Richard Hsu and Steven Song
John Chinaman according to Moon is the equivalent of a Jim Crow for blacks. “He” embodies the stereotypical Chinese immigrant; but more importantly he is the complacent representation of the Chinese immigrant that can be criticized and abused (in the music) with all the gripes and complaints that the white population has against the Chinese.
In this song, John Chinamen is seen—as a virus or bacteria invading a healthy cell in the body. The extended lyrics also show how John Chinaman is a pest to those around him like in the gold mines. John Chinamen is also seen a “leech,” living off the fruits of the land—and in the last stanza, is threatened to not do anything to ruin what America stands for.
Its appearance in the Irish song book shows the integration of Chinese motifs and representations in the predominately white society—and music. However, by being in such a visible medium, these innaucrate and often racist views of Chinese immigrants become engrained in the minds of Americans as well as society. This creates the push towards exclusionism of Chinese, and Asian immigrants.
The historical context of the song appearing in an Irish song book is important because many Irish Americans were angry at the Chinese for crowding the job market and taking the jobs they felt belonged to them. More specifically, because of the labor laws at the time, male Chinese were forced to take jobs as clothing washers, a job held typically by Irish women. So the negative portrayal of the Chinese makes sense economically because the Irish wanted to paint the image that the Chinese were inferior.
The Geisha song IS a yellowface performance. According to Moon, who would also agree with us, the singer uses a high-falsetto voice. Speaks in gibberish that makes no sense—musical intruments also are used like the gong and random concerto of noises that don’t really go together—symbolizing the “noise” that Americans view Chinese music as. Moon would also point out how during the non-gibberish parts of the song, when the performer were using English, it still had undertones of mocking the way the Chinese speak. This manner of speech is still a stereotype that exists today.
Showing posts with label "Chinaman" songs. Show all posts
Showing posts with label "Chinaman" songs. Show all posts
Tuesday, January 27, 2009
Not My Cup of Jo, But I Can't be Mad
John Chinaman , My Jo
This is obviously not a love song or a loving song for that matter. John Chinaman according to Moon is a character created by Americans to make fun of Asian immigrants exaggeration accents, the inability to pronounce English words properly, and he’s also feminized.
John Chinaman is the thorn in the railroad workers sides. Arriving in large numbers, the Asian immigrants impose on the railroad works by not only bringing much man power, but by having a better work ethic and sense of responsibility to the quality of their work –outshining white railroad workers who as the speaker said at the beginning were more likely to get drunk and strike than the Asian workers.
This difference seems to be recognized especially in the line that says
“Here's blessings on your head, John
And more power to your tail.”
But at the same time, the song is tainted with jealousy. This song reflects the feelings of the time.
To apply this to today’s culture, with Asian students capturing the majority minority in top schools, there may exist tension between other minority groups such as there is here in this Scots-Irish song and the Asians.
This song was published 12 years before the Chinese Exclusion Act of 1882, so during this time, Chinese immigrants were flooding into the United States. The song makes it seem as if America was the best thing that happened to these Chinese saying that
“You used to live on rice,
But now you purchase flour, plums
And other things that's nice.”
“The Geisha, Chin Chin Chinaman”
I am not impressed. But I probably would be if it were 1892. Powers’ imitation of Chinese language was probably quite funny because it’s half true. European immigrants have probably not encountered such a different intonation and pronunciation of words. Asian dialects sound very distinct from Western dialects. Moon would probably say that this was an expression the inferiority some Americans felt towards Chinese. While I can easily condemn this for being wrong, unsympathetic, and down-right racist-which it is in a sense, I can also say that this is just an avenue of expression. If an Asian American were the one singing it, would it be wrong, then? As I see it, this is an interpretation. Both songs are expressions of feelings and interpretations. It's the ideas of a few individuals. This becomes problematic if this is the only expression of Asians seen though, which is was at the time. There definitely needs to be a balance between the positive and the negative.
This is obviously not a love song or a loving song for that matter. John Chinaman according to Moon is a character created by Americans to make fun of Asian immigrants exaggeration accents, the inability to pronounce English words properly, and he’s also feminized.
John Chinaman is the thorn in the railroad workers sides. Arriving in large numbers, the Asian immigrants impose on the railroad works by not only bringing much man power, but by having a better work ethic and sense of responsibility to the quality of their work –outshining white railroad workers who as the speaker said at the beginning were more likely to get drunk and strike than the Asian workers.
This difference seems to be recognized especially in the line that says
“Here's blessings on your head, John
And more power to your tail.”
But at the same time, the song is tainted with jealousy. This song reflects the feelings of the time.
To apply this to today’s culture, with Asian students capturing the majority minority in top schools, there may exist tension between other minority groups such as there is here in this Scots-Irish song and the Asians.
This song was published 12 years before the Chinese Exclusion Act of 1882, so during this time, Chinese immigrants were flooding into the United States. The song makes it seem as if America was the best thing that happened to these Chinese saying that
“You used to live on rice,
But now you purchase flour, plums
And other things that's nice.”
“The Geisha, Chin Chin Chinaman”
I am not impressed. But I probably would be if it were 1892. Powers’ imitation of Chinese language was probably quite funny because it’s half true. European immigrants have probably not encountered such a different intonation and pronunciation of words. Asian dialects sound very distinct from Western dialects. Moon would probably say that this was an expression the inferiority some Americans felt towards Chinese. While I can easily condemn this for being wrong, unsympathetic, and down-right racist-which it is in a sense, I can also say that this is just an avenue of expression. If an Asian American were the one singing it, would it be wrong, then? As I see it, this is an interpretation. Both songs are expressions of feelings and interpretations. It's the ideas of a few individuals. This becomes problematic if this is the only expression of Asians seen though, which is was at the time. There definitely needs to be a balance between the positive and the negative.
John Chinaman and Yellowface
According to Moon, John Chinaman became the “common image of Chinese immigrant men” (32). This image is perpetuated in J.W. Conner’s version with such references to Chinese men’s laundry businesses and queues (called “tails” in this context). Although not overtly negative throughout the lyrics, the tone on the other hand, proves to be so. The play on the expression from the original song, “John Anderson, My Jo” to “John Chinaman, My Jo” is a sarcastic and condescending switch used to underscore feelings towards the Chinese. Obviously, the composer did not intend for the Chinaman to be literally understood as a “jo” or “sweetheart,” as seen in the first stanza where the lyrics tell how blest would one be if only the Chinese stopped “invading.” While the next stanza criticizes the Chinese men’s washing abilities, followed by another on food, the last serves as a warning to the Chinese not to become too complacent or greedy, another characteristic associated with the Chinese. Compared to other lyrics from different versions of this song, found in Yellowface, the lyrics of Conner’s rendition seem less violent and more ominous, as if violence need not be spoken outright but rather be understood as a potential future for any bold Chinaman.
The historical context of appearing in an Irish Song Book can be explained by the economic competition that existed between Irish and Chinese laundry services. Typically women ran Irish laundries and men ran Chinese ones, yet both speak to the difficulty of finding work in a white male dominated workforce. Since jobs were scarce for both of these minority groups, there was a real sense of threat for each side. As Moon notes at the end of Chapter 3, “In a certain sense, songs about conflicts between the Chinese and Irish were just as much a commentary on the role of the Irish in the United States as they were depictions of interethnic struggle” (56). In this instance, the lyrics show the strong-arming of the Chinese by the Irish while simultaneously showcasing the growing power of one minority group over another.
James T. Powers’ performance of “The Geisha. Chin Chin Chinaman” would most certainly be categorized as a yellowface performance by Moon. First examine the title of the piece. The repetition of “Chin” emphasizes the difference in names between Americans and Chinese, particularly that the Chinese names all sound the same or are gibberish-like. The performance, although only heard and not seen, is still a “yellowface” performance because according to Moon, “Yellowface became a way for performers to comment [on the Chinese]…by inscribing stereotypes onto the performer’s body…The most common device for distinguishing between Chinese and American on stage was a combination of pidgin English and gibberish” (40, 42). The vocal performance then, falls into this guideline, since there exists no audible words except for a string of syllabic sounds and noises strung together in what is to be the Chinese language. This lack of proper pronunciation fosters the idea of the Chinaman’s “otherness,” his unassimilated nature, and ultimately his inability to assimilate. Moon states in her book that such yellowface performances were one way to circulate ideas of Chinese difference and inferiority, leading to support of anti-Chinese attitudes (47). Powers’ performance qualifies to do just this by utilizing and exploiting one of the most well known differences that exists between people of different cultures: language. Without communication, it is impossible to convey true intentions, feelings, and beliefs. By not allowing the Chinese to have a voice (or one easily understood) in these songs, it was a way for Americans to exert cultural hegemony over them.
The historical context of appearing in an Irish Song Book can be explained by the economic competition that existed between Irish and Chinese laundry services. Typically women ran Irish laundries and men ran Chinese ones, yet both speak to the difficulty of finding work in a white male dominated workforce. Since jobs were scarce for both of these minority groups, there was a real sense of threat for each side. As Moon notes at the end of Chapter 3, “In a certain sense, songs about conflicts between the Chinese and Irish were just as much a commentary on the role of the Irish in the United States as they were depictions of interethnic struggle” (56). In this instance, the lyrics show the strong-arming of the Chinese by the Irish while simultaneously showcasing the growing power of one minority group over another.
James T. Powers’ performance of “The Geisha. Chin Chin Chinaman” would most certainly be categorized as a yellowface performance by Moon. First examine the title of the piece. The repetition of “Chin” emphasizes the difference in names between Americans and Chinese, particularly that the Chinese names all sound the same or are gibberish-like. The performance, although only heard and not seen, is still a “yellowface” performance because according to Moon, “Yellowface became a way for performers to comment [on the Chinese]…by inscribing stereotypes onto the performer’s body…The most common device for distinguishing between Chinese and American on stage was a combination of pidgin English and gibberish” (40, 42). The vocal performance then, falls into this guideline, since there exists no audible words except for a string of syllabic sounds and noises strung together in what is to be the Chinese language. This lack of proper pronunciation fosters the idea of the Chinaman’s “otherness,” his unassimilated nature, and ultimately his inability to assimilate. Moon states in her book that such yellowface performances were one way to circulate ideas of Chinese difference and inferiority, leading to support of anti-Chinese attitudes (47). Powers’ performance qualifies to do just this by utilizing and exploiting one of the most well known differences that exists between people of different cultures: language. Without communication, it is impossible to convey true intentions, feelings, and beliefs. By not allowing the Chinese to have a voice (or one easily understood) in these songs, it was a way for Americans to exert cultural hegemony over them.
Song Analysis
According to Moon, “John Chinaman” is a fictitious individual who embodies all the stereotypes of Chinese immigrants in America during the 1850s and 60s. Moon “plays on differences such as religious practices, eating habits and English proficiency,” to highlight the differences between the two cultures -- Americans being the preferred culture. "John Chinaman" is not an accurate depiction of a Chinese immigrant. Certain traits are blown out of proportion and others are minimized -- resulting in an inaccurate depiction.
In the beginning of the song, a narrator gives a brief history of Chinese immigrant men in Central Pacific America. The narrator states that the Chinese immigrant workers of the railroads in the West were met with some apprehension. Strobridge, the construction boss for Crocker, a famous railroad tycoon, thinks that the Chinese men are too small and too weak for such intense labor. But Crocker argues, “They built the great wall of China, didn’t they?” The narrator suggests that Chinese men are less inclined to strike or get drunk, implying that they are perfect employees in comparison to the Irish immigrants.
Recruited in California and then in China, Chinese immigrant's pay rose as their tenure increased. Unfortunately, they had to pay for housing and food while other white workers did not have to pay for the same amenities. Working three shifts a day, the Chinese men dominated the Central Pacific work force of 10,000 men. Ironically, no records of the songs sung by the Chinese railroad workers have endured. The only songs to survive are the ones written and sung by white men.
In the song “John Chinaman, My Jo,” John Chinaman is portrayed as a man who is helpless. The woman who sings the song tells of the many Chinese immigrants who are “invading us.” She suggests that she will be blessed when they stop. Her lyrics strike a derogatory tone as she sings to John Chinaman stating that he will be thanked and praised for his work but “Don’t abuse the freedom you enjoy.” There are only two verses to this song but her intention is quite clear. She is pleased that they have helped to construct the US infrastructure but that the Chinese immigrants should remember their place and be cautious not to overstep their socially constructed “rights.” Thus, John Chinaman is portrayed as part of a silent minority with little say in what he can and cannot do.
The song “John Chinaman, My Jo” appears in Conner’s Irish Song Book in 1868. The significance of its inclusion in this historical context suggests that Irish immigrants were unhappy with the fact that Chinese immigrants were taking all of “their” jobs. As stated at the beginning of the song, these Chinese immigrants would work for less pay, would be less likely to strike and would not complain. Irish immigrants on the other hand, would get drunk and be more confrontational. By comparing the Chinese immigrants as a workforce to their Irish colleagues infers Chinese superiority. Having Conner, an Irish author, include a song about Chinese immigrants in his songbook reinforces this concept.
The song “The Geisha. Chin Chin Chinaman” preformed by James Tyrone Powers can be categorized as a yellowface performance. Yellowface is usually classified as the practice of East Asian characters portrayed by predominantly white actors in theater, music and television. They display oriental characteristics and stereotypes.
For Moon, this song can be classified as yellowface because he is a white American Broadway performer, using Chinese impersonations to represent Chinese culture. Power uses Pidgin English and gibberish to suggest the Chinese immigrants inability’s to speak proper English. Powers makes up words that sound like the dialect based on the suggestion that Chinese do not pronounce “L” or “R” properly. (Moon 42-43) The song's lyrics are degrading as it is based on stereotypes and essentially makes fun of the way Chinese immigrants speak and sing. Yellowface was a defensive technique, which implied that white Americans would never let the Chinese fit into American life. Americans wanted to demonstrate how inferior they found their Chinese colleagues and to counter the suggestion that Chinese immigrants were not “appealingly exotic.” (Moon 47)
In the beginning of the song, a narrator gives a brief history of Chinese immigrant men in Central Pacific America. The narrator states that the Chinese immigrant workers of the railroads in the West were met with some apprehension. Strobridge, the construction boss for Crocker, a famous railroad tycoon, thinks that the Chinese men are too small and too weak for such intense labor. But Crocker argues, “They built the great wall of China, didn’t they?” The narrator suggests that Chinese men are less inclined to strike or get drunk, implying that they are perfect employees in comparison to the Irish immigrants.
Recruited in California and then in China, Chinese immigrant's pay rose as their tenure increased. Unfortunately, they had to pay for housing and food while other white workers did not have to pay for the same amenities. Working three shifts a day, the Chinese men dominated the Central Pacific work force of 10,000 men. Ironically, no records of the songs sung by the Chinese railroad workers have endured. The only songs to survive are the ones written and sung by white men.
In the song “John Chinaman, My Jo,” John Chinaman is portrayed as a man who is helpless. The woman who sings the song tells of the many Chinese immigrants who are “invading us.” She suggests that she will be blessed when they stop. Her lyrics strike a derogatory tone as she sings to John Chinaman stating that he will be thanked and praised for his work but “Don’t abuse the freedom you enjoy.” There are only two verses to this song but her intention is quite clear. She is pleased that they have helped to construct the US infrastructure but that the Chinese immigrants should remember their place and be cautious not to overstep their socially constructed “rights.” Thus, John Chinaman is portrayed as part of a silent minority with little say in what he can and cannot do.
The song “John Chinaman, My Jo” appears in Conner’s Irish Song Book in 1868. The significance of its inclusion in this historical context suggests that Irish immigrants were unhappy with the fact that Chinese immigrants were taking all of “their” jobs. As stated at the beginning of the song, these Chinese immigrants would work for less pay, would be less likely to strike and would not complain. Irish immigrants on the other hand, would get drunk and be more confrontational. By comparing the Chinese immigrants as a workforce to their Irish colleagues infers Chinese superiority. Having Conner, an Irish author, include a song about Chinese immigrants in his songbook reinforces this concept.
The song “The Geisha. Chin Chin Chinaman” preformed by James Tyrone Powers can be categorized as a yellowface performance. Yellowface is usually classified as the practice of East Asian characters portrayed by predominantly white actors in theater, music and television. They display oriental characteristics and stereotypes.
For Moon, this song can be classified as yellowface because he is a white American Broadway performer, using Chinese impersonations to represent Chinese culture. Power uses Pidgin English and gibberish to suggest the Chinese immigrants inability’s to speak proper English. Powers makes up words that sound like the dialect based on the suggestion that Chinese do not pronounce “L” or “R” properly. (Moon 42-43) The song's lyrics are degrading as it is based on stereotypes and essentially makes fun of the way Chinese immigrants speak and sing. Yellowface was a defensive technique, which implied that white Americans would never let the Chinese fit into American life. Americans wanted to demonstrate how inferior they found their Chinese colleagues and to counter the suggestion that Chinese immigrants were not “appealingly exotic.” (Moon 47)
Examples of Yellowface
By Cera Chen
According to Moon, John Chinaman is a character that appeared in various forms of entertainment, notably songs. He was a stereotype of the Chinese male population and was used to emphasize the differences between American and Chinese men. He is portrayed in a negative light in the song “John Chinaman, My Jo.”
The song is based off of “John Anderson, My Jo,” which is essentially about how the female narrator loves John Anderson. There is a sexual undertone to the song as conveyed by such lines as “And we’ll sleep thegither at the foot.” However, in the John Chinaman version, the term “Jo” becomes less endearing and is used in a more demeaning manner. There are no sexual connotations in the second version and the narrator does not express her love for John.
Instead, the narrator suggests that John Chinaman needs to leave before his people out number “us poor Yankees.” The negative connotations associated with such words as “invade” supports Moon’s idea about how some of these songs conveyed that Chinese people did not belong in America. The use of the word “tail” in reference to John Chinaman also supports another one of Moon’s points about demasculinization of the Asian male. In this case, it is also slightly dehumanizing as well.
The fact that this song appeared in the Conner’s Irish Song Book in 1868 suggests that this was during a time when both Chinese and Irish peoples were discriminated against. Also during this time, both groups worked on the railroads and there was competition between the two to get jobs. As a result, both groups were probably prejudiced against each other. This song displays some of that animosity since it was originally an Irish song that became a satirical one. Also, it was published in an Irish Song Book, so it was probably an Irish person who re-wrote the lyrics.
The clip of “The Geisha” is a yellowface performance in that it mocks the way that Chinese people talk, sing, etc. Moon would describe the language in this piece “pidgin English and gibberish.” It is almost impossible to discern what the performer is saying, but he does add some English words. When the performer speaks, he does so using a Chinese accent, using certain consonants instead of others. He also uses certain intonations that might be from Chinese and rhythmically attempts to imitate the language as well.
When the performer begins singing, both he and the accompanying instrument sing in pentatonic scales, a reference to music in Asia. Also, the performer sings one or two lines imitating the way that Chinese opera singers sing with a high falsetto and slides.
I feel that this performance’s purpose is to satirize the way that Chinese, or Asian, people speak and their culture, which was what yellowface was all about.
According to Moon, John Chinaman is a character that appeared in various forms of entertainment, notably songs. He was a stereotype of the Chinese male population and was used to emphasize the differences between American and Chinese men. He is portrayed in a negative light in the song “John Chinaman, My Jo.”
The song is based off of “John Anderson, My Jo,” which is essentially about how the female narrator loves John Anderson. There is a sexual undertone to the song as conveyed by such lines as “And we’ll sleep thegither at the foot.” However, in the John Chinaman version, the term “Jo” becomes less endearing and is used in a more demeaning manner. There are no sexual connotations in the second version and the narrator does not express her love for John.
Instead, the narrator suggests that John Chinaman needs to leave before his people out number “us poor Yankees.” The negative connotations associated with such words as “invade” supports Moon’s idea about how some of these songs conveyed that Chinese people did not belong in America. The use of the word “tail” in reference to John Chinaman also supports another one of Moon’s points about demasculinization of the Asian male. In this case, it is also slightly dehumanizing as well.
The fact that this song appeared in the Conner’s Irish Song Book in 1868 suggests that this was during a time when both Chinese and Irish peoples were discriminated against. Also during this time, both groups worked on the railroads and there was competition between the two to get jobs. As a result, both groups were probably prejudiced against each other. This song displays some of that animosity since it was originally an Irish song that became a satirical one. Also, it was published in an Irish Song Book, so it was probably an Irish person who re-wrote the lyrics.
The clip of “The Geisha” is a yellowface performance in that it mocks the way that Chinese people talk, sing, etc. Moon would describe the language in this piece “pidgin English and gibberish.” It is almost impossible to discern what the performer is saying, but he does add some English words. When the performer speaks, he does so using a Chinese accent, using certain consonants instead of others. He also uses certain intonations that might be from Chinese and rhythmically attempts to imitate the language as well.
When the performer begins singing, both he and the accompanying instrument sing in pentatonic scales, a reference to music in Asia. Also, the performer sings one or two lines imitating the way that Chinese opera singers sing with a high falsetto and slides.
I feel that this performance’s purpose is to satirize the way that Chinese, or Asian, people speak and their culture, which was what yellowface was all about.
Listenning response
By: Huong Pham
John Chinaman, according to Moon, is the Chinese version of Jim Crow or Zip Coon. A figure that in the eyes of Americans at the time personified the inferiority of an immigrant group. Chinaman had a different religion, ate different foods, and was not good at English. From this description of the Chinaman, people wrote songs that kept reminding people of the differences and denying any prospect of the Chinaman ever integrating with the American people. This is evident in the song, "John Chinaman, My Jo". The first two stanzas of the song speaks of how many Chinese immigrants came to America during the 1850s and 60s. The singer seems almost resentful that so many are coming which mirrors the attitude that some Americans believed that the only reason the Chinese were coming was to steal all the gold from the gold rush. The next stanza seems to be praise for the Chinese who have somewhat integrated into the American way of life but then all of the sudden in the last stanza, the singer warns the John to not abuse the freedoms that he has as if to say, "We may put up with you, but we can still put you out whenever we like because this is our country." I was lulled into a sense of ease when I first listened to the song but then was rudely awakened when I heard the last stanza as it is a clear warning to the Chinaman and juxtaposes the sweet melody with its harsh message.
In reading the lyrics to the Irish song, "John Anderson, My Jo", it seems much more hopeful and sends a message of, "We will get through this together." Like Chris mentioned, the Irish potato famine was happening when this song was written and many of the Irish were emigrating to America at the same time as the Chinese. They would have felt just as outcast and Americans were just as inclined to not want to lose their jobs to a different group of foreigners.
As for the performance of "The Geisha, Chin Chin Chinaman", I would say that Moon would most definitely call this a Yellowface performance. Like the use of the term "Chinaman" was similar to "Jim Crow", the term "yellowface" was reminiscent of the term "blackface". Yellowface became a way for performers to inscribe stereotypes of inferiority on the Chinese. As Moon says, the yellowface performers borrowed from "Ching a Ring Chaw" which lumped the Chinese into the lower class along with African Americans.
John Chinaman, according to Moon, is the Chinese version of Jim Crow or Zip Coon. A figure that in the eyes of Americans at the time personified the inferiority of an immigrant group. Chinaman had a different religion, ate different foods, and was not good at English. From this description of the Chinaman, people wrote songs that kept reminding people of the differences and denying any prospect of the Chinaman ever integrating with the American people. This is evident in the song, "John Chinaman, My Jo". The first two stanzas of the song speaks of how many Chinese immigrants came to America during the 1850s and 60s. The singer seems almost resentful that so many are coming which mirrors the attitude that some Americans believed that the only reason the Chinese were coming was to steal all the gold from the gold rush. The next stanza seems to be praise for the Chinese who have somewhat integrated into the American way of life but then all of the sudden in the last stanza, the singer warns the John to not abuse the freedoms that he has as if to say, "We may put up with you, but we can still put you out whenever we like because this is our country." I was lulled into a sense of ease when I first listened to the song but then was rudely awakened when I heard the last stanza as it is a clear warning to the Chinaman and juxtaposes the sweet melody with its harsh message.
In reading the lyrics to the Irish song, "John Anderson, My Jo", it seems much more hopeful and sends a message of, "We will get through this together." Like Chris mentioned, the Irish potato famine was happening when this song was written and many of the Irish were emigrating to America at the same time as the Chinese. They would have felt just as outcast and Americans were just as inclined to not want to lose their jobs to a different group of foreigners.
As for the performance of "The Geisha, Chin Chin Chinaman", I would say that Moon would most definitely call this a Yellowface performance. Like the use of the term "Chinaman" was similar to "Jim Crow", the term "yellowface" was reminiscent of the term "blackface". Yellowface became a way for performers to inscribe stereotypes of inferiority on the Chinese. As Moon says, the yellowface performers borrowed from "Ching a Ring Chaw" which lumped the Chinese into the lower class along with African Americans.
Close Listening/Analysis Reactions
According to Moon, John Chinaman seems to be anyone from the emigrating from the Orient to the US. In this song, he is portrayed as almost a child, or lesser-than-human (or Yankee human, at least). The song attempts to give the advice and the reactions from the Yankees: warning, almost threatening them to "not abuse the freedom you enjoy." In lieu of referring to the Chinese with human pronouns and identifying words, the lyrics of "John Chinaman, My Jo" only refer to the Chinamen as "John" and in how they affect the "poor Yankees," the more human subject of the song. In relation to "John Anderson, My Jo," the John Chinaman version seems to receive the same type of reluctant blessings, yet, only with an added distinct warning,.
The significance of including 'my Jo' seems only to add a tiny air of friendship for the Chinaman (as we most all immigrants to the US, especially the Irish in these times: which brings us to the historical significance. Taking into account the major years of the Great Irish Potato Famine (1840s, 50s), many new Irish immigrants to the Western world were in the midst of establishing their own cultural identity within the US at this time. Therefore, one possibility for the creation of these types of relations could have been in a desire of the Irish people to include in themselves a self-identification that was truly "American;" putting down foreigners who pose as a threat to them in the job market.
And....
* Is this a yellowface performance? How would Moon interpret this vocal
performance?
I believe that Chin Chin Chinaman's performance in "The Geisha" is undoubtedly a
yellowface performance. According to Moon, stereotypes appeared mostly in lyrics and
dialogue, as well as the sets; also, these dialogues often relayed contemporary social
and political attitudes that were similarly found in newspapers, poetry, and popular fiction.
Reading a brief synopsis, I find the play to exude all of these qualities of what
could be considered a 'yellowface' performance: the social ideas that even a lowly
British sailor is more important and more eligible a bachelor than a nobleman of the
orient is a direct reflection of the part of popular culture's fear of inter-cultural marriage
and relations. Listening to the vocal performance, (although I know almost nothing of
Asian languages), it seems as if Powers exaggerates his accent/speech while singing:
also uncovering some of the same asian stereotypes that persist today (i.e. the pronunciation of really = rearry).
The significance of including 'my Jo' seems only to add a tiny air of friendship for the Chinaman (as we most all immigrants to the US, especially the Irish in these times: which brings us to the historical significance. Taking into account the major years of the Great Irish Potato Famine (1840s, 50s), many new Irish immigrants to the Western world were in the midst of establishing their own cultural identity within the US at this time. Therefore, one possibility for the creation of these types of relations could have been in a desire of the Irish people to include in themselves a self-identification that was truly "American;" putting down foreigners who pose as a threat to them in the job market.
And....
* Is this a yellowface performance? How would Moon interpret this vocal
performance?
I believe that Chin Chin Chinaman's performance in "The Geisha" is undoubtedly a
yellowface performance. According to Moon, stereotypes appeared mostly in lyrics and
dialogue, as well as the sets; also, these dialogues often relayed contemporary social
and political attitudes that were similarly found in newspapers, poetry, and popular fiction.
Reading a brief synopsis, I find the play to exude all of these qualities of what
could be considered a 'yellowface' performance: the social ideas that even a lowly
British sailor is more important and more eligible a bachelor than a nobleman of the
orient is a direct reflection of the part of popular culture's fear of inter-cultural marriage
and relations. Listening to the vocal performance, (although I know almost nothing of
Asian languages), it seems as if Powers exaggerates his accent/speech while singing:
also uncovering some of the same asian stereotypes that persist today (i.e. the pronunciation of really = rearry).
Listening to "Chinaman" Songs
All audio recordings are located in the Audio folder in Resources on the class Collab site. You can work in pairs if you wish.
“John Chinaman, My Jo”: The lyricist of “John Chinaman, My Jo” used the tune of an originally Scots-Irish song called “John Anderson, My Jo.” Listen to the recording at least once. Read both sets of lyrics, and compare/contrast them. Note: "Jo" refers to "sweetheart."
“John Chinaman, My Jo”: The lyricist of “John Chinaman, My Jo” used the tune of an originally Scots-Irish song called “John Anderson, My Jo.” Listen to the recording at least once. Read both sets of lyrics, and compare/contrast them. Note: "Jo" refers to "sweetheart."
- Who is “John Chinaman” according to Moon? How is "John Chinaman" portrayed in this song?
- The song appears in Conner’s Irish Song Book published in 1868. How is this historical context significant?
- Is this a yellowface performance? How would Moon interpret this vocal performance?
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