Wearing your heart on your sleeve: An evolution of Chinese Australian identity 一目了然见华人 在澳华人身份认知的变迁

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WEARING YOUR HEART ON YOUR SLEEVE 一目了然见华人

An evolution of Chinese Australian identity

在澳华人身份认知的变迁

Deakin University Art Gallery 25 July to 26 August

FOREWORD

It is an honour to present the exhibition Wearing Your Heart on Your Sleeve at Deakin University Art Gallery in partnership with the Museum of Chinese Australian History.

We would like to acknowledge Deakin University President and Vice-Chancellor, Professor Jane den Hollander AO whose enthusiastic support of the exhibition, in particular its research and development, was deeply appreciated.

We have instigated this exhibition to celebrate the bicentenary of the first-known migrant of Chinese descent to Australia, Mak Sai Ying in 1818. It explores the Chinese community’s journey of personal and collective identity reflected through the garments Chinese Australians have worn over the past 200 years in Australia.

The Deakin University Art Gallery is deeply grateful to the Museum of Chinese Australian History for their generosity in loaning many garments from their collection that have never been seen by the public and we thank and acknowledge the support of the Chinese Museum Board through Chairman Bill Au. We would also like to acknowledge the contribution of researcher Vanessa Shia, collections manager Adil Soh Lim, translator Rebecca Sun and the Deputy Chairman of the Chinese Museum Mark Wang who worked tirelessly on the exhibition’s development.

We would like to thank photographer Russell Winnell and the exhibition and catalogue graphic designer Jasmin Tulk for their contributions. Thanks is also due to Michael Mangos and Peter Redden from Deakin University for their backing of the exhibition.

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The collection is a preview exhibition and will become part of the ONE MILLION STORIES: Chinese Australians 200 years exhibition organised by the Museum of Chinese Australian History which will commence in February 2019 at the Chinese Museum, Melbourne, then tour internationally.

In 2018, at this 200 year milestone, the Australian population now comprises over 1.2 million Chinese Australians, this community has influenced the evolution of contemporary Australian society and continues to play a pivotal role in the shaping of Australia as a nation.

We do hope you enjoy this important journey through Australia’s history and the incredible stories behind each garment, so beautifully presented by the Chinese Museum.

Leanne Willis Senior Manager, Art Collection and Galleries Deakin University

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A CHEST FOR SURVIVAL AND SENTIMENT 凝聚日常所需和情感 的行李箱 A travel chest is an emotion-laden symbol of an immigrant’s journey to their new home. The small wooden box contained all of their worldly possessions, often restricted to as much as could be carried. Not only packed with everyday survival items, it housed treasured personal belongings painstakingly selected for their sentimental value, and mementos of the people, home and country left behind.

Most significant of all were the carefully chosen clothing items that were meant to strengthen and enhance the newcomer’s image on important occasions in their future life.

小小的行李木箱中充满了情感。它不仅象征着移民前往新家

园的旅程，也是移民的全部家当。因为条件的限制，他们远走 他乡之际无法携带太多物品。除了基本的日用品，行李箱里只

能装下几件最具有情感价值的纪念品，以便他们在外漂泊的 时刻可以睹物思人、缓解思乡之苦。

在有限的行李中，衣物是经过精心挑选的。因为衣物不仅是个

人自身形象的直接体现，也寄托了他们对未来新生活的向往。 通过服饰，早期华裔移民将中式布料、设计、颜色和图案及其 背后的意义引入澳大利亚。而不同时期移民带来的衣物也反 映出当时中国国内社会、政治和科技的发展。

在澳华人身份认同的演变经历了好几代人——这种变化明显 地体现在过去200年间横跨中西方文化，日常衣着和庆典服 饰中的不断变迁中。

The garments brought by the early Chinese immigrants introduced Australians to archetypal fabrics, designs, colours and their symbolic motifs. Immigrants that came in different periods also brought clothing that reflected social, political and technological changes back in China.

The evolution of the Chinese Australian identity has taken place over many generations – no more apparent than through the changing fashion and ceremonial attire worn that spans both Western and Chinese cultures over the last 200 years.

Newspaper clipping titled ‘Arrival of Chinese Immigrants in Little Bourke St, Melbourne’, The Australian News, 27 September 1866.

Donated by Spencer Scott Sandilands Gallery, Chinese Museum Collection, 1985.07.33

1866年9月27日《澳大利亚新闻》报道“华人移民抵达墨尔本小伯 克街 ”的剪报 由 Spencer Scott Sandilands Gallery美术馆捐赠, 澳华历史博物馆馆藏, 1985.07.33

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ON THE GOLD FIELDS . . .

AND IN TOWNS 金矿里，城镇中。 The Australian gold rushes, commencing in the 1850s, attracted tens of thousands of Chinese miners who were mostly peasants and labourers aspiring to make enough money to take back to China. At the gold fields, they generally wore high-collared jackets and loose trousers that were less protective than those worn by their European counterparts. Some of them did not have proper shoes or work boots. They wore their hair, as required by law, in the Manchu style with shaved forehead and a long single plait called a ‘queue’.

19世纪50年代的澳大利亚淘金热吸引了数以万计的华裔矿

工。他们多是中国农民工，渴望通过淘金赚钱带回老家。他们 在矿里穿中式的立领褂和散腿裤，保护性不及欧洲矿工的衣 服。一些华人矿工没有正规的工作靴或鞋子穿。按照当时法律 规定，他们必须留着前额剃光后留长辫的满族发式。

19世纪和20世纪初期，在澳华人日常的穿着是 “衫裤”。 “衫” 是右偏襟纽襻上衣， “裤”是宽松长裤。后来，男士逐渐用夹克 取代了中式布衫。

In towns and cities, the common attire in China and Australia in the 19th and early 20th centuries was the samfu. ‘Sam’ refers to the upper garment which fastens with buttons over to the right, and ‘fu’ refers to a pair of loose fitting trousers. Men eventually replaced the overlapping ‘sam’ with a jacket.

Leong Chuey Tock with children, c. 1896 - c. 1898.

Left to right: unidentified man, Poy, Joyce, Leong Chuey Tock

Donated by Shirley Millard collection, Chinese Museum Collection, 1750.0366.05

Leong Chuey Tock 和孩子们，约1896 - 1898年间 从左至右：一男子（身份未知）、Poy、Joyce、Leong Chuey Tock Shirley Millard捐赠，澳华历史博物馆馆藏，1750.0366.05

Joyce May Lew Ton (nee Tock) in Chinese samfu, c. 1900.

Donated by Shirley Millard, Chinese Museum Collection, 2015.02.01

Joyce May Lew Ton (娘家姓Tock)身着中式衫裤，约1900年

由Shirley Millard捐赠，澳华历史博物馆馆藏，2015.02.01

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Female Robe, c. 1900 - 1910.

Teal coloured silk, with embroidered flower pattern and butterflies.

Donated by Marjorie Stuckey (via Heather Simon), Chinese Museum Collection, 2012.22.03.

女士丝袍，约1900 - 1910年。 蓝绿色丝绸，带有刺绣花朵和蝴蝶图案

Marjorie Stuckey通过Heather Simon捐赠，澳华历史博物 馆馆藏2012.22.03.

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TRADITIONAL ATTIRE MEETS WESTERN DRESS 东西交织 This blue silk jacket and dark purple trousers (shown above) are typical of informal Han Chinese dress of the late-Qing dynasty (1644-1912). They belonged to Mary Tong Way (nee Kong, 1870-1941) who came to Ballarat, Victoria in 1893 to marry John Tong Way in an arranged marriage.

Mary was brought up by German missionaries in Hong Kong. She bought these garments in Hong Kong to take with her to Australia. Her husband was a catechist to the Chinese community in Ballarat and became Superintendent of the Chinese Mission in 1903.

Mary stopped wearing the Chinese clothes she brought with her and began wearing European dresses, which she continued to do for the rest of her life in Australia.

She only showed these garments to friends who showed interest in them.

这件蓝色丝质女袍和紫色长裤是晚清（1644-1912）典型的汉 式便服。 衣服的主人是1893年移居维州巴拉瑞特的 Mary Tong Way (娘家姓 Kong, 1870-1941)。 她与John Tong Way由家人包办 成婚。

Mary由德国传教士在香港抚养成年。这些衣服是她在香港购 置带来澳大利亚的。其夫在巴拉瑞特华人社区传授基督教，并 于1903 年出任华人教团教长。

随后，Mary 不再穿着中式服装而改穿欧式裙装，并在澳大利亚

的余生中保持如此穿着。原先带来的中式服装只展示给有兴 趣的朋友欣赏。

The Tong Way family, c. 1898.

Standing at rear: Joseph Thomas Way (1882-1956) the son of John Tong Way and his first wife, who had died in China. Seated: Mary Tong Way (1870-1941) and John Tong Way. Standing at front: Hedley Tong Way (1896-1980) and Samuel Tong Way (1894 -1988).

Donated by the Tong Way Family, Chinese Museum Collection, 1750.0374.06a

Tong Way家族，时间约为1898年 后排：Joseph Thomas Way (1882-1956) ，他是John Tong Way 与原配夫人 之子，夫人已于中国过世 中间: Mary Tong Way (1870-1941) 和John Tong Way.前排：Hedley Tong Way (1896-1980)和Samuel Tong Way (1894 -1988).

Tong Way 家族捐赠，澳华历史博物馆馆藏 1750.0374.06a

European dress at double wedding, 1893.

John Tong Way and Mary Kong (left) had a double wedding with Peter Quong, a miner, and Jessie Joe Sung (right). The Rev. James Chue (centre), then Superintendent of the Presbyterian Church’s Mission to Chinese, officiated. Both brides had come from Hong Kong to marry their husbands by arrangement in the Chinese tradition.

Donated by the Tong Way Family, Chinese Museum Collection, 1750.0374.03

集体婚礼上的欧式裙装，1893 John Tong Way、Mary Kong (左) 与 矿工Peter Quong、Jessie Joe Sung (右) 两对新人共同举行婚礼。 福音堂牧师James Chue（中）主持仪式。 两位新娘均来自香港，按传统由家人包办婚姻远嫁澳大利亚。 Tong Way 家族捐赠，澳华历史博物馆馆藏, 1750.0374.03

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Handmade Ladies’ Shoes, c. 1890 – 1893.

Orange silk, embroidered with blue and green patterned flowers. These flat-soled shoes are typical of early twentieth century Chinese shoe fashion. In the late Qing dynasty most Han women had bound feet, although poorer women would sometimes wear flat shoes but probably not as elaborate as these. Mary Tong Way wore flat shoes and had unbound feet either because German missionaries brought her up or that tradition was not as strictly followed in Hong Kong.

Donated by Tong Way Family, Chinese Museum Collection, 2011.10.01.

手工女鞋，约1890 – 1893年。 橙色丝绸制，绣有蓝色和绿色花卉图案 这双平底女鞋是20世纪初期最流行的款式。 晚清时期，汉族妇人大多绑脚。 平民女子常 穿平底鞋，但上面恐怕没有如此精美的绣 花。 Mary Tong Way没有裹脚且穿平底鞋可能源 于她由德国传教士收养，或是裹脚的传统在 香港不是特别的严格。 Tong Way 家族捐赠，澳华历史博物馆馆藏2011.10.01.

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Female Jacket with Wide Sleeves, c. 1890 - 1893.

Blue silk, trimmed in black satin.

Floral designs, butterflies and spheres are woven in the blue silk fabric.

Donated by Tong Way Family, Chinese Museum Collection, 2011.10.02.

女式阔袖丝袍，约 1890 - 1893。 蓝色丝绸，镶黑色缎边。 花卉图案、蝴蝶 和球形图案皆为丝织而成。 Tong Way 家族捐赠，澳华历史博物馆馆藏 2011.10.02.

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IN THE PRIVACY OF HOME 内外有别 The Chinese who came to Australia in the late 1800s and early 1900s left a country that was on the cusp of political and social change fueled by foreign invasion, reform movements and economic hardship.

In the new country, it was common for them to adopt western-style clothing. However, they did not abandon the comfort of their cultural heritage.

The Que Noy family taken in Darwin, c. 1920s.

A family that embraced both Western and Chinese dress.

Jauhari Collection, Chinese Museum, 2009.11.04

Que Noy全家福，约20世纪20年代摄于达尔文 家庭成员衣着中西合璧 Jauhari 画廊系列藏品，澳华历史博物馆，2009.11.04

Woman with bound feet, c. 1912.

Donated by Anna White, Chinese Museum Collection, 2006.10.07

裹脚的妇人，约1912年

Anna White捐赠，澳华历史博物馆馆藏,2006.10.07

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在19世纪末、20世纪初来到澳洲的华人离开了祖国，中国当 时正面临外强入侵、改革四起和经济困境等局面，经历政治和 社会上的巨变。

在澳洲这片新土地上，人们普遍认为需要采用西式装扮。然 而，新中国移民们还无法完全摒弃传统服饰带来的舒适感。

A Pair of Shoes for Bound Feet.

Handmade with white hard heel base and cream soles, pointed toe, and upper soles edged with green braid. Body of shoes black satin with decorative silk stitching and edged in coloured braid.

Donated by Frederick Charles Melvin Drakeford, Chinese Museum Collection, 1989.08.01.

为裹足所设计的鞋。 手工制作，白色硬跟，乳白色鞋底， 尖头，鞋帮边缘为绿色编织样式。 鞋 身为黑色缎面，配有真丝刺绣图案， 鞋帮边缘勾以彩色勾边。

Frederick Charles Melvin Drakeford捐赠，澳华历史博 物馆馆藏1989.08.01

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Boy’s Tunic and Trousers, c. 1910.

Pale green silk with floral pattern.

Harold Young was born in Sydney and this tunic and trousers were worn in Australia when he was approximately 10 years old. These handmade garments were typical of the clothing worn by Chinese Australians at the turn of 20th century.

Donated by Anna White, Chinese Museum Collection, 2006.01.01.

丝质男童上衣与下装，约1910年。 淡绿色丝绸带花朵图案 Harold Young出生于悉尼。 图为他十岁左右 时在澳大利亚时所穿的丝质套装。 20世 纪初，此类手工缝制衣服是华裔最普遍 的着装。 Anna White,捐赠，澳华历史博物馆馆藏 2006.01.01.

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Female Jacket and Trousers, c. 1940s.

Light blue jacket with black side toggles and black trousers with a light blue waistband.

Handmade in Australia in the 1940s, worn in the 1940s-1980s in Padbury, Western Australia. Mrs Hoy was born in Canton to a family of silk weavers.

Donated by Mrs Hoy, Chinese Museum Collection, 1985.01.07.

女士马褂和长裤，约20世纪40年代。 浅蓝色马褂配有黑色偏襟纽襻，黑 色裤子配有浅蓝色腰带。这套马褂 长裤在20世纪40年代于西澳大利亚 帕德伯里手工缝制，一直沿用到20世 纪80年代。 Hoy夫人出生在广东，家族世代织丝。 Hoy夫人捐赠，澳华历史博物馆馆藏，1985.01.07.

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FORMALITY OF THE MANDARIN COURT 清朝官员朝服 When the Manchu rulers of the Qing dynasty took control of China in 1644, they introduced a rigid dress code to assert their ascendancy over the dominant Han population. Symbolism conveyed by dress distinguished the status of the wearer: be they imperial family members, court officials or government officials, or just common people. Women dressed according to the rank of their husbands.

Mei Quong Tart (1850 - 1903), who arrived in New South Wales in 1859 at the age of nine, became a prominent and charismatic Chinese businessman, community leader and philanthropist during the nineteenth century. The Qing government honoured him with the status of a mandarin in 1888, for his services as Chinese consul and for having advanced ChineseEuropean relations in Australia.

1644年满人入关统治中国后推行严格冠服制以凌驾于多数派 的汉人之上，通过服饰彰显地位--用图案表示身份地位，上至

皇亲国戚、朝廷要员下到地方官员、贫民百姓皆是如此。妇女 则要依照其丈夫的地位或官位着装。

1859年，9岁的梅光达(1850-1903)抵达澳大利亚，日后成为得享盛

誉的华商、华侨领袖和慈善家。为此，清朝政府于1888年授予

其清廷驻澳代理领事官位，以嘉奖他在澳大利亚增进两国人 民关系作出的贡献。

Quong Tart in mandarin robes, c. 1894 – 1897.

A fun-loving sportsman and a staunch Freemason, Quong Tart moved easily both among Sydney’s high society and among ordinary people and political leaders. He would dress either as a Chinese mandarin or in a kilt and sporran to attend social functions.

Quong Tart Collection, Chinese Museum, P00536

梅光达身着朝服，约1894年7月11日-1897年1月29日 梅光达是一名坚定的共济会会员，他喜爱体育运动，在悉尼 的上流社会、政圈和普通民众中都如鱼得水。在参加社交活动 时，他一般会穿朝服或是苏格兰裙配毛皮带。 Quong Tart 系列展品，澳华历史博物馆，P00536

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Quong Tart and his wife Margaret, c. 1892 - 1894.

Quong Tart wears his mandarin robe but no chains. The knob on his hat was described by Travers 1 as a crystal button. However, the hat does not have the peacock feather he was awarded in 1894. Margaret’s dress reflects the rank of her husband.

Quong Tart Collection, Chinese Museum, P00603

梅光达与妻子Margaret合照，约为1892年 - 1894年 相片中，梅光达身着朝服，但没有佩戴朝珠。 Travers认为其朝官的顶珠为水晶。 但 朝官上并没有安插1894年授予的蓝翎。 夫人Margaret的着装也反映出丈夫的地位。 Quong Tart系列展品，澳华历史博物馆，P00603

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Mandarin Robe, c. Qing dynasty (1644 - 1911).

This black silk man’s surcoat (bufu) with gold-embroidered square insignia is a sample of the upper garment of a mandarin dress that Quong Tart would have worn. Quong Tart’s insignia as a fifth degree mandarin was that of a silver pheasant, and a wild goose as a fourth level.

Donated by Michael Leong, Chinese Museum Collection, 1987.06.01.

清廷朝服，清朝(1644 - 1911)。 这是一件带有秀金方形纹章（补子）的黑色丝质 补服样品，和梅光达所着朝服类似。 梅光达位居 五品，以白鹇为补而四品文官的补子图案为雁。 Michael Leong捐赠，澳华历史博物馆馆藏1987.06.01.

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Heavily Embroidered Female’s Wedding Suit consisting of Jacket and Skirt, c. 1960s.

In this Cantonese-style silk ensemble, called ‘kwa’, the embroidered dragons and phoenixes pattern ‘float’ across a silver background scattered with peonies. To achieve the effect, metallic threads are tacked onto the silk with coloured threads.

Donated by Helena Pang, Chinese Museum Collection, 2013.08.01.

重工刺绣新娘龙凤卦，约20世纪60年代。 这件粤秀丝质套装叫“褂”。 银色布满牡 丹的底面上刺有富有立体感的龙凤图 案。 这种立体感呈现来自用彩色丝线将 银线绣在丝布上的卜心秀法。 Helena Pang 捐赠，澳华历史博物馆馆藏2013.08.01.

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DRESSED FOR THE OCCASION 盛装华服 It is during special occasions that Chinese Australians literally wear their hearts on their sleeves. And the way they dress during these events show that they are comfortable with their Chinese heritage and in their adopted culture.

At formal ceremonies like a wedding or christening, or in social events like dance balls and community celebrations, there is a comfortable blend of Chinese and western dress, which has become the social norm since the beginning of the 20th century.

出席隆重场合时，华人多选择中式服装以彰显华裔身份。这 样的着装显示出他们适应当地传统的同时也心系祖国文化。

无论是在婚礼、洗礼这类隆重场合还是当地活动如舞会、社团

庆祝的这类社交场合，华人选择混搭穿着东、西服饰。这种中 西合璧的穿法从20世纪初开始就很普遍了。

华人欣然接受澳大利亚的生活方式和价值观的同时，也把中 华文化传统带到澳大利亚并得到当地人的认可和接受，极大 地丰富了澳洲社会的文化多元性。

While the Chinese community has enthusiastically embraced elements of Australian lifestyle and values, they have also brought with them customs and practices that have been embraced by Australians enriching this country’s cultural life.

Dance function (possibly Chinese Progress Association dance) in Melbourne c. 1920s.

Frank Chinn Collection, Chinese Museum, P00590

墨尔本舞会（可能为华人进步会舞会） 约20世纪20年代 Frank Chinn 藏品，澳华历史博物馆 P00590

Depicting a family’s cultural duality at the wedding of Sam Chung Gon and Queenie in Sydney, c. 1920s.

Left to Right: Victor Kaw, Ivy Young (bride’s sister), Mei-Ling Chung-Gon, Sam and Queenie, James Chung-Gon Senior, Fanny Lowe (bride’s mother) and Sid Fong.

Donated by Frank Chinn, Chinese Museum Collection, 1750.0358.010

Sam Chung Gon 与Queenie在悉尼婚礼上的 中西合璧着装。 约20世纪20年代 从左至右: Victor Kaw, Ivy Young (新娘姊妹), Mei-Ling Chung-Gon, Sam and Queenie, James Chung-Gon Senior, Fanny Lowe (新娘母亲) and Sid Fong.

Frank Chinn捐赠，澳华历史博物馆馆藏，1750.0358.010

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RELIGIOUS OCCASIONS While Taoism, Buddhism and Confucianism were the major religions and doctrines for many centuries in China, Christianity was introduced and practiced from the 16th century.

SPORTING EVENTS For many Chinese Australians, donning a tailored sports blazer, a football jersey or other sporting uniforms, is a proud symbol of being an active member of Australian society.

Soon after Chinese people arrived in Australia, many converted to Christianity as evidenced by the churches that were established in the 1870s in Chinatown Melbourne. Many still have strong congregations today.

From the 1930s until the 1980s, The Young Chinese League fielded an Australian Rules football team playing against non-Chinese social and sporting clubs.

DRAGON PARADES Dragon processions have appeared in Melbourne’s city streets for over a century. Traditional attire for the dragon carriers includes baggy pants, with gaiters, a light weight shirt and waist sash.

体育赛事

对许多华裔而言，身着运动夹克、澳式足球球衣或者队服都是 融入澳洲社会的标志。

20世纪30-80年代期间，澳洲墨尔本华侨青年协会成立了澳 式足球队并与非华裔社团和体育团体进行比赛。

宗教场合

几个世纪以来，道教、佛教以及儒教作为主要宗教在中国广为 流传。 16世纪，基督教传入中国。

许多华裔移民到达澳大利亚后改信基督教。19世纪70年代墨 尔本唐人街附近出现的多个华人教会至今仍具有一定规模。 舞龙

舞龙在墨尔本有100多年的历史。 舞龙服饰包括绑腿灯笼裤， 轻薄上装和腰带。

Young Chinese League Women’s Netball Team Sporting their netball uniform, with coach Andrew Kwong. c. late 1940s.

Dorothy Chan (nee Kwong) Collection, Chinese Museum, 1750.379.001

墨尔本华侨青年协会女篮网球队队服 身着队服的队员与教练Andrew Kwong合影，约20世纪40年代末

Dorothy Chan (娘家姓Kwong)系列展品 澳华历史博物馆 1750.379.001

Len Quon holding the Pearl of Wisdom, c.1960s.

Len led the Young Chinese League Dragon through the streets of Melbourne until 1979.

Donated by Daisy Quon, Chinese Museum Collection, P00786

Len Quon手持智慧珍珠，约20世纪60年代 Len 领导华侨青年协会的墨尔本舞龙活动直至1979年 Daisy Quon捐赠，澳华历史博物馆馆藏，P00786

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Infant’s White Christening Gown with Lace and Cuffs, c. 1910s.

Flower pattern across the front. The gown ties up at the back with ribbon. This gown was worn by David Ming Goon who was six months at the christening. He was born on 10 July 1912.

Donated by Dianne Brooke, Chinese Museum Collection, 1999.05.01.

婴儿白色蕾丝洗礼礼袍，约20世纪 10年代。 礼服前方带有花朵图案，缎带可 用于系在礼袍后方。这是 David Ming Goon 6个月大受洗时穿的长袍。 他出 生于 1912年7月10日。 Dianne Brooke捐赠。 澳华历史博物馆馆藏 1999.05.01.

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Young Chinese League Blazar, c.1950s- 1960s.

Maroon coloured, made by David Lack Pty Ltd, Melbourne. The YCL logo is flanked by two dragons and the words “The Young Chinese League Melbourne”.

This blazer was owned and worn by Norman Leslie Kee, whose family was active in the Young Chinese League from 1955 to 1965. The blazer was worn to social and sporting functions including monthly supper dances and annual summer picnics.

Donated by Kevin Kee, Chinese Museum Collection, 2007.03.01.

墨尔本华侨青年协会队服，约20世纪50年代-60年代。 褐红色，由墨尔本David Lack有限公司制作。 YCL徽章周围是双龙图案 以及“The Young Chinese League Melbourne”墨尔本华侨青年协会）”字样。 这件夹克的主人是Norman Leslie Kee。 他和家人在1955至65年期间活 跃于澳洲墨尔本华侨青年协会的活动。 Norman Leslie Kee穿着这件 夹克出席每月一次的晚宴舞会每年一度的夏季野餐活动。 Kevin Kee捐赠，澳华历史博物馆馆藏2007.03.01.

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Young Chinese League Football Jersey.

Maroon coloured, with Young Chinese League insignia on the left breast.

Worn by Russell Moy, one of the founding members of the League. The YCL was established in 1932 to bring people of Chinese descent together, to meet and share social, cultural and sporting activities. Russell Moy served as the League’s President, Vice President and Treasurer at different times. He is credited as being one of the longest serving committee members - 60 years.

Donated by Jeff Moy Chinese Museum Collection, 1996.18.02.

墨尔本华侨青年协会足球衫。 褐红色，左胸带有墨尔本华侨青年会徽章。 这件队服属于Russell Moy，墨尔本华侨青年协会创始人之一。 墨尔本华侨 青年协会创立于1932年，意在为华裔青年创造社交和文体活动。 Russell Moy先后出任过墨尔本华侨青年协会主席、副主席和司库等不同 职务。 他60年来一直出任委员会成员，是社团最资深的委员。 Jeff Moy捐赠，澳华历史博物馆馆藏1996.18.02.

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FROM TRADITIONAL OPERA TO TRADITIONAL JAZZ 东方戏剧和西方爵士 Chinese music was first brought to Australia during the gold rushes of the 1850s. Along with the miners came Chinese entrepreneurs who provided goods, services and entertainment for the emerging Chinese population. Major Chinese settlements were large enough to sustain theatrical, musical and Cantonese operatic troupes.

Originating from the 13th Century, Cantonese Opera characters developed very elaborate and distinct costumes, while the performance incorporated music, singing, martial arts, acrobatics and acting.

Men performed the roles of women.

Cantonese Opera stories were constructed for moral and personal development, maintenance of culture and often contained messages of loyalty to one’s country.

In the early 1900s, younger Australian-born Chinese were acquiring a Western taste in music, but the newer immigrants still preferred traditional music.

Some groups, such as Mabel Chinn’s Oriental Orchestra of the 1930s, blended East and West, including playing Western tunes with Chinese instruments.

As the community’s musical tastes changed, a new music emerged. Alma Quon and her Joybelles in the 1950s became a very popular group.

Three Cantonese Opera performers.

Kong Chew Cantonese Opera Troupe. At least one if not all three are men dressed as women. c1940s - 1960s.

Kong Chew Collection, Chinese Museum, 1750.367.001

三位粤剧演员 Kong Chew 粤剧团。 三位女角至少有一名是男 扮女装,约20世纪40-60年代

Kong Chew 系列藏品，澳华历史博物馆馆藏, 1750.367.001

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19世纪50年的淘金热时期，中国传统音乐随着华裔矿工漂洋

过海来到澳大利亚。餐饮、服务业，戏曲剧团等其他行业也相

继衍生。当时主要华人社区都颇具规模，有自己的戏剧、乐曲 以及粤剧班子。

粤剧始于13世纪，演员身着独特且华丽的戏服，通过唱念做 打演绎塑造不同角色，包括男扮女装。

剧目情节训勉人要重道义、修性情，也包含精忠报国的思想。

20世纪初，虽然在澳出生的华裔年轻一代接受了西方的音

乐，新登陆的移民还是钟情于传统中式戏曲。活跃于30年代

的Mabel Chin东方交响乐团等团体，用西洋乐器演奏中式曲目。 由于华人音乐喜好改变，Alma Quon及其Joybelles女子乐团在50年 代名噪一时。

Alma Quon and her Joy Belles c. 1955.

Alma Quon and her Joy Belles played a fusion of Chinese and Western identity in music and dress. Alma was on drums.The band was a favourite at many debutante balls and other Chinese community functions. An all-women band with Chinese and non-Chinese members, it played a mix of Western and modified Chinese-style music.

Daisy Quon family collection, Chinese Museum, 1750.0391.01

Alma Quon和她的Joy Belles女子乐团，约1955年 Alma Quon 及其Joy Belles女子乐团的着装和演奏的音乐均是中西合 璧。 图片中的鼓手是Alma Quon。 这个由中外乐手组成的女子乐团 广受欢迎，经常在成人舞会和社区联欢演出中西融合的音乐。

Daisy Quon家族收藏，澳华历史博物馆 1750.0391.01

Mrs Mabel Chinn in Qing period Chinese dress, c. 1900.

Mabel Chin’s father was born in China and her mother was born in Sydney to Chinese-born parents.

Mabel Chinn Collection, Chinese Museum, 1750.0368.06 (Reproduction rights owned by E. Leong)

Mabel Chinn 夫人身着旗装 Mabel Chin的父亲是中国出生的华人，母亲是悉尼出生的第二 代华人移民。 Mabel Chinn系列展品，澳华历史博物馆，1750.0368.06 (翻印权E. Leong）

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Opera Gown, c. 1930s - 1940s in Embroidered Silk.

This Cantonese opera gown belonged to Olive Mabel Clarice (Yuk Seen) Chinn (1884 - 1991). They were used in fundraising performances organized by Mabel in the 1930s - 1940s. The garment shows the quality of Chinese textiles and the workmanship in the sewing and embroidery. The gown had splits at the side. Mabel was not happy with the splits and so inserted an embroidered panel.

Donated by Eunice Leong, Chinese Museum Collection, 2012.14.01.

戏服和绣花鞋，约 20世纪30 - 40年代左右丝质刺绣材质。 Olive Mabel Clarice (Yuk Seen) Chinn (1884 - 1991)曾着这套粤剧戏服和绣花鞋在20世纪30 40年代期间参加Mabel组织的筹款义演。戏服展示出精湛的中式纺织、缝纫与刺 绣技艺。 这套戏服两侧开衩。 Mabel不喜欢这种风格，故添加一块刺绣织物。

Eunice Leong捐赠，澳华历史博物馆馆藏2012.14.01.

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THE CHEONGSAM: ICON OF CHANGE 长衫： 时代变化标志 The end of the Qing dynasty in 1912 had an immediate effect on Chinese dress and attitude to fashion. At once, the men cut off their queues, which they had been forced to grow by the Qing rulers. It was also in 1912 that foot-binding of young girls was banned.

The men replaced the traditional robe with a Westernstyle jacket, and started wearing felt caps. For women, the figure-hugging cheongsam became the icon of change.

The original cheongsam (also known as qipao) was the traditional one-piece dress introduced by the Qing dynasty in the 17th century. It was made of silk with intricate embroidery, and was wide and baggy. In the 1920s in Shanghai, the cheongsam evolved into a figure-hugging dress that had a slit on one or both sides. It quickly became popular among Chinese in high society and was gradually picked up by women in China and overseas, including Australia.

Today, Chinese women in Australia and across the world often wear the cheongsam on occasions when they want to celebrate their cultural heritage.

Young Chinese League debutantes, c. 1957.

Women wearing cheongsams, except the debutantes at the centre, wearing evening gowns: Barbara Ah Hon, fifth from the left, and Mei-Ling Chung Gon, seventh from left.

Donated by Daisy Quon, Chinese Museum Collection, 1750.0688.01

墨尔本华侨青年协会成年舞会，约1957年 穿旗袍的女性簇拥穿晚礼服出席成年舞会的少女： Barbara Ah Hon左五，Mei-Ling Chung Gon左七 Daisy Quon捐赠，澳华历史博物馆馆藏 1750.0688.01

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1912年清朝覆灭，大众对中式服装和审美发生了瞬间转变。 男性立即剪掉了清政府强制留的长辫子。裹脚的习俗也在同 年被禁止。

男性开始穿着西式夹克代替传统长袍，并且开始戴毡帽；就女 性而言，紧身旗袍成为了新时代标志。

传统长衫（也称旗袍）的原型是满族的传统一件式服装。17世

纪，满族创建清王朝，旗袍流入中原。丝质长袍上有精美绣花 装饰，宽松，下摆宽。20年代的上海，旗袍演变成单开衩或双

开衩的紧身裙装。这种款式因备受上流社会推崇而逐渐受到 中国和世界各地华裔妇女的喜爱，其中也包括澳大利亚。

如今，在澳大利亚或其他国家的华裔女性都会特定场合选择 穿旗袍展示她们的文化传统。

DEBUTANTES AND BEAUTY QUEENS 名媛与选美皇后 From its early days, the Young Chinese League held social nights at Leonard’s Dance Hall in St Kilda in Melbourne. These events were so popular that the League launched the Annual Debutante Ball. Held in spring, the balls attracted up to 800 people.

The early debutante balls must have presented a quandary to the Chinese community. In true western tradition, the debutantes wore white ball gowns, a symbol of purity. Their male partners wore dinner suits. In Chinese culture, white symbolises death.

Red is the traditional colour worn for celebrations.

The girls dressed in western fashion and the males accompanying them in western-style dinner suits.

墨尔本华侨青年协会早期在墨尔本St Kilda区Leonard舞厅举办社 交晚会。联欢活动大受欢迎，墨尔本华侨青年协会因此推出了 成年舞会。 这场每年春天举办的舞会吸引了800余人参与。

西方的成年舞会中，少女身穿一袭象征纯洁无暇的白裙，他们

的舞伴则穿着男士晚礼服。而在中华文化中，白色多让人联想

起丧事，红色才是传统喜气的颜色。在融合中西文化中，早期 的舞会估计给华人民众带来不小的困惑和难题。

The first Miss Chinatown Contest in Melbourne organised by David and Mabel Wang, c. 1961.

From left: Mabel Wang, David Wang, and three members of the band “Alma Quon and her Joy Belles”, who regularly performed at Chinese community functions.

Standing at microphone is the MC Lai Lai Gum with one of the contestants.

Mabel Wang Collection, Chinese Museum, 1760.363.012

David 与Mabel Wang在墨尔本筹办的首届华裔小姐选美，约1961年 从左至右：Mabel Wang、David Wang和活跃于华人社区演出的女 子乐团：Alma Quon 的Joy Belles中的三名乐手。 站在话筒前的Lai Lai Gum 既是主持人也是参赛选手。 Mabel Wang 系列藏品，澳华历史博物馆, 1760.363.012

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Qipao, c. 1920s - 1930s.

Maroon coloured silk with woven chrysanthemum design in white, and side toggles.

Donated by Nessie Cleverley, Chinese Museum Collection, 1987.23.24.

旗袍，20世纪20 - 30年代 。 褐红色丝质旗袍，白菊暗花纹理，偏襟纽襻。 Nessie Cleverley捐赠，澳华历史博物馆馆藏1987.23.24.

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Popular form-fitting Cheongsam, c.1940.

Dark brown and gold floral fabric.

Donated by Geoff Goullet, Chinese Museum Collection, 2015.06.53.

潮流修身旗袍, 约20世纪40年代。 修身旗袍源于上海。

Geoff Goullet捐赠，澳华历史博物馆馆藏2015.06.53.

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Party dresses, c. 1950s - 1960s.

Peach coloured synthetic silk, knee length with three tiers of pin- pleat between the waist and the hem. These dresses were owned by Judith Joyce and Thelma Cremin.

Donated by Nicole Ma, Chinese Museum Collection, 1998.10.21.

舞会礼服，约20世纪50年代-60年代。 浅粉色和桃红色人造丝及膝裙，腰部及下摆之间 有三褶设计。 礼服主人为Judith Joyce 和Thelma Cremin.

Nicole Ma 捐赠，澳华历史博物馆馆藏1998.10.21.

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Party dress, c. 1950s - 1960s.

White coloured silk, jacquard with gold, silver and apricot flowers. Flowers are augmented by small glass beads. These dresses were owned by Judith Joyce and Thelma Cremin.

Donated by Nicole Ma, Chinese Museum Collection, 1998.10.10

舞会礼服，约20世纪50年代-60年代。 金色和银色杏花图样白色提花丝裙，花朵上饰以 玻璃珠饰。 礼服主人为Judith Joyce 和Thelma Cremin。 Nicole Ma 捐赠，澳华历史博物馆馆藏1998.10.21

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Cheongsams made for Mabel Wang. C.1970s.

Silk fabric in 1970s geometric patterns.

Loan from Louisa Wang and Anna Clavey.

为Mabel Wang定制的旗袍，约20世纪70年代。 采用20世纪70年代几何图案丝质面料。 由Louisa Wang和Anna Clavey 租借

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Cheongsams made for Mabel Wang. C.1970s.

Silk fabric in 1970s geometric patterns.

Loan from Louisa Wang and Anna Clavey.

为Mabel Wang定制的旗袍，约20世纪70年代。 采用20世纪70年代几何图案丝质面料。 由Louisa Wang和Anna Clavey 租借

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PART OF THE AUSTRALIAN AESTHETIC 澳式美学的一部分 By the 1960s, Chinese Australians began integrating modern fabrics and western design trimmings into Chinese traditional attire. The cheongsam, which in the 1920s became a symbol of change in Chinese women’s attitude toward identity dressing, now became an expression of confidence for Chinese Australians in their multicultural identity.

Chinese Australian designers also came to the attention of Australian society with their eclectic styles, ranging from the vibrant and colourful to classic and elegant, and to abstract and contemporary.

Jenny Kee is one of Australia’s most well-known designers whose passion for rich, bright colours exploded onto the Australian market in the 1970s.

Influenced by the landscape and environment, her early knitwear featured designs based on Australian flora, fauna and emblems. She later designed textiles, but her work continued to convey her passion for Australia’s natural environment. Jenny designed the costumes for the ‘Arrivals’ segment of the 2000 Sydney Olympic Games opening ceremony.

Lui Hon, 2018 雲惟明 2018

20世纪60年代，澳大利亚华人开始在中式传统服装中融入现

代面料和西式元素。旗袍在20世纪20年代曾盛极一时，象征

着华人女性对于服装实现身份认同的态度发生了改变。如今， 它代表着澳大利亚华人对其多元身份的自信。

澳大利亚华人设计师也开始步入澳大利亚社会的视野，他们 设计的服装兼收并蓄，从鲜艳灵动到经典优雅，再到抽象现 代，其风格集各家之所长。

Jenny Kee 是澳大利亚最负盛名的设计师之一，她钟爱丰富明亮

的色彩。20世纪70年代，她设计的服装在澳大利亚市场引爆 热潮。她早期的针织服装作品深受自然风景的影响，其中运用

了澳大利亚植物、动物和象征性图案等元素。之后她开始设计

纺织面料，不过从中仍然可一窥她对澳大利亚自然环境的热 爱。 Jenny Kee 曾为2000年悉尼奥运会开幕式节目“Arrivals”担纲 服装设计工作。

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Chris Ran Lin, 2018 林然 2018

Two young Chinese Australian designers are making their mark in the contemporary fashion industry: Lui Hon and Chris Ran Lin. They are among the dynamic designers whose multicultural influences have helped to launch Australia’s fashion industry onto the global market.

Lui Hon is of Chinese-Malaysian descent and arrived in Melbourne in 1999. His timeless designs are structurally strong, technically faultless, and texturally intriguing. His work has been featured in galleries in Melbourne, New York and Paris.

Chris Ran Lin was born in China and graduated from RMIT in Melbourne. He launched his menswear label in 2013 and his signature lush colours quickly gained industry attention. His work pivots around extraordinary knitwear pieces - with swathes of thick, vividly coloured wool, delightfully soft to touch, with looping weaves and hand-finished details.

His experiments are brave and highly exploratory, combined with old-school tailoring techniques and traditional craftsmanship. 云惟明、林然两位年轻的澳大利亚华人设计师在时尚业中脱 颖而出。澳大利亚时尚业之所以能登上国际舞台，要归功于许

多极富创意、拥有多元文化影响力的设计师，云惟明和林然便 是其中的代表人物。

云惟明 (Lui Hon) 是马来西亚华人，1999年来到墨尔本。 他的设

计注重功能性，永不过时，并具有极强的结构感、无可挑剔的 工艺和耐人寻味的质地。他的作品曾在墨尔本、纽约和巴黎的

Chris Ran Lin garment

多家艺术馆中展出。

林然 (Chris Ran Lin) 出生于中国，毕业于皇家墨尔本理工大 学。2013年，他推出了自己的男装品牌，其具有标志性的亮丽

色彩很快就赢得了业界关注。他的作品以高品质针织服装为

主——大量使用厚实温暖、色彩生动的羊毛面料，手感柔软细

腻，采用环结编织和手工细节。林然的实验设计大胆张扬，极 富探索性，并融入了旧式裁剪技术和传统工艺。

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Sweater by Jenny Kee 2018.

Merino Wool. Limited edition of 50.

Chinese Museum Collection.

Jenny Kee 于2018年所设计的毛衣 美利奴羊毛。 限量版，仅50件。 澳华历史博物馆馆藏

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ACKNOWLEDGEMENTS 致谢 Wearing Your Heart On Your Sleeve exhibition is a collaboration between Deakin University and the Chinese Museum.

“一目了然见华人”展览由迪肯大学和澳华历史博物馆联 合举办。

The organisations would like to thank the following contributors and supporters:

主办方谨此向以下贡献者和支持者致以最诚挚的谢意：

Victorian Multicultural Commission Deakin University Art Gallery Leanne Willis – Project Manager Emilia Tagaza – Project Manager Vanessa Shia – Researcher Louisa Wang – Exhibition Developer Jasmin Tulk – Exhibition Graphic Designer Russell Winnell – Photographer Rebecca Sun – Translation Chin Communications – Editing Joyce Agee – Museum Curator Adil Soh Lim – Collections Manager

WEARING YOUR HEART ON YOUR SLEEVE 一目了然见华人

An evolution of Chinese Australian identity

在澳华人身份认知的变迁

Exhibition dates 25 July to 26 August 2018 © 2018 the artist, the authors and publisher. Copyright to the works is retained by the artist and his/her descendants. No part of this publication may be copied, stored in a retrieval system, transmitted or reproduced in any form or by any means without the prior written permission of the publisher and the individual copyright holder(s).

The views expressed within are those of the author(s) and do not necessarily represent the views held by Deakin University. Unless otherwise indicated all images are reproduced courtesy the artists.

Image measurements are height x width x depth.

Published by Deakin University ISBN 978-0-6483226-4-1 800 copies Catalogue design: Jasmin Tulk Deakin University Art Gallery Deakin University Melbourne Campus at Burwood 221 Burwood Highway Burwood 3125 T +61 3 9244 5344 E artgallery@deakin.edu.au www.deakin.edu.au/art-collection Gallery hours Tuesday - Friday 10 am - 4 pm Free Entry Deakin University CRICOS Provider Code: 00113B Facebook.com/ArtDeakin Twitter.com/ArtDeakin Instagram.com/deakinartgallery izi.travel - Deakin Art Collection and sculpture walk guides

Cover: Female Jacket with Wide Sleeves, c. 1890 - 1893 Page 3: Boy’s Tunic and Trousers, c. 1910.

Page 5: Opera Gown, c. 1930s - 1940s in Embroidered Silk.

We thank staff from the Deakin University Art Collection and Galleries Unit, Claire Muir, James Lynch, Brad Rusbridge, Julie Nolan and Vanja Radisic.

Supported by

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