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https://www.youtube.com/watch?v=w8Ap95Ob9-s

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酸筒桿，壹根桿子壹缸醋，涼拌壹下是壹道不折不扣的下飯菜|Make a salad with ‘sour soup sticks’ 【乡野莲姐】@4K

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https://voiceofmatsu.com/%e9%a6%ac%e7%a5%96%e6%96%b9%e8%a8%80%e3%80%8c%e5%90%8c%e7%89%a9%e7%95%b0%e5%90%8d%e3%80%8d%e7%9a%84%e7%8f%be%e8%b1%a1%e8%88%89%e4%be%8b%ef%bc%88%e7%90%89%e7%90%83%e9%87%8e%e8%96%94%e8%96%87%ef%bc%89/

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前些日子，在《馬祖日報》上看到鄭韻秋老師對椬梧的介紹，並且說它的俗名是「鹹ㄇㄨˋ」。因為前字的音節唸法是國語所無，所以韻秋老師用權宜的辦法，以人人都會說的國字暫代。後來有讀者朋友提出不一樣的語音做回應，從社會語言學的角度來看，這些差異是正常的。根據學者研究可知，造成語音變化、或同物異名的原因很複雜，如，說話人的語言習慣、發音器官之一的口腔開口度大小、居住環境的風土氣候、用話人的性別、年齡...等，都有可能是造成語言變化的因素之一。由此可知，魏晉南北朝時代的顏之推在《顏氏家訓*音辭篇》中說：「南方水土和柔，其音清舉而切詣，失在浮淺。...北方山川深厚，其音沉濁而鈋鈍。...」真是觀察入微的見解。

以筆者經驗來說，從小到大，同村莊、同年齡的人，此物都說成與韻秋老師等同，都是發ㄍㄟㄥˇㄇㄨˋ(keingˇmuˋ)的音。馬祖四鄉五島，島上居民分別來自長樂、連江等地，雖然同屬閩東方言語區，但是語言的品物名稱、語法結構、發音習慣等，或多或少仍會有參差。近幾年來為了收集馬祖方言語料，曾做了初步的田野調查，發現某些極其常見的物資品名也會有島際差別的現象。所以，有志於文史工作的朋友，平日若能隨時留意，隨時記錄，一定會有異想不到的收穫。現在就舉幾個例子，利用<馬資網>的版面，並且附上圖片為大家做簡單的介紹。

學名為「琉球野薔薇」的野果（如圖），南竿鄉親說ㄎㄛㄩ兀ˋ兀ㄛㄩ兀ˇ(khoyngˋngɔyngˇ) 。因為不知道國字的寫法，勉強寫做「空甕」（請用馬祖方言發音。前一個字的發音和方言說「咳嗽」時首字的音相同）。但是莒光鄉親是說ㄏㄛㄩ兀ˋ兀ㄛㄩ兀ˇ(hoyngˋngɔyngˇ) ，詞彙首字的聲母雖有ㄎ、ㄏ之別，但音韻變化同轍，屬於清朝學者所謂的「喉牙雙聲」的範圍。因為也不知道國字的寫法，所以，勉強寫成「烘甕」（請用馬祖方言發音）。由於這兩個音節的音素不見於國語，故國語拼音條例未能及此，勉強用注音符號標註實在難以到位，所以只好以國際音標來校正之。

兒童時代的馬祖，物資極為貧乏，所謂「水果」，那只是書本上的名詞而已。孩子們都會辨識滿山遍野的野果，大家都是採摘季節性的野果解饞。「空甕」就是其中之一。它的花很香，聞起來像梔子花。結的果實外觀略呈紅色，頗令人垂涎，但味道青澀。摘回家之後，得先用鈍器將它敲碎，然後調上醋和砂糖，靜置片刻後當零食吃。但是處理它要特別小心，若不慎被它絨毛所沾，全身奇癢無比，癢的感覺馬祖話說πㄧㄤˋ(ngiangˋ)。這個音的漢字寫法至今不知，撰述《縣志*語言志》時，我是用兩字「合音」的觀念來理解它。30多年前任教馬祖高中時，參加機關自衛隊在津沙靶場射擊，發現到處都有它的蹤跡。當時自述陳年糗事，令在場的人抱著步槍笑倒在地。

馬祖是軍事要地，兩岸對峙時，海邊、海岸佈了許多地雷等防禦性的爆裂物。有的父母親會嚴禁孩子上山或到海邊。以筆者來說，採野果的經驗是有，但未曾釣過一次魚，（某次在馬祖餐宴，楊縣長說我從來沒釣過魚，這完全是事實。）當時有許多同年齡的小朋友，必須到山上撿柴火或幹粗活。此時，大人、小孩身上的野果是令人羨慕的。最常見的現象是，收工回家的媽媽們會在斗笠上插著蛇莓（ㄘㄨˇㄩㄣˋ，tshuˇyngˋ）。我家是開雜貨鋪的，野果沒有，但白糖很多。最後被慫恿以物易物，互通有無。處理好了，準備要吃了，不巧來了一位林姓「禿鷹」。那時候的馬祖社會，甜食是兒童夢寐以求的奢侈品，林姓大哥伸手搶奪，現場秩序大亂，糖水四濺，我是受害者之一。當下脖子一陣劇癢。平時聽大人說，皮膚癢，擦萬金油或酒精可解。因為怕「東窗事發」，所以不敢向家人要萬金油，但家裡酒精很多。那時馬祖沒電，晚上商家是點氣（汽）燈。點燃之前，一定要先點酒精將石綿燈蕾燒熱，這是基本過程。事情發生在下午，距離點燈還有一段時間，就神不知鬼不覺的將酒精壺「偷渡」出去。絨毛黏在身上，以霑了酒精的手掌觸摸癢處，讓先前的抓痕痛到最高點；更淒慘的事是，霑上絨毛的手掌，摸到那裡就癢到那裡。現場有人出主意，要我回家洗澡。回到家裡，偷偷的舀兩瓢水躲在牆角乾洗，結果毛巾擦到那裡就癢到那裡。最後只好向媽媽「自首」，鄰居說要用大量的水沖洗。「修理」過後，由媽媽帶到牛角唯一的澡堂（馬中曹前組長家），為我抹肥皂、擦背才解除困窘。時間過得真快，這是五十幾年前的事情，只因為過程慘烈，所以，至今仍久久不忘。

言歸正傳，我們來說說音理。選此物做本專題的開頭單元，實在是吃力不討好，因為這個音是馬祖方言中比較難注的語音之一，偏偏與此音有關的字卻不少，如白讀音的「東」、「紅」以及「冬」、「桶」、「虹」、「銅」、「近」等字都是，這些大部分來自中古時代的《通攝》字，以馬祖方言唸起來或多或少帶有圓唇音。所以，必須用比較多的話來說明。從國際音標元音圖觀察，e的圓唇音o；ε的圓唇音œ，兩個圓唇音是國語所沒有的元音，梁玉璋教授指導編寫的《福州語》課本，是直接借用國際音標來使用。《馬拚》則用「廿」來表示。當œ和ㄩ(y)結合時，œ會被ㄩ(y)牽引而上升到o的位置。此物的注音我用ㄛ元音，那是無可奈何的選擇。其次，國語ㄥ(ǝng)的語音結構是ㄜ+兀，韻尾π是舌根鼻音。兀(ŋ)也等於ng，從前的國語注音符號聲母有「疑紐」，當時為他設計的符號就是兀(ŋ、ng)，今天已不用了。在國語的韻母中，它是聲隨韻母的韻尾之一，不單獨存在，必須和前面接近央元音的ㄜ(Ɣ、ǝ)結合才有意義。但兀(ŋ、ng)卻常常出現於閩東方言裡，而且它前面沒有與之結合的元音。所以，就我們的方言來說，它既是聲母也是韻母。易言之，兀(ŋ、ng)是可以用來標示聲母或韻母的符號。我們標閩東方言音讀時，偶爾會用ㄥ(ㄜ+兀)，簡單的說，這是遷就國語注音符號的拼音習慣，在實際拼音時，要避免受到夾在中間的元音ㄜ的干擾。但是用國際音標時就不能用Ɣ+ng或ǝ+ng了，必須兀(ŋ、ng)單獨標示。同理，前文的蛇莓我標成ㄘㄨˇㄩㄣˋ，這個ㄩㄣˋ只是近似音，ㄣ也是聲隨韻母的韻尾之一，韻尾是舌尖鼻音的ㄋ(n)，在注音符號的韻母結構中它也不能單獨存在，必須和前面接近央元音的ㄜ(Ɣ、ǝ)結合才有意義。福州方言的陽聲韻尾沒有ㄋ(n)和ㄇ(m)，只有舌根鼻音的兀(ŋ、ng)。這在馬祖母語教材《福州語》書中很清楚的看出來。今天我將蛇莓的方言標成近似音ㄩㄣˋ，仍然是遷就國語注音符號的拼音習慣。大家仔細體會一下，當你說國語的ㄩㄣ(暈)或ㄩㄣˋ(運)時，會感覺語音是生成於口腔的前面，但是說ㄘㄨˇㄩ兀ˋ時，最後一個音的發音位置會稍稍的移到口腔的後面，二者差別只在細微處。如果把它們放在語言環境中（說一句話時），說話人快速地說出來，聽的人幾乎感覺不到它的差別。但若要注出標準音來，那就非得用ㄩ兀ˋ(yŋˋ或yngˋ)不可。大部分的馬祖人是ㄢ、ㄤ，ㄣ、ㄥ不分的，我用注音輸入法打電腦沒問題，可是一旦開口說話，特殊的腔調就表露無遺。因為如此，當年在空大兼任面授講師時，學生說我口音很像曹立委，在台大兼課時又被學生視為「特色」之一。最近，世新大學來了許多大陸學生，他們南腔北調的口音，把我的稀有性降低了許多。

最後，要感謝曹爾元局長，是曹局長告訴我此物的學名為「琉球野薔薇」。

馬祖南竿復興村人，台灣大學文學博士，世新大學中文系兼任助理教授。因長期關注馬祖地區母語的教學與發展，獲教育部「推展本土語言傑出貢獻獎」的表揚。目前從事福州方言文字研究、馬祖禮俗闡述，同時以福州方言創作歌詞，介紹家鄉人文風情。作品經公開演出後，深獲兩岸鄉親的熱烈回響。

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馬祖方言「同物異名」的現象舉例（琉球野薔薇） - 攀講馬祖

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前些日子，在《馬祖日報》上看到鄭韻秋老師對椬梧的介紹，並且說它的俗名是「鹹ㄇㄨˋ」。因為前字的音節唸法是國語所無，所以韻秋老師用權宜的辦法，以人人都會說的國字暫代。後來有讀者朋友提出不一樣的語音做回應，從社會語言學的角度來看，這些差異是正常的。根據學者研究可知，造成語音變化、或同物異名的原因很複雜，如，說話人的語言習慣、發音器官之一的口腔開口度大小、居住環境的風土氣候、用話人的性別、年齡.....

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https://archives.novascotia.ca/directories/ChineseDirectoryHalifaxVF372-21.pdf?fbclid=IwAR1gIC9IEMspPzK63R-5f0jFRnr1_DRPeoOUbCiTFqLnCbo9g0DZuH8tfwk

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https://www.anniewong.co/_files/ugd/17e471_cd6172aa347c46978c80666e6d25fb24.pdf

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'A way of thanking people': International student merges Mi'kmaq, Chinese cultures in Nocturne project | SaltWire

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Nebal Snan · Local Journalism Initiative Reporter

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‘A way of thanking people’: International student merges Mi’kmaq, Chinese cultures in Nocturne project | SaltWire

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Zonghua Ai came to Halifax from China in August 2019, only a few months before the COVID-19 pandemic.
While she enjoyed life on campus as an international ...

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https://centrea.org/2021/11/lucie-chan-interview/

Also mentions interviews and narratives

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In Conversation: stories and myths we tell ourselves about ourselves and others.
A conversation between artist Lucie Chan and Centre A's Curatorial Assistant Intern Alexandra Tsay.

Art is a mythology of our currents--some art, some currents. Myth is a traditional story of allegedly historical events that serves to unfold part of the worldview of people or explain a practice, belief, or natural phenomenon. In the past, people used myths to make meaning out of the mysteries of the world they lived in, or to explain the world to themselves through the stories of gods and supernatural creatures. The world has transformed, changed, and happened to be a less enigmatic place, but contemporary artists use art to remind us there are still mysteries in the world we live in. Human beings are one of them. I believe the narrative of art as the mythology or the body of alternative knowledge that unfolds, explains, examines, and questions the current moment is one of the frameworks to look at, experience, and appreciate works of contemporary artists, and Lucie Chan is one of them.

I met with Lucie over Zoom; the pandemic over the past year and a half proves that online conversations can still feel unexpectedly warm as a real encounter (do we know what is real anymore?). Lucie is a Guyana-born Canadian artist and a professor at Emily Carr University of Art and Design. She presented an exhibition, To Be Free, Everything You Most Hate and Fear? , at Centre A in January 2020. Lucie creates assemblage-like objects combining various artistic media and materials into both grandiose and fragile installations. We have talked about her artworks and what inspires them, about what it means to see and be seen, and how signifiers of identity both reveal and hide who we are.

"My art reveals a mass confusion of being a human being."

Lucie: Sometimes I feel that people want to put me into a specific box or a particular way of thinking about things. My work is often about retelling stories. I have had a long career of interviewing strangers and sometimes people I know. I am interested in these interactions when something is revealed that we don't necessarily have every day like a sense of connection or intimacy that doesn't exist or is impossible to happen if you live in a big city because we are humans, and we have boundaries and mutual expectations.

I am interested in the translation of what happens when I interact with people who do not necessarily have their voices heard in an intimate way. Instead, I have always been interested in what you are supposed to do. You are not supposed to retell the stories of others, and I have always been interested in that, because I think there is something about oral histories and carrying someone else's narrative in order to try to create some really deep work that embodies these stories. I really treat time together as beyond research, as process. I am thinking of how without art I would never have this and without that person I would have a harder time to change as an artist.
Alexandra: How do you meet those people? How do you choose them?
L: It starts with choosing the interviewees. I am very introverted and shy; for months and months, I can just observe people in the library or at my community gym that I think look interesting. I do the exact thing that I hate people doing to me: people think she looks interesting, she looks ethnic or looks like she is from somewhere else. I reversed the role. I am trying not to ask friends for conversations, instead, I am trying to ask people who don't know me - that way, we don't owe each other anything, we are strangers, or in artistic residencies I invite people, and we don't know much about each other, but we just sit and talk, and for me, as a shy person it's amazing that people sign up to do that.
A: What are your conversations about? Do you have a prepared set of questions or is it a spontaneous dialogue?
L: Sometimes I have prepared questions that I don't quite know the meaning of. For example, once the question was: teach me a cultural lesson. I was in Canada at the time, the people I interviewed were all from different backgrounds. We immediately laughed together, and they opened up and told me things I have never heard of.

When I was in Halifax, no one would believe that I have the last name "Chan" and that I could possibly be half Chinese. But then I said: "Teach me or make me more Asian", and we didn't even know what that was. There were Chinese, Korean, Japanese people, immigrants and Chinese-born Canadians, and we were just talking about how or if Asian culture could include this: when we just go to the yard and lay on our backs and scream and be really inappropriate and have an hour of that a day. Could it be Asian? What does it mean to be Asian? Those questions were a bit traumatizing for me, because people could look at my skin or grab my hand and ask what part of China I was from, what my Chinese name was.

I realized that people I was speaking to were taking risks by exposing something about themselves, too. They were telling me that, "We are not interested in this, because we are not just Chinese or Japanese or Canadians, we are so much more." I am interested in , and ways in which we can arrive somewhere else. We are all immigrants in Canada, no one is similar to another person. I am more interested in those nuances and surprises that are not always on the surface or great; it's awkward. I think it's important to sit through that too. I think it is a part of problem-solving through art.
A: How do you translate those stories and encounters into artistic practice?
L: Writing is a huge part of my process; I sit and write, and have a very condensed narrative. For a long time, I would ask different people to read these narratives, and because of their accents, or because they went through something similar, they all sound different. It is actually very beautiful, as we read these stories out loud to a young person, and they imagine something. I create installations with different images, sculptural elements, photographs, and audiovisual elements as well. I am trying to combine different artistic elements to reveal the complexity of being human. The translation always shows multiple aesthetics and connections and fused relationships between aesthetics - sound, video, image and that is the way of showing how layered and complex people are. My art is about the mass confusion of being a human being.

When I ask people to teach me a cultural lesson, we can meet several times and talk, and when the project is done, I spend more time sitting and talking to them further. I think it is a cultural lesson to talk to a person about not simply about where they were born, or if their parents were first-generation immigrants. It is obvious to us, but not everyone sees and understands that cultural identity is not actually the core side of people.
A: Do you think that, for an immigrant or an immigrant artist, it is possible to be seen out of that cultural box? You are seen as a part of your bigger identity whatever it is, whatever people have in mind and then if you want to jump out of that box it can be very difficult.
L: I immigrated here at a young age, I always looked at my parents and thought about how difficult it must be in your early 30s, to leave your home country, have two kids, leave behind almost all of your belongings and move to a new country. It is difficult even at a young age. If you are an immigrant, it is difficult to be seen outside of your box, or what people think you are bringing with you, or what you embody. I really think it is one of the most essential human experiences, especially in Canada. I moved here in the year of the Multiculturalism Act, so suddenly, that was on my mind from a very young age. Now I see that people of different ages, have never been seen or are seen through very specific frames. I think it is my responsibility as an early immigrant to say that it is essential for Canadians and immigrants who arrive here to have a choice of what they can be and what their life could be.
A: Can art help with breaking those frames of seeing each other and opening new ones?
L: I am a teacher, so I bring in artists who represent some of the students who don't usually get to be represented, and they come to me and say: "I didn't know you can be from the Philippines and make art about the Philippines" or "I didn't know you can be from Salvador and make art about your country." For me, it's a heartbreaking and important moment to realize how essential it is that we are not stuck in a bubble and let people create whatever they feel needs to be created.

I truly feel it's one of the most critical things and I thrive not only as an artist but as a teacher - I tell my students to not only look at artists who are taught within the canon, but also look at the amazing things that people have been doing for ages before Canadians have been doing this.
A: Why is drawing important for your practice? Was it somehow connected with stories? Is there any connection between stories and drawing?
L: It started as a very practical thing, I was at the art school and I liked animation, sculptures, and drawing. I liked the idea of drawing because I wasn't rich. I actually didn't have much money, and I was afraid when I left art school I wouldn't be able to be an artist because I didn't have any equipment. I just said to myself that I didn't want to go out into the world after that special time in art school and not have access to those things and not be able to make things. Drawing was something that people usually do before they move to the next thing and people usually say to me: I have all those beautiful papers from when I used to draw, but now I am making sculptures. All these drawing materials came to me freely, and I didn't buy any supplies for about five years after graduating from school. People were giving them to me.

Now I think there is something very powerful in drawing, it allows you to be very humble in response to materials in a way that what you did when you were very young. When I started drawing I didn't have a plan, I had ideas, but it is not like a recipe, it is more like a slow process that doesn't connect with the outside world. It is like a meditation and I like to start as an exploration of what a drawing can be instead of drawing as masters did.
A: Did you draw from a young age?
L: I have been drawing since I was young. When I was bored and I wanted to go outdoors to play, my father made me write or draw, maybe related to his own visual and writing practices, but also to keep an eye on me.
A: You somehow also combine storytelling, voices and sound,
L: Yeah, my father didn't go to art school but was always creating and being inventive in all aspects of his life, and I didn't know that being an artist is something you can do seriously. My surroundings had an impact on all of my senses. Maybe indirectly, even though our works look very different, I am affected by stories, voice, sound. Thank you for making this connection for me.

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ARTIST CONVERSATION - LUCIE CHAN: STORIES WE TELL OURSELVES ABOUT OURSELVES AND OTHERS

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In Conversation: stories and myths we tell ourselves about ourselves and others. A conversation between artist Lucie Chan and Centre A's Curatorial Assistant Intern Alexandra Tsay. Art is a mythology of our currents--some art, some currents. Myth is a traditional story of allegedly historical events that serves to unfold part of the worldview of people or explain a practice, belief, or natural phenomenon.

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Photographers aim at communicating with images. This is why we need to become good interviewers as well.

Being good at asking questions is essential both in the pre-production and production phases of most photography projects. You might be working on an art project or something rather personal, but you can be sure that these notions I'll write about, borrowed from journalism, will be useful nonetheless.

As part of my very first photography project, Broken Screen, I interviewed blind people about their experiences as they live their lives within a system constructed on the rules of seeing. This piece was a rudimental montage of their answers (2012).

Project pre-production

While researching a topic you read and cross-reference different sources, but at this stage it is always essential to have a talk with someone whose direct knowledge can complement or corroborate your findings.

Depending on the nature of the project you might be talking to a spokesperson, a psychologist, an activist, a doctor, anyone who can help you progress in your research. That kind of talk can happen over the phone going over a list of questions, and provide you with a clearer idea of how and where to find the people you'd like to photograph, and which locations it makes sense to include in your visual work.

The information you gathered up to this point helps you write a pitch (for publications) or a project statement (for the art world). In both cases this is a short text that states what you will work on, why it is relevant and what message you want to send.

Writing this text shakes you out of the vague and nebulous concepts you had in mind to help you understand what you want to do in practice. Sometimes going from a topic to defining your angle on the topic, understanding what is THE main question behind a project, is the hardest task, and once you found it you're already halfway through it.

Photo editor and writer Laurence Cornet is interviewed about her involvement with the nonprofit Dysturb by high school students in Normandy for their school radio, after a talk about media literacy that she and I held at the school for Dysturb. © Gaia Squarci

What are you looking for?

The reasons why you might want to interview some of the people who are involved in your project (I'll avoid using the term "subject") can be various.

● Collect information

● Obtain quotes, anecdotes. For instance you might know certain facts related to the story, but you want to hear them from the perspective of the person you're photographing.

● Emotion/character study. Words might communicate to the viewer/ listener a message that either enhances or contradicts what the subject is expressing through body language. If you're also working with audio/video the intonation of the speech, the silences, the accent contribute actively to the nuances of the work.

Even if you intend to use only photography, or photography and written quotes, I'd suggest to always record the interviews at least in audio. That way you can concentrate on talking to the interviewee instead of struggling with fast note-taking, and if you made the effort to get a good recording you can potentially use the audio track as part of the work itself, in case you change your mind and want to add a multimedia component to the work.

In his project The Ameriguns Gabriele Galimberti has portrayed American citizens who privately own a large number of firearms. The portraits themselves are striking, showing individuals or entire families posing proudly, surrounded by a carefully arranged choreography of their countless guns. What makes the project nuanced and relevant for the debate on gun control in the US, though, is the information Galimberti gathers in the interviews, and the characters' motivations and backstories he includes in the captions.

"I have no intention whatsoever to survive your mother."
From Dance for No Reason, a long-term project about my parents. © Gaia Squarci
​​

On the same topic, the artist JR has worked on an interactive web collage for Time Magazine called Guns in America, inviting 245 people in a studio for staged portraits and asking them questions drawn from their life experiences related to firearms. In the webpage the individuals form a large crowd, polarized between the ones who are pro and against gun use. The viewer can click on their individual portraits within the crowd and listen to audio fragments from their interviews.

In order to be effective in a photography project, the material you get from interviews needs to be radically edited down. Most of the time I interview people for 45 minutes to an hour and I might use just one short written quote, or a one-minute-long audio piece. Sometimes an interview can even be reduced to just one question. In her series , Sophie Calle asks a number of people who were born blind the same question: "What is your image of beauty?" She takes a portrait of each of them and then takes other photos to give visual shape to their answers. In her book The Notion of Family, Latoya Ruby Frazier writes down dialogues she has with her mother about their relationship. "What do you see when you look at me?" She asks her.

A photograph of me filming an interview conducted by Peter van Agtmael with Lyniece, mother of a transexual woman who was killed by her dealer after being forced by the police to collaborate as an undercover informant. In Detroit for the New Yorker multimedia story Treasure, Thrown Away. © Peter van Agtmael / Magnum Photos

What makes an interview successful?

I'm satisfied with an interview when I discover something relevant to my project that I didn't know, didn't expect and maybe wasn't looking for. I love when it helps create a connection with the people I'm photographing, when it provides me with strong quotes and possibly gives me good ideas for new photographs I can create within the same body of work.

Being interviewed is also an experience that I'd suggest to anyone. Like therapy, good questions can bring focus to things about yourself you hadn't fully realized, and if you're working on a project they can help you carry out your interest and goals.

A colleague who has worked extensively in war zones told me once about the time when, a 24-year-old photographer anxious for affirmation, he communicated to his parents that he was leaving for Iraq for the first time. They had seen it coming, but they insisted to sit him down and interviewed him about his motivations, recording his answers. He was puzzled at the time, but watching the interview years later he admitted that this step had been fundamental for him to find such complex answers inside of himself, and informed much of the work he ended up doing.

In the next article, which will be published next week, I'll talk about how to conduct an interview, and how to pose questions.
By Gaia Squarci Gaia Squarci is a photographer who divides her time between Milan and New York, where she teaches multimedia at the International Center of Photography. Her work has been published in the New York Times, the New Yorker, Time Magazine, Vogue, The Guardian, Der Spiegel, among others.

Read More: What You Need to Start Your Career as a Visual Artist

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Photographers aim at communicating with images. This is why we need to become good interviewers as well.

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Photographers aim at communicating with images. This is why we need to become good interviewers as well. Being good at asking questions is essential both in the pre-production and production phases of most photography projects. You might be working on an art project or something rather personal, but you can be sure that these notions I'll write about, borrowed from journalism, will be useful nonetheless.

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The Woo-Woo - Lindsay Wong
https://arsenalpulp.com/Books/T/The-Woo-Woo

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How I Survived Ice Hockey, Drug Raids, Demons, and My Crazy Chinese Family

2019 CANADA READS FINALIST Shortlisted for the Hilary Weston Writers' Trust of Canada Prize for Nonfiction; Winner, Hubert Evans Nonfiction Prize; Longlisted for the Stephen Leacock Medal for Humour

In this jaw-dropping, darkly comedic memoir, a young woman comes of age in a dysfunctional Asian family who blame their woes on ghosts and demons when they should really be on anti-psychotic meds.

Lindsay Wong grew up with a paranoid schizophrenic grandmother and a mother who was deeply afraid of the "woo-woo" -- Chinese ghosts who come to visit in times of personal turmoil. From a young age, she witnessed the woo-woo's sinister effects; when she was six, Lindsay and her mother avoided the dead people haunting their house by hiding out in a mall food court, and on a camping trip, in an effort to rid her daughter of demons, her mother tried to light Lindsay's foot on fire.

The eccentricities take a dark turn, however, and when Lindsay starts to experience symptoms of the woo-woo herself, she wonders whether she will suffer the same fate as her family.

At once a witty and touching memoir about the Asian immigrant experience and a harrowing and honest depiction of the vagaries of mental illness, The Woo-Woo is a gut-wrenching and beguiling manual for surviving family, and oneself.

Short-listed, Canada Reads 2019

Winner, Hubert Evans Nonfiction Prize (BC Book Prizes) 2019

Long-listed, Stephen Leacock Medal for Humour 2019

Short-listed, Hilary Weston Writers' Trust of Canada Prize for Nonfiction 2018

Here's a memoir so alive and full of 'you can't make this stuff up' that you'll find yourself wincing and snickering and possibly weeping long after reading the last eloquent sentence. The Woo-Woo is both heart-wrenching and batshit insane, and is also beautifully rendered and fearless in its whip-smart humor. Lindsay Wong spares nothing, not even herself, in her search for clarity amidst madness, while the specificity of her prose reminds us of the woo-woo lurking within every family tree. -Sean Madigan Hoen, author of Songs Only You Know: A Memoir

No definition of "dysfunctional" in any language on earth can hope to adequately describe the bizarre, darkly hilarious antics of Lindsay Wong's extended immigrant family. Every page of this no-holds-barred memoir will leave you astonished and incredulous. -Andreas Schroeder, author of Renovating Heaven

Someone get Lindsay Wong into a witness protection program for revealing--and illuminating--the secrets that Asian families prefer to keep hidden away. She is caustic, observant, relentless, and, in my opinion, the future of Asian Canadian writing. -Kevin Chong, author of The Plague

What if the ghosts and demons of myth were in fact a structure that prevented open conversations about self care and mental health? Lindsay Wong's The Woo-Woo is a brave, funny, and heartbreaking memoir that takes on the mysticism so regularly sold to us as part of the Asian and Asian American experience and presents a side we don't often see: that of a young woman struggling to survive her family's adherence to a belief system she knows will doom her and them both. -Alexander Chee, author of How To Write an Autobiographical Novel

The Woo-Woo will break your heart then bind it back together. With luxurious prose, dark humor, and a sharp yet tender gaze, Lindsay Wong gives us an unforgettable memoir that mines the truth of her explosive family and its everlasting ripples as they follow her into adulthood. -Lily Brooks-Dalton, author of Motorcycles I've Loved and Good Morning, Midnight

How anyone survives childhood is a mystery, but how Lindsay Wong endured hers is a revelation. Extraordinary in their cruelty and blacker-than-midnight hilarity, Wong's family in The Woo-Woo is unforgettable. Equal parts appalling and riveting, Wong proves that a sense of humor can get you through the most dire circumstances. A riveting, unbelievable family epic told in exquisite, visceral prose, you won't believe it's not fiction. -Elizabeth Greenwood, author of Playing Dead: A Journey Through The World Of Death Fraud

That Lindsay Wong is even alive to write this book is amazing. That she can make it into the hilarious, touching, and tragic story that she's given us here is proof that books still have a purpose. Somehow she manages to transform the deeply sad and make it funny, so that we mortals can take it and learn something from it. Her black humor combines with compassion: she represents the realities of mental illness in her family while still telling us the story from their perspective: that of people haunted by The Woo-Woo. After you read this book, you may be, too -- in the best way. -Sarah Perry, author of After the Eclipse: A Mother's Murder, A Daughter's Search

Wong's generational history of intertwined mental illness and supernatural beliefs drives her harrowing but sharply funny memoir. -- Toronto Star

Wong's debut harrowingly portrays a family who 'believed that mental illness, or any psychological disturbance, was caused by demonic possession' . .. A raw, profane, and funny memoir. -- Kirkus Reviews

Darkly funny, steeped in the macabre and grotesque, The Woo-Woo is at once an unflinching portrait of a borderline abusive childhood and a testament to the power that family has to shape us for good or ill . .. Rich with gritty, hard-earned insight, The Woo-Woo illuminates the shaky reality of living across two cultures and offers a difficult, tenuous bridge between these worlds. -- Quill and Quire (A Best Book of 2018)

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How I Survived Ice Hockey, Drug Raids, Demons, and My Crazy Chinese Family 2019 CANADA READS FINALIST Shortlisted for the Hilary Weston Writers' Trust of Canada Prize for Nonfiction; Winner, Hubert Evans Nonfiction Prize; Longlisted for the Stephen Leacock Medal for Humour In this jaw-dropping, darkly comedic memoir, a young woman comes of age in a dysfunctional Asian family who blame their woes on ghosts and demons when they should really be on anti-psychotic meds.

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christian said I could use a high rez photo and apply a key frame (zoom) to create the illusion of perspective.

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I could see not only her body but also her face. I really like the way those legs jumped slowly, slowly as if the little girl is thinking before she took the next hop. I wore exactly that kind of cloth  shoes.

Dear Jenny,

Sorry I didn’t view the Hopscotch until now (Sat.6:30 pm). I have been doing my laundry and Bain exercise (word puzzles, etc.) Now I am with you. I think the short video is cute. I wore exactly that kind of cloth  shoes.

As to the sound, street sounds, yes, but actually our street was quiet except for the cicada’s and occasionally pedlars shouting aloud what they are selling. Across the row of town houses where we lived, there was the museum of the Jesuit Fathers next to wish is the S.J. residence and a chapel. On the other side there was the broad street where cars and tramcars pas, but 90 years ago, the traffic was not all that bad.

We always heard the pedlars shouting out what they were selling, but I’m afraid I can’t remember their singsong tunes depending on what they sold: roast chestnuts (糖炒栗子), peanuts either cooked or salted, and shoe repair men. The most welcome was 臭豆腐 burning hot and everyone’ favourite. Then there was the shoe-maker who repairs ur leather shoes, or the guy who sharpened our kitchen knives.

Do you have any Chinese instrument that can be recorded. Wouldn’t it be nice t have Chinese music. The only western music I remember was the gramophone record Laughters of Foreigners: no words but laughters of various tunes and intensities.

I am afraid I have been a nuisance than a help to you. So long…Thank you!

Theresa

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https://www.halifaxtoday.ca/local-news/two-direct-charter-flights-from-china-coming-to-halifax-next-year-1913458

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Premier Stephen McNeil announces Halifax will be welcoming two direct flights from the Chinese city of Guangzhou in 2020 (Matthew Moore/HalifaxToday.ca)

Premier Stephen McNeil announced Thursday that Halifax will be welcoming two direct flights from the Chinese city of Guangzhou in 2020.

The city of almost 15 million is the capital of Guangdong province in southern China.

"This is an opportunity for us to have our first direct link into Atlantic Canada. We want to prove that, quite frankly, this is a marketplace," said McNeil.

Not only would China Southern Airlines be bringing in tourists to Nova Scotia on those two flights, but eventually the goal is to have bi-weekly direct flights coming and going between the two cities, allowing tourists and trade goods to flow between them.

The announcement comes after years of relationship-building between our province and Guangdong province, with the hopes of increasing tourism directly to Nova Scotia and solidifying economic ties between the two regions.

According to the McNeil, 80 per cent of seafood exports in Nova Scotia go to Guangdong, and he hopes the direct flights will further trade goals.

"Cargo will be part of this flight going back. I can't tell you how many times our lobster has been described as Boston lobster. This will be an opportunity to continue to do, and work on the work that we've been doing exporting our seafood out of here," McNeil told reporters today.

The Government of Canada has issued an advisory asking Canadians going to China to exercise a high degree of caution due to the risk of arbitrary enforcement of local laws.

The advisory is due in part to the continued imprisonment of two Canadians in China, both of whom were arrested in 2018, just ten days after RCMP officers arrested Meng Wanzhou, Chief Financial Officer for Chinese telecom giant Huawei.

At the press conference, McNeil remained adamant the country is safe to visit, and represents a profitable market for Nova Scotia.

"We don't see it as an issue at all," McNeil said. "I have been in and out of China, and I've said this many times, if my children wanted to go I'd be more than happy to send them to China."

Provincial opposition leader Tim Houston is a little more hesitant about the degree to which McNeil is investing time in establishing relations with China.

"We have a beautiful province, we have a province that people would want to come visit. All over the world, people want to come here and we should never lose focus of that," said Houston. "Opening up a new market is a good thing, but it's a big world, and let's make sure that we're selling this province to people all over the world."

In 2018 Nova Scotia welcomed about 5,000 Chinese visitors and the province hopes to increase that to 50,000 annually by 2024.

The province is still working out the details of these two direct flights, but they are expected to arrive in Halifax in the fall of 2020.

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Two direct charter flights from China coming to Halifax next year

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Premier Stephen McNeil announced Thursday that Halifax will be welcoming two direct flights from the Chinese city of Guangzhou in 2020. The city of almost 15 million is the capital of Guangdong province in southern China. "This is an opportunity for us to have our first direct link into Atlantic Canada.

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https://dogisland.libsyn.com/

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Sorry it's been a while but here is a new episode. We discuss the ongoing pandemic, the Portapique tragedy, a budding Nazi colony in Cape Breton, local Black liberation movements, our wretched city council, Matt Whitman's mayoral aspirations and finally discuss some exciting news for the future of Dog Island. It's a...

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Sorry it's been a while but here is a new episode. We discuss the ongoing pandemic, the Portapique tragedy, a budding Nazi colony in Cape Breton, local Black liberation movements, our wretched city council, Matt Whitman's mayoral aspirations and finally discuss some exciting news for the future of Dog Island.

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https://acultureofdefeat.wordpress.com/about/

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Chinese owned cafe on Gottigen Street

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1881 Beginning of the Canadian Pacific Railway
1885 Introduction of Head Tax $50;
1895 Completion of CPR; workers moving to Atlantic Canada
1903 Head Tax increased to $500
1895-1919~ Chinese maintained successful business in comparison to those settled in western Canada
Feb 18 1919 Anti-Chinese Riot in Halifax
Feb 19 2020 second Anti-Chinese Riot in Halifax; Council has no qorum. No damage was compensated to business owners. Damage was also done to business owned by Jewish and asyrian communities.

https://www.halifaxtoday.ca/halifaxyesterday/halifaxyesterday-the-1919-anti-chinese-riots-2822141?fbclid=IwAR3hXiQ7xvm5WbmXOvBvimFcCj_bFOBGGgYc9h_dQ-wmXXHj1AOfTM51QFA

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By February 1919, Halifax and its people displayed few outward signs of any deleterious effects resulting from the unthinkable explosion in the harbour which decimated the entire Richmond District just over a year before. The blast took almost 2,000 lives, caused millions of dollars in property damage and left thousands homeless.

Most citizens rose to the occasion, unified in their efforts to put the disaster behind them and to rebuild the city as well as their sense of community. But the collective suffering brought on by the explosion and the First World War, which ended in November of 1918, was not enough to quell an underlying xenophobic attitude in some quarters towards the small but thriving Chinese Community.

Since the 1830s, Chinese labourers from the British Caribbean used Halifax as a port of entry to the rest of Canada. When construction began on the Canadian Pacific Railway in 1881, many immigrants headed west to join the thousands of Chinese in the work force while others continued on to China. Four years later, the Canadian Parliament initiated a head tax of $50 per Chinese individual to discourage immigration to Canada after the railway was completed. By 1903, the prohibitive tax had reached its maximum of $500. (See Images 1 and 2 above)

Chinese workers were resilient and possessed a strong work ethic. However, their willingness to accept much lower wages than their white counterparts inadvertently contributed to a longstanding racist notion that East Asians constituted a threat, or "Yellow Peril," to the Western World. The Boxer Rebellion (1899-1901) in northern China solidified this mindset among Westerners well into the 20th century. The anti-colonial uprising, begun by peasants and later sanctioned by the government, was carried out by a secret martial arts organization known as the Yìhéquán (Boxers). Their violent campaign resulted in the massacre of approximately 250 foreigners - mostly priests, nuns and missionaries - as well as thousands of Chinese Christians. (See Image 3 above)

After completion of the CP railway in 1895, some of the Chinese workers made their way to the Atlantic provinces. Racism towards the Chinese in western Canada was prevalent, but they were better received on the East Coast. Many of the newcomers started and maintained successful businesses, including restaurants and laundry services. On the evening of Tuesday, 18 February 1919, the veneer of community acceptance in Halifax was shattered by a series of events which caused the city's Chinese enclave to suddenly and unexpectedly face the full brunt of unfiltered racist sentiment. (See Image 4 above)

At approximately 11:00 pm, a soldier under the influence of alcohol and a few friends entered the Chinese-owned Crown Café located on Gottingen Street. The soldier ordered a large meal. According to Fong Quin, a leader in the Chinese community,
when it came time to pay the bill, the man refused and became antagonistic. The proprietor, no longer concerned with payment, asked the man to leave but he would not comply. Instead, he threw ten cents down on the counter and demanded a package of cigarettes. The owner told him it would cost five cents more for the pack. The man then switched off the restaurant's lights and grabbed for some money in the open cash register. After taking $75.00, he tossed the register through the front glass window and
started yelling for help. While this was going on, the Chinese customers had gathered at the back of the café. (See Image 5 above)

After the police arrived, the soldier and his friends left the café. However, the disgruntled men returned soon afterwards. As a crowd began to gather on the street, a rumour that a recently returned soldier had been brutally assaulted by a Chinese man spread like wildfire. The mob descended on the restaurant and destroyed everything in sight. Several onlookers were pelted with stones. The rioters, made up of soldiers and civilians, went on to attack other Chinese owned establishments. They stole laundry, eating utensils, a typewriter, tobacco, and assorted smokes, and badly beat up a laundry keeper named Fang Wong on Agricola Street.

Tables, chairs, cash registers, and stoves were smashed or sent flying through windows. After damaging establishments along Gottingen, Brunswick and Barrington Streets in just a few hours, the unruly mob was finally confronted and subdued by the police who also arrested alleged instigator, Thomas Andrews, and two men responsible for thefts. A man named Samuel Lesser was also arrested for the assault of Fang Wong.

Halifax was no stranger to violent post-explosion protest. In May of 1918, City Hall was besieged by rioters after a drunken sailor was arrested. Civilians, sailors and soldiers wrecked a police courtroom and offices, and smashed windows and doors.

They also set two small fires which were extinguished before any major damage could occur. The disorderly throng overturned cars and threw a stolen police motorcycle and wagon into the harbour. An understaffed police department could not control the crowds but did arrest several personnel whom they subsequently handed over to navy and army officers.

Less than a year later, mob rule once again took over the city. One night of violence had not been enough, and the arrest of Thomas Andrews did nothing to quell the unrest. In the early evening of 19 February, the malcontents began assembling on street corners with the goal of "raiding businesses whose proprietors were believed to be aliens." As they began sweeping south through the downtown district, their numbers grew into the thousands. At least ten shops were damaged or completely destroyed from the Gottingen Street area to Barrington and Sackville Streets.

The owner of the Crown Café had just repaired his windows only to have them broken again. However, the destruction went beyond the Chinese businesses. Stores owned by those in the Jewish and Assyrian communities were also attacked. Finally, police armed with clubs forcefully charged the rioters and succeeded in routing them, sending several of their numbers to the hospital. Nevertheless, it took several more hours before the crowds were completely dispersed.

The citizens of Halifax were outraged by these racially motivated attacks and called on City Council, police and the military to take immediate action. Following the second night of unrest, the Halifax Herald displayed photographs of the destruction. The
headline appeared in bold type asking: "HOW LONG WILL DECENT CITIZENS TOLERATE THIS? The paper published photos of the police chief, Francis Hanrahan and Mayor A. C. Hawkins asking the question: "Well, Gentlemen, What Are You Going To Do?"

The Herald called the raids the "most flagrant violations of justice and law and an utter disgrace to the capital of Nova Scotia," stating that the work ethic of Chinese citizens was something that native born people "might well emulate." The article went on
to say "the Chinese deserve the best protection that the laws and statutes can or should guarantee them," and called for those who committed the crime against the Chinese business owners to be "rounded up and punished." (See Images 6 and 7 above)

The raids caused over $12,000 in damages, $8,500 to Chinese restaurants alone. However, on 13 March, City Solicitor, F. W. Bell, advised the Board of Control to disavow responsibility for any of the sustained damages. They ignored pleas for a settlement from Mayor Hawkins and one of the controllers, John Murphy, as well as numerous petitions from those directly affected by the rioting.

Unfortunately, politics played a major part in the lack of reaction by city officials. By 1919, the centralized Board of Control system, initiated six years before, had lost public support. Internal animosity and power struggles throughout the local government resulted in the resignations of a dozen aldermen in the fall of 1918, leaving the mayor and four controllers to manage the city's business. At the time of the riots, the city still had no quorum for council. Following a provincially enacted plebiscite in the spring of 1919, the Board of Control was terminated. Ultimately, no further action was taken regarding compensation for damages caused by the riots.

Sources: Halifax Municipal Archives (articles by Elizabeth O'Brien &; Adam Meyer); articles in the Halifax Herald; www.britannica.com; www.thecanadianencyclopedia.ca.

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HalifaxYesterday : The 1919 Anti-Chinese Riots

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By February 1919, Halifax and its people displayed few outward signs of any deleterious effects resulting from the unthinkable explosion in the harbour which decimated the entire Richmond District just over a year before. The blast took almost 2,000 lives, caused millions of dollars in property damage and left thousands homeless.

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1. Do you have any thoughts on the animations and writing I shared with you? This can be visually, thematically, or socially or any concerns/criticism you may have.

It is great that you found people from different waves of immigration Know that your research is intended for a larger work of fiction and not a documentary helps me understand your animations in a different way. They are not intended to be viewed as independent work but rather a part of your research process.

The padlet is like a gallery exhibition itself. They act as interpretive texts.

1. The most challenging part of this project for me has been finding ways to engage community members in the creation process in a way that strikes a balance between creative autonomy and being guided by your experiences. Do you have any feedback for how you would have liked to be a part of the creative process and how I can do better next time?

It makes sense in the context of research for a work of fiction, that you come to me to seek information about a particular era. My part would be to give you a flavour of what the era is like for research purposes. I would not expect the work to directly relate back to me.

1. In terms of future development, where would you like to see this project go?

See something longer;

Would like to see the future animation not requiring an interpretive text;

Didn’t expect a narrative film. Based on my understanding of your previous work, I would picture maybe something more abstract. I think of your figure with a hole in the chest as a character. I would imagine perhaps more characters being created that stretch beyond one film or one work.

From the conversation with Jack, I came away with the realization that the research roadmap, the animations and the writing are all different ways of gathering information.

Jack said more dialogue on the donkey roles between lem and I would be interesting. Adding subtitles would be fine as at this stage of my work, I don’t need to worry about “consistency”.

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A Linguistic Emigration: Chinese Women Writers on Their Translation Practices

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A Linguistic Emigration: Chinese Women Writers on Their Translation Practices

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A Linguistic Emigration: Chinese Women Writers on Their Translation Practices - Asymptote Blog

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Recently, I came across an interesting comment, that despite the fact that more POC writers are being published, the English publishing world will not actually become more diverse, as the editors and gatekeepers who select them for publication continue to be predominantly white. Asian writers have perhaps heard similar feedback from their editors: "Your story is not Asian enough," or: "Why don't you write more about your family's immigration stories?" Sometimes the endeavors of white editors to market POC writers may in fact reinforce stereotypes. The same could be said for translations: if the translators of foreign literature continue to be exclusively white, native English speakers, then English readers would likely continue to receive material that reinforces their expectations, rather than that which may broaden their perspectives.
The word translation is rooted in the Latin translātus (to carry over); it's always about appropriation and transition, but that doesn't mean we should stop thinking about how we can strive for a more inclusive and dynamic future in publishing-trusting and bringing in more POC translators to deliver English translations may be one solution.
Jianan Qian, Na Zhong, and Liuyu Ivy Chen are all millennial Chinese female writers who have received higher education in both China and the US. They write bilingually and translate between their two languages, having already introduced several talented contemporary Chinese experimental writers and young female authors to the English world. Their work has been tremendous thus far, and one expects their futures to be even greater.
-Jiaoyang Li, July 2020
Jiaoyang Li (JL): All of you were writers before becoming translators. What is the relationship between writing and translation for you? Is translation a kind of creative writing?
Jianan Qian ( JQ): For me, the purpose of literary translation is twofold. First, the work pushes me to do intensive reading. Usually I choose my own translation projects, so I can take the time to appreciate the author's writing on a granular level. I also consider translation to be a writing practice-it might be a sort of creative writing, but for me, it is more like an opportunity to see how beauty comes into being differently in the two languages. I work with a wonderful co-translator, Alyssa Asquith, and I always learn a lot about linguistic, aesthetic, and cultural differences from our exchanges.

Na Zhong ( NZ): A great translator should think like a writer, and to be a great writer you have to be a great reader. Translation provides the reliable gymnastic exercise for me to maintain, stretch, and become aware of my linguistic muscles. A rich text demands that I pay maximum attention to its diction, syntax, voice, and many other elements of writing. And a carefully chosen word can lead me into the depths of the story that would be impossible to reach if I were only engaging with it as a casual reader.

And yes, translating is a kind of creative writing, as imitation lies at the heart of all art forms. In the most literal sense, translating is rewriting the story in another language. It allows me, the translator, to adopt a voice and way of storytelling that I have never embodied before. The writer creates the characters imaginatively; the translator recreates the implied writer imaginatively.

Liuyu Ivy Chen ( LC): For me, writing in my second language is an act of translation; living in a foreign country is a daily work of translation. Reading a new book, meeting strangers, falling in love, visiting an old place, or forgetting about the past are all translations to be enacted or retracted. This distance to cross and reduce is not so much between two languages, but between me and the world. There is so much I don't understand, and translation is one way to cope with the unknown, to stay open-minded, and to bring seemingly unattainable beauty closer to touch. I read, write, and translate to touch the world. Translation is not only a kind of creative writing; it is a way of living.
JL: How do you choose your translation projects, and what are you most interested in translating?
JQ: In terms of Chinese to English translation, I work exclusively on Zhu Yue's story collections, for many reasons. First, I am a huge fan of his stories. They are original, funny, and thought-provoking, and I hope to share my experience of reading them with more people. Secondly, for years, the presentation of contemporary Chinese literature in the English translation has been overly politicized; that is, the English book market tends to encourage readers to find in contemporary Chinese literature an antithesis of American democracy. I think that portrait of Chinese literature is extremely narrow, and Zhu Yue's stories may help introduce the English-speaking audience to diverse contemporary Chinese voices.

NZ: In most cases, I pick works instead of writers to work with, simply because even a great writer can have his or her bad moments, and I need to be profoundly moved to be willing to revisit a work for the fiftieth time, and still have the passion to make it right and true.

The moments when such decisions, or contracts, are made can be quite emotional. In 2017, a publisher asked me if I would like to translate "this debut novel by an Irish writer called Sally Rooney." I clicked open the PDF copy of Conversations with Friends and made up my mind before I finished the first page. To be precise, I was sold when Frances describes Bobby's "little spoon-like ear." The specificity of the detail, the deliciousness of the feeling!

Another memorable project is my English translation of three short essays by Deng Anqing , a Chinese fiction and nonfiction writer who chronicles his lockdown life in Hubei province when COVID-19 struck China in January. I was part of a one hundred-strong translator community that volunteered to translate the diaries of Wuhan residents into English, French, Japanese, and other languages. It is one of the few moments in my life as a translator when I had a palpable sense of the role translation plays in our reality-rendering a piece of life, feeling, and consciousness intelligible in another language, demystifying the exotic, fearful Other.

LC: I share the sentiment of France-based poet and translator Li Jinjia, who said during a recent interview: "I do not get to choose a translation project-it is a necessity, a command, a debt. Like when you read a book and it compels you to get up and pace around in the room; you want to walk out but hesitate. A desire flares up in your chest: to build a dangerous, intimate bond with this work, to extend its life while canceling it out in another language, and to melt into a broader unknown with it. . . I felt this way when I translated Yu Jian's Ling Dang'an. I remember I was in the National Library of France when I finished reading that poem, and I saw the reading room engulfed in blazing flames. I had to escape. I started translating." (Quote translated from Chinese.) I could not have said it any better.

On a summer afternoon in 2018, I sat in the New York Public Library at Bryant Park, reading Zhu Yiye's novella A Girl Who Eats Sparrows . When I finished reading the story, I saw not only the high-vaulted reading room, but the entirety of New York City burning. I stood and fled. I was on a mission: to get hold of this author and ask for permission to translate her work. I left a message on Zhu Yiye's Douban account and she responded, thankfully. We've since become close collaborators and friends.

Besides literary translation, I've also done a lot of translation for art museums and nonprofit organizations around the world. These projects are also born out of necessity-necessity of beauty, truth, politics, and globalization. I love the work because it helps me engage with the rest of the world and expand my vision and vocabulary. I try to approach these non-literary projects with a literary eye, and literary translation with a worldly mind.
JL: When you translate from Chinese to English, what difficulties have you encountered and how have you overcome them?
JQ: In my translation workshop experience at the University of Iowa, I started out by doing a new translation of Yu Hua's story "No Name of My Own." I read the previous translation closely and took issues with some of the translator's word choices, so I translated the text to what I thought would be closer to the original. But later in my workshop, my so-called faithful rendition turned out to be an awkward read for the English-speaking readers. Then and there, I came to realize that because different languages function differently, sometimes I have to move away in order to get closer. That was a great lesson, not only in terms of literary translation, but also of writing in a second language. After that, I became more interested in how to restore beauty in English.

LC: Translating from Chinese to English takes a leap of faith, like emigrating to a new country. You see ordinary symbols with fresh eyes but are forever uncertain of whether to trust your instinct. Finding a voice is about resisting that feeling of minority, because every person should be an equal majority. You want to learn a language not only to fit in, but to create something new in it, like any native speaker would do. You want to turn the unfamiliar into the familiar, then break the familiarity again. My poetry mentor Sharon Olds often mentioned "the strength of writing in one's second language"-I was humbled to realize that she was pushing the boundaries of her native language, and I learned that quick assimilation might bereave me of the beauty of discovery.

To feel comfortable writing in English and translating from Chinese to English is to feel comfortable with my entire being, which has been removed from its native environment since I was seventeen. The language I speak at home in Zhejiang province may as well be Italian when compared to Mandarin, and English feels like my third language. I have been told that I could not speak perfect Mandarin as a southerner, that to become an English writer is a pipe dream, that a translator can only translate into her native language, that a woman my age should do X, Y, but not Z. The trick is to not believe any of it; once you believe the limits others set, you conspire to confirm and internalize that limit and trap yourself.
JL: You translate from Chinese to English, and from English to Chinese. What does this difference mean to you?
JQ: In my native language, I know how to connect with my readers at the level of prose-that said, I focus more on reading and interpretation. I do a lot of research to make sure that I get the correct connotations and implications across. In English, as I have little difficulty understanding the multiple levels of meanings in the original, I put more effort into the writing. For example, Zhu Yue's stories radiate a sarcastic humor, derived from his pseudo-academic prose style and coined terms, and I ask my co-translator Alyssa to give extra care to those aspects. Honestly, without her help, I would not be able to ascertain if my rendition does justice to the original. In translating into English, much like writing in English, I am still a deaf person playing music. I have to borrow a good pair of ears. Alyssa is wonderful because she not only lends me hers, but also opens my ears to the music.

NZ: Personally, translating from my native language into my acquired one is a more intellectually challenging experience than the other way around. When practicing it, I am aware that I enjoy a smaller repository of vocabulary and expressions and am less nimble with the control of diction and syntax than I like. However, such a weakness has the effect of sharpening my senses and prompting me to hunt for any word or phrase that can be useful. More often than not, my search leads me to the works of English writers who are reinventing the language every second. For example, when translating a short story where an extramarital affair is thwarted by an unexpected typhoon and the ensuing rains, I turn to Irish writers, particularly Kevin Barry, for their dark-humor-infused, watery, floody expressions. Sometimes I can't resist the temptation to steal a verb or two, but most of the time I am just blissfully inspired.

LC: Translating from Chinese to English is setting up the mast to sail into the open sea, re-enacting my journey from my native land to my adopted country, but-in hindsight-with all my gained knowledge and experiences. Translating from English to Chinese is oaring a boat on a placid river-I'm a nostalgic boatwoman slowly rolling home. Both routes should be equally familiar to navigate once I reach native or bilingual proficiency.

I have two fears: not knowing English to its fullest, and slowly losing the agility of using Chinese. To sharpen my sensibility to both languages, I try to read classical verses in English and Chinese every morning. I'm now reading Odyssey (translated by Stanley Lombardo) and The Gay Genius: The Life and Times of Su Dongpo (written in English by Lin Yutang, translated into Chinese by Song Biyun). The trouble is that the more I read, the more ignorant I feel. But as long as I actively engage in a literary conversation in the depth of each language, I feel prepared for the crossing.

JL: Have you read any translated Asian literature that you felt had been mistranslated or mis-edited by westerners because of the cultural or aesthetic differences？ Or somehow lost in translation?

JQ: Not really. I have only read some beautiful translations that I really admire. For instance, once I did a line-by-line comparison between Ken Liu's translation of "Folding Beijing" and the original Chinese text by Hao Jingfang. I marveled at every change Liu made, and I have learned a great deal from that process. Fortunately, I have never had any terrible reading experiences when it comes to literary translation, but I do notice many cultural and aesthetic differences between the so-called East and West. I wrote about this in my column in The Millions . Take "The Dancing Girl of Izu," a short story by the Japanese writer and Nobel Prize winner Yasunari Kawabata. In its first English translation, the translator edited out a lot of minor threads because-I suppose-he thought those parts irrelevant to the major plot. But East Asian narrative doesn't function in the same way as Western narrative-oftentimes the seemingly irrelevant threads carry much more meaning than the major plot. That is the case of "The Dancing Girl of Izu." Those trimmed paragraphs show how the protagonist grows from a misanthropic sort of boy to a more compassionate and loving man, all thanks to his love for the Izu dancer. Once those parts are cut out, the whole story becomes lame. That same rash editing style can be found in many other fiction works in translation. For example, I once noticed a huge paragraph was carved out of an early English translation of Gabriel Garcia Marquez's story "A Very Old Man with Enormous Wings." With due respect to the English publication, I do think English-speaking editors should recognize their ignorance and thus hold more respect for foreign literature.

NZ: So far I have yet to encounter any ill-intentioned misrepresentation of Asian literature, but I do have a few bones to pick with some accepted norms persisting in the English publishing world.

First, the lack of footnotes or endnotes in many translated works. While footnoting is widely accepted in Chinese literature, most English publishers are wary of footnotes for its academic overtones. Instead, they expect the translators to iron out all the odd details that are potentially foreign to the readers. Insert a piece of explainer here, localize one or two slangs there. What you have as a result is a tamed translation, its wildness trimmed to suit the certain tastes of the recipient market. It will lose the power to dazzle, enchant, and, more importantly, offend.

Second, too much liberty has been taken, by either the translators or editors, with the original work. It begins with the title. Junichiro Tanizaki's A Fool's Love, a book about a ruinous relationship recounted by its hopelessly enamored narrator, is translated into English under the title Naomi. While I don't dislike it, I do feel that the self-deprecating bitterness carried by the original title is lost in translation. Similarly, Yōko Ogawa's lyrical dystopian tale, Secret Crystals, is renamed rather misleadingly as Memory Police, its political aspect exaggerated, probably for marketing purposes. To me, such surgery hurts more than helps the reception of the work, because it deprives the English readers of the first clue provided by the author, and risks setting up an expectation for something that isn't intended to be presented under the spotlight.

LC: I haven't noticed any disaster in translated Asian literature-perhaps because I haven't read enough. I did enjoy reading Xu Zechen's Running Through Beijing (translated by Eric Abrahamsen) and The Wild Great Wall (translated by Dong Li). Since I'm not a critic, I'm less pressured to compare the texts and form analytical opinions. I read and enjoy the work in whichever language is available to me.

In reverse, I did notice the differences between the Chinese and English translations of One Hundred Years of Solitude. I first read it in Chinese (translated by Fan Ye) and was awestruck. Then, I read it in English (translated by Gregory Rabassa) and was spellbound-I felt my body turned cold, my head taken off, and the entire world burned to the ground. It taught me a lesson about translation: It's good to translate a foreign language into one's native language, but it's best to translate from one native language to another. An ambitious translator should strive to turn both languages into her native language.
JL: Compared to translators who are native English speakers, what can you, as native Chinese translators, contribute to the current Chinese-English translation scene?
JQ: I have a very different perspective from translators who are native English speakers. Having grown up reading Chinese fiction lavishly, I hope to introduce different contemporary Chinese voices and show the English-speaking audience that Chinese literature, like any national literature, is extremely rich. Besides, since I understand the aesthetics of Chinese literature well, I feel obligated to say no if my English-speaking editors suggest radical cuts to the original. I am not only talking about respect, but about challenging the Western audience with aesthetic and cultural differences. When I read Marquez's A Hundred Years of Solitude in college, for example, his original storytelling blew my mind. I remember shouting to myself, "Incredible! Stories can be told in this way, so wild!" That is how exotic fiction has inspired and nourished me with its originalities. That said, I don't want to see the uniqueness and wildness of Chinese literature tamed and consequently lost in the English translation. As a translator from my native language, I won't allow that to happen.

NZ: It is not unusual for the English literary scene to marvel at something an Asian writer wrote a dozen years ago but has only become available in English recently. (The much applauded novel, Yoko Ogawa's The Memory Police, was first published in Japanese in 1994.) While a belated discovery is better than nothing, a timely introduction can sparkle many more cross-border communications and allows the book to speak to the readers when the message it carries is still fresh and hot. As native Chinese speakers and close watchers of Sinophone literature, we can spot literary talents one step ahead and challenge the canon of Chinese literature built and accepted by the English-speaking world.

LC: I hope my translation work will help preserve some of the idiosyncrasies of the Chinese language, and possibly enrich the English vocabulary to challenge the way English-speakers think. When we confront concepts and ideas that do not exist in our language, it is a great opportunity to open up and include them, rather than transmute them into what is already familiar to a group of people. For example, the Chinese notion of shanghuo does not exist in English, but it is one of the most frequently used words among the Chinese. Shang means "up"; huo means "fire." When one says "this dish is too shanghuo" it means this dish is too hot in temperature or nature (e.g. hot chili pepper, fried chicken, lamb, ginger) that it could cause inflammatory symptoms like acne breakouts, sore throat, running nose, or irritability. "This dish" can be an event or a person, thus the heat of shanghuo reaches deeper into Chinese people's psyche. This one word is a small window into which English speakers could see the richly layered Chinese culinary arts, dietary tradition, and psychological state. Add it to your vocabulary!

Jianan Qian writes in both English and Chinese. In her native Chinese, she has published four books and translated five books. In English, she is a staff writer at The Millions. Her work has appeared in The New York Times, Granta Magazine, Guernica, Gulf Coast, and elsewhere. She holds an MFA in fiction from the Iowa Writers' Workshop. Currently, she is pursuing a Ph.D. in Literature and Creative Writing at the University of Southern California.

Na Zhong hails from Chengdu and lives in New York. Her work has appeared or is forthcoming in Literary Hub, Asian American's Writers' Workshop, The Shanghai Literary Review, A Public Space, and elsewhere. She is the Chinese translator of Sally Rooney's Conversations with Friends and Normal People.

Liuyu Ivy Chen is a poet, writer, and translator. Her English and Chinese prose, poems, and translation have appeared or are forthcoming from Hanging Loose Magazine, Columbia Journal, ​LIT Magazine, Washington Square Review, the Los Angeles Review of Books (China Channel), SupChina, and Youth (China), among others. She is the co-founder of TransWords.net. She received her MFA in Creative Writing-Poetry from New York University.

Jiaoyang Li is a Chinese poet, translator and visual artist currently based in New York. Her literary work has appeared in the Los Angeles Review of Books (China Channel), 3:AM, and others. Her interdisciplinary practices have been supported by the New York Foundation of Art and The Immigrants Artist Biennial.

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A Linguistic Emigration: Chinese Women Writers on Their Translation Practices - Asymptote Blog

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Recently, I came across an interesting comment, that despite the fact that more POC writers are being published, the English publishing world will not actually become more diverse, as the editors and gatekeepers who select them for publication continue to be predominantly white.

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1. Steve? - motel across from Panda Buffet
2. Fargo - photographer, MSVU cleaner
3. Jerry ?

New term " involution", which means lying flat in the gulf between ones desire and laziness. A new term used to describe the younger generation/.

J.J Lee drawing on family laundry bills

Possible images to think about:
- Gold fish
- Mystic mountain
- Bamboo
- Lotus

Audio from Albert's childhood
- dish rattleing
- majoon clacking
- sizzeling on a wok
- placing order at a restaturant (egg rolls, chicken chow mein, chop seuw, etc)

Racial slur "No ticky No laundry" - marginalized communities turn adversities into dark humours.

Where do you hope this project go?
- More younger generations are becoming curious to early Chinese history. It is humbling to see this. In the past, it felt like I was the only one doing this, a little lonely.
- inspire more people to be curious on the subject and more importantly to ask questions about themselves.
- Make it universal. Think about who your audience is. Think about how it will be perceived in China, Canada, and the rest of the world.

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September 3rd, 2021

I wished i had consulted you ore during the animating process.

I am just learning different ways to engage others during the creation process.

For example, i wish i'd asked you if you were just learning to bike or you had already known and I would have designed the movement differently. Or, incorporating some of the things you just said, ie. sprinklers, into a scene or something.

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Sep 3rd, 2021

Bicycle piece... Hmm sound of an old sibling shouting instructions at me hahah

"We were on a quiet street (especially in that photo we would've been inside a townhouse complex) and sounds of my sister or parents or faintly other neighbours/cats most likely

Kind of disconnected but in my childhood I also remember on the streets: street hockey, ice cream truck, lawn mower, barking dog (german shepherd), basketball bouncing, automatic sprinkler"

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1. Present work completed

2. Do you have any concerns, thoughts or feedback on the writing and animations?

3. Do you have any feedback on how I could engage participants in the animation or writing process?

4. Where would you like to see this project go?

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Rereading Do Not Say We Have Nothing

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"Chinatown Pretty is amazing, good to see stories moving forward in many ways, early history is fine, but showing growth and adapting is also part of the stories as well."

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"Escape to Gold Mountain"

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Winner, Chinese American Library Association Best Book Award winner (Fiction)

The history of Chinese immigration to Canada and the US over the past 100-plus years has been fraught with sadness and indignity; newcomers to North America encountered discrimination, subjugation, and separation from loved ones. As well, in Canada the Chinese head tax was introduced after the Canadian Parliament passed the Chinese Immigration Act of 1885 to discourage Chinese immigrants, while in the US, the 1882 Chinese Exclusion Act outright banned Chinese immigration to America. Despite such obstacles, these Chinese newcomers persevered in order to create a better life for the generations to come.

Escape to Gold Mountain is the first graphic novel to tell their story: based on historical documents and interviews with elders, this is a vivid history of the Chinese in their search for "Gold Mountain" (the Chinese colloquialism for North America) as seen through the eyes of the Wong family. They traverse the challenges of eking out an existence in their adopted homeland with hope and determination, creating a poignant immigrant's legacy for their sons and daughters.

Escape to Gold Mountain is a moving and gripping story for all young North Americans.
Ages 12 and up.

Winner, Chinese American Library Association Best Book Award (Fiction) 2013

Wong's book is a great illustrated yarn -- make that several generational yarns woven together -- telling the story of Chinese families coming to North America (or "Gold Mountain" as those immigrants called this continent). Wong doesn't flinch from showing the discrimination and hardships Chinese faced as they sought to build new lives here, nor does he neglect the triumphant contributions they have made. Told and drawn with humour and bravado, this is a no digest of historical facts. It's a page turner for all ages that is likely to become a classic. - The Tyee

Although the comic-book format makes some serious moments darkly funny, one reads with horror about atrocities once commonplace in our backyard. - Seattle Weekly

Wong proves that pictures can indeed hold thousands (and thousands!) of words, capturing 200+ years of history in as many pages; he also includes a "Chinglish" glossary, a timeline that overlaps China and Gam Saan, maps, extensive notes, and a thorough bibliography. - Book Dragon blog from the Smithsonian Asian Pacific American Center

This book is an excellent introduction to the complex issue of Chinese immigration as told from the Chinese point of view. - Seattle Post-Intelligencer

If you want to read about a shameful chapter of American history in convenient comic-book form, you should read Escape to Gold Mountain.
- The Stranger

Escape To Gold Mountain is an important book that plays to the strength of the graphic novel form. It encapsulizes the struggle of the Chinese in North America in a sweeping visual narrative, attacking a complex storyline that takes in the opium wars to early immigration, railroad workers, the head tax, and the Chinese exclusion act. Forget Batman; Escape to Gold Mountain reveals that the real superheroes are the ones who toil and sacrifice for their families in the face of obscurity. -Tony Wong, journalist

Eloquent, lyrical black-and-gray panels that conjure the environment and living conditions as well as the people. - Library Journal

This is a moving book that deserves to be read. - VOYA (Voice of Youth Advocates) Magazine

To be able to visually follow the characters in Escape to Gold Mountain through more than two hundred pages as fully formed and central actors in history is a highly entertaining and enjoyable step towards decolonizing our history. - BC Studies

The author's panel work makes an at-times painful history easily read . .. The comic is really a jumping-off point for those interested in the subject matter -- the epic research that Wong put towards the book made for enough bibliography and reading resources to launch a thousand syllabi, or at least a sense that an important portion of history may have been missing from your childhood textbooks. - San Francisco Bay Guardian

Escape to Gold Mountain is forgotten history, and all the more important for teen readers in particular, because it has been so overlooked. Wong does a solid job of bringing his characters to life and making the narrative both informative and emotional . .. As a fan of both American and Canadian history, I found this graphic novel compelling and perfectly suited for the illustrated form. - Bookslut

A tour-de-force artistic and conceptual achievement that will redefine how Chinese in North America and others perceive our common history. -Anthony B. Chan, author of Gold Mountain and Perpetually Cool: The Many Lives of Anna May Wong

The First Nations people have a great oral tradition, and David H. T. Wong's comic book is a wonderful way to continue that tradition, along with his illustrations. This is a book for new and future generations that will create pride in the rich cultures we share. -Chief Leonard George,
Tsleil-Waututh Nation

This book is an excellent introduction to the complex issue of Chinese immigration as told from the Chinese point of view. - Blogcritics. org

Inventive . .. a hip, accessible, comic-book format that's chock full of historical details. - Seattle Times

This is action-packed history for new generations in which David H. T. Wong presents over 100 years of Gold Mountain stories, drawn and told with passion and a critical eye. A rousing tribute to our pioneers! -Paul Yee, author of Ghost Train and Tales from Gold Mountain

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Winner, Chinese American Library Association Best Book Award winner (Fiction) The history of Chinese immigration to Canada and the US over the past 100-plus years has been fraught with sadness and indignity; newcomers to North America encountered discrimination, subjugation, and separation from loved ones.

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"Iron Chink"

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Automated salmon cleaner, "Iron Chink," made by Smith Cannery Machine Company in Seattle, 1909

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Made in China publications are open access and always available as a free download. To subscribe to email alerts for each issue of the Journal, newly published books, and information about upcoming events, please provide your contact information below.

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Met with Albert at Alderney Landing. He was excited about my writing so far and described it as "insightful" and that I have been able to present different view points in a neutral point of view. He is happy to see that my interest is serious.

He shared the story where older Chinese immigrants who couldn't return home would show up at a funeral home near city hall with a mouldy envelope to pay for cremation services. Other relatives or friends would be arranged to pick up their ashes to take back to China or bury somewhere else.

There used to be a building where early chinese men lodged when they were sponsored to come to Nova Scotia. When the lodging house was torn down, cash was found hidden in the walls.

He didn't quite understand my animated clips. He wondered if it would be better to do still images/paintings or something that combine everyone's experiences. He wasn't sure where I was going with the animation. hmm got some thinking to do now.

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Only months after the conclusion of the First World War, an unruly and xenophobic mob made their way through the streets of Halifax, damaging Chinese-owned businesses on the city's most populous streets.

In the days after, headlines of the city's major papers blared "Rioters Wreck Six Chinese Restaurants" and "Over a Hundred are in Hospital as Result of Rioting."
READ MORE: A look inside Canada's oldest and smallest legislature on its 200th anniversary
It's a little-known piece of Halifax history.

This week marks the 100th anniversary of the anti-Chinese riots of 1919, an event that saw "several thousand" soldiers and civilians destroy Chinese-owned business along Gottingen, Buckingham and Barrington streets. According to a headline at the time from the Evening Mail, the riots caused tens of thousands of dollars in damage and sent over 100 people to the hospital.

Through a combination of contemporary reporting and internal city documents, Global News takes you back to Feb. 18, 1919 and Feb 19, 1919, the two nights that saw rioters take to the streets.

The incident began at the Crown Cafe on Gottingen Street, a shop that no longer exists. It would have sat directly across the street from the Global Halifax studio at what is now an empty lot at 2115 Gottingen Street.

According to an account by The Evening Mail, Thomas Andrews, a soldier who had returned from the First World War, entered the cafe at 11 p.m. on Feb. 18, 1919, while partially drunk and ordered a "hearty meal."

But when Andrews was asked to pay, he "refused and abused" the unnamed Chinese owner of the establishment.

The owner asked Andrews to leave even if he didn't pay but once again the soldier refused, instead choosing to ask for a pack of cigarettes.

Cigarettes were 15 cents - but Andrews only handed over 10 cents and refused to pay any more. The soldier quickly turned off the lights, grabbed the cash register and allegedly stole $75 from inside of it before throwing it through the window.
WATCH: A look inside Canada's oldest and smallest legislature on its 200th anniversary
A look inside Canada's oldest and smallest legislature on its 200th anniversary

The police soon arrived and asked Andrews and several of his friends to leave the cafe. They did but later returned, amassing a crowd with a rumour that a soldier has been brutally assaulted by a Chinese man.

That was not true, but the angry mob nonetheless "proceeded to clean up the place," according to the Daily Echo, before turning their attention to five Chinese restaurants all located along Gottingen, Brunswick, and Barrington streets.

The mob destroyed ""everything that could be smashed, throwing chairs, cash registers, and stoves through the windows into the street, pulling curtains down and breaking the counters" causing an estimated $10,000 worth of damage in the span of a few hours.

In total, $375 was stolen from the cafes along with a typewriter, tobacco, cigars, and cigarettes.

The mob was eventually quieted and Andrews was arrested. But his arrest wouldn't stop what would come the following evening, which saw an estimated " several thousand" soldiers and civilians take to the street.

The second night of rioting

Rioting on Feb. 19 began at approximately 10 p.m., with the Crown Cafe being targeted again. The windows of the cafe, destroyed by the previous night's violence had just been repaired but were once again destroyed.

The mob then turned "southward along Gottingen, raiding business establishments whose proprietors were believed to be aliens."

Eventually, the crowd clashed with police at the corner of Buckingham and Barrington Streets - where Scotia Square currently stands - with club-wielding police officers delivering beatings to members of the mob.

The mob moved dispersed but continued to raid other businesses in the downtown core of the city.

According to The Daily Echo, by the end of the night stores along Brunswick, Grafton, Jacob, Buckingham and Argyle Streets had been damaged.
READ MORE: Halifax's buried rail tracks make way for progress
Aftermath

A third night of violence was avoided after 110 military police were placed on duty on the night of Feb. 20.

"This will no doubt prevent the least possibility of any disturbance being participated in by soldiers," wrote Colonel W.E. Thompson, the officer in charge of Halifax's military forces, to the mayor of Halifax, A.C. Hawkins.

"In addition to this a sufficient armed force will be held in readiness to deal with any disturbance created by civilians."

By the end of two nights of violence, thousands of dollars in damage had been carried out while "over a hundred" were taken to hospital.

The City of Halifax received letters from businesses seeking reimbursement for losses associated with the riots.

By April 10, 1919, the total amount of the claims were $12,012.78 with more than $8,502.35 being from the chinese-owned restaurants.

But the compensation never came.

It appears - at least according to the documents available - that any claims of responsibility were dismissed by the city solicitor who advised the city that they were not liable for any of the damage.

Business owners rebuilt and repairs were carried out. For the people of Halifax, life continued - with the anti-Chinese riots slipping into memory.

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100 years after the anti-Chinese riots in Halifax - Halifax | Globalnews.ca

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Only months after the conclusion of the First World War, an unruly and xenophobic mob made their way through the streets of Halifax, damaging Chinese-owned businesses on the city's most populous streets. In the days after, headlines of the city's major papers blared "Rioters Wreck Six Chinese Restaurants" and "Over a Hundred are in Hospital as Result of Rioting."

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Less than a year after City Hall was besieged by drunken rioters, unruly mobs again rampaged through the streets of Halifax. On the evenings of February 18 and 19, 1919, just months after the First World War had come to an end, Halifax businesses owned by Chinese immigrants were the target of xenophobic anger as violence erupted in the downtown and North End of Halifax.

The initial disturbances: Tuesday, February 18, 1919

On the first night, a returned soldier dining at the Crown Café on Gottingen Street refused to pay his bill "and abused the Chinese proprietor" ( The Evening Mail, February 19, 1919). When he was asked to leave, he attempted to steal a package of cigarettes, then turned off the lights, grabbed the cash register, allegedly stealing $75, and threw it through the window, calling for help. The police arrived and asked the soldier and several of his friends to leave the café. Later that night the ousted group returned to the café "and proceeded to clean up the place" ( The Daily Echo, February 19, 1919). These men were joined by others and the mob went on an anger-fueled café crawl primarily targeting Chinese restaurants. In addition to the Crown Café, the Busy Bee Café, the Nova Café, the Victory Café, and the Allies Café, all located along Gottingen, Brunswick, and Barrington Streets, were stormed by the men.

According to the Daily Echo, the mob destroyed "everything that could be smashed, throwing chairs, cash registers, and stoves through the windows into the street, pulling curtains down and breaking the counters." Police eventually quelled the men at Sackville and Grafton Streets, just as they approached the Frisco Café. The mob caused an estimated $10,000 worth of damaged in the span of a few short hours. Austen Beer of Pictou and John Currie (or John Kerrin/Kerwin, according to the Daily Echo and the Evening Mail) were arrested for unlawfully stealing a quantity of laundry and cups and spoons" from the Busy Bee Café. The Daily Echo reported that a total of $375 was stolen from the cafés, including $300 from the Allies Café alone, along with a typewriter, tobacco, cigars, and cigarettes.

Newspapers report that alleged ringleader, Thomas Andrews, a returned soldier from Halifax, was arrested by police, although his name does not appear in the Halifax Police Department Charge Books (sub-series 102-16A-75). One of the few extant police sources for this time period, the Charge Books do show an active night for February 18, 1919. Samuel Lesser was arrested and charged with inflicting grievous bodily harm after assaulting Fang Wong, a Chinese-Canadian laundry owner, on Agricola Street.

The second night of rampage: Wednesday, February 19, 1919

The detainment of Andrews did not stop violence from erupting again the following evening when "several thousand" ( The Daily Echo, February 20, 1919) soldiers and civilians destroyed ten shops along Gottingen, Buckingham, and Barrington streets. The riot began at 10 p.m. and lasted several hours. The Crown Café was targeted again and the windows, which had just been repaired, were once again wrecked. The Daily Echo reports that the mob "turned and came southwards along Gottingen, raiding businesses whose proprietors were believed to be aliens."

The rioters clashed with police at Buckingham and Barrington Streets (where Scotia Square currently stands). The police, wielding clubs, stormed toward the men, showering them with beatings. The crowd dispersed and police followed and "many a club and skull met" again (The Daily Echo, February20, 1919) which resulted in many dozens of men being sent to various hospitals around the City. The mob had broadened their scope, moving from Chinese restaurants to other businesses. By the end of the night, stores along Brunswick, Grafton, Jacob, Buckingham, and Argyle streets were damaged.

Response from Haligonians

Front-page coverage in The Daily Echo, the Halifax Herald, and The Evening Mail indicates that the riots were racially motivated and specifically targeted businesses owned by Chinese proprietors. Reaction to the news showed that "every decent citizen is indignant over the disgraceful riots" (The Evening Mail, February 20, 1919, p.1). Citizens called on City officials to act following the riots. Newspaper headlines included "Prompt and Fearless Action Must Be Taken Today - it's up to the Civic Officials" (The Evening Mail) and "Well, Gentlemen, What Are You Going to Do?" (The Halifax Herald). Haligonians wanted to ensure that more rioting did not occur, calling for action from the military, the police, and council members.

The City received letters from many business owners seeking reimbursement for losses associated with the riots. By April 10, 1919, the total damage claims amounted to $12,012.78, with over $8,500 from the Chinese restaurants. The Halifax Board of Control** discussed the riots at meetings and struggled to react.

On March 13, City Solicitor, F.W. Bell, advised the Board of Control that the City was not liable for any of the damage sustained during the two riots. On April 10, J.W. Regan, owner of a store on Buckingham and Argyle, attended the Board meeting to ask when then claimants could expect a settlement. Despite multiple objections from Controller John Murphy, Mayor A.C. Hawkins and all the other controllers refused to approve payment of the claims. More claims for damages were received by the Board through to the end of April. On April 15, a petition from affected citizens was submitted, requesting the Board form a committee to look into legislation which would allow the City to pay the claims. No further action seems to have been taken and all claims for reimbursement were responded to by letters from the Solicitor declining liability.

Board of Control excerpts

Historical context of the Halifax Board of Control

The reaction of City officials may have been tempered by the fact that the riots occurred in the midst of rife turmoil in civic governance. The business-like, centralized Board of Control system of government that had been brought into Halifax in 1913 had fallen out of public favour. Power struggles and animosity between the mayor, controllers, and aldermen resulted in 10 of 12 aldermen resigning in the Fall of 1918, leaving the City without quorum for Council. Mayor A.C. Hawkins and four controllers operated the government until the province enacted a plebiscite in the spring of 1919 that ended the Board of Control, and returned Halifax to a system of aldermen elected in each ward.
Read the administrative history of the Board of Control.

Acknowledgements

This exhibit was inspired by a reference request from Dr. Zhongping Chen, Professor in the Department of History at the University of Victoria, who is researching the history of the local Chinese community. Halifax Municipal Archives appreciates the professor's willingness to share his preliminary research and look forward to its publication. The Halifax Public Libraries and the Chronicle Herald Library also assisted with gaining access and permission to use the copies of the newspapers cited.

Halifax Municipal Archives gratefully acknowledges the financial assistance of the Department of Canadian Heritage and the Canadian Council of Archives in supporting the Young Canada Works summer student program which funded the work of Elizabeth O'Brien, a MLIS candidate at Dalhousie University to prepare this exhibit.

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Less than a year after City Hall was besieged by drunken rioters, unruly mobs again rampaged through the streets of Halifax. On the evenings of February 18 and 19, 1919, just months after the First World War had come to an end, Halifax businesses owned by Chinese immigrants were the target of xenophobic anger as violence erupted in the downtown and North End of Halifax.

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https://www.nps.gov/fosc/learn/education/laundress8.htm

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Washing clothes by hand is a little extra work, but it's a well-worth-it laundry chore. Here's how to properly wash clothes by hand, which will give extra life to those special items in your clothes closet.

When laundry day comes around, most washing machines offer a delicate or hand-wash setting, but there are times when the best results will come from hand-washing certain types of clothing. If you're not sure how to hand-wash clothes, we've got you covered. Keep reading to learn the different techniques to washing clothes by hand and what to look out for when working with different fabrics.

Always check the care label for directions. If your garment features the hand wash symbol, follow our instructions below for cleaning clothes by hand. If the label says "dry-clean only," avoid washing it at home. If the label says "dry-clean," you may want to try hand-washing clothes. Before you hand-wash the garment, check a small inconspicuous area first to make sure the fabric is colorfast.

Unique fabrics may require special care. Items such as delicate lingerie, wool sweaters, and silk blouses may retain their color and shape best when washed by hand. Baby clothes may also have special handwashing requirements as well. Silk garments should not be hand-washed if they are brightly colored, patterned, or darkly colored, as the dyes may bleed.

Get our step-by-step directions for the best way to hand-wash clothes below, as well as advice on how to dry items to extend their life and keep them looking as good as the day you bought them.

handwashing clothes in sink

How to Hand-Wash Clothes

Not every clothing item can be thrown into your washing machine. For delicate items or clothing labels with a "hand wash" symbol, follow these simple step-by-step instructions for washing garments by hand.

Step 1: Read the Label

Read the garment label for specific product recommendations regarding hand-washing clothes. Then choose the best detergent for hand-washing clothes. If no care label exists, choose a mild detergent or dishwashing liquid.

Step 2: Fill Tub with Water

Fill a small tub or sink with water at the temperature recommended on the care label. If no care label exists, choose cool to lukewarm water. Add about a teaspoon of detergent. You may need more detergent if you are hand-washing a large item or multiple items.

Step 3: Submerge and Soak

Submerge the garment in the soapy water and soak. Use gentle movements to swish the item through the sudsy water. Avoid scrubbing or twisting actions that can stretch or damage the fabric. Gently swish the garment through the sudsy water until the item is clean. You can find hand-washing clothes tools, but unless you're hand-washing regularly, it's not necessary.

Step 4: Rinse and Repeat

Drain the sink or tub, and refill it with cool rinse water. Push the garment up and down in the water until all soap is removed. If you're unsure, sniff the garment to make sure it is no longer scented. Repeat the process with clean water if necessary.

How to Hand-Wash Bras and Lingerie

To preserve the shape and delicate details of bras and lingerie, hand-washing is recommended. Follow our instructions for washing bras by hand.

Step 1: Soak Bra

Fill a sink or bowl with lukewarm water. Add a mild, alcohol-free hand washing detergent and mix in with the water. Carefully place the bra in the solution and let soak for 15 minutes. With your hands, work the suds into the bra.

Step 2: Rinse Bra

Remove the bra from the water. Hold under the sink or tub faucet and let water run over the bra, rinsing out any soapy water. Be sure to rinse until the bra no longer releases any suds.

Step 3: Dry Bra

To get rid of any excess water, gently fold your bra against a towel before laying it out to dry. Lay garment flat on a towel and lay another towel over top and press to remove extra water. Always hang to dry.

How to Hand-Wash Tights

Delicate hosiery and tights require careful laundering to prevent snags and tears. Here's how to wash tights by hand.

Step 1: Prep Detergent

Fill a sink with lukewarm water and add half a cup of mild laundry detergent to wash your tights. Any detergent will do, but you can also look for detergent specially made for delicate clothes. Make sure you use lukewarm water, as hot water can actually reduce the elasticity of your tights and affect their fit.

Step 2: Submerge Tights

First, turn your tights inside-out. Gently place the tights in the water mixture and begin to scrub. Avoid any rubbing and pulling, and just gently scrub the areas that are most prone to bacteria like the feet and crotch area. Let your tights soak for about 10 minutes or so.

Step 3: Rinse and Dry

Once done soaking, remove the tights from the water. Rinse them under a sink faucet with cold water. Rinse until no more suds leave the tights. Tighten into a ball and squeeze out excess water. Place tights on top of a towel and roll up to dry any remaining spots. Lay flat to dry on a lint-free towel.

How to Hand-Wash a Sweater

Check the label of your sweater before washing. Many sweater materials, including cashmere and wool, require hand-washing. Here's how to successfully remove stains and odors from sweaters.

Step 1: Prep Detergent

Fill a tub or sink with tepid water and a few drops of mild detergent, such as dishwashing liquid. To neutralize perspiration odor, add 3/4 cup of white vinegar.

Step 2: Soak and Rinse Sweater

Turn the sweater inside-out. Immerse the sweater in the water, and swish gently, taking care not to stretch it. Let soak for 10 minutes. Next, run cold water over the sweater until no more soapy residue runs from the garment.

Step 3: Dry Sweater

Once done soaking, press the sweater against the wall of the bin to remove any excess water. Lay the sweater on a white towel on a flat surface (a white towel prevents dye transfer from towel to sweater). Gently roll the towel and sweater together to remove extra water.

Dry the sweater on a flat, moisture-resistant surface, preferably mesh, which lets air circulate. Keep it away from sun and heat. Coax the sweater back into its shape, squaring the shoulders, placing the sleeves parallel to the body, and squaring the hem.

How to Wash a Hat by Hand

Baseball caps are helpful for protecting your eyes from the sun but they can quickly become dirty with perspiration and body oils. Learn how to wash a hat by hand with our easy tutorial.

Step 1: Pre-Treat Stains

First, determine whether your baseball cap has a cardboard bill. To do so, simply tap the bill; if it has a hollow sound, it's likely cardboard and you should avoid submerging in water. Instead, simply spot-treat vintage hats and baseball caps with cardboard bills.

If your hat shows stains or discoloration, especially around the sweatband, treat them with a gel stain remover ($3, Target) before washing. Let the solution soak in according to the manufacturer's instructions before washing.

Step 2: Fill Sink and Wash Hat

Fill a sink or container with enough cool water to fully submerge the hat. Add a few drops of liquid laundry detergent and agitate water until bubbles form. Soak hat for about 10-15 minutes.

Step 3: Rinse and Dry

Rinse the hat with cool water and gently squeeze to remove suds, avoiding the bill. Pat dry with a clean towel, then air-dry over a small bowl or container to maintain the shape.

How to Dry Hand-Washed Clothing

Once you've washed your clothes by hand, you'll likely need to line-dry your clothing. Use these tips for success.

Step 1: Squeeze Out Water

Know how to dry hand-washed clothes before you're stuck with a pile of dripping laundry. Gently squeeze the excess water from the garment. Do not twist or wring the item as it may stretch the fibers and ruin the fabric.

Step 2: Lay on a Towel

On a flat surface, lay out a clean, dry white bath towel that has been laundered several times to remove lint. Lay the just-washed garment on the towel, patting it into shape. Roll up the towel, encasing the garment in the towel. Gently press on the rolled-up towel to encourage water absorption. Repeat with another clean, dry towel if the first one becomes saturated.

Step 3: Let Air Dry

Follow the garment's label directions for reshaping and drying. If no care label exists, lay the hand-washed clothes on a clean, dry white towel spread over a flat surface that is moisture-resistant. Flip the garment over periodically, and replace the damp towel with a dry one as needed. Air-dry delicate lingerie on a drying rack. If the dry garment is wrinkled, check the care label for appropriate ironing temperature, and if necessary, press the garment gently to finish. If no care label exists, test in an inconspicuous area before pressing. Hang or fold clothing as soon as it's dry to avoid wrinkles.

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Must-Know Tips for Washing Clothes by Hand

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Washing clothes by hand is a little extra work, but it's a well-worth-it laundry chore. Here's how to properly wash clothes by hand, which will give extra life to those special items in your clothes closet.

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https://discover.hubpages.com/living/Old-Time-Hand-Washing-Clothes

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Abbott-Lavalle

The Nostalgia League

Hand washing clothes is as old as human beings have been wearing garments. It is varied throughout regions and communities. Primitive methods include beating the clothes against rocks in rivers or where there is flowing water.

Most of us hate or complain about doing the laundry but the truth about it is that hand washing your clothing items are better for the environment, your sensitive skin, your budget and your clothes.

We usually employ these techniques as young mothers, because we are concerned with the sensitivity of our newborn's skin. Then we change our methods as they grow thinking that like us their skin is heartier and more able to withstand any type of detergent that is produced on the market.

More often than not that is true but if you have a child with allergies or sensitive skin, we have to reevaluate how we need to take care of their health. But the truth is that we should always take advantage of this way of doing laundry because of all of the benefits.

Hand washing fabrics allow them to last a good deal longer and maintain their color even longer, if they are well taken care of, but you should never forget that any harsh detergent should never be used. Truth is we can get away with using less detergent than even the manufacturers suggest.

Especially, if you use other things to boost it's cleaning strength. Things like salt, baking soda, white vinegar, and lemon are perfect complements to the cheapest of laundry powder that you can purchase.

The greatest technique of doing laundry is actually agitation, not necessarily washing detergent as we have been lead to believe. Agitation is not difficult. All that is needed is the rubbing , kneading and wringing of the garment that is being cleaned to make this possible. The action of agitation is to simply break down any stains, dirt or grime and oils in the garment.

It is these that need to be neutralized so that fabrics become clean and fresh. The methods of agitation vary but regardless of how it is accomplished it must be done, so that clothing are cleansed.

The second largest thing that is needed is water. There is a debate on whether or not ,we should soften the water or make sure that it has less pollutants, so that it cleans clothing better, but the truth is as long as it is water, that is all you need to be concerned with in getting fabric clean and fresh.

The other idea out there is of how often a whole garment needs to be washed. That is really up to the person who is wearing the garment, and if it has a spill or stain that requires the whole garment to be cleaned.

More often than not it is not necessary to wash a whole garment after being worn once. You should always examine it before deciding. Ways that you can tell if a garment needs cleaning is through, looking for stains, sniffing it for any offensive odor and the number of times it has already been worn.

Of course when it comes to children's clothing it is always a good idea to make sure that they have clothing that is considered "play" clothes. These are separate items into which a child changes and wears when going outside or you feel they will need to get "dirty" in. These make any parents life easier.

This differentiation also helps a child as well as a caregiver because then you know what needs to go to the laundry basket and what can be hung up or worn again.

Sorting is great, it is an organizational tool that makes any labor a lot less strenuous. It also gives you an idea of what needs to be done first when it comes to laundry. For instance separating your whites, delicates and colors cuts down on the time it takes to complete the task of doing the washing.

It also helps with knowing what cleaners are necessary for what load, so that you can get the best use of your time, energy and laundry tasks. So, go ahead invest in a few laundry baskets about medium size that fit comfortably in the bottom of your closet and take half the work out of doing the laundry before you even get to that day.

Now, I am a great believer in taking the work and stress out of chores. The easier i can make the ordeal the better, so i always suggest with starting small. Most everything in life can be handle in small chunks, that even applies to doing the laundry. Especially if you are going to be doing it by hand.

If you can always have a small basket of your most necessary clothes items, that need to be washed accessible this gets the work started. The other thing is to choose varying sizes, lengths and weights, this just makes it a little more manageable. Pick a day when you can do the wash or feel like doing it and go ahead and run water into the tub.

I suggest that you run enough warm water to cover the largest piece to be washed and start by adding the detergent then agitating the water, so that the powder or liquid is dissolved.

I also like to keep a separate bucket of cold water with a cup of white vinegar for a last rinse. This is so that any soap that may have been left in the garment is finally released and it even helps with cutting oils which gives the fabric a cleaner smell.

Also if you are hand washing shirts that will need to be ironed, try this trick rinse them in about a gallon of water with a cup of dissolved cornstarch, then dry.

Methods to hand washing

There is nothing hard about washing by hand but it can be a little labor intensive, but there are lots of ways to get some of the stress out of doing the chore. One way is to look at it as a form of therapy.

You get to punch, wring, squeeze and even beat up something all in the name of getting it clean and helping the environment. Another is that the money you save is money you have earned and you can do something else with that hard earned money. Because when you are finished you will be tired if not exhausted.

You can also look at it as a form of exercise. Anytime i wash clothes by hand i sweat so i always think of it as exercise and a healthy thing for me to do. You also control the amount of water to be used, the temperature of the water and therefore end up saving yourself cash.

If you wanted to you could go even further and take a shower while washing your items, all you have to do is stomp on the garments as you clean yourself. Stomping is the necessary agitation, which powers the washing of clothes.

Okay, so there is water and detergent in the tub, the next thing is you, you will need to agitate the fabric, work on any stains and soiled areas. Most soiled areas are where the person has been sweating, armpits especially because of the deodorant residue.

Cuffs and collars are always trickier because they normally have accumulated the most grime or dirt, these areas should be soaked and scrubbed. The best thing to do is squirt a mixture of vinegar, dish washing liquid and water, all in equal parts, then rub hard.

Rubbing equals agitation. It is hard to explain the technique i use, but you want to take the fabric in two hands and rub it back and forth like you were grating cheese. The back and forth motion of the fabric breaks down dirt, oil and grime, so that is comes out of the fibers easily.

When you first start this process, i suggest that you use less than the recommended amount of laundry detergent. I have also found that using a liquid detergent is more manageable, especially if you need a little more in an area that needs it.

Depending on the garment and the condition of it, agitation doesn't need to be more than a few minutes, and if it does, just set it aside so that it soaks.

After you have agitated, punched, squeezed and wrung, rinse with clean warm to cold water until you have rinse out all of the soap from the fibers. You can also use a little white vinegar in your rinse water to guarantee that all the soap is rinsed out of the fabric.
Recap
You have sorted laundry

Varying sizes of no more than ten to fourteen pieces

Liquid detergent

Bathtub, bucket or sink

And of course YOU!

It is you that makes the agitation that is necessary for clean garments when washing clothes. Remember it is agitation that powers clean!

Athlyn Green from West Kootenays on September 21, 2016:

I bet one could use a plunger to agitate.

Susette Horspool from Pasadena CA on January 04, 2016:

Why are there a bunch of crossed out words in this article?

Celiegirl (author) on August 31, 2012:

Hi baygirl33 Thank you! I researched different sites on the internet, some are better than others.

victoria from Hamilton On. on August 29, 2012:

Hi!

Very informative hub! Thank you!

I wondered how you obtained your images ,as I would like to investigate an idea on Hubpages and would like to use them or some like them, if possible.

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Old Time Techniques for Hand Washing Clothes

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Hand washing clothes is as old as human beings have been wearing garments. It is varied throughout regions and communities. Primitive methods include beating the clothes against rocks in rivers or where there is flowing water.

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In the middle of the night yesterday, I woke up with the Chinese name for the fruit from ginko trees- 白果 (bai duo). The name of the tree 银杏树 (yin xing shu) is pure Chinese while ginko is a Japanese word become popularized.

I remember a huge one in Albany, NY where I studied English for two years (1950-52). Every year, we watched to see its leaves fall during two hours so much so that the fallen leaves created a thick carpet around the trunk while the branches became quite bare.

There are two of those trees near the entrance of the national seminary in Beijing:  西城区柳阴街 14号. I taught and lived there for five years before the seminary moved to 大兴 and I went there for my classes, but I still kept my room in the old seminary. The two trees were laden with fruit one year and I remember hearing that they were sold for over 3,000 yuan.

Historically, the old building called 恭王府 was the property of Prince 恭亲王, brother of an emperor. When China had to pay indemnities at the end of a war- I forgot which - (XX 赔款), the emperor had no money, so his brother or cousin sold the huge garden in order to pay. It was bought by a group of Catholic missionaries and became private property. The missionaries built a chapel on the property where Mass was said. This must have happened in the 1920s or 30s.

Then history took another turn. At the end of the civil war, all missionaries began to leave China. Most groups did so in 1947 and shortly after. Jenny, you have some of those stories in Last Boat from China. I left on April 29, 1949 with 17 other sisters of our congregation. So there we go. If you don’t mind, I’d like to tell you how I landed in Beijing.

After Liberation, the PRC government restored religious freedom although only in a limited way. By the 1980s, religious communities for men and for women were born again in China. In Canada and other countries which had old ties with China before the revolution, now created agencies to re-establish relationship with China. That was how I got a job in Toronto and worked there as director of Canada China Programme for ten years (1981 - 1990). During that decade, I came to know many people in China, among whom Christian church leaders as well as people in the patriotic organizations working between church and government.

.......
.......

The ginko trees led me on a round tour and now I must end my story where it began. Because I was located at the centre on the property of 恭王府, I was able to get help from the headquarters of the church and its link with the government to go to remote places to teach during the holidays. I did so by giving short courses or retreats. That was how I got to see very poor areas in China. I found some pictures of those poor places, Jenny and Angus. I kept them to show you next time we meet.

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Theresa, ginko tree leaves falling in hours forming a carpet on the surrounding ground.
Golden leaves held in hand. Start and end with this scene. Journey fills in between.

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CPR official website promo video and building timeline.
Chinese workers worked on the most treacherous section of the railway from Port Moody to Craigellachie, BC

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The Canadian Pacific Railway (CPR) was formed to physically unite Canada and Canadians from coast to coast. Canada's confederation on July 1, 1867 brought four eastern provinces together to form a new country. As part of the deal, Nova Scotia and New Brunswick were promised a railway to link them with the two Central Canadian provinces of Quebec and Ontario.

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Different Waves of Immigration to Canada from pre 1805- post 1970s

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In 2013-2014, most of the Canadian public, as well as the major political parties, supported either sustaining or increasing the current level of immigration.[self-published source ] A 2014 sociological study even concluded that "Australia and Canada are the most receptive to immigration among western nations".

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Checklist:

1. Chinese names
2. share project description, stills/clips
3. Explain progress, web launch and talk in October
4. schedule 2nd convo

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Definition:

Landed immigrant (or permanent resident): A person who has been granted the right to live permanently in Canada by immigration authorities, but who has not yet become a Canadian citizen through naturalization.

Foreign-born population (also referred to as immigrant population): In censuses, persons who are or have been landed immigrants or permanent residents in Canada. The foreign-born population includes Canadian citizens through naturalization; however, it does not include non-permanent residents or Canadian citizens by birth who were born abroad.

Non-permanent resident: A person in Canada who has a work or study permit, or who is a refugee claimant.

Emigrant: A Canadian citizen or immigrant who has left Canada to settle permanently in another country.

Place of birth: The name of the geographic location in which a person was born. The geographic location is specified according to the geographic boundaries current at the time of data collection, not the geographic boundaries at the time of birth.

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However, the number of people entering the country dropped dramatically during World War I, to fewer than 34,000 landed immigrants in 1915. The lowest numbers of landed immigrants were recorded during the Great Depression in the 1930s and during World War II. The return of peace fostered economic recovery and an immigration boom in Canada.

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Wikipedia - Handover of Hong Kong

After the Tiananmen Square protests of 1989, the Executive Councillors and the Legislative Councillors of Hong Kong unexpectedly held an urgent meeting, in which they agreed unanimously that the British Government should give the people of Hong Kong the right of abode in the United Kingdom.[33]

More than 10,000 Hong Kong residents rushed to Central in order to get an application form for residency in the United Kingdom. On the eve of the deadline, over 100,000 lined up overnight for a British National (Overseas) application form. While mass migration began well before 1989, the event led to the peak migration year in 1992 with 66,000 leaving.[34]

Many citizens were pessimistic towards the future of Hong Kong and the transfer of the region's sovereignty. A tide of emigration, which was to last for no less than five years, broke out. At its peak, citizenship of small countries, such as Tonga, was also in great demand.[35]

Singapore, which also had a predominantly Chinese population, was another popular destination, with the country's Commission (now Consulate-General) being besieged by anxious Hong Kong residents.[36] By September 1989, 6000 applications for residency in Singapore had been approved by the commission.[37] Some consul staff were suspended or arrested for their corrupt behaviour in granting immigration visas.

In April 1997, the acting immigration officer at the US Consulate-General, James DeBates, was suspended after his wife was arrested for the smuggling of Chinese migrants into the United States.[38] The previous year, his predecessor, Jerry Stuchiner, had been arrested for smuggling forged Honduran passports into the territory before being sentenced to 40 months in prison.[39]

Canada (Vancouver and Toronto), the United Kingdom (London, Glasgow, and Manchester), Australia (Perth, Sydney and Melbourne), and the United States (San Francisco, New York, and Los Angeles’s San Gabriel Valley) were, by and large, the most popular destinations. The United Kingdom devised the British Nationality Selection Scheme, granting 50,000 families British citizenship under the British Nationality Act (Hong Kong) 1990.[40]

Vancouver was among the most popular destinations, earning the nickname of "Hongcouver".[41] Richmond, a suburb of Vancouver, was nicknamed "Little Hong Kong".[42] All in all, from the start of the settlement of the negotiation in 1984 to 1997, nearly 1 million people emigrated; consequently, Hong Kong suffered serious loss of human and financial capital.[43]

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Web presentation:
- 3 stills + 1 more developed animation
- each still/clip accompanied by a written piece about the conversation that inspired the piece
- other written components to present include:
1. Project description
2. Historical context
3. Methodology (1st time basing my work on others’ experiences, Wonder’neath prompt questions, etc)

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During my trip to PEI, we stayed at the Ship Wright Inn, a historic Inn downtown Charlottetown. I met Jason 李志 who is the owner of the Inn. In his late 40s, He took over the business 3 years ago. Had a first busy summer in 2019 then two quiet ones during COVID-19. Business is just picking up a little bit for him this summer.
I was surprised to see a Chinese person as the owner and Innkeeper at this little historic Inn built in the 1860s.
I learnt that he is also from Beijing and has been living on the island for 8 years. He enjoys living in a small town in comparison to Beijing, which he describes as 嘈雜. His mother has been staying with him since the beginning of COVID and his son visits him from Toronto during the summer.
Sounds like it has bee a learning curve for him as he navigates life running a maritime flavoured historic inn. From reviews on Tripadvisor, I found out that he was serving Chinese breakfast like Century egg porridge during his first summer. Customers were not used to that and was expecting the regular eggs and bacon type breakfast that would normally be served at a B&B like this.
On the morning of my birthday, with Angus' arrangement, Jason graciously made the porridge and dumplings made by his mom for me. For him, it might not have been a big gesture but it felt so for me. It felt like home. A little bit surreal too to be having century egg and meat porridge as well as pork dumpling in a little historic B&B on PEI.
I briefly met a his chief and server, yang and ? both are from China as well and mandarin speakers. Though I didn't have a chance to have a deeper conversation, it looks like that Jason is employing Chinese students and young people to give them some work experience and probably a sense of home. From observation, I could tell that he cared about these young people and I saw him as a leader of his community.
He is on my radar for the next batch of conversations!

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加拿大近60%中国留学生回国！20万人打拼十年仍拿不到PR！

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近日，加拿大统计局发布的一份权威数据显示， 在过去20年中，加拿大的学签持有人（留学生）数量从2000的12.27万人增加到了2019年的64.25万人，足足翻了5倍。 与此同时，通过留学过渡成为永久居民（PR）的比例也有望变得越来越高，尤其是随着加拿大政府在疫情期间推出史无前例的移民政策，以及留学生入学人数在大流行后反弹，这一趋势预计将更加突出。 （studyinternational） ...

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Week 12

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Riot at Crown Cafe

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On August 15th, 1945, the Halifax Chinese community gathered on Grafton Street for a group photograph, marking Victory Day over Japan during the Second World War. The group is pictured in front of what was, at the time, the Chinese Benevolent Association and Hum Mow's restaurant on Grafton Street. This photograph offers a rare glimpse into Halifax's Chinese history.

There are far more men than women amongst the group in the photograph. Two Chinese women are seated in the front row and a young Chinese girl is seated in the second. Three Chinese women among all those Chinese men bears witness to the effectiveness of the Chinese Exclusion Act of 1923, which prevented Chinese from entering Canada. Thousands of Chinese men came to Canada for work in the late nineteenth and early twentieth centuries, often leaving wives and children behind. These men were instrumental in the construction of the Canadian Pacific Railway, where 15,000 temporary Chinese workers toiled and at least 600 died. Chinese labourers were typically paid low wages compared to non-Chinese workers. Following the completion of the railway, their growing numbers were seen as a threat to wage rates, thus Chinese were effectively shut out of Canada. As a result, many of the Chinese men in Canada, including those in this photograph, were unable to bring their wives and children over from China as planned. These Chinese men were known as "bachelor" men.

The other women in the photograph are Acadian. They moved to Halifax from rural areas of Nova Scotia and found work as waitresses in Chinese restaurants. This photograph is rare evidence of the link between the Chinese and Acadian communities in Halifax. When this photograph was on display in my 1997 exhibit at the Museum of Natural History, "Growing Up Chinese in Halifax," I received several requests for copies. These requests were from the children of men in the photo, many of whom had never laid eyes on their father.

The Chinese Exclusion Act was repealed in 1947, and the wives and children of Chinese men began to enter Canada. Some Acadian women had children by Chinese men in Halifax and were left to fend for themselves once the wives arrived. Although some Acadian women kept their children, my father, Shew Chuck Lee (1907-1990), an elder in the Chinese community, said he took some of the Acadian-Chinese children to orphanages. As a result, this photograph taken on Victory Day over Japan was the first photo some of these children, now grown, had ever seen of their father. A few of them cried when I gave them the copy. It's a sad and relatively unknown part of Halifax history.

Upon the arrival of the Chinese wives, Halifax's Chinese population began to grow. Halifax, like Saint John and Charlottetown, had Chinese restaurants and laundries along the main thoroughfares to the waterfront and the main train stations. This was in contrast to cities like Montreal, Toronto, and Vancouver, where the Chinese were restricted by law to areas that came to be called "Chinatown."

In 1952, there were 44 Chinese-owned restaurants and cafes plus between 15 and 20 hand laundries in Halifax and Dartmouth. Restaurants served mainly western food - hot chicken sandwiches, grilled pork chops, and complete dinner plates. One of the best-known restaurants was Hum Mow's on Grafton, which was in the building behind the group in the photograph. The main floor contained a small room where men would smoke and play mah-jong. Upstairs was a large boardroom for Chinese Benevolent Association meetings. A Chinese school was held there for a few summers in the 1960s. An old Chinese man lived in a small corner room with a window overlooking Grafton Street. Downstairs in the basement was the famous Hum Mow's. Big black Cadillacs would pull up to the restaurant in the evenings with men in tuxedoes and women in fur coats coming from the dance halls after they closed for the night. Reporters and editors from the Chronicle Herald and the Mail Star would arrive after the newspapers went to press. Local politicians and staff from the American consulate also came for food and drink. Hum Mow's was well known for its "special tea" - scotch and rum served in Chinese teapots. In the 1950s and 1960s, it was illegal for women to be served alcohol with men but the "special tea" got around that restriction. Hum Mow's had a laid-back atmosphere. It was never raided by the police and the liquor laws were conveniently ignored.

The building on Grafton Street and this photograph are only a few reminders left of the rich history of Chinese settlement in Halifax.

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Victory Day over Japan, 1945 - An Old Photograph Reveals the History of the Chinese in Halifax | Historic Nova Scotia

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On August 15th, 1945, the Halifax Chinese community gathered on Grafton Street for a group photograph, marking Victory Day over Japan during the Second World War. The group is pictured in front of what was, at the time, the Chinese Benevolent Association and Hum Mow's restaurant on Grafton Street.

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JJ Lee

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Drawings/Installation - JJ Lee's Portfolio

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Nova Scotia >News

A photo of JJ Lee's grandfather, James Lee, at the laundromat and a picture of the Charlie Wah Laundromat in 1955. - Contributed

When JJ Lee came back to Halifax from Toronto, she was planning on doing nothing more than clearing out her parents' old house. Yet, she found herself reliving her childhood for the following weeks through hundreds of old photographs and all kinds of antique items she discovered in the house she grew up in.

"It's amazing to come back here and find it. It's also the house that I grew up in. So it's particularly meaningful for me to be here to go through all this stuff, discover it, find hundreds and hundreds of photographs, telling the story," Lee said in a phone interview.

Lee is an artist and associate professor at OCAD University. She is also a descendant of one of the first Chinese immigrants to come here in the early 1900s.

"My parents didn't tell us too much about our history. And I think it's partly because it was pretty shameful the way Chinese people were treated," said Lee.

Lee said growing up, her parents always wanted their children to assimilate and the family didn't talk a lot about the discrimination against the Chinese community.

Although Lee's parents were reticent about the past, the hundreds of photos and items left behind meant that JJ Lee and her cousin, Albert Lee, were able to piece together the life their parents and grandparents had.

Chinese coins before the Cultural Revolution, next to a U.S. penny. - Contributed

The bachelor men gathering

Lee's father Fred came to Halifax about the time when a discriminatory law was implemented in Canada. The Chinese Immigration Act or "Chinese Exclusion Act", passed in 1923, restricted all Chinese immigration by narrowly defining the acceptable categories.

The legislation significantly affected Canada's Chinese community. Wives and children of Chinese men already in Canada were not permitted to immigrate and the lack of Chinese women in Canada limited the opportunity for the community's natural growth.

Albert Lee, an amateur historian of the Chinese experience in Nova Scotia, said those husbands who were separated from their wives in China were described as "the bachelor men".

"They(the bachelor men) would have meals together as well as like socializing. They'd be playing mahjong and maybe trading businesses," he said.

Fred Lee and his friends are in the back room of the laundromat having supper. - Contributed

The unique experience of Chinese-Canadians in the Maritimes

Most of the findings were related to a laundromat called Charlie Wah Laundry, a family business partly owned by the Lee family. Laundromats were one of the most popular professions among Chinese immigrants in the early 20th century.

In 1931, for instance, 61 per cent of Chinese Canadians were servants, janitors, laundry and restaurant employees and unskilled workers.

Chinese-Canadians were barred from citizenship until 1947, therefore, they were barred from professions that required one to be a citizen. These professions included pharmacy, law, teaching, and politics.

In major cities such as Toronto, Vancouver, and Montreal, Chinese immigrants were not allowed to do or own business outside of Chinatown. But Albert Lee said the Maritimes cities didn't restrict the early Chinese immigrants.

"They had a better opportunity to be locating their businesses on the main thoroughfares," said Albert Lee in a phone interview.

The Charlie Wah Laundry was located at the corner of Barrington and Kent Streets in Halifax.

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Found family photos provide snapshot of what life was like for early Chinese immigrants to Halifax | Saltwire

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When JJ Lee came back to Halifax from Toronto, she was planning on doing nothing more than clearing out her parents' old house. Yet, she found herself reliving her childhood for the following weeks through hundreds of old photographs and all kinds

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A woman who grew up in China during its Cultural Revolution describes the grueling physical labor she endured on Red Fire Farm, her forced segregation from men, her sexual relationship with her platoon leader, and her introduction to acting. The sequel to this book is The cooked seed: a memoir, which describes the author's...

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Red Azalea - Min, Anchee, 1957- - A woman who grew up in China during its Cultural Revolution describes the grueling physical labor she endured on Red Fire Farm, her forced segregation from men, her sexual relationship with her platoon leader, and her introduction to acting.

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In this ad from the 1970s, detergent maker Calgon depicts its soap as the "ancient Chinese secret" behind Chinese laundromats.

The stereotype of the Chinese laundry gets routinely parodied in the media, because so many Americans are familiar with the small, Chinese-owned laundry.

To trace the origins of this, we have to go back to the California gold rush of 1849. Initially, the thousands of Chinese men who moved to the west worked in mines, but by the '70s, growing anti-Chinese sentiment blocked entire industries from them, including mining, farming, and fishing.

There was increased prejudice against the Chinese community because the flood of immigrants competed for work, especially unskilled labor.

The male-dominated scene of the gold rush did mean one thing though: no one wanted to do their laundry; it was considered a woman's job. So clothes were shipped from California to Hong Kong to be washed for $12 per dozen shirts-taking several weeks-and later, to Honolulu for $8 per dozen. It was cheaper and faster than sending clothes back to the East Coast.

Seeing the opportunity, the first Chinese-owned laundry in America, Wah Lee, opened in San Francisco in 1851, pricing its services at $5 per dozen shirts.

Since many Americans of European descent didn't want to be in businesses such as laundry, restaurants, and construction, the jobs ended up being filled by Chinese migrants. By 1870, laundries were almost exclusively Chinese-owned.

By 1870, laundries were almost exclusively Chinese-owned.

The lack of opportunities for Chinese migrants meant that many ended up staying in the laundry business. After all, it was easy to start your own business as laundries required no existing practical or language skill sets, no start up capital apart from soap, an iron, and a scrub board, and rent was saved by living in-store.

Literacy wasn't a requirement either. A laundryman recounts the story of how some of them, illiterate to the point they couldn't write numbers, drew circles that were the same size and quantity of coins required.

Many of the Chinese laundries won business by charging 15 percent less than white-owned laundries, but put up with gruelling 16-hour work days in uncomfortable work environments.

Slowly, things changed. During WWII, anti-Chinese sentiment quieted and 1882's Chinese Exclusion Act from 60 years prior was finally repealed, opening up industries and opportunities to a new generation of Chinese immigrants.

Today, the laundry business is hardly Chinese-dominated. But the community continues to be associated with the stereotype, thanks to the years their forefathers spent scrubbing the dirt out of customers' clothes.

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why the chinese laundry stereotype persists

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Why the Chinese laundry stereotype persists

# data[].attributes.attachment_link.description
In this ad from the 1970s, detergent maker Calgon depicts its soap as the "ancient Chinese secret" behind Chinese laundromats. The stereotype of the Chinese laundry gets routinely parodied in the media, because so many Americans are familiar with the small, Chinese-owned laundry.