n\nJ. OXENFORD: \"Retained for the Defence\"\n\nT: Farce (1 act)\n\nC.S. CHELTNAM: \"A Lucky Escape\" (1861)\n\nT: Comic drama (1 act)\n\nT.J. WILLIAMS: \"On and Off\" (1861)\n\nT: Farce (1 act)\n\nC: Amateurs of the Shanghai Volunteer Corps\n\nTH: N.N. (H)\n\nN: Second performance of the season\n\nR: This second Volunteer Corps night drew a crowded house and the reporter was pleased to see that \"a majority of the lady residents were among the audience\", the more so as they \"by their presence contributed to inspire the performers with the desire to excel which led to such complete success\". No names were given in the review, but in A Lucky Escape “it would have required very sharp eyes to detect that the actress [who personated Louise] was, in fact, an actor\". Here the truth is finally revealed! In On and Off he/she took the part of Letitia equally well. (NCH 30.4.1864)\n\n9.5.1864 (Mon)\n\nN.N.: \"Nature and Philosophy or Eighteen Years' Labour Lost\"\n\n(The only piece with this title in HED is one that had its first night on 18.4.1876. However, Brown, \"A History of the New York Stage\", Vol. I, p. 235 mentions a performance of this play on June 1 1833).\n\nG. COLMAN Jr: \"Love Laughs at Locksmiths\" (1803)\n\nC: C.R. Faylor's travelling company\n\nF: Comic songs, dance, music\n\nTh: Olympic Theatre (H)\n\nR: Casts:\n\nNature and Philosophy:\n\nBrother Philip: Major Pegus\n\nRenaldo: C.R. Faylor\n\nEliza: Mrs. E. Yeamans\n\nGertrude: Mr. E. Yeamans",
        "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": 211831,
        "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": 246,
        "title": "RAS-1989",
        "content_text": "221\n\nPark Lanc?). The names of the actors mentioned in the advertisement must have been assumed ones.\n\nJune and July 1864\n\nConcerts by the Rhenish Band and the Band of the 67th Regiment.\n\nLoc.: The Bund\n\nR: NCH 28.5.1864, 2.7.1864\n\n2-9.1864\n\nH.J. BYRON: “Aladdin or the Wonderful Scamp\"\n\nT: Burlesque extravaganza (1 act)\n\nC: Shanghai Amateur Burlesque Company\n\nTh: N.N. (l)\n\nR: That the hope expressed in the Herald of 2.7. was not forlorn was proved by the full house for Aladdin in which \"numerous local hits and puns are introduced which took admirably, especially a parody pidgin English on the 'lost child' (see Survey). The dresses were excellent and the scenery well arranged\" (NCH 1.10.1864).\n\n24.9.-30.9.1864\n\nDuring the week a concert was given by Mr. Desvachez (violin) and two amateurs, TH NM.\n\nR: Another adventurous musician had come to enliven the Settlement's cultural scene. Mr. DESVACHEZ. His concert was \"fairly successful, but people here hardly care to sit for two hours to listen to a performance on the violin, however well the instrument may be handled. Some variety is required and although Mr. DESVACHEZ was assisted by an amateur on the violincello and a pianist this desideratum was hardly attained\". (NCH 1.10.1864).\n\n6.10.1864\n\nOpening night of Lewis Australian Drama Company.\n\nNo titles of plays recorded.\n\nTh: NẠN. (I\n\nR: The first night of an eight-week season by Lewis' Australian Drama Co. (see also Survey). In the Herald, no detailed reviews appeared, only short summaries. The opening pieces have not even been recorded (NCH 8.10.1864).\n\n8.10.-14.10.1864\n\nH.J. BYRON: \"The Maid and the Magpie\" (1858)\n\nT: Burlesque burletta (1 act)\n\nA.G. HARRIS: \"The Rose of Castille\" (1857)\n\nT: Opera (music by M.W. BALFE)\n\nJ.R. PLANCHE: \"Paint Heart Never Won Fair Lady\" (1839)\n\nT: Comedy (1 act)\n\nC: Lewis A.D.C.\n\nTh: Lyceum Theatre (l)\n\nR: It was reported that the company attracted \"olerably full houses\". Of the plays, Byron's The Maid and the Magpie was \"infinitely preferred; in it every actor is well up to his part and personates the character he represents with ludicrous fidelity\". (NCH 15.10.1864).\n\n£5, 10, 1864 (Sat)\n\nPerformance by the Portuguese Amateur Dramatic Corps.\n\nNo titles of plays mentioned.\n\nR: In their own theatre, the Portuguese actors were as usual well up in their parts and",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h",
        "rank": 0
    },
    {
        "id": 213480,
        "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": 76,
        "title": "RAS-1995",
        "content_text": "44\n\nThe Cast:\n\nThe story was taken mostly from ancient Chinese history, sometimes literally, sometimes with modifications to suit the taste of the local audience. The different roles of each theatrical troupe can be generally classified as shown in the list below, with each category sub-divided into smaller divisions:\n\n  \n    The actor's or actress's role\n    Dialogue or language used in conversation\n    Will sing in Tune what dialect?\n  \n  \n    1. Lao Sheng (生) (whiskered old gentleman)\n    Hu-kwong dialect (湖廣音)\n    Hu-kwong dialect Natural (湖廣音)\n  \n  \n    2. Lao Tan (旦) (old lady)\n    -ditto-\n    -ditto-\n  \n  \n    3. Ch'ing-yee (二) (middle aged woman or the black coat)\n    -ditto-\n    -ditto-\n  \n  \n    4. Hua Tan (花旦) (young girl, a teenager or a flirt)\n    Hu-kwong dialect or Peking dialect\n    -ditto-\n  \n  \n    5. Dao-ma Tan (刀馬旦) (fighting female, usually a woman)\n    Hu-kwong dialect\n    Falsetto\n  \n  \n    6. Shao Sheng (小生) (young man, young warrior, etc.)\n    -ditto-\n    -ditto-\n  \n  \n    7. Hwa Lien (花臉) (the painted face)\n    High volume\n    -ditto-\n  \n  \n    8. Woo Sheng (武生) (fighting man)\n    -ditto-\n    Natural\n  \n  \n    9. Court jester (丑) (the joker or clown, etc.)\n    Peking dialect\n    -ditto-\n  \n\nI\n\nļ",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1995.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/95941j25g",
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    },
    {
        "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
    }
]