Showing posts with label bbc radio 4. Show all posts
Showing posts with label bbc radio 4. Show all posts

Tuesday, 21 October 2014

Anna Chen presents the series "Chinese In Britain" on BBC Radio 4: repeated October 2014 on R4 Extra

Anna Chen presents the groundbreaking ten-part series Chinese in Britain made for BBC Radio 4 broadcast in 2007, repeated from 27th October 2014 on R4 Extra. (Recorded 2006 and 2007)


Anna and the late Harry Dewar (Cheong) at the BBC launch of the ten-part series for Radio 4, Chinese In Britain

This seminal work on the Chinese diaspora was presented by Anna Chen and produced by Mukti Jain Campion of Culture Wise for BBC Radio 4.


The series Chinese In Britain brought into view many overlooked aspects of the cultural and social impact of the Chinese in Britain for the first time, including introducing BBC audiences to the first documented Chinese visitor to Britain: Jesuit priest Michael Shen Futsong who impressed King James II enough for the king to have his portrait painted and hung in his bedroom.

Its fascinating range of contributors ranged from the catering giant and philanthropist Wing Yip to the lesser known characters who have lived here and made their mark. Artists such as the late Pam So whose grandmother walked all the way across Europe from China; Yvonne Foley whose Chinese seafaring father was was one of hundreds forcibly repatriated to China after World War II having served Britain in the merchant navy and risked their lives; actors such as Jacqueline Chan, David Yip (The Chinese Detective) and the venerable Burt Kwouk; masterchef and Bafta film editor Dehta Hsiung, whose playwright father Shi I Hsiung had a massive hit on the West End Stage in the 1930s with Lady Precious Stream; Leslie and Connie Ho who were born into Limehouse Chinatown — actually two streets, Limehouse Causeway and Pennyfields.

We looked at the myth of Chinatown and how it was created, and the yellow peril fears that made a career for Brummie hack Sax Rohmer (Arthur Henry Ward) with his villainous creation, Dr Fu Manchu. While Fu Manchu was a fictional student at Edinburgh, the series provided a rare glimpse into the lives of the early Chinese medical students who actually did study there and who contributed to the British way of life, rather than the commonplace racist sensationalism preferred by dimmer media peeps with an eye on showbiz.


Other interviewees included the late Harry Dewar, Dr Diana Yeh, Professor Gregor Benton, Olga Adderton, Dr David Helliwell, Dr John Seed, Professor Michael Fisher, Graham Chan, Dr Ian Wotherspoon, Ying Chinnery, Lee Cheong, Rosa Fong, Grace Lau and Connie and Leslie Ho (above). Not forgetting the late Jessie Lim who wrote and came up with the idea for the series' creation. (Jessie was the mother of several key projects including the anthology of Chinese British writing, Another Province.)


And now, for the benefit of those who missed it first time around and fancy playing catch-up, it's back daily from Monday 27th October 2014 on BBC Radio 4 Extra at 00:15 and 14:15.


Making the series, Chinese In Britain.

Recording the history of Chinese in Britain, a ten-part 15 minute series for BBC Radio 4, for transmission at 3:45pm weekday afternoons over two weeks from Monday 30th April 2007.

Chinese In Britain was a landmark series in an impressive body of radio work produced by Mukti Jain Campion at Culture Wise. In January 2007, on the first day of the big storms, Mukti and Anna went to Liverpool to record more stories for the series.




Anna at the Chinese Seamen's memorial plaque, Pier Head, by a stormy Mersey.
Anna in Liverpool's Chinatown at the site of the old Arthur Holt/Blue Funnel offices in Nelson Street whose steamships brought Chinese to Britain from the late 19th century to the 1960s and 70s.

In Pitt Street where Anna's father used to live before World War II when the Lutwaffe flattened it.

Anna and Professor Michael Fisher at Shadwell Church near Limehouse in east London to see John Anthony's home ground. John Anthony was a Chinese seaman and then an agent looking after Chinese sailors for the East India Shipping Company in the late 18th, early 19th century. He was the first Chinese to be naturalised as a British citizen in 1805.

Burt Kwouk in Inn of the Sixth Happiness

The lovely Burt Kwouk and Anna. Burt has acted in many films including The Inn of the Sixth Happiness and The Pink Panther, where he played Inspector Clouseau's sidekick Kato. He can now be seen in the TV series, Last of the Summer Wine26th July 2006


Anna and actor David Yip at his home. The 1980s TV series, The Chinese Detective, turned David into a household name.
17th August 2006

Lunch with producer Mukti Jain Campion at David Yip's.

Actor David Yip at home.

With Yvonne Foley who deep dived into a forensic investigation on finding out what happened to her father. Like hundreds of other Chinese seamen, who worked on British merchant ships throughout the Second World War, Yvonne believes he was forcibly repatriated by his shipping company (in collusion with the British Government) as soon as the war was over. She also uncovered some material about Anna's own father who helped set up the Chinese Seaman's Union and Kungho Mutual Aid Association for Chinese living in Britain. 27th July 2006



The series introduced Jesuit Priest Michael Shen Futsong to BBC audiences as the first documented Chinese in Britain (thanks to Mukti's illuminating excavations). A favourite of King James II, his portrait hangs in the Queen's collection. He helped catalogue the Chinese books in the Bodleian collection while he was on his world tour of Europe in the late 17th century.

SERIES EPISODES

1) VIPs including the first documented Chinese in Britain, Jesuit priest Michel Shen Futsong who Dr David Helliwell describes at Oxford. Professor Michael Fisher talks about John Anthony, the first naturalised Chinese Briton around the turn of the 19th century.

2) Chinatown. The myth of Chinatown, Sax Rohmer, Fu Manchu and the Yellow Peril, and the reality of Limehouse with Connie and Leslie Ho who were born and raised in London's Chinese Limehouse community until the Blitz. Dr John Seed.

3) Ship to Shore. UK ports as centres of Chinese migration to the UK, the role played by Chinese in World War II, and their forced repatriation by the Atlee government after the war. Graham Chan, Yvonne Foley and Professor Gregor Benton.

4) Steam and Starch. Laundries: the iconic industry that gave so many Chinese in Britain a living until the advent of the domestic washing machine. Olga Adderton.

5) Educated in Britain. Students have studied here since the first Chinese medical students in Edinburgh. Dr Ian Wotherspoon.

6) Feet Unbound. The earliest Chinese women in Britain. The fascinating story of the women performers who walked from Hubei in China despite having bound feet. Grace Lau's mother was the wife of a diplomat and so arrived in more stylish fashion in the 1930s. Pamela So, Professor Gregor Benton, Grace Lau.

7) Mixed Blessings. Eurasians. With so few Chinese women in Britain, Chinese seamen often took on white wives, many of the Irish. Yvonne Foley is herself mixed Chinese and British. Her father was a Chinese seaman who was forcibly repatriated from their Liverpool home. Leslie and Connie Ho, who were born and raised in London's Limehouse, say they were better fed than their white counterparts because many white men drank. Lee Cheung of Limehouse welcomed the return of his father from voyage, laden with rare exotic presents such as Jaffa oranges. Actor David Yip was born in Liverpool whose Chinese seaman father was also absent for long parents. Mixed Chinese and black evacuees weren't welcome in Chester and had to walk home. Harry Cheong/Dewar was rejected by the army when he signed up for the Second World War until China joined the allied side.

8) Artistic pursuits. Shi I Hsiung was the first successful playwright and theatre director with his West End hit of the 1930s, Lady Precious Stream. Lauded by George Bernard Shaw, H G Wells and a raft of luminaries, he and his wife were the toast of the town. His son, the masterchef Dehta Hsiung, is interviewed, along with photographer Grace Lau and Dr Diana Yeh.

9) Screen Beginnings. David Yip, Burt Kwouk, Jacqueline Chan and Grace Lau talk about The Inn of the Sixth Happiness, starring Ingrid Bergman as Gladys Aylward, Robert Donat as the Mandarin and Curt Jurgens as General Lin and shot in Snowdonia. Made in 1958, it was a breakthrough for many of our best known Chinese actors, such as Tsai Chin.

10)  Takeway. With Wing Yip who started out as a waiter in Hull before founding his food empire.

Series music by Chi2. Intro voice David Tse.

“A fascinating story” - Chris Campling, The Times
“Each episode sounded effortless only because it had been crafted with such supreme care” - Gillian Reynolds, The Daily Telegraph

LISTEN AGAIN FROM SUNDAY NIGHT, QUARTER PAST MIDNIGHT: daily from Monday 27th October 2014 on BBC Radio 4 Extra at 00:15 and 14:15.

LAUNCH PARTY at BBC Broadcasting House.

Edit 2nd August 2022: Yvonne Foley's campaign succeeds in winning today's Home Office acknowledgment of the secret forced expulsion of the Chinese seamen who'd aided Britain during World War II and settled in Liverpool.

Sunday, 13 October 2013

What am I up to? Coming up ...


Tuesday sees the launch of my Resonance FM series with "Oh Other, where art thou?", discussing yellowface, blackface and east Asians in the kulcher. My guests include Daniel York (The Fu Manchu Complex) and his band Wondermare, actress Siu-see Hung, Dr Diana Yeh and Ben Chu of the Independent who's just published Chinese Whispers demolishing myths about the Chinese.

MADAM MIAOW'S CULTURE LOUNGE
Listen live on RESONANCE FM
5.30-6.30pm Tuesday 15th October 2014
Available online to LISTEN AGAIN

On Monday 21st October I'm on the Orwell Prize 2013 launch event panel talking about the phenomenon of online trolling.
This year's discussion will focus on 'Internet and the Modern Self: Manners and Abuse Online'. The panel of speakers include Helen Goodman MP, Madam Miaow Says blogger Anna Chen and Professor Suzanne Franks. What is going on after a notable summer of online abuse? Why are online personas so different? How do we fix this?
THE ORWELL PRIZE 2014 LAUNCH EVENT
The Frontline Club
13 Norfolk Place, Paddington, London W2 1QJ
Details to come

MADAM MAO'S GOLDEN OLDIES
3.30pm, BBC Radio 4
Saturday 26th October
A repeat of my programme about Jiang Ching's model operas made during the Chinese Cultural Revolution and what happened to some of the people who took part.

Tuesday, 10 July 2012

Madam Mao's Golden Oldies: Anna on the Chinese model operas, BBC R4


MADAM MAO'S GOLDEN OLDIES
BBC Radio 4 11:30am, Tuesday 17th July 2012
Presented and co-written by Anna Chen
Produced by Mukti Jain Campion for Culture Wise

In Madam Mao's Golden Oldies, I revisit the Chinese Cultural Revolution Model Operas that I first heard as a child in the 1960s and 70s and discover how they are, somewhat surprisingly, enjoying a new lease of life.

Growing up as a London-born red-nappy kid with Beatles and Bowie as my soundtrack, I was occasionally dragged by my parents to the Chinese legation in Portland Place (it had lost its official embassy status due to the cold war ruckus) for screenings of the latest movie spectacular to emerge from the arts commissar, Chariman Mao's wife, Jiang Qing. These were the Yangbanxi, the Eight Model Operas; films with titles such as The Red Detachment of Women and Taking Tiger Mountain By Strategy.

These state-sponsored works combined opera and ballet with simple plots about brave peasants uniting to defeat evil landlords, Japanese invaders and other enemies of the revolution. Heroes looked like heroes with rouged faces, kohl-lined eyes and great hair, while villains were easily identified by their sneaky demeanor and bad porn moustaches.

My Hollywood sensibility found these crude melodramas puzzling and somewhat turgid but then they weren't made for (relatively) pampered East End kids like me: they were made for the peasants and workers who had rarely if ever been represented in their own culture.

Within living memory, mass starvation, imperialist conquest and the horrors of the Japanese invasion had devastated the nation. Barely twenty years into its communist revolution, the population was struggling to get back onto its feet.

Madam Mao not only banned the traditional Beijing opera and their stories about emperors and princesses, but also cast out decadent western music and movies as being a corrupting influence on the masses. Quelle surprise when it later transpired that the former actress was fond of indulging her tastes in the privacy of her own screening room. But Jiang Qing was canny enough to harness the emotive power of these works with the help of the Chinese cultural intelligentsia who hadn't fallen out of favour.

In the programme, a variety of people who were intimately involved in the model operas recount their experience. Among them, Anchee Min, author of Red Azalea, had been plucked from working in the fields because she was used to "carrying 300 pounds of manure". Jingdong Cai is now conductor at Stanford but learnt his trade in Madam Mao's army of young musicians

Madam Mao's favourite films? The Sound of Music and Jane Eyre. No, not the classic Orson Welles and Joan Fontaine version, but the crappy George C Scott remake. Now, what does that tell you about arbiters of taste?

MADAM MAO'S GOLDEN OLDIES
BBC Radio 4 11:30am, Tuesday 17th July 2012
Presented and co-written by Anna Chen
Produced by Mukti Jain Campion for Culture Wise
Available for seven days after broadcast on iPlayer

Before I say "enough of me", if you are around, I'm giving a talk at the China In Britain event on Wednesday 18th July at Westminster Uni, Regent St, with poetry, music and everythang. 4.45pm. Free but you have to book.
E: anne@translatingchina.info

And keep an eye open for my upcoming collection of poetry, REACHING FOR MY GNU, out as an ebook on Aaaargh! Press very soon.

Friday, 20 August 2010

Racism for fun: Fu Manchu producer pleads irony on the BBC


Well, call me Kafka.

My contribution to today's Feedback programme on BBC R4 ended up as a cutting-room floor job in favour of a letter from another listener making similar points, which was good. At least it shows someone else could be bothered to write in about the god-awful throwback Fu Manchu In Edinburgh programme I wrote about the other week.

The Feedback producer had phoned me to record 45 seconds of my response for today's programme (13 minutes in — which I'm posting below) but didn't use the salient arguments. I KNEW the producers were going to plead "irony". Now, the word "irony" actually means something, and is not an all-purpose get-out-of-jail-free card. It means saying something literal but meaning its opposite.

There was no such device used on the Fu Manchu programme. Miles Jupp and his producer obviously thought it would be a great wheeze to play it straight, tapping into something dark lurking beneath the skin of a civilisation in decline (ours) and indulging it. Only, context is everything and there are real human beings — as opposed to the simian subhumans luridly gloated over in the programme — who are affected by this relentless poisonous drip. (And I don't just mean Jupp.)

Feedback presenter Roger Bolton introduced the item as being about "a factional documentary about a fictional character", which is fine in a vacuum. But the Yellow Peril scare never did operate in a vacuum. While the yellow press were vilifying the yellow man in the late 19th and early 20th centuries, contemporary voices were pointing out the racist nature of Sax Rohmer's writing which even his widow and biographer described as "obsessive".

Jupp naturalised these hateful representations while the producer used the lamest jargon on Feedback in an attempt to blind with science. They said, "The programme was deliberately ironic in tone." Oh, right. That old chestnut. Irony meaning, " The use of words to express something different from and often opposite to their literal meaning"? (Free Dictionary) Where in the programme were Jupp's expressions or utterances "marked by a deliberate contrast between apparent and intended meaning"?

In yet more slipperiness with the verité, they said the programme was "used to explore the cultural effects of the opium wars, the pattern of Chinese immigration in the 1870s, and the history of the Chinese students who studied at British universities." All subjects comprehensively covered in my Chinese In Britain series for Radio 4, but here turned on their head and exploited to "orientalise" and make "other" a group of people in dehumanising terms that went unchallenged. And today, it emerges, they want to have their cake and eat it: to have their fun with a racial group but plead that it was actually a social service.

Only a bit of fun? Yes, that's fine for a bunch of white males to say.

In the end, I was relieved they hadn't used my contribution. The producer's patronising last word appeared designed to make the correspondent, Tia Yang, sound under-educated and ignorant (which she is not) of the workings of such artistic endeavours, through the use of a barrage of buzzwords and critical theory terms such as "deconstruction", and questionable claims of "rigorous analysis".

May I say, this is the sheet of the bull? Ms Yang's instincts were right on the money.

How is restating the stereotypes the same as "deconstructing" them? Got in himmel, is the BBC seriously going to let them get away with a dissembling that relies, IMHO, on the hoped-for ignorance of the Radio 4 audience? Talk about dumbing down! A GSCE media studies student could deconstruct this flummery.

To cap it all, the producer claimed, "The programme takes racist stereotypes apart." And it was at this point, dear reader, that this little corner of the BBC transformed into the Ministry of Truth, where truth is lies and lies are truth. Where they state the opposite of what is real ... with no discernible irony whatsoever.

A Big Fat Fail.

Here's the text of my contribution. I'm going for a walk!
Fu Manchu In Edinburgh gleefully revived racist stereotypes of the Chinese I'd hoped were long-buried, and could have been subtitled, Racism For Fun.

Why present a Yellow Peril figure as if he was a real person complete with lurid wallowing in the very worst racism, dehumanising the Chinese as a race, linking us with filth, and presenting us as Bin Laden-like Western-civilisation-hating sub-humans?

There was no irony. No attempt to subject these prejudices and stereotypes of a bygone era to any kind of modern interrogation. Instead, they were re-imported, intact, into the present day. I can't imagine the BBC vilifying any other minority group like this.

The author Sax Rohmer had never met a Chinese person and was writing from malice and ignorance — the "experts" on this programme only have one of those excuses.

There's a woeful absence of Chinese voices in the media, so when the BBC fills the vacuum with degrading Sinophobic depictions such as this one, they do a grave disservice to a significant licence-paying section of the population.


UPDATE: Thursday 26th August 2010 Professor Greg Benton of Cardiff University writes to me on the subject. He wasn't impressed, either:
"Chinese are quite numerous in British society today, but ethnic Chinese are very underrepresented in the BBC and its programmes, which is a disgrace. This was not a very funny programme, and if it was meant to be ironic, the irony didn't work. If you're a young Chinese isolated in an overwhelmingly white school and community, as many if not most young Chinese are, you get a lot of mockery along these lines. Why not commission more work on that? First deal with the racist stereotyping - then we can perhaps afford to be ironic about it."


More sinophobic representations. Review of Sherlock Holmes Episode 2, The Blind Banker.

Monday, 14 June 2010

Chopsticks At Dawn available on iPlayer until Saturday

Photo of Anna, Jane Ng and Ben Chan at BBC Broadcasting House

A quick reminder that my BBC Radio 4 programme on orientalism in Western music is on for another five days.

Chopsticks At Dawn
13:30 Tuesday 8th June 2010
BBC Radio 4
Presented by Anna Chen
Written by Anna Chen with Dr Jonathan Walker
Produced by Chris Eldon-Lee and Culture Wise

LISTEN NOW ON BBC IPLAYER UNTIL SATURDAY
Item at Socialist Unity
SKYNEWS.COM TONIGHT 7 - 7:30PM
Also, I have a five-minute spot tonight on the Sky News programme, skynews.com, reviewing the blogosphere. Starts 7pm.

Thursday, 10 June 2010

Chopsticks At Dawn: May Kway original of Rose, Rose, I Love You



Here's a YouTube recording of May Kway Oh May Kway by Miss Huey Lee, the original Chinese song that became Frankie Laine's hit, Rose, Rose, I Love You which I featured on Chopsticks At Dawn, my Radio 4 programme looking at orientalism in Western music.

Several people have now contacted me to let me know that they were aware that the song had Asian origins. So thank you all. It was a lovely example of a song that respected the culture it came from.

Thanks to Charlie Pottins for tracking it down.

Chopsticks At Dawn: May Kway original of Rose, Rose, I Love You



Here's a YouTube recording of May Kway Oh May Kway by Miss Huey Lee, the original Chinese song that became Frankie Laine's hit, Rose, Rose, I Love You which I featured on Chopsticks At Dawn, my Radio 4 programme looking at orientalism in Western music.

Several people have now contacted me to let me know that they were aware that the song had Asian origins. So thank you all. It was a lovely example of a song that respected the culture it came from.

Thanks to Charlie Pottins for tracking it down.

Monday, 7 June 2010

Chopsticks At Dawn: BBC R4 Tuesday 8th June for 7 days

Photo of Anna, Jane Ng and Ben Chan at BBC Broadcasting House (Thanks Ben Chan)

Chopsticks At Dawn: orientalism in Western music
13:30 Tuesday 8th June 2010
BBC Radio 4
Presented by Anna Chen
Written by Anna Chen with Dr Jonathan Walker
Produced by Chris Eldon-Lee and Culture Wise
More here

LISTEN NOW ON BBC IPLAYER FOR SEVEN DAYS

"The cuddly face of dehumanisation. A bit like golliwogs."

I always wondered how it was that those cartoon strains of cod Chinese music used to have me running for cover when I was growing up. Siouxsie And The Banshees' Hong Kong Garden, David Bowie's China Girl, Carl Douglas's Kung Fu Fighting, they're only a few examples of the sort of orientalism in music that was the bane of my young life. Who needed crude verbal epithets when a few bars of plonkery could do the job?

I asked my friend Dr Jonathan Walker, a musicologist and damned fine pianist, how certain configurations of a few notes could be so potent in their effect. What he told me led to a fascinating journey through the development of a musical trope that was loaded with meaning, much of it not very positive.

From its basic building blocks of pentatonics (the black notes) and parallel fourths all the way to Debussy and Ketelby, Jonathan reveals how, had Western music begun to represent other cultures at an earlier stage in history when Chinoiserie was greatly admired, we might have ended up with a musical equivalent of the willow pattern crockery, or the Brighton Pavilion. As it is, it coincided with the Opium Wars and Yellow Peril fever, so the results were hardly complimentary.

You can see how this all pulls together in the arena of propaganda in the opening title sequence of the movie Inn Of The Sixth Happiness, starring Ingrid Bergman as missionary Gladys Aylward, and Curt Jurgens as the Chinese General (!). Made in 1958 during the Cold War, various motifs in Malcolm Arnold's score merge with the visuals to create a subtext, climaxing in the dramatic appearance of the film's title in vivid scarlet text reminiscent of American takeaway menus, and accompanied by billowing clouds of steam that could be opium smoke or dragon's breath. Listen out for the "cruelty" chords as associated with ancient Rome and the mysterious Orient. It's brilliant and quite funny.
I was joined by academics Derek Scott of Leeds and Rachel Harris of SOAS who help to find out exactly what was going on with the representation of Asian Pacific people — and Chinese in particular — in the culture. Chi2 funsters Liz and Sarah Liew add their childhood reactions to the mix. And musicians Ben Chan (Big Yellow Band) and Jane Ng, who wrote Pagoda Of Dreams, show us how they merge East and West in their compositions.


BBC preview and Listen Again for seven days here (Pic of Anna at BBC page by Sukey Parnell)

Pick Of The Day: RadioTimes, Observer, Sunday Telegraph, Time Out, Mail On Sunday. Also daily choice in the Times, Telegraph and Independent, Tuesday 8th. Daily Telegraph
Anna Chen reflects, through gritted teeth, on representations of Chinese music, the ingy pingy clichés as used by everyone from George Formby to David Bowie, demeaning a culture which, in other fields, we respect. This isn’t a dreary sermon, though. It’s a lively, rueful journey through aural conditioning. Why do some sounds suggest the Orient to us? She listens to Ravel and has the pentatonic scale (as played on a piano’s black keys) explained to her as a short cut to something that to Westerners signals “east”. But there’s more to it than that.
Recording with bronchitis

Monday, 17 May 2010

Chopsticks At Dawn: This Time It's Personal

Chopsticks at Dawn - BBC Radio 4

Anna with Ben Chan and Jane Ng at the BBC

I finally got all my links done for my Radio 4 programme, Chopsticks At Dawn, which goes out at 13:30 on Tuesday 8th June.

This was no mean feat, hobbled as I was by a bad bout of bronchitis brought on by hanging about in enclosed spaces with dear friends who love their smokes and will fight to the death for their right to indulge. Even if it's someone else's death. Thank you Roy Castle, wherever you are, for campaigning for smokers to keep their evil weed to themselves even as you were dying of cancer, the most famous passive smoking victim in the world — we wussies with weak lungs salute you.

A decoction of Chinese herbs twice a day seem to have held total vocal breakdown at bay. (I'll spare you details of the morning ritual of clearing my chest of gunge. Suffice to say it involved Loved One playing me like a pair of congas.) I sat there getting through the studio's stock of Twinings lemon and ginger tea with a big dollop of honey, relieved to find my chest and sinuses opening up under the influence of hot gingery goodness.

Fearing a croak might replace my usual warm, rich and resonant tones, I'd done plenty of vocal exercises and used the time before my studio slot to quietly declaim how Peter Piper had picked a a peck of pickled peppers whilst wondering if Peter Piper had done such a thing, how many pecks would Peter Piper now possess. Whatever a peck is. A fraction of a bushel, I'd venture.

A timing mix-up meant I was there nearly two hours early. So by the time I was sat behind the microphone, trying to avoid spraying the pop-shield with germs, I practically knew the script by heart. Pretty good considering I'd taken it to the wire and only finished the script in the early hours of the morning. Ending with a joke. That's always a good idea.

Breaking off only to cough in the ladylike manner which befits a BBC presenter, I did occasionally have to warn the studio to turn the speakers off at their end as I was about to vesuviate the contents of my thorax into a wodge of tissues in the manner of the volcano wot we can't pronounce. Attempting to actually pronounce 'Eyjafjallajokull' would have ended up with my innards decorating the sound booth.

I trust the pop-shield was removed with sterilised implements and ceremonially burnt. The Terror Of The Tongs.

Oh, you might be interested in the content of my latest magnum opus. (There have been several and will be many more.) It's about orientalism in Western music and I get to have a go at all those toons that were the bane of my young life with their Chop Suey riffs. Yes, about as authentically Chinese as a Vesta Chow Mein and almost as tasteful.

Enjoy.

Chopsticks At Dawn is written and presented by Anna Chen with Dr Jonathan Walker. Produced by Chris Eldon-Lee and Culture Wise.
Broadcast 13:30, Tuesday 8th June 2010
BBC Radio 4

Also featuring Derek Scott (Leeds Uni), Rachel Harris (SOAS). Plus the fabulously talented Sarah and Liz Liew of Chi2, Ben Chan (Big Yellow Band) and Jane Ng


More on Chopsticks at Dawn here

Chopsticks At Dawn: This Time It's Personal

Chopsticks at Dawn - BBC Radio 4

Anna with Ben Chan and Jane Ng at the BBC

I finally got all my links done for my Radio 4 programme, Chopsticks At Dawn, which goes out at 13:30 on Tuesday 8th June.

This was no mean feat, hobbled as I was by a bad bout of bronchitis brought on by hanging about in enclosed spaces with dear friends who love their smokes and will fight to the death for their right to indulge. Even if it's someone else's death. Thank you Roy Castle, wherever you are, for campaigning for smokers to keep their evil weed to themselves even as you were dying of cancer, the most famous passive smoking victim in the world — we wussies with weak lungs salute you.

A decoction of Chinese herbs twice a day seem to have held total vocal breakdown at bay. (I'll spare you details of the morning ritual of clearing my chest of gunge. Suffice to say it involved Loved One playing me like a pair of congas.) I sat there getting through the studio's stock of Twinings lemon and ginger tea with a big dollop of honey, relieved to find my chest and sinuses opening up under the influence of hot gingery goodness.

Fearing a croak might replace my usual warm, rich and resonant tones, I'd done plenty of vocal exercises and used the time before my studio slot to quietly declaim how Peter Piper had picked a a peck of pickled peppers whilst wondering if Peter Piper had done such a thing, how many pecks would Peter Piper now possess. Whatever a peck is. A fraction of a bushel, I'd venture.

A timing mix-up meant I was there nearly two hours early. So by the time I was sat behind the microphone, trying to avoid spraying the pop-shield with germs, I practically knew the script by heart. Pretty good considering I'd taken it to the wire and only finished the script in the early hours of the morning. Ending with a joke. That's always a good idea.

Breaking off only to cough in the ladylike manner which befits a BBC presenter, I did occasionally have to warn the studio to turn the speakers off at their end as I was about to vesuviate the contents of my thorax into a wodge of tissues in the manner of the volcano wot we can't pronounce. Attempting to actually pronounce 'Eyjafjallajokull' would have ended up with my innards decorating the sound booth.

I trust the pop-shield was removed with sterilised implements and ceremonially burnt. The Terror Of The Tongs.

Oh, you might be interested in the content of my latest magnum opus. (There have been several and will be many more.) It's about orientalism in Western music and I get to have a go at all those toons that were the bane of my young life with their Chop Suey riffs. Yes, about as authentically Chinese as a Vesta Chow Mein and almost as tasteful.

Enjoy.

Chopsticks At Dawn is written and presented by Anna Chen with Dr Jonathan Walker. Produced by Chris Eldon-Lee and Culture Wise.
Broadcast 13:30, Tuesday 8th June 2010
BBC Radio 4

Also featuring Derek Scott (Leeds Uni), Rachel Harris (SOAS). Plus the fabulously talented Sarah and Liz Liew of Chi2, Ben Chan (Big Yellow Band) and Jane Ng

More on Chopsticks at Dawn here

Thursday, 18 March 2010

China, Britain and the Nunzilla Conundrum: Anna Chen on BBC Radio 4


China, Britain and the Nunzilla Conundrum
Presented by Anna Chen, produced by Sally Heaven.
BBC RADIO 4 – 11.00-11.30am
Friday 19 March 2010
Listen for seven days after broadcast here


Ever wondered about the origins of those brightly-coloured novelty items for grown-ups, so handy when you’re pushed for a cheap prezzy or in need of a quick chuckle? Those cutesy objects seemingly designed to separate us from our disposable income? Upend the packaging and it’s a sure bet that it reads “Made In China”.

The star turns — the three-inch high fire-breathing wind-up Nunzilla, Dashboard Jesus, and the Billy Bass trophy-mounted fish that sings, “Don’t worry, be happy” and drove us all nuts — were marketing phenomena in an industry now worth $35 billion worldwide and of which China has a whopping sixty per cent.

In China, Britain and the Nunzilla Conundrum, I follow the manufacture of one such item — Mummy Mike, a little man-shaped rubber-band holder — from its design at Suck UK in East London, through production in China, to sale in Birmingham.

The Birmingham Trade Fair at the NEC was a cornucopia of tat. I never realised I needed so much utterly useless merchandise until I set foot in its hangar-sized halls. Ooh, shiny!

The Brands of China hall, however, was a different story: every one of the fifty or so Chinese stalls sold purely practical goods. From handbags to Develop Your Pecs exercisers, I searched in vain for items as audaciously pointless as the giftware designed in Britain, made in China and consumed in the West. One looked promising from a distance, but it was a pet stall. Those brightly coloured trifles were actually dayglo-pink and lime doggy dumbbells. Dogs in China do silly. People don’t.

As one Xiamen factory worker said of the Dashboard Jesus, “For people like me who work for other people, we only earn a small salary. We don't need this. I don't have anywhere to put it — our apartments are rented — we don't have any assets to protect, or pray for.”

Nunzilla

Perhaps a taste for tat signals an economy in the later stages of capitalism which, staring into the abyss, finds solace (if no actual solution) in fits of giggles. For the Chinese, with memories of deprivation rooted in centuries of foreign exploitation, imperial rule and civil wars, wasting money on trivia is serious business.

According to Jude Biddulph, Designer-In-Chief at Suck UK, better-off Chinese aspire to European goods. He says the wealthy Chinese do buy British, but only expensive high-end pieces such as the illuminated glass and steel coffee table or a leather James Bond Villain’s Chair.

“People want to buy into the brand,” he says of a nation entering the equivalent of Britain’s 1960s economic explosion. “There is extreme wealth, and they aspire to European brands and European-made products.”

While tiny but growing numbers of Chinese buy high-end goods, those of us stuck in our UK recession shore up the giftware market by buying at the cheap end. For, as trader Malcolm Ford says, in a recession people cut back on the biggies. “They don’t feel as if they’re human if they’re not spending money on something.” And this is where cheap amusing trinkets play their part. Retail therapy really does make you feel good, albeit briefly.

Or would we be better off without it? Producing Stuff for Western consumption generates a third of China’s carbon emissions. And isn’t its glittering spell turning us into lotus-eaters, pacifying our critical faculties like some new opiate of the masses? The reality: China and the West are hardly going to give up on a $35 billion worldwide industry.

Mummy Mike

Just as the Japanese were once known for turning out cheap goods but learnt fast and ended up dominating the car and electrical markets, Chinese manufacturers are honing their skills with the giftware trade. My beautiful Mac laptop and half my cosmetics (with their posh French labels) are now made in China.

Simon Collinson of Warwick University Business School says change is underway. “As the Chinese get better at understanding what is needed in the West they will get better, not just at designing, but actally coming up with new innovations.”

The good news is that the government is closing down the bad old factories, with fewer but highter-tech facilities surviving. Only 3,000 out of 8,000 toy factories survive. And in 2006 they would have relaxed their restrictions on unions had the American Chamber of Commerce, backed up by the Europeans, not lobbied hard to stop it happening.

Progress is slow but it is happening in some areas even if the new super-rich are hoovering up the lion's share of the wealth leaving the poor behind. But as the quality of China’s goods get better, as more and more of the population take a share in the form of better wages and conditions, it loses its competitiveness in the markets — if you see naked profit and mindless competition as a good thing. Some are already anticipating a time when Africa becomes China’s workshop, just as China was ours, whilst capitalism plays musical chairs and another economic arena flowers and withers.

Watch what happened to us, China, and learn from our example.

China, Britain and the Nunzilla Conundrum
Presented by Anna Chen
Produced by Sally Heaven.
BBC RADIO 4 – 11.00-11.30am
Friday 19 March 2010
PICK OF THE DAY Guardian Guide, Radio Times and Daily Telegraph
which says, " ... tying it with a ribbon of her wit. "
PICK OF THE WEEK Sunday Telegraph
" ... refreshingly original ..."
Recommended by the Diocese of Liverpool

Listen for seven days after Friday’s broadcast here
Angry nuns and singing fish - gifts 'Made in China'
By Anna Chen, Presenter, China, Britain and the Nunzilla Conundrum
Photo of Anna Chen at iPlayer by Sukey Parnell

Sunday, 10 May 2009

Anna Chen previews Anna May Wong Must Die!



I finally got to preview my multimedia presentation, Anna May Wong Must Die!, a personal journey through the life and crimes of Anna May Wong, at the Salthouse Gallery on Friday 8th May 2009 as part of the St Ives Literary Festival.

Developing my radio programme, A Celestial Star In Piccadilly, which was broadcast on BBC Radio 4 in January, this hour-long educational show gives me the chance to expand on my social criticism and include material which had to be left out due to time constraints.

It had poetry, music, sex and technical glitches galore. There was no cable to link up my Mac to the projector or the big speakers, so Alban saved the day by transferring the entire file onto his PC and I controlled it from there. Dramatic sounds, transitions and fonts were lost, and I was plunged into a crepuscular gloom in the absence of lighting, but it was a laid-back affair and a great time was had by all.

Next outing is an extract at the Roxy Bar & Screen in South London, Tuesday 26th May, introduced by film historian Jasper Sharp. This is a themed night with a screening of Piccadilly (1929) which Anna May Wong made in Britain, re-released by BFI in 2005 with a new musical score to mark the centenary of her birth. Shanghai sounds from Resonance FM Lucky Cat DJ, Zoe Baxter.

Radio show, A Celestial Star In Piccadilly, produced by Chris Eldon-Lee and Mukti Jain Campion for Culture Wise


UPDATE: Anna May Wong Must Die! pages now live

Saturday, 17 January 2009

Monday, 12 January 2009

Anna May Wong: A Celestial Star In Piccadilly, BBC R4


Anna Chen aka Madam Miaow writes and presents A Celestial Star In Piccadilly, a half-hour profile of Hollywood's first Chinese movie star for BBC Radio 4.
Broadcast 11:30am, Tuesday 13th January 2009.
Pick of the Day in Guardian Guide, Daily Mail and Mail on Sunday.
BBC Radio 4

LISTEN AGAIN ONLINE FOR SEVEN DAYS AFTER BROADCAST HERE

While I was growing up in Hackney, there were few east asian women in the culture reflecting anything like my appearance. Those that did slip through were not necessarily an inspiration. Yoko Ono was unfairly reviled in the media as a hate figure, although – far from breaking up the Beatles –she was a respected Fluxus artist in her own right and famous among the avant-garde cognoscenti way before John Lennon was anything more than a pop star. The twin horrors of my childhood, Suzy Wong and Juicy Lucy – happy hookers who migrated from popular literature onto the screen – were always there to define me in the eyes of a society without any other reference points. There were powerful women, too, but they came in the shape of Jiang Qing (Madam Mao), the kleptocratic Imelda Marcos and, in fiction, the evil daughter of Fu Manchu. Her I quite liked.

I wondered who the young Anna May Wong had to look up to. She grew up as third-generation Chinese born in a youthful America when Native Americans were safely out of the way on their reservations and former slaves were consigned to ghettos and plantations. Chinese-Americans were about as low as you could get; depicted as so much of a danger to working men and decent citizens that the US government introduced legislation specifically designed to curb the ambitions of the Yellow Peril within. Their ambitions may have been humble — earning an honest dollar for one's labour, living in safety and security, bringing up families of their own — but the owners of capital tolerated them only as cheap labour, while much of the labour movement in both the Britain and the USA (Wobblies excluded) saw the Chinese as more of a threat than as fellow workers.

Various schools of thought say that Asiatic humans first walked over the Beriing Straits more than 17,000 years ago and populated the Americas down to their southernmost tip. Others contend that Imperial Chinese ships arrived in the 15th century, predating Columbus by decades; or that they initially landed in California on Portuguese ships carrying silver from mines in the Philippines.

What we do know is that in the mid-19th century, the discovery of gold at Sutters Mill in 1848 drew first a trickle and then a flood of Chinese who joined in the Gold Rush, populating the west coast and working the mines in the Sierra Nevada mountains. The next wave of immigration was brought in as cheap coolie labour by Charles Crocker in the 1860s to build his Central Pacific railroad which would link Sacramento with the East and bring the West into the Union during the Civil War. Conditions were harsh and they were paid less than their white counterparts.

But not all Chinese would submit and conform to the role of coolie; there was one major strike with thousands laying down tools as they busted through granite mountains and worked in 20-foot snowdrifts. It was a strike that had the potential to unite all workers, and ever since I found out about it in the early 1990s while working with Sinophile author Martin Booth on his film script The Celestial Cowboys in 1993, it has inspired me, especially as there are those who insist that Chinese are genetically bourgeois and incapable of working-class consciousness. The strikers were eventually starved back to work with a few concessions but they had shown they they weren’t all pushovers.

Many miners and railworkers settled in the US and formed America’s first Chinese communities. These were Anna May Wong’s roots.

In a world bereft of role models, Anna May carved out an acting career in the early days of the Hollywood film industry. She started young, as an extra on the streets of Los Angeles, learning her craft and gaining proper roles in defiance of her traditionalist father, who wanted her at home in the family laundry.

By 17, she was starring in Hollywood’s first technicolour movie, The Toll of the Sea, as the Madame Butterfly character, “marrying” an American who promptly dumps her when he returns to his homeland and a white wife. She dies tragically at the climax, beginning a pattern that would endure for most of her career.

Trapped in Dragon Lady or Lotus Blossom roles, she grew tired of being demeaned, insulted and limited. Anti-miscegenation laws meant she wasn’t allowed to kiss a romantic lead if he was white, even if he was a white actor playing a Chinese. Your sexuality got you killed, at least symbolically.

In the late 1920s she came to Britain, where she was already a huge star and made the black and white silent feature film Piccadilly for the German director E A Dupont. This was perhaps her greatest starring role, but she still had to die at the end. Death was the fate she had to endure for the crime of being attractive. I take a closer look at this movie in the programme as there’s a plethora of prejudice leaking at the edges, some of it hilarious, much of it still extant today.

Anna May was the toast of Europe: mates with Paul Robeson, Josephine Baker, Marlene Dietrich and, strangely, Leni Riefenstahl. Such was the contrast in Europe with what she’d experienced back home that she once stated there was no racism in Germany. And that was in the Thirties, which gives you some idea how bad it must have been if you were a minority in the Land of the Free.

She starred with Marlene Dietrich in Shanghai Express, acted with a greenhorn Laurence Olivier on the London stage. Philosopher Walter Benjamin had a major crush on her. She dined with royalty and was adored by her fans. Eric Maschwitz wrote the classic song “These Foolish Things” about her.

Yet Hollywood still refused to lower the drawbridge and give her the starring roles she deserved. Those still went to white actresses in Yellowface. Myrna Loy as evil Daughter of Fu Manchu? Loy, Katherine Hepburn, Luise Rainer and Tilli Losch were all considered better at being Chinese than Anna May Wong.

These things take their toll and she died in 1961, at the unnervingly early age of 56.

But isn’t everything different today? Nope, it’s still with us. The form has mutated but the content lives on. A Celestial Star in Piccadilly is one case study in how minorities are rendered invisible in the culture and as producers of culture, while the fruits of their labour are appropriated by those who sit at High Table.

And the danger of that is it’s the sleep of reason where monsters are born.

Hmmm, sounds familiar and rather too close to home ...

Interviewees include:
Graham Russell Gao Hodges, Anna May Wong's biographer, Laundryman's Daughter
Diana Yeh, historian
Alice Lee, writer and actress who performed her one woman show about Anna May Wong, Daughter of the Dragon
Elaine Mae Woo, director of Frosted Yellow Willows about Anna May
Ed Manwell, film producer, Frosted Yellow Willows
Neil Brand, composer of the new score for the BFI Southbank rerelease of Piccadilly on DVD
Jasper Sharp, east Asian film expert
Kevin Brownlow, legendary film historian and filmmaker
Margie Tai and Connie Ho, who remember Anna May Wong visiting their Limehouse neighbourhood when they were kids

Produced by Chris Eldon Lee for Culture Wise Productions
Many thanks to Mukti Jain Campion of Culture Wise for giving me latitude and for her feedback


Anna develops her radio programme into a musical multi-media extravaganza, Anna May Wong Must Die!

Anna on Anna May Wong and Chinese in Hollywood. The Good Earth review.

For more pictures, visit the Anna May Wong Society

Anna started writing her novel, Coolie, on the Transcontinental strike by Chinese workers since 1994, taking longer than construction of the railroad itself.

A Celestial Star in Piccadilly: Anna Chen presents Anna May Wong, BBC R4


Anna Chen aka Madam Miaow presents a half-hour profile of Anna May Wong, Hollywood's first Chinese movie star, tomorrow morning on BBC Radio 4.

Starring with Marlene Dietrich in Shanghai Express, killed off in most of her movies, a huge hit in Europe, reviled in China, Anna May was the most visible Chinese woman in the world during the 1920s and 30s. Stuck playing dragon ladies and lotus blossoms all her career, who wouldn't crack? So what happened to her?

To be broadcast 11:30, Tuesday 13th January 2009, coinciding with the 80th anniversary of the making of Anna May's British hit, Piccadilly.

A Celestial Star in Piccadilly is Pick of the Week in the Guardian (Saturday Guardian Guide), Daily Mail and Mail on Sunday.

Media on Anna Chen's last radio series, Chinese In Britain
“A fascinating story” - Chris Campling, The Times
“Each episode sounded effortless only because it had been crafted with such supreme care” - Gillian Reynolds, The Daily Telegraph

Please come back — more later tonight.

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