RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1966 https://digitalrepository.lib.hku.hk/catalog/bz60k0811 185 SCHWARZ, Miss Marjorie D.* SCOTT, A. C. SCOTT, J. M. SELLERS, D. SELLETT, G.* SHAW-KENNEDY, Miss Anne SHEKURY, Miss E. SHEPHARD, A. J. SHING, D.- SHU, Dr. H. T. - SHUI, Chien tung SIEGEL, H. W. SINFIELD, G. H. C.* SLEVIN, B. SMALL, Dr. D. H. SMITH, Leslie* SMITH, Miss M. H. SMITH, S. H.* SOONG, N. - J + - c/o Mrs. R. L. Smyth, 1635 Green Street, San Francisco, California, USA. Asian Theatre Program, University of Wisconsin, U.S.A. Hong Kong & Shanghai Banking Corp., H.K. c/o Dept. of Commerce & Industry, Fire Brigade Building, H.K. "Pinecrest", N.K.I.L. 3543 Tai Po Road, Kowloon. Room 812 Hilton Hotel, H.K. 14 Braga Circuit, Kowloon. Administrative Officer, Police H.Q., H.K. Florida Mansion, Block C, 11th Floor, Paterson Street, H.K. 70 Mt. Davis Road, Ground floor, H.K. Tsing Hua College, 263 Prince Edward Road, Kowloon. c/o Bayer China Co., Ltd., Room 1916 Union House, H.K. c/o Royal Bank of Canada, 20 King Street, West, Toronto, Ontario, Canada. c/o 1st floor, Police Headquarters, Arsenal Street, H.K. Dental Unit, Queen Elizabeth Hospital, Kowloon. Flat 10-B, Dragon View, 39-41 MacDonnell Road, H.K. 52 Mount Nicholson Gap Flat, H.K. c/o Messrs. Scott & English Ltd., P. O. Box 1555, H.K. Asia Magazine, 31 Queen's Road, Central, H.K. 2. Queen's Road, Central, H.K. H.K. Tourist Assn., Caroline Mansion, H.K. SPERRY, H. M.* STANLEY, Major H. F. STANTON, W. T.* STEWART, Miss Elizabeth H. STEWART, Miss E. M. STOKES, J. STONEY, G. S. STONEY, Mrs. G. S. + Dina House, Duddell Street, H.K. Diocesan Girls' School, Jordan Road, Kowloon, c/o The Housing Manager, Hong Kong Housing Authority, Ma Tau Wei Estate, Kowloon. Queen's College, Causeway Bay, H.K. Flat 1, "Ravencourt", 24 Mount Austin Rd., H.K. As above. * Life Member Please notify the Hon. Secretary of any inaccuracy ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1971 https://digitalrepository.lib.hku.hk/catalog/z029vt43g CHINESE ELITE IN HONG KONG 81 should be seized as a traitor by the Mandarins. In the end he settled at Hong Kong, where he is said to encourage disreputable characters by the loan of money, and in various ways to reap the proceeds of profligacy and crime.5 Loo Aqui also appears in the records as Lo Aking 盧亞 or Sze Mun King [Lo] (King, the Gentleman). At the time of the Sino-British war he seems to have played both sides of the game. The Chinese government lured him back to Canton by offering him an official degree of the sixth rank. He accepted but did not stay long with the Chinese, as he was soon back in Hong Kong enjoying the rewards of his services as provisioner for the British forces. He seems to have had supporters in Hong Kong Government circles for he secured the grant of a large and valuable section of land behind the Marine Lots of the Lower Bazaar. This was the area between Queen's Road and Jervois Street extending from near its junction westward to Cleverly Street. He and his family also acquired a number of Marine Lots by grant or purchase. Of the twenty-seven signers of the petition of land owners in 1848, about one-fifth of them were members of the Loo clan. Soon after the settlement of Hong Kong Loo Aqui was operating a gambling establishment and brothels. In 1845 he built a theatre. For a time he held the opium monopoly, and when the residents of the Middle Bazaar were removed to the Tai Ping Shan area in 1844, he petitioned the Government for the privilege of operating a market for the inhabitants, agreeing to build a substantial market house at a cost of $2,500 and to pay a monthly rental to Government of $200 for a period of five years. Loo Aqui and Tam Achoy were recognized as the leaders of the Chinese community, for according to a Chinese account entitled "Information as to the period of the formations of Districts in Hongkong and the alteration of the Character Wan—a bay to Wan—a circuit”, in 1847 they built the Man-Mo Temple on Hollywood Road and here "they judged the people in public assembly" until 1851 when the shopkeepers of the Lower Bazaar "repaired to Man-Mo Temple, elected a Committee, and therein decided all cases of any public interest". Aside from Aqui's income from various business ventures, he had a steady income from his properties. In 1850 he was ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1973 https://digitalrepository.lib.hku.hk/catalog/8910rj06r NOTES AND QUERIES 145 ning among other matters the subjugation of the non-Chinese tribes of the interior.* At 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. In 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. Wu 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. Hai 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. See, 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. ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1974 https://digitalrepository.lib.hku.hk/catalog/x633mp077 212 NOTES AND QUERIES survey. 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. In 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. On 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. The 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. The 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. ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1974 https://digitalrepository.lib.hku.hk/catalog/x633mp077 NOTES AND QUERIES 217 was redeveloped and in 1868 shops and godowns were built along Queen Street. Next to Robert's shipyard, Kwok Acheong had a compound in which he erected coal sheds, carpenter shops and a smithy. The latter was operated by Augustine Heard and Company. The present entrance to Tsung Sau Lane East on Queen's Road was the site of the original entry gate into the compound. By 1872 most of the buildings in "Acheong's Yard" had been removed, but in 1877 after the property had been sold to the Li family firm of Lai Hing, buildings were started along Tsung Sau Lane East. In the following year work was begun to redevelop Marine Lot 70, where Tsung Sau Lane West was opened in 1879. Previously the lot had been occupied by an engineering establishment. It was occupied successively by James Logan, William Swan, a boiler-maker, and William Dunphy, proprietor of the Novelty Iron Works. A large shipyard was built in 1856 on Marine Lot 58 where the Pybus godown had been built in 1842. The owners were two Scotsmen, George Harper and David Gow. In 1862 they sold out to James Logan, a plumber by trade, who took on as his partner John Riach, an experienced shipwright from Singapore. They operated as the Hong Kong Engine Works. The works of the new firm were destroyed by fire in 1866 and they sold the property to Li Sing. He redeveloped it by building a complex of shops, merchant hongs, family houses, and a theatre named Ko Shing. Three years before Harper and Gow built their shipyard, the P. & O. Co. had begun building extensive godowns and coal sheds on property immediately to the west. Some of this land they leased, others they purchased. Thus for a decade or so in the middle of the nineteenth century the entire area was dominated by establishments connected with the shipping industry. As the land on which the ship yards, smithies and coal sheds had been built was redeveloped, the area took on its present land use. On Queen's Road there were the shops; on the Praya (now the south side of Ko Shing Street) the business hongs; and in the lanes and alleys between, godowns and businesses auxiliary to the hongs, such as paper, lumber, bags, mats and firewood (from broken down boxes) — all used in packing and shipping. The lanes opened at various times, depending on when the lots were redeveloped. Those on Marine Lot 58 were the first. They ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1975 https://digitalrepository.lib.hku.hk/catalog/j0995146d 94 H. J. LETHBRIDGE employment; 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. There 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 It 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: Garrison 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.& There 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 ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1981 https://digitalrepository.lib.hku.hk/catalog/ff36bt18m 96 There is no slavery carried on." CARL T SMITH In 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 Reaction in Hong Kong -- Mass Meeting at Tai Ping Theatre – July 1921 The 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". The 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. The theatre was crowded with about three hundred including a ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1987 https://digitalrepository.lib.hku.hk/catalog/rx919b522 290 whilst the shrine was at Elgin Street, largely because no Hoklo troupes were available in Hong Kong or could visit from the mainland. The position improved when members of troupes reassembled here. It is usual in these traditional festivals for an image of the patron god to be installed in a special altar at the theatre matshed or nearby. At Peel Street this is not necessary, because the shrine faces down this sloping street directly onto the opera stage. The god could see all without moving his position. When I asked whether any other images were brought from neighbouring shrines, there was a unanimous and swift denial! The group of devotees, at any rate in and up to 1974, were mainly persons from To Tong Market, and all Hoklo speakers. The personnel of the Hoklo opera group hired in the previous few years were all Hoklos from Hoi Luk Fung, but only one of them was a native of To Tong Hui. I did not ask about management in 1974, though I gathered that they described their managers as ta-lei yan and not as chik-lei, which is more common among the Hong Kong shrine and temple groups. Besides the annual celebration, there is also religious activity at the shrine on the first and fifteenth days of each month. It is curious that, although the Peel Street shrine is dedicated to an earth god, there are no celebrations on either the first or second months of the lunar calendar, when so many of the local shrines in town and country carry out major activities. The Sheung Fung Lane shrine's big day is in the first moon, as with the Tai Ping Shan and Kennedy Town shrines also mentioned in the article (pp. 124-127). The Nam On Fong shrine at Shau Kei Wan (pp. 128-130) originally celebrated in the second lunar month. However, the Sai Wan Ho earth god shrine at the other end of Shau Kei Wan had always celebrated the Yue Lan or "Hungry Ghost" festival as its principal event, for as far back as memory and local tradition served (pp. 130-132). There is variety in all things, old and new, mercifully. Page 315 Page 316 ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h 178 be embellished by a variety of cosmoramic views which will add much to its beauty" 92 This process was continued and another new drop scene, “A View of Palermo" was unveiled on May 6, 1852.93 Thus everything was done to turn the godown into something that resembled a theatre. B. Of course it would be more or less a waste if everything had to be demolished because the lease of the building could not be extended. Yet that was possibly the case, for during the season 1852-1853, after many doubts whether any theatricals would be given at all, the Imperial Theatre became the scene; it can only be guessed if this was the same as the Theatre Royal. C. 94 For subsequent years we are on somewhat firmer ground.* The seasons 1853-1854, 1856-1857 and 1857-1858 came off in the same building, viz. a godown in the Commercial House or Commercial Hotel compound that was situated at the northwestern corner of Park Lane (Nanking Road), and Church Street (Kiangsi Road) (the names of the roads were, in 1864-1865, changed from the old "homelike" ones; Park Lane, Church Street, Mission Road, etc. into ones more in tune with local conditions: Nanking Road, Kiangsi Road, Foochow Road, etc.).† Despite the fact that the theatre was housed in one and the same building throughout this period it bore several different names. It was called the Tae Ming Theatre (i.e. Great and Bright Theatre) 1853-1854; once the name Old Theatre was attached to it (1856), then it was called the Theatre Royal (1857-1858). There was some political irony involved when the Herald announced that on March 8, 1854 the Tae Ming Theatre had opened "under a concession from and immediate patronage of the Tae-ping-wong" (the leader of the Taiping movement). Because of the change of regime in the native city the name "Imperial" Theatre was mockingly considered a little inappropriate. Originally the stage was rather small, but later it was "extended in the rear and the wings thrown back, giving a larger area for action".95 * See Map at Appendix III. ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h 195 his alarm allayed amidst the warmest applause from the audience for his clever and successful "sell". In addition the editor wrote that this Prologue afforded H. E. more valuable hints how to treat the Rebellion than all the suggestions that have been submitted to him since his arrival. Apparently Bonham was "so much delighted that we are not without hopes a report on the performances may form the subject of his first despatch from Shanghae”. So much for modesty. As regards the performances themselves, the writer had it in confidence from a tall whiskered male who occupied a front seat disguised in a dress coat, that although Hong Kong theatre is now more conveniently lit up in the Victoria Theatre in acting Shanghae would not suffer by comparison". "That treaty port chauvinism was not lacking even at that early stage was made clear when the visitor insisted that our Head Actor has been brought from Hong Kong”. Despite his earlier lukewarm praise he must have made some sour remarks too, for the editor wrote that "except as to the heroine, his critical skill was evidently at fault in discriminating the excellences of the other performers in Betsey Baker; and all he could be got to say regarding Apartments was something about Mr. and Mrs. Keeley having many worse imitators” (Robert Keeley, 1793-1869; and Mrs. Keeley (Mary Ann Coward), 1806-1899: famous British actors). (NCH 26.3.1853). 5.5.1853 (Thur) G.A.A. BECKETT: "Siamese Twins" (1834) T: Farce (1 act) R. BUTLER: "The Irish Tutor" (1822) T: Farce (1 act) C: Amateurs F: Music by the band of the Susquehanna Th: Imperial Theatre (B) N: Final performance of the season R: The close of the season by the amateurs who called themselves the "Lily Troupe" for a "bumper house"; with some “admirable music by the Band of Susquehanna" — a steamer belonging to the U.S. Japan Squadron. (NCH 7.5.1853). 8.3.1854 (Wedn) J.M. MADDOX: “A Fast Train! High Pressure!! Express!!!" (1853) T: Farce W.B. BERNARD: “A Practical Man" (1849) T: Farce C: Amateurs P: Music Th: Tac Ming Theatre (C) R: At the start of the evening a, for part of the audience at least, unexpected treat was in store: “On the rising of the curtain a ludicrous incident quite upset our friend BUSKIN. He was set down to enact "Colonel Jack Delaware" (in A Fast Train — JH) but a storm met him as soon as he appeared on the stage and he was fairly hissed off when a stranger leapt over the footlights and announced his intention of supporting the character. The curtain dropped and after a short delay the volunteer Yankee came forward, dressed in the most extravagant fashion and took up the part with great spirit". Was the leading actor-manager really taken by surprise? This could hardly be, and it must be assumed that it was, like the "rebellion" before, a set up. At any rate the "interloping Yankee was enrolled in Buskin's company. The musical department was sustained by "Messrs Thalberg and Koenig with their usual talent and success". Both these noms de théâtre were after well known musicians: Sigismund Thalberg (1812-1871), a Swiss pianist and composer; and Friedrich Koenig, a German violinist. (NCH 11.3.1854). ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h 196 22.3.1854 (Wedn) J.V. BRIDGEMAN: "I've Eaten My Friend!" (1851) T: Farce (1 act) J.M. MORTON: "A Most Unwarrantable Intrusion" (1849) T: Farce (1 act) J.M. MORTON: "The Two Bonny Castles" (1851) T: Farce (1 act) C: Amateurs F: Music Th: Tac Ming Theatre (C) R: Was the new member perhaps "Mr Mercury WARREN" who scored such a great success in I've Eaten My Friend! as Hezekiah Jellytop? "The refined sensibility of the character was portrayed with a power and intensity which mark Mr. Warren as one of the true sons of Thespis. How shall we describe the horror when the internal evidence of a pie revealed a clue to the whereabouts of his departed friend". In the second piece, An Unwarrantable Intrusion "the part of Ashplant was performed by a gentleman whose via comica and power of communication were unmistakable. He completely embodied the character and infused life and vigour into his conception of it**. Until now, even the stage names of the actors had scarcely been mentioned in the reviews, but tonight we learn that in The Two Bonny Castles Messrs Bravo ROUSE, Mercury WARREN, and Horatio BUSKIN excelled as well as the ladies who acted with great spirit and sustained the dignity and elegance of the sex with most admirable effect" (Bravo ROUSE was a borrowed alias). + Among the musicians was again "Herr KOENIG" who "brilliantly executed" on, presumably, the violin. (NCH 25.3.1854). 15.5.1854 (Mon) C.W.S. BROOKS: "Anything for a Change" (1848) T: Comedietta (1 act) J.M. MORTON: "Box and Cox" (1847) T: Farce (1 act) C: Amateurs F: "A Grand Ethiopian Entertainment" with the "Virginian Minstrels" Th: Tac Ming Theatre (C) N: These performances, the last of the season, had originally been announced for April 5; on that date would also have been played J.T.G. Rodwell's farce A Race for Dinner. The evening was postponed, however, because of the Battle of Muddy Flat on April 4, 1854. R: Some of the local celebrities definitely could not go wrong, witness the following remark in the Herald: "As we dropped in for half an hour we cannot speak of the concluding (Box and Cox) but, as our favourite Mr. VERDENT and the clever Mr. WARREN enacted parts in it, we have no doubt it must have told on the audience". Earlier that night Mr. Bravo ROUSE and Mr. WARREN had starred in Anything for a Change (probably as Swoppington and Honeyball). 19.5.1855 (Sat) A "Soirée Musicale Dansante" by officers of the U.S.S. "Powhatan" with an "Ethiopian Concert by the Minstrels of the Powhatan" and a burlesque on Bulwer-Lytton's The Lady of Lyons. H.J. Byron wrote a burlesque with the same title, but according to HED, the first performance took place on February 1, 1858. R: In the Survey, it was pointed out that the officers of naval vessels sometimes entertained the local foreign residents. The first of these occasions occurred on board the Powhatan, an American warship that took part in the Japan expedition, on the eve of her departure. ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h art of French concession YANG KIM PANG GATE STREET Race course TEMPLE BARRIER CHURCH NOISSIW ROAD 244 ROAD ROAD ROADE ROAL NORTH BRIDGE THE STREET ᄆᄆᄆ BUND Shanghai Club WONG - POO AVENUE S CONSULATÉ Of BRIDGE STRECT KIRK ROAD CHURCH ROAD SOD CHOW American ROAD CREEK VoĮsseɔuo; AIVER THE b Theatre Royal Tae-ming Theatre Olympic Theatre d Lyceum Theatre Appendix I!! Plan of Shanghai BUND Part Star House Hotel ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h 342 The 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, 50 The 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. Many 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, B. Ritual Area The 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 ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h 352 F. Theatre After the seven-day rites period, the main paang was modified for use as the opera theatre. The raised area originally partitioned for the Taoist rites, puppet plays and the ancestral altar was converted into the opera stage. The ancestral tablet of Hung-Yi and the statue of Gwun-Yam were moved into the smaller paang for the general gods. The rest of the main paang became a raised audience seating area divided into left and right halves. The right half was for Bak-Bin and the left for the Naam-Bin. Here Bak-Bin included Ying Lung Wai. There was also a clear partition of each half into two sections. One section was for males and the other for females. Between the seating areas for Naam-Bin and Bak-Bin was a separate area, the front part of which was seating for guests, and the rear part of which was left empty, probably for standing audience. 64 In the afternoon before the first opera performance, the rite of exorcism, Jai Baak-Fu, was performed by the opera players on the stage. To the accompaniment of percussion patterns played on large cymbals, gongs, and drums, a man in black fought with a yellow "white tiger”. Although the opera troupe's ritual practice was to perform this ritual only at places where there had never been any theatrical performance before, the Dangs, for the sake of safety, made a special request and paid the troupe an additional fee to have the rite performed. The allocation of theatre seats caused some conflicts among the villagers. I had been told that the seating was allocated on the morning of 24th December, and a chu was allocated seats according to its position in the jiu Memorial. A young man from Shui Tau told me that a fight almost broke out on account of the seating arrangements. There was hot disagreement between some youngsters of Wing Lung Wai on one side and those of Kat Hing Wai on the other. There were more than ten of these young villagers from each of the two villages who were quite ready to fight. 65 Some others solved their seating problems in a more peaceful manner. I learned about the case of a Kat Hing Wai family which was not one of the ritual representatives and had therefore been allocated seats very far from the stage. But the eldest son of the head of the family managed to purchase some seats for his parents to express his filial piety. Another Kat Hing Wai villager had asked him (the son) for a loan of a few ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h 368 Sung, Hok-p'ang et. al. (1984), pp. 1-9. 1973 "Legends and stories of the New Territories: Kam T'in', JHKBRAS xiii, 1973, pp. 28-40. 1974 "Legends and stories of the New Territories: Kam T'in", JHKBRAS xiv, 1974, pp. 160-185. Taga, Akigoro Tanaka, Issei 1982 Chugoku Sofu no Kenkyu, vol. 2, Tokyo. 1985 Tsui, Bartholomew Watson, Rubie S. Wolf, Arthur P. (ed.) A Chiu 亞潮(?) baai 拜 baai-san Baak Mou-Seung Ú Baak-Ging Baishe Zhuan Lineage and Theatre in China. Interdependence of Festival Organization, ritual, and theatre in the lineage society of South China, Tokyo. 1989 Village Festivals in China: Backgrounds of Local Theatres. Tokyo forthcoming "Daojiao Yili ya Jishen Kiju zhijian de Guanxi”, forthcoming "Taoist Ritual Books of the New Territories". 1985 Inequality Among Brothers: Class and Kinship in South China, Cambridge University Press. 1974 Religion and Ritual in Chinese Society, Stanford. GLOSSARY chiu-gaan chiu-dou * Chiu-Yip # chu 柱 Chuk Yuen 竹園 Chung E Chung Yeung 重陽 Chung-Saan U Bak Bin 北便 Bak Dai 北帝 bei 陂 bong 榜 Bou-Dak Chi #AM bui cha-gwo 茶果 Chan Gau 陳九 Chan 陳 chau-san + Chenghua 成化 cheun-ding T cheun-fu 巡撫 Cheung-Cheun Yun cheung-saam Chi-Naam Ching Ming U Ching-Lok Chung-Yut Я chyun 村 Daai-Si Wong ✰± Daai-Wong E daai-yan ★A daai-yau daam daam-jung da-jai 打仔 da-jiu 打醮 dan 躉 Dang 鄧 Dang Chung 鄧璁 Dao 道 da-saat Dei-Jong Wong E ================================================================================