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Shanghai dancers: gender, coloniality and the modern girl

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Abstract


  • In 1924, the artist Yamamura K6ka (1885-1942) produced a colour

    woodcut depicting the dance hall of the New Carlton Hotel in Shanghai.

    In this print, two women are seated at a round table. One has bobbed hair;

    the other wears a red hat. Both wear western dress, but the embroidered

    jacket draped on one of the chairs suggests the fashion for Chinoiserie.

    Two cocktail glasses on the table contain red cherries. Several couples

    dance in the background of the picture, the women all with similar bobbed

    hair. The male dancing partners are barely visible and the women are seen

    from behind, giving them a sense of anonymity. The lack of individual

    features of the women dancing in the background also suggests a degree of

    interchangeability between the women. They are most likely "taxi

    dancers", who dance with the male patrons for a fee paid to the dance hall.

    The ethnicised and racialised positioning of the dancing women is unclear,

    but at least one of the seated women appears to be of "European"

    appearance. The women in the dance hall, with their bobbed hair, western

    dress and cocktails clearly reference the style of the "modern girl".

Publication Date


  • 2012

Citation


  • Mackie, V. C. (2012). Shanghai dancers: gender, coloniality and the modern girl. In D. Ghosh (Ed.), Shadowlines: Women and Borders in Contemporary Asia (pp. 80-95). Newcastle Upon Tyne: Cambridge Scholars Publishing.

International Standard Book Number (isbn) 13


  • 9781443839785

Ro Full-text Url


  • http://ro.uow.edu.au/cgi/viewcontent.cgi?article=1389&context=lhapapers

Ro Metadata Url


  • http://ro.uow.edu.au/lhapapers/384

Book Title


  • Shadowlines: Women and Borders in Contemporary Asia

Start Page


  • 80

End Page


  • 95

Place Of Publication


  • Newcastle Upon Tyne

Abstract


  • In 1924, the artist Yamamura K6ka (1885-1942) produced a colour

    woodcut depicting the dance hall of the New Carlton Hotel in Shanghai.

    In this print, two women are seated at a round table. One has bobbed hair;

    the other wears a red hat. Both wear western dress, but the embroidered

    jacket draped on one of the chairs suggests the fashion for Chinoiserie.

    Two cocktail glasses on the table contain red cherries. Several couples

    dance in the background of the picture, the women all with similar bobbed

    hair. The male dancing partners are barely visible and the women are seen

    from behind, giving them a sense of anonymity. The lack of individual

    features of the women dancing in the background also suggests a degree of

    interchangeability between the women. They are most likely "taxi

    dancers", who dance with the male patrons for a fee paid to the dance hall.

    The ethnicised and racialised positioning of the dancing women is unclear,

    but at least one of the seated women appears to be of "European"

    appearance. The women in the dance hall, with their bobbed hair, western

    dress and cocktails clearly reference the style of the "modern girl".

Publication Date


  • 2012

Citation


  • Mackie, V. C. (2012). Shanghai dancers: gender, coloniality and the modern girl. In D. Ghosh (Ed.), Shadowlines: Women and Borders in Contemporary Asia (pp. 80-95). Newcastle Upon Tyne: Cambridge Scholars Publishing.

International Standard Book Number (isbn) 13


  • 9781443839785

Ro Full-text Url


  • http://ro.uow.edu.au/cgi/viewcontent.cgi?article=1389&context=lhapapers

Ro Metadata Url


  • http://ro.uow.edu.au/lhapapers/384

Book Title


  • Shadowlines: Women and Borders in Contemporary Asia

Start Page


  • 80

End Page


  • 95

Place Of Publication


  • Newcastle Upon Tyne