Afong Moy

Last updated
Afong Moy
Afong Moy.jpg
Afong Moy, exhibited among "various Chinese curiosities"
Bornc.1815 – c.1820 [5]
Guangzhou (Canton City), China
DiedUnknown
NationalityChinese
Known forFirst female Chinese immigrant to the United States
Height4.10 ft 0 in (125 cm)

Afong Moy was the first known female Chinese immigrant to the United States. [6] [7] In 1834, Moy was brought from her hometown of Guangzhou to New York City by traders Nathaniel and Frederick Carne, and exhibited as "The Chinese Lady". Announcements of her exhibitions advertised her clothing, her language, and her four-inch "little feet", [8] a result of foot binding.

Contents

Moy was the first Chinese woman to achieve fame throughout the U.S. She toured the United States, was given press coverage, and met U.S. President Andrew Jackson. In 1835, the New York firm Risso and Browne published a lithograph of Moy, titled "The Chinese Lady". [9]

However, Moy's popularity waned in the 1840s and records of her disappeared in 1850. Moy was not mentioned again in the newspapers and it is unclear what became of her. [9] Moy was the first Chinese woman that many Americans interacted with, and influenced their perceptions of Asian women and Chinese culture.

Early life

Afong Moy came from Canton City, China (now known as Guangzhou). She was reported to be the daughter of a "distinguished citizen", suggesting her parents had higher socio-economic status. [10] Her father reportedly lived "in the suburbs of Canton". [11]

Journey to the United States

In 1760, the Qianlong Emperor adopted a closed border policy in response to the increasing influence of Westerners in China. [1] This policy was in effect until the mid-1800s, and meant that Westerners were only allowed to set foot on the southern port of Canton. [1]

While it is not clear how Moy was able to leave China and find her way to the U.S., her journey is widely attributed to two American merchants, the brothers Nathaniel and Frederic Carne. In the early 1800s, the Carne brothers worked with ship captain B. T. Obear to start a new business and draw further attention to Chinese goods in New York. [1] Debating on a means to elevate their business, the Carne brothers concluded that exhibiting a Chinese woman in New York among a decor of Chinese furnishings would be an effective marketing strategy. They hoped that interacting with an exotic Chinese woman would lead Westerners to develop a fascination with Chinese goods. [1]

The ship manifest for the Washington listed "Auphinoy" or "Auphmoy" from Canton. Afong Moy ship manifest.png
The ship manifest for the Washington listed "Auphinoy" or "Auphmoy" from Canton.

It is believed that through newspapers and promotional materials, Captain Obear contacted Moy's father, and succeeded in reaching an agreement to bring Moy to the U.S. Some sources suggest that Moy was the daughter of a privileged family, and that her father accepted payments for her temporary move to the United States. [10] Other sources hint that she had left China to earn money to send back to her parents in Guangzhou, who were unable to support her. [12] Obear promised to return Moy on his next voyage to Canton in two years (however, Captain Obear re-embarked to Canton in April 1835, and Moy did not accompany him). [1] On 17 October 1834, Moy arrived in the United States aboard Captain Obear's ship, the Washington. [1] She was listed on the passenger list as "Auphinoy"/"Auphmoy". [13] [14]

Upon her arrival in New York, Moy was identified by local newspapers as "Julia Foochee ching-chang king", the daughter of "Hong wang-tzang tzee-king"; [11] [14] [15] "Miss Ching-Chang-foo"; [1] [11] "Miss Keo-O-Kwang King"; and other variations. [14] It was after her arrival to the United States that she adopted the name Afong Moy, possibly on the request of the Carne brothers. [11] [14] This may have been a romanization of a nickname with the Chinese prefix a- ( ). [11] Initially, Moy could not speak English, but could communicate effectively through her interpreter, a Chinese man named "Atung" or "Acong". [1] [11] [2]

Experience in the United States

Early years and fame

Afong Moy as depicted in an 1835 advertisement in The Charleston Mercury Afong Moy in The Charleston Mercury.jpg
Afong Moy as depicted in an 1835 advertisement in The Charleston Mercury

On 6 November 1834, Moy gave her first performance at an exhibition hall at No. 8 Park Palace, [1] and advertisements of her performance soon began to appear in local newspapers. These advertisements described Moy as 19 years of age, 4 feet 10 inches in height, "dressed in her national costume", with feet that were "but four inches in length". [1] One paper advertised Moy as a Chinese lady "in native costume who showed New York belles how different ladies could look in widely separated regions". [16] From 10 November onwards, Moy was exhibited to the general public between 10 am and 2 pm, and then again from 5 pm to 9 pm, for the price of 50 cents. [11] She would sit upon a throne of "rich and costly materials" in a Chinese setting, the centerpiece of a room of Chinese furnishings, handicrafts, and decorative objects. [1] On stage, she would use chopsticks, explain Chinese social practices, and sing traditional Chinese songs. [12] She would sometimes display her bound feet by elevating them on a cushion or walking around the room. She performed at various venues in 1834, including the American Museum, Peale's Museum, and the Brooklyn Institute. [17]

Evidence suggests that Moy's opinions were respected in her exhibitions, and that Moy had the agency to reject audience requests. [1]

As her exhibition in New York gained fame, Moy embarked on a trip across the United States, visiting major cities including New Haven, Philadelphia, Washington, Baltimore, Richmond, Norfolk, Charleston, New Orleans, and Boston. [1] In March 1835, she performed in Washington for an entire month, where her exhibition was hailed as an "unprecedented novelty". [18] In Washington, Moy met U.S. President Andrew Jackson in early March. [18] The New York firm Risso and Browne published a lithograph of her, titled "The Chinese Lady". [9]

In 1836, an advertisement in The Evening Post said that Moy had visited "nearly every City in the Union" and was returning to New York to "say farewell" before returning to China. By this point she could speak some English. [3] An advertisement in The Pittsburgh Gazette said that she intended to return to China soon on the Mary Ballard. [4] But in December, she was still in the United States; supposedly she had not been able to find a ship back to China, but more likely the claimed plans for departure were just an advertising tactic to increase ticket sales. [18] She reappeared in New York in April 1837, as advertised in The Long-Island Star, which said again that she planned to return to China soon. [19] She is not mentioned again until the following year. [18]

Decline

In April 1838, the media reported that Moy was faced with financial difficulties. Rumors were circulated that she had been discarded in New Jersey by her guardians, who had "stolen" her from China and feared prosecution if they brought her back. [18] [20] Descriptions of her situation were distressing to the extent that local residents considered financing her return to China. [18] Moy's guardian, Caleb E. Taylor, rebuked these claims, although Moy did not continue to put on exhibitions. [18]

Following press coverage of Moy's situation, the authorities of Monmouth County, New Jersey, boarded her in the local poorhouse at public expense. [18] She remained there until sometime before April 1848, when "a company of persons redeemed her, by defraying the expenses of her maintenance and giving security for the future". [18] Moy's removal from the poorhouse was intended to return her to the exhibition hall. [18] In 1847, the public were once again able to attend her shows. [18]

After more shows in New York, Boston, and Philadelphia, Moy performed at a venue on Pennsylvania Avenue, Washington, D.C., in November 1849. In this performance, her name was advertised as Afong Moy Nanchoy, suggesting that she had been married, possibly to a man who was also of Cantonese origin. [18] Her last recorded exhibition was in the New York City Hotel in April 1850. Following this performance, records of Moy completely disappear. [18] Some sources suggest that she had left the United States to tour Europe. [12]

Image and appearance

Moy as depicted in an advertisement in The Pittsburgh Gazette in 1836 Afong Moy in The Pittsburgh Gazette.jpg
Moy as depicted in an advertisement in The Pittsburgh Gazette in 1836

The New-York Commercial Advertiser described Moy as a "healthy, bouncing girl", with a "complexion tinged with copper but sufficiently transparent, revealing that roses are blooming beneath her skin". [18] She wore a costume befitting a lady "of her rank" [11] —wherever she appeared in public, she would dress in Chinese attire. During her first days in the United States, Moy mainly wore a mantle of blue silk with pantalets of yellow silk. [18] In her later displays, Moy was said to dress in "her native costume, composed of [the] most superb Chinese Embroidery". [18] In 1847, her dress was said to be beautiful, elaborate, and expensive, with satin, lace, and gold embroidery. [21]

Moy spent long hours perfecting her appearance each day. She was said to spend her time either "at her toilet, or at her tambour". [18] She was known to spend four to five hours at her toilette. [11]

Moy had undergone the process of foot binding as a child, and her feet were said to measure 4.75 inches (121 mm) from the heel to the end of the great toe, 2.125 inches (54 mm) from the heel to the end of the small toe, and 6.60 inches (168 mm) around the ankle. [18] Several physicians examined Moy's bound feet and published their findings in newspapers. [18]

Legacy

Influence on Western perceptions of China and Chinese women

Moy's influence and regular interaction with the American public provided her a platform to counter particular stereotypes of Chinese women, even as she struggled for her survival in the United States. Scholars have argued that Moy blurred the lines between the dominant "Lotus Blossom" and "Dragon Lady" stereotypes of Asian women. [18] Moy had the amiability of a "Lotus Blossom", yet she demonstrated the resolve and determination of a "Dragon Lady". [18]

Moy's experience with American society has also been interpreted as an expression of America's mentality towards Chinese residents before Chinese exclusion engulfed the country, as a predecessor to the segregated treatment of the Chinese. [18] Americans looked down upon the Chinese practice of foot-binding for women, and Moy's exhibitions led some Americans to decry China as culturally backward. [18]

In literature

Playwright Lloyd Suh wrote a two-person play, The Chinese Lady, featuring Moy and her assistant Atung, The play premiered in July 2018 at the St. Germain Stage, Pittsfield, MA. [22] Since then it has been produced in many other venues from coast to coast. [23] [24] [25] [26]

Jamie Ford's 2022 novel The Many Daughters of Afong Moy follows seven generations of Chinese women, including a fictionalized version of Moy. [27]

See also

Related Research Articles

<span class="mw-page-title-main">First Lady of the United States</span> Hostess of the White House, usually the presidents wife

First Lady of the United States (FLOTUS) is the title held by the wife of the president of the United States, concurrent with the president's term in office. Although the first lady's role has never been codified or officially defined, she figures prominently in the political and social life of the United States. The First Lady of the United States is the hostess of the White House.

<span class="mw-page-title-main">1830s</span> Decade

The 1830s was a decade of the Gregorian calendar that began on January 1, 1830, and ended on December 31, 1839.

<span class="mw-page-title-main">Lydia Sigourney</span> American poet

Lydia Huntley Sigourney, née Lydia Howard Huntley, was an American poet, author, and publisher during the early and mid 19th century. She was commonly known as the "Sweet Singer of Hartford." She had a long career as a literary expert, publishing 52 books and in over 300 periodicals in her lifetime. While some of her works were signed anonymously, most of her works were published with just her married name Mrs. Sigourney. During the lyceum movement that flourished in the United States in the 19th century, women named literary societies and study clubs in her honor.

<span class="mw-page-title-main">Prudence Crandall</span> American civil rights pioneer (1803–1890)

Prudence Crandall was an American schoolteacher and activist. She ran the Canterbury Female Boarding School in Canterbury, Connecticut, which became the first school for black girls in the United States.

<span class="mw-page-title-main">Dan Beach Bradley</span> American Protestant missionary to Siam (1804–1873)

Dan Beach Bradley was an American Protestant missionary to Siam from 1835 until his death. He is credited with numerous firsts, including, bringing the first Thai-script printing press to Siam, publishing the first Thai newspaper and monolingual Thai dictionary, performing the first surgery in Siam, and introducing Western medicine and technology.

Asian Americans have been involved in the U.S. entertainment industry since the 19th century, when Afong Moy started a series of shows that evolved into essentially one-women shows. In the mid-19th century, Chang and Eng Bunker became naturalized citizens and were successful performers in the United States. Sadakichi Hartman, originally from Japan, was a successful playwright in the 1890s. Acting roles in television, film, and theater were relatively few, and many available roles were for narrow, stereotypical characters. Early Asian American actors such as Sessue Hayakawa, Anna May Wong, and Bruce Lee encountered a movie-making culture and industry that wanted to cast them as caricatures. Some, like actress Merle Oberon, hid their ethnicity to avoid discrimination by Hollywood's racist laws.

HMS <i>Imogene</i> (1831)

HMS Imogene was a Conway-class sixth rate of the Royal Navy, built by Pembroke Dockyard and launched on 24 June 1831. She served in the East Indies, China and South America, but was accidentally burnt while out of commission on 27 September 1840.

Edmund Roberts was an American diplomat. Appointed by President Andrew Jackson, he served as the United States' first envoy to the Far East, and went on USS Peacock on non-resident diplomatic missions to the courts of Cochinchina, Thailand ("Siam") and Muscat and Oman during the years 1832–6.

<span class="mw-page-title-main">Harriet Low</span> American writer

Harriett Low Hillard was an American woman of letters and diarist. From 1829 to 1833 she lived in the Portuguese colony of Macau on the South China coast and she and her sickly aunt became the first American women to go to China. During her stay from 1829 to 1833, she wrote a journal in the form of letters to her older sister Molly, and became acquainted with many of the influential individuals in the colony. After her return to the United States, she married and moved to London, returning to New York with her husband and five daughters in 1848. Her journal is now part of the Low-Mills collection in the Library of Congress.

HMS <i>Cleopatra</i> (1835) Frigate of the Royal Navy

HMS Cleopatra was a 26-gun Vestal-class sixth-rate frigate of the Royal Navy. She was built at Pembroke Dock and launched on 28 April 1835. She was to have been launched in July 1834 and fitted thereafter. Her complement was 152 officers and men, 33 boys, and 25 marines. She was broken up in February 1862.

Jane Roberts was an English author active in the 1830s, best known for her account of a two-year voyage to Van Diemen's Land (Tasmania) during which she visited and described the Swan River Colony. She had a considerable number of literary and social acquaintances including Augusta Leigh and Lady Cork. During her own lifetime she was sometimes confused with Emma Roberts, with whom she corresponded, though the two women were not related. They were about the same age and they were both referred to as Miss Roberts. Unusually for single women of that era they had also both travelled separately to Calcutta within two or three years of each other.

Ching Lau Lauro and Professor Ching were the stage names of a juggler and magician who performed outdoors and in theatres in London and the provinces. His real name is unknown; he was possibly Cornish and he was popularly known as Ching. He was the first magician in Europe to perform the aerial suspension illusion, and possibly the first to use limelight, and one of the earliest Western magicians to perform in Chinese costume. In 1834 he played at The Theatre, Leeds.

<span class="mw-page-title-main">David Olyphant</span>

David Washington Cincinnatus Olyphant was an American trader in the Far East and "the father of the American Mission to China". He was an elected member of the American Board of Commissioners for Foreign Missions (ABCFM), the organization that sent the first American missionaries to China in 1829.

<span class="mw-page-title-main">Lai Afong</span>

Lai Afong was a Chinese photographer who established Afong Studio, considered to be the most successful photographic studio in the late Qing dynasty. He is widely acknowledged as the most significant Chinese photographer of the nineteenth century.

Francis R. Hanson was appointed by The Domestic and Foreign Missionary Society of the Protestant Episcopal Church in America as one of the first two Episcopal Church missionaries to travel to China in 1835.

Hercules was built at Calcutta in 1814. She acquired British registry and traded between Britain and India under a license from the British East India Company (EIC), before returning to Calcutta registry. She then traded opium between India and China, and became an opium receiving ship for Jardine Matheson. In 1839 she was one of the vessels that surrendered her store of opium to be burned at the behest of Chinese officials at Canton. This incident was one of the proximate causes of the First Opium War (1839–1842). Her owners apparently sold her to American owners in 1839.

<span class="mw-page-title-main">Julia Fayerweather Afong</span>

Julia Hope Kamakia Paaikamokalani o Kinau Beckley Fayerweather Afong was a Hawaiian high chiefess who married Chinese millionaire merchant Chun Afong with whom she had sixteen children. She was of British, American and Hawaiian descent.

<span class="mw-page-title-main">Lady Tsen Mei</span> American actress

Josephine Augusta Moy, known professionally as Lady Tsen Mei, was an American actress and singer. She was billed as "the screen's only Chinese star" in publicity for her first film, For the Freedom of the East (1918).

<span class="mw-page-title-main">Jane Shirreff</span> Scottish-born soprano

Jane Shirreff (1808-1883) was a British soprano opera singer. She was described as America's "most admired prima donna between the days of Mrs. Wood and those of Louisa Pyne".

Mary Amelia Swift was an American teacher and textbook writer. Little is known of her early life, though she was raised in western and central Connecticut. In 1833, she became the principal of the Litchfield Female Academy, leading the school for three years. That year, noting a need to teach basic science and finding no adequate textbooks, she wrote First Lessons on Natural Philosophy–Part First. It was one of the first scientific texts written by a woman and was based on her observations of teaching needs from her classroom experience. Three years later she wrote a more advanced textbook for older children, First Lessons on Natural Philosophy–Part Second.

References

  1. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 Haddad, John (2011). "The Chinese Lady and China for the Ladies: Race, Gender, and Public Exhibition in Jacksonian America" (PDF). The Journal of the Chinese Historical Society of America: 5–19 via Chinese Historical Society of America and UCLA Asian American Studies.
  2. 1 2 "22 Apr 1835, 3 - The Charleston Mercury at Newspapers.com". Newspapers.com. Retrieved 3 March 2021.
  3. 1 2 "Positively the Last Week of the Chinese Lady". The Evening Post. 11 July 1836. p. 3. Retrieved 7 February 2021.
  4. 1 2 "19 May 1836, Page 3 - The Pittsburgh Gazette at Newspapers.com". Newspapers.com. Retrieved 3 March 2021.
  5. In 1834 Moy was advertised as 19 years old, [1] but in 1835 a Charleston Mercury advertisement said she was "nearly 19", [2] in 1836 The Evening Post said she was about 17 years old, [3] and in 1836 an advertisement in the Pittsburgh Gazette said she was about 16. [4]
  6. Wei Chi Poon. "The Life Experiences of Chinese Women in the U.S." Archived from the original on July 24, 2014. Retrieved September 5, 2014.
  7. Haddad, John. "The Chinese Lady and China for the Ladies" (PDF). Retrieved September 5, 2014.
  8. "The First Chinese Women in the United States". The National Women's History Museum. Archived from the original on 2014-09-05. Retrieved September 5, 2014.
  9. 1 2 3 Lee, Lily Xiao Hong (2015). Biographical Dictionary of Chinese Women: v. 1: The Qing Period, 1644-1911. Routledge. doi:10.4324/9781315706115. ISBN   9781317475880.
  10. 1 2 Sun, Derek (2016). "The First Chinese Woman in America". HeadStuff. Retrieved 11 March 2019.
  11. 1 2 3 4 5 6 7 8 9 Haddad, John (2008). "Chapter 3". The Romance of China: Excursions to China in US Culture 1776-1876. Columbia University Press. ISBN   9780231130943.
  12. 1 2 3 Moon, Krystyn (2006). Yellowface: Creating the Chinese in American Popular Music and Performance, 1850s-1920s. Rutgers UP. ISBN   9780813535074 . Retrieved 8 April 2019.
  13. Krystyn R. Moon (2005). Yellowface: Creating the Chinese in American Popular Music and Performance, 1850s-1920s. Rutgers University Press. pp. 59–62. ISBN   0813535077 . Retrieved 8 December 2014.
  14. 1 2 3 4 Davis, Nancy E. (2019). The Chinese lady : Afong Moy in early America. New York, NY: Oxford University Press. pp. 33–34. ISBN   9780190645236.
  15. "Extraordinary Arrival". Carlisle Weekly Herald. 29 Oct 1834. p. 2. Retrieved 14 August 2021.
  16. Lee, Lily Xiao Hong (2015). Biographical Dictionary of Chinese Women: v. 1: The Qing Period, 1644-1911. Routledge.
  17. Moy, James S. (1996). Marginal Sights: Staging the Chinese in America. University of Iowa. ISBN   0877454272.
  18. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 Zhang, Tao (2015). "The Start of American Accommodation of the Chinese: Afong Moy's Experience from 1834 to 1850". Journal of American Studies. 49 (3): 475–503. doi:10.1017/S0021875814001819. S2CID   146466330 via Cambridge Core.
  19. "24 Apr 1837, Page 4 - The Long-Island Star". Newspapers.com. Retrieved 3 March 2021.
  20. "12 May 1838, 2 - The Native American". Newspapers.com. Retrieved 7 March 2021.
  21. "Boston, Sep. 11". Der Lecha Caunty Patriot (in German). 11 October 1847. Retrieved 12 June 2023.
  22. "The Chinese Lady, by Lloyd Suh" (PDF). barringtonstageco.org. St. Germain Stage, Pittsfield, MA. May 2018. Retrieved 11 November 2019.
  23. Mandell, Jonathan (10 November 2018). "'The Chinese Lady' Review: Immigrant as Freak". New York Theater. Ma-Yi Theater, New York. Retrieved 11 November 2019.
  24. "Playguide: The Chinese Lady" (PDF). milwaukeerep.com. Milwaukee Repertory Theater. 13 February 2019. Retrieved 11 November 2019.
  25. Salkin, Karen (12 September 2019). "The Chinese Lady". itsnotaboutme.tv. Greenway Court Theatre, Los Angeles. Retrieved 11 November 2019.
  26. Elinson, Elaine (23 October 2019). "Review: A fiery intellect bound by exoticism in 'The Chinese Lady'". 48hills.org. Magic Theatre, San Francisco. Retrieved 11 November 2019.
  27. "The Many Daughters of Afong Moy". Kirkus Reviews . Retrieved 13 June 2023.

Bibliography and further reading