RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1981 https://digitalrepository.lib.hku.hk/catalog/ff36bt18m THE CHINESE CHURCH, LABOUR AND ELITES AND THE MUI TSAJ QUESTION IN THE 1920'S 109 the YWCA, the Seamen's Union and a large representation from other unions. The unions were again expressing themselves after the 1921 seamen's strike. Twenty speakers secured the floor to present their views. All but three were in favour of the Bill. One of the speakers in favour was Mrs. Ma Ying-piu, representing the YWCA. For a woman to address a mixed public meeting of Chinese was an unusual event in conservative Hong Kong. As soon as the meeting opened under the Chairmanship of Mr. Lo Chung-kiu, the Chairman of the Tung Wah Hospital Directors, there were signs the meeting might not be as smooth as its organizers had planned. A question of procedure was raised regarding the Chairmanship: why should not the meeting elect its own Chairman as it had been convened by the Kai Fong and not by Tung Wah? The Chairman replied it was invariably the practice for Tung Wah to appoint the Chairman for meetings held on its premises. The matter was not pushed. Then began a succession of speakers supporting the Bill. Their remarks were frequently punctuated by applause initiated by the large section representing the Seamen's Union. They particularly acclaimed the speech of Mrs. Ma. She put forth the thesis that it was women who were principally responsible for the system. They did most of the buying and selling and were responsible for the mistreatment of the girls. Mr. M. K. Lo spoke in favour of the Bill. Although the Hon. Mr. Chow Shou-son and Mr. T. N. Chau were present, they remained silent. A speaker from the YMCA attacked the rich, instructing them that they should use their wealth to develop industry to provide employment for the poor instead of selfishly hoarding their wealth and using labour in their homes they need not give wages to. Things began to get out of order when a speaker against the Bill asked why everything was being done for women when men coolies were being sold daily. Voices were raised demanding the Chairman rule the speaker out of order. But he was allowed to continue though he could hardly be heard above the uproar of protests. He eventually had to stop. At this point there was a stamping of feet and repeated cries of "vote". ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h 165 unanimous voice of the Community in wishing that the Corps would again favour us with their highly agreeable representations”.30 ― A new venture in local companies was started in 1864 when, after the troubles of the Taiping rebellion, the Shanghai Volunteer Corps which had taken part in the defence of the Settlement apparently had enough superfluous energy to direct their efforts into more peaceful ventures. On March 30, 1864, Kenney's Raising the Wind, Jerrold's Cool as a Cucumber and Coyne's Duck Hunting were the three pieces given. Several more performances followed in 1864 (April 25, May 26) and 1865 (March 21, May 8, December 14). Not to be outdone by their colleagues, the Mounted Rangers, part of the S.V.C. and formed in 1862, decided to put on theatricals too. May 24, 1865 saw their first moves on the stage with Planché's The Knights of the Round Table and Mayhew's The Wandering Minstrel.3 31 Later performances were given on November 11 and 20, 1865, and January 12 and March 28, 1866. It was these two groups that in 1866 resolved on the foundation of the Amateur Dramatic Corps. Another local company saw the light in June 1864: The Amateur Burlesque Company Ltd. Whether they were not satisfied with the existing conditions of the theatre in Shanghai or whether the demand for Thespian evenings was so great cannot be ascertained; in any case it was announced that **although the theatrical season has closed, the approach of the hot weather warning us against crowded assemblies, a number of gentlemen have formed themselves into a burlesque company**. But the heat was no deterrent and on June 28, 1864 Lacy's The Silent Woman and H.J. Byron's Ill Treated Il Trovatore came off with considerable success, so much so that "many of the audience were disposed to believe that they were witnessing a display of professional talent". The society proved not to be a one-day affair, for it gave a number of other representations in 1864 and 1865. The actors in it probably consisted mainly of British and Americans; of another company that was also established in 1864 it may safely be assumed that only compatriots were members, viz. the Portuguese amateur dramatic club. Although the Portuguese population of Shanghai was small (the census of 1865 showed a total of 110, including 14 women and 15 children) this was apparently no hindrance to the staging of plays ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h 220 R: 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). 17.6.1864 (Fri) Performance by Messrs J.R. Black and Marquis Chisholm (piano) TH: N.N. (H) N: Benefit for Mr. Chisholm R: 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). 22.6.1864 (Wedn) H.J. BYRON: "Il Treated Il Trovatore" (1863) T: Burlesque extravaganza (1 act) C: Shanghai Amateur Burlesque Company F: Music by the Rhenish Band Th: Olympic Theatre (H) + R: 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). 29.6.1864 (Wedn) H.J. BYRON: "Ill Treated 11 Trovators" (1863) T: Burlesque extravaganza (1 act) T.H. LACY: "A Silent Woman" (1835) T: Farce (1 act) C: Shanghai Amateur Burlesque Company F: "New burlesque music" by the Rhenish Band Th: Olympic Theatre (H) R: 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...) ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h 238 "Cool as a Cucumber" (24.3.1851). P: 26.3.1857; 30.3.1864; 4.4.1864 JOHNSTONE, J.B. (1803-1891) ? "Aurora Floyd" (May 1863). P: 26.11.1864; 17.4.1865 KENNEY, James (1780?-1849) **Love, Law and Physic** (20.11.1812). P: 28.1.1851 "Raising the Wind" (5.11.1803).144 P: 9.2.1858; 30.3.1864; 4.4.1864 **Sweethearts and Wives** (7.7.1823). P: 11.4.1865 **Truth out!** (7.3.1812). P: 10.11.1865; 20.11.1865 KÖRNER, Theodor (1791-1813) "The Governess" (= "Die Gouvernante"). P: 28.3.1864 KOTZEBUE, August Friedrich Ferdinand von (1761-1819) "The Harvest at Home". P: 28.3.1864 LACY, Thomas Hailes (1810-1873) "A Silent Woman" (17.8.1835). P: 29.6.1864 LILLE, Hubert "As Like as Two Peas" (30.6.1854). P: 16.3.1858 LINLEY, William (1771-1835) ? "The Honeymoon" (7.1.1797). P: 15.4.-21.4.1865 LOVER, Samuel (1797-1868) **The White Horse of the Peppers** (26.5.1838). P: March 1863; 16.3.1863 LYTTON, Edward Bulwer (1803-1873) "The Lady of Lyons or Love and Pride" (15.2.1838). P: 10.2.1864; 22.10.-28.10.1864(?); 29.4.1865(?) MADDOX, John Medex (1789-1861) "A Fast Train! High Pressure!! Express!!!" (25.4.1853). P: 8.3.1854 MARSTON, John Westland (1819-1890) "A Hard Struggle" (1.2.1858). P: 12.11.-18.11.1864 MATHEWS, Charles James (1803-1878) "A Bachelor of Arts" (under pseudonym: Pelham Hardwicke) (23.11.1853). P: 10.2.1858; 8.5.1865 "Little Toddlekins" (15.12.1852). P: 26.5.1864 "Used Up" (with D. Boucicault) (1.6.1846). 138 P: 26.1.1852; 27.1.1853; 18.2.1857 MAYHEW, Augustus Septimus (1826-1875) "The Goose with the Golden Eggs" (with H.S. Edwards) (1.9.1859). P: 13.2.1863; 17.2.1863; 26.4.1865 MAYHEW, Edward (1813-1868) "Make your Wills" (16.7.1836). P: 23.1.1856 MAYHEW, Henry (1812-1887) "The Wandering Minstrel" (16.1.1834). P: 24.5.1865 ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h Richard III: W. Shakespeare; 26.4.1865. The Rivals: R.B. Sheridan; 28.9.1858, 23.11.1864. A Roarer: N.N.; 19.4.1865. Rob Roy; C.H. Hazlewood? W.H. Murray? 28.3.-5.4.1865. A Roland for an Oliver: T. Morton Sr; 23.2.1852. Roofscrambler: G.A.à Beckett; 12.12.1850. The Rose of Castille: A.G. Harris; 8.10.-14.10.1864. The Rough Diamond: J.B. Buckstone; 13.4.1865. The Serious Family: M. Barnett; 8.10.1857, 2.6.1859, 23.3.1865, 28.4.1865. Siamese Twins: G.A.à Beckett; 5.5.1853. A Silent Woman: T.H. Lacy; 29.6.1864. Sink or Swim: T. Morton Jr; 16.2.1857. Slasher and Crasher: J.M. Morton; 21.2.1856. Still Waters Run Deep: T. Taylor.; 23.4.1857, 15.3.1860. Sweethearts and Wives: J. Kenney; 11.4.1865. Take that girl away: L.S. Buckingham; 15.2.1860; 3.12.1864. Time tries all: J. Courtney; 5.5.1858, 10.5.1860, 21.3.1865. To Paris and back for £5: J.M. Morton; 10.5.1860, 21.3.1865. The Turned Head: G.A.à Beckett; 27.1.1853. Turn out!: J. Kenney; 10.11.1865, 20.11.1865. 'T Was I: J.H. Payne; 27.4.1865. The Two Bonny Castles: J.M. Morton; 22.3.1854, 8.5.1865. The Unfinished Gentleman: C. Selby; 17.6.1865. Urgent Private Affairs; J.S. Coyne; 5.5.1858. Used Up: D. Boucicault & C.J. Mathews; 26.1.1852, 27.1.1853, 18.2.1857. The Wandering Minstrel: H. Mayhew; 24.5.1865. Where There's a Will There's a Way: J.M. Morton; 26.3.1863. Which is which?: W.B. Gill; 27.3.1865. Whitebait at Greenwich: J.M. Morton; 23.1.1856, 16.2.1859, 26.5.1864. The White Horse of the Peppers; S. Lover; March 1863, 16.3.1863. A Wonder: H. Carey S. Centlivre?: 12.11.-18.11.1864, Woodcock's Little Game: J.M. Morton; 14.12.1865. The Young Widow: J.T.G. Rodwell; 27.4.1865, 243 Page 268 ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1992 https://digitalrepository.lib.hku.hk/catalog/qf85tx75x 36 something more than ordinary adventure.' Again, after a theatrical performance by a Chinese actor and actress in a provincial town in Kueichou province, Mesny wrote that local people, believing him [he was then 36] to be very old as he had a beard, knew that foreign women must be inferior; "They must be, “they added", as foreign men pass by but never foreign women, and foreign men marry Chinese wives.' Mesny added that he had one 'with very small feet and wears elegantly embroidered red satin shoes!' This must have been in 1878. Writing a paragraph under the heading of 'Slave Girls', Mesny noted that it was a common thing for well-to-do people to present a couple of slave girls to a daughter as part of their marriage dowry. It was also customary with respectable people to release slave girls when marriageable. Mesny added that he had bought three different girls, two in Szechuan, for a few taels each [less than 15 dollars Mexican]. One he released in Tientsin, another died in Hong Kong; the other he gave in marriage to a faithful servant of his. In his Miscellanies he described a number of Chinese women, young and beautiful, who [or so he claimed] desired to marry him. Some he encouraged but in each instance the story peters out, others disappear out of his stories without explanation or further mention. He also had a 'romantic and intimate interlude' with a young Chinese widow, who did not appear to be short of money, and who accompanied Mesny down river to Hankow where they remained in a house near the Yamen where Mesny frequently visited her. He noted at one point that 'there was nothing like gushing love between us, but I could not fail to admire such an admirably sensible woman. What she thought was admiring in me I know not, but I know she said from the first that she required my protection. The only time that I ever noticed anything like affectionate love on her part for me was on my first visit to her after my misadventure at the Lung-wang Miao". Then she wept. She took my head very gently between her fine hands and repeatedly kissed the fresh scars of my recent wounds... we were both silent.' Despite this, he shortly afterwards described in the Miscellany that he, Mesny, 'had been busy at work and with his friend Pickerell, and paid frequent visits to my charmer near the Tao-t'ai's Yamen. She complained of the scarcity and brevity of my visits and showed unmistakable signs of being in a condition likely to increase the already great population of the vast empire of China.' ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-2001 https://digitalrepository.lib.hku.hk/catalog/zg651950g 334 cremation after a few years in a coffin grave. This paper concentrates on columbaria in municipal cemeteries in Hong Kong, and contrasts the conservative designs of the public sector with the more expressive solutions of private providers. It contains the statistics about numbers of 'cremains' stored in niche walls and columbaria that I had obtained from cemetery managers, whose co-operation was invaluable. The statistics should be regarded as indicative rather than precise. Death has to be planned for as much as life. Storing the dead is a sensitive issue, for the family as well as the state. The worldwide story of columbaria through the ages is one waiting to be told, although sporadic information is to be found in the key texts on cemetery history such as James Curl's A Celebration of Death (1993) and Silent Cities (K.T. Jackson and C.J. Vergara, 1989). Columbaria pose an intriguing challenge to contemporary architects and some of the resulting designs can make for striking and imposing contemporary landscape artefacts. Compared with cemeteries, columbaria are much more focused and inward looking. Cemeteries have the advantage of being outdoors, with all the distractions of the fresh air, the sky, distant views, maybe trees and even some landscaping - though this is rare in Hong Kong, an exception being sections of the Hong Kong Cemetery in Happy Valley. Landscaping was a fundamental part of the design of new private cemeteries that I visited in Guangzhou. How will cyberspace supplement and perhaps supplant the material memorial space of cemeteries and columbaria? Cemetery managers I interviewed in Guangzhou were already thinking about this. Teather, E.K. (1998). Themes from complex landscapes: Chinese cemeteries and columbaria in Hong Kong, Australian Geographical Studies 36(1): 21-36. In this paper, I tried to break away from the straightforward description and painstaking attempt to understand the social and belief systems that underpin cemetery layout and ritual. I tried to capture a little of the contrasting landscapes, symbolisms and moods of four of Hong Kong's cemeteries: Diamond Hill Urn Cemetery (1931); Aberdeen Chinese Permanent Cemetery (1915); sprawling Sandy Ridge Cemetery on the border with Guangdong Province (1950); and St. Raphael's Roman Catholic Cemetery, Lai Chi Kok (1946). ================================================================================