Annie Wong
音頻版: 華人怎樣做盟友
針對反種族主義的中文資源缺乏而創作的《華人怎樣做盟友》要求華人讀者考慮 成為移民定居者意味著什麽；如何解決 華人社區內部的反黑人和反原住民偏見；以及如何挑戰模範少數族裔概念及其與白人至上主義的共謀。與標題相反， 本書並未嘗試提供“操作方法”指南。相反，藝術家黃秀盈和學者陳晨通過邀請華人讀者進入BIPOC社區的朋友、藝術家和研究人員之間的親密對話，為學習和忘卻的實踐提供了一個可行的切入點。
《華人怎樣做盟友》包括對Fiona Raye Clarke、Jae Sterling和Melissa Chung Mowat的采訪；編輯的文章，Jason Li的漫畫，以及Robyn Maynard、Gary Pieters和真相與和解委員會的關鍵文本的翻譯節選。《華人怎樣做盟友》是與陳晨合作製作的，也是黃秀盈在安大略省萬錦市Varley藝術館的社區藝術家駐場項目的一部分，以及卡爾加裏市公共藝術項目與新畫廊合作委托的卡爾加裏中國城藝術家駐場項目。
華人怎樣做盟友
編著者：黃秀盈 陳晨
編著者：黃秀盈 陳晨
關於本錄音製作：
「華人怎樣做盟友」錄音版本是加拿大各地唐人區一小群組織者、學者和藝術家的努力而創成。在這段漫長的過程中，無論是深入的討論或是數次的翻譯改寫，都貢獻了不少時間來完成這個計劃。
想不到，在錄音過程中，兩位廣東話講者都得到語文上互相學習的機會。由於她們參加了這個計劃，群組認識了粵語資訊和粵語教材的不足，還有在華人社區說廣東話市民要面對的障礙。因為原本的文章是用簡體字來編寫，會說普通話的講者都沒感到任何困難，可是對廣東話講者來說，這個錄音的過程就沒那麼容易。為了配合葉曉菱跟陳希瞳兩位講者的母語，兩位就用了適合廣東話的詞彙重新翻譯整篇書本。重寫的過程引起了重要的議論，譬如說現時對普通話的語言諞向，或者是在加拿大華人社區說廣東話華僑因母語失傳了而受到的創傷和打擊。因此，加拿大出生的曉菱和香港出生的陳希瞳就建立了一個「點對點」語言指導。陳葉兩人都分享了她們對粵語評論的短片，以便廣東話華人觀眾可以更了解兩位講者翻譯過程中的各種思考。
劉碚溪、陳晨、Christina、葉曉菱、陳希瞳五人不但在「華人怎樣做盟友」錄音上代表到受訪者的意見，亦像受訪者Fiona, Jae, Melissa, Seth 一樣，在這計劃上貢獻了投入社會的精神。
希望您會喜歡本作品，謝謝。
“ 若不是祖先們所經受的苦難，我不可能走到今天這一步。不可能走到今天這一步。”
“ 這些石頭是一種提醒：我們用卓絕的鬥爭和犧牲才換來這片土地，永遠不要把它割讓給他人。”
“ 對我來說，在充滿種族主義的惡劣環境下，保持對自己的牙買加的身份認同並不容易。有人想要把它從你的身上抹去。”
“你的母親是梅蒂，所以你是梅蒂；你的父親是華人，因此你也是華人。” 在因為羞恥而長期掩蓋自己的身份、帶上無形的“面具”之後，我想，能夠坦然接受自己雙重身份和血脈是治愈創傷的重要一步。
華人怎樣做盟友，陳晨 黃秀盈
其中嘅作者黃秀盈做一個電子書比廣大嘅市民去認識華人怎樣做盟友，因為我哋華人從中亦都可以得到好多嘅啟發，我哋應該點樣去喺加拿大呢個白人至上嘅社會做定位，我哋又可以點樣做好我哋嘅角色。
但係黃秀盈小姐提出想有廣東話版，一開始搵Elaine Yip葉曉菱同我Ｍelva Chen陳希瞳去做呢一個廣東話版嘅電子書嘅時候，我哋係非常之喜出望外，因為廣東話喺加拿大依然係少數民族嘅語言，我哋好開心，可以喺推廣廣東話呢方面出一分力。而我作為由香港過嚟加拿大嘅華人，葉曉菱係加拿大越南華僑第二代，我哋從中亦學習咗好多嘢，唔單只係書嘅內容，喺錄音嘅過程，比我哋發現我哋廣東話嘅不足，亦都令我哋反思廣東話嘅重要性，我作為一個香港人，識聽識講廣東話好似係必然嘅事，我諗最親切嘅莫過於係同公公婆婆上一代傾計，佢哋聽到你講廣東話就會講起佢哋嘅故事，不知不覺，廣東話變成咗一個橋樑連接住前一代下一代，老套啲咁講句，真係有種連繫同歸屬感。
我哋亦都追溯加拿大華人歷史，廣東人絕對佔多數，佢哋為華人爭取喺加拿大嘅權益，為加拿大做嘅貢獻，點解廣東話都係沒落？我哋發覺一個嚴重嘅趨向，廣東話嘅人喺加拿大老化，第二第三第四代慢慢忘記咗廣東話，我哋好驚，驚廣東話好似喺廣州同香港咁慢慢靜靜咁消失。我哋希望我哋可以將連繫同時帶到呢度嘅華人同新移民，希望呢個語言，呢個連繫，可以𨒂續落去，亦都係今次我哋做呢個華人怎樣做盟友嘅有聲電子書嘅原因。
我同Elaine去錄低以下幾個訪問嘅廣東話版電子書，對於我哋嚟講，絕對係一個非常之新嘅經歷，一開始其實我哋係跟住其中一個作者陳晨嘅書面語，直接去用廣東話去讀，一開始我都發起過疑問，我應該用書面語讀定口語讀呢？我哋決定口語廣東話去讀因為咁樣先有味道，然後我哋發現另一個問題，可能因為陳晨本身講嘅係普通話，我哋發現有一啲字眼詞語甚至文法都好難去用廣東話嚟讀同詮釋，好難好順暢讀比大家聽，我哋亦都嘗試將其中一兩篇寫做廣東話，但係時間有限，所以無辦法將所有嘅篇章做好，甚至有啲字眼會讀錯，將來我哋好希望可以有修改版嘅有聲電子書同可以出到真正廣東話版嘅實本出嚟比大家，希望大家多多包涵。
Editors
黃秀盈
黃秀盈是一位作家和藝術家。她的創作理念非常多元，擅以詩意將政治議題融入對實際生活的觀察當中。她的創作實踐則大多源於與移民社群的合作，把群體的關懷工作視為藝術創作、建立團結戰線的基礎。她已在北美的多個平台展出作品，其中包括多倫多的Biennale of Art，蒙特利爾的Studio XX and SBC Gallery，聖約翰的Third Space Gallery，哈利法克斯的The Khyber Centre for the Arts，以及Banff Centre for Creativity and Art。與此同時，她也在Koffler.Digital，The Shanghai Literary Review，C Magazine, Canadian Art, 與 MICE Magazine等多個刊物發表過詩歌、散文等作品。
陳晨
陳晨（博士）目前擔任美國康涅狄格大學助理教授，曾作為訪客在a
Contributors
姚东骐
是一位常駐卡爾加里的攝影師，她在中國長大，曾在美國、哥倫比亞和加拿大等不同的多元文化國家生活過。在一家大型跨國公司工作經歷以及在南美和歐洲旅行的經驗使她投身於攝影，去講述關於人們和各种文化的精彩故事， 特別是關於卡爾加里的移民和當地的LGBTQ社區。 Christina在2021年獲得了AUarts的自主研究獎學金，並在拍攝一個持續進行的以MASCULINITY（男性氣質）為主題的攝影項目。該項目將在2022年阿爾伯塔省的攝影節EXPOSURE中展出。
劉碚溪
劉碚溪, 是工人維權中心的組織幹事，在社區里長期從事為低收入工人維權組織工作。作為移民和有色人，在加拿大，碚溪做過很多不穩定、底層和低薪工作，在工作場所遭受過被欠薪、歧視和其他不公平待遇。他在工作中的親身經歷，促使他成為一個社區工人維權人士，致力於為工人爭取正義與公平的活動。
葉曉菱
葉曉菱生長於愛德蒙頓市（第六號條約地區，亞省省會，她的父母是來自越南的華裔，華僑後代，爺爺家鄉是廣東鶴山和外公家鄉是福建省。從小在愛成中英雙語教育協會的課程中學漢語（普通話）而在家中學廣東話。體育技能科學本科畢業後選讀運動休閒和大眾健康碩士位課的葉曉菱，巧合研究到華人在加拿大殖民地的人文歷史便寫出有關中華人在國際平台上以多元化和未被理解的位置分析的碩士論文方案。同時她申請到本地人文歷史保留和研究的活動補助金，實現到她個人一直好奇的項目：一道超越一百年前的本地華人歷史故事的開始。這段在流失中被遺忘和未有大眾理解分享得到的歷史就是：”墳墓上的地址“ 。
周芷會
周芷會 是住在多倫多的中國移民。她是一名舞台設計師，從事戲劇和舞蹈工作。她設計了壞時代劇院的朋友, Theatre Passe Muraille, 千島劇場, Tarragon Theatre, 海灣劇院, 手中的青蛙, 劇院中心,, 下一階段音樂節, SummerWorks Festival, 更多. 她的設計曾在日本和中國展出. 她於 2020 年獲得了獎學金 她最近最喜歡的作品包括穿著莫卡辛鞋的白人女孩 (Manidoons Collective, 加拿大), Rhubarb Festival 壞時代劇院的朋友, 加拿大), Mno Bimaadiziwin (海灣劇院,加拿大), 服務伊麗莎白 （加拿大千島劇院）,森林裡的故事 (手中的青蛙, 加拿大),石先生和他的愛人，我吞下了鐵做的月亮 （音樂野餐). Echo 是加拿大聯合設計師協會的成員。Echo 目前和她可愛的壁虎公主住在多倫多。給爺爺。 www.echozhoudesign.com
陳希瞳
陳希瞳，加籍華人，出生於曾為英國殖民地並於1997歸還給中國的香港。在她17歲的時候，毅然來到加拿大求學。她畢業於亞省大學，主修心理學及副修東南亞文學，而從文學課程中，被獨特的殖民地文化和有著複雜結構的中國同性戀文化吸引。在大學時期，她亦在大學的義工團體當廣東話教師，包括教授廣東話，設計廣東話教材和推廣廣東話文化。當新冠肺炎於加拿大爆發期間，她有幸被介紹到作為Headstone Addresses Project項目創辦人葉曉菱當助手，亦開始了對加拿大華人歷史文化的興趣，她受到葉小姐的影響和鼓勵，構思自己的”Farewell Our Ancestors!”項目，該項目是由Edmonton Heritage Council資助，目的是希望發掘加拿大華人於愛民頓的發展史和如何在愛民頓舉辦屬於愛民頓獨特被西方文化洗禮的華人喪禮。將來，她希望可以發掘出更多廣東話華人於加拿大保留或遺忘了的傳統和歷史，亦希望從而讚頌廣東人社會於加拿大的貢獻。
Annie Wong
About How to be a Chinese Ally
Created during the pandemic in response to the lack of Chinese language anti-racism resources, How to be a Chinese Ally asks its Chinese readers to consider what it means to be an immigrant settler; how to address the internal anti-Black and anti-Indigenous bias within Chinese communities; and how to challenge the model minority concept and its complicity with white supremacy. Contrary to the title, this book makes no attempts to provide a “how-to” guide. Instead, artist Annie Wong, and academic Chen Chen offer an accessible entry point into a practice of learning and unlearning by inviting Chinese readers into intimate conversations among friends, artists, and researchers within the BIPOC community.
How to be a Chinese Ally
Written and edited: Annie Wong and Chen Chen
Written and edited: Annie Wong and Chen Chen
To honour that choice they made to survive and to keep my ancestors surviving so that I can be here: I do the work for them.
— Fiona Raye Clark
These rocks are a reminder to never sell our land and to never surrender it because we fought so hard for it.
— Seth Cardinal Dodginghorse
This audio version of How to be a Chinese Ally was made by the dedicated efforts of a handful of organisers, academics, and artists from the Chinese community across Canada. Some volunteered a few afternoons of their time; others dedicated many long hours to re-translating the text; and space was held for deep conversations that occurred during the long process.
An unexpected result from the process was a mentorship opportunity between the Cantonese readers, whose inclusion in this project addressed important considerations about access to resources and barriers to participation within the Chinese community. Since the original text was written in Simplified Chinese, it was relatively easy for Mandarin speakers to be involved in this project. Elaine Yip and Melva Chan however, who speak Cantonese, had to make space for their native dialect by retranslating the book. This process included conversations about the linguistic bias for Mandarin as well as the traumatic loss of Cantonese fluency in the Chinese community in Canada. What formed was a peer-to-peer language mentorship between Elaine, who was born in Canada, and Melva, who was born in Hong Kong. Elaine and Melva have shared clips from their discussion for Cantonese diasporic listeners to get a sense of the linguistic nuances they had to navigate.
While Beixi, Chen, Christina, Elaine, and Melva represent the voices of the interviewees of How to be a Chinese Ally, they each bring their own identities as individuals invested in their community with a spirit not unlike Fiona, Jae, Melissa, and seth.
We hope you enjoy it.
You really have to make a conscious decision to hold on to your Jamaican identity.
— Jae Sterling
Your mom is Métis, but you’re also Métis; your dad’s Chinese but you’re also Chinese.’ Accepting both identities has been healing.
— Melissa Chung-Mowat
Written Reflection on Cantonese Translation Process by Elaine Yip
As much as both Melva and I were excited and loved doing this work, you can hear some of our banter and struggles at the end of each interview segment, it is also obvious that there is a lot of work to be done to make this actually an accessible document to varying levels of Chinese-speaking (diasporic dialects and specific culturally-oriented ‘Chinese” language — such as Taiwanese-Mandarin Chinese, Cantonese-global/ HongKong Cantonese), etc.
Some of the key issues that arose from the experience of working with this book was mainly due to two areas of complexities.
- language proficiency levels of both translator-readers as well as potential audience for context and terminology (technical verse colloquial and common or layperson language);
- The original text (ENGLISH) was first translated into Mandarin and written in quite technical and academic ways and that was the reference point for the Cantonese audio-recording.
We realized that our audience, regardless of ethnocultural background, may not yet have their own awareness for a deeper understanding of their personal, family, and community roles on multiple fronts to existing issues, causes, and global geopolitics.
Then add the ranges of Cantonese language proficiency, being both oral histories and knowledge that are becoming more and more at risk of loss (Cantonese next generations around the world) AND for all sides of Cantonese translator-readers-listeners of this document.
Lastly, the very specific, complex, and nuances reason terminology is used, has meaning, and is different by lets say, someone whose positionality is situated at different angles towards relationships of People Republic of China, Republic of China, as well as alternative forms of global diasporic cultural histories on Chinese-ness.
We hope you can listen and learn, read along, and ask questions.
But also, we hope there will be the funded opportunity to specifically work on alternative dialects and Cantonese-language content development by the efforts of two, alternatively representative forms of Chinese-ness, by those in global diasporic cultural groups and those voices of past and future generations.
Editors
Annie Wong
Annie Wong 黃秀盈,is a writer and multidisciplinary artist working in performance and installation. Conceptually diverse, her practice explores the intersections between the political and poetic in everyday life. Wong’s practice is heavily collaborative and often engages diasporic communities to produce a collective form of carework as the basis for artistic production, allyship building, and spiritualism. Wong has presented across North America including at the Toronto Biennale of Art, Studio XX and SBC Gallery (Montreal, QC), Third Space Gallery (Saint John, NB), and has been awarded residencies with the Art Gallery of Ontario, the Power Plant (Toronto, ON), The Khyber Centre for the Arts (Halifax, NS), and Banff Centre for Creativity and Art (Banff, AL). Her literary works in poetry, art writing, and non-fiction can be found in Koffler.Digital, The Shanghai Literary Review, C Magazine, Canadian Art, and MICE Magazine.
Chen Chen
Chen Chen 陳晨 (Ph.D.), currently an Assistant Professor at the University of Connecticut, is a grateful visitor to the land known as Connecticut (originated from the Algonquin word Quinnehtukqut which means ‘beside the long tidal river’). He was able to engage in deep learning while living in amiskwaciwâskahikan (also known today as Edmonton, Canada) on Treaty 6 Territory, for seven years. An educator and researcher, his current work addresses the intersection of sport with colonialism, migration/displacement, and environmental justice. He is particularly interested in how non-Western epistemologies (theories of knowledge) and worldviews can mobilize sport and movement spaces to be more just and equitable, and facilitate more meaningful community-building towards decolonization and abolition.
Contributer
Christina Yao
Christina is a Calgary-based photographer who grew up in China and lived in different multicultural countries such as the US, Colombia, and Canada. The experience working for a major multinational corporation as well as traveling in South America and Europe made her devote herself to photography to tell fascinating stories of people and cultures, especially Calgary’s immigrants and the local LGBTQ community. Christina has received the Self-Directed Research Scholarship from AUarts in 2021 and has been working on an ongoing photo project of MASCULINITY which will be featured in the EXPOSURE, Alberta’s Photography Festival 2022.
Beixi Liu
Beixi Liu, an organizer at the Workers’ Action Centre, has long been engaged in the work to organize low-wage workers for workers’ rights in the immigrant community. As an immigrant and a person of colour in Canada, Beixi has done a lot of precarious, at-the-bottom and low-paying jobs, and has encountered “Wage Theft”, discrimination and other unfair treatment in the workplaces. His personal experience at work inspired him to become an advocate dedicated to the fight for justice and fairness for workers.
Melva Chen
Melva Chen, as a Canadian Citizen, was born and grew up in Hong Kong, which was a British colony and was returned to Mainland China in 1997. She arrived in Canada to pursue higher education when she was 17. Melva graduated from University of Alberta, with a major in psychology and a minor in East Asians Studies. She was fascinated by the uniqueness of colonialism and the complexity of Chinese homosexuality through literatures courses. While she was studying in university, she joined the Student Volunteering Communication Community as a Cantonese facilitator and designed Cantonese sessions for Cantonese learners.
Elaine Yip
Elaine Yip was born, raised, and continues to be situated in Edmonton, Alberta, Canada (Treaty 6 territories). Her parents are ethnic Chinese who arrived in Canada in 1979 after their displacement from the Vietnam War. Her grandparents’ ancestral hometowns are in South China, in Guangdong and Fokkien Provinces. Through the Edmonton Chinese Bilingual Education Association ECBEA schools programs, Elaine studied Mandarin Chinese in school and learned Cantonese Chinese at home. She earned a Bachelor of Science in Kinesiology at the University of Alberta and a few years later, pursued further education towards an MA (RLS) Recreation and Leisure Studies.
Echo Zhou
Echo Zhou is a Chinese immigrant, Tkaronto based scenographer working in theatre and dance. She has designed for Buddies in the Bad Times, Theatre Passe Muraille, Thousand Island Playhouse, Tarragon Theatre, Theatre by the Bay, Frog in Hand, The Theatre Centre, The Next Stage Festival, SummerWorks Festival, etc. Her design works have also been presented in Japan and China. Echo was one of the cohorts of Why Not Theatre’s ThisGen Fellowship 2020. Recent favourite works include White Girls in Moccasins (Manidoons Collective, Canada), Rhubarb Festival (Buddies in Bad Times Theatre, Canada), Mno Bimaadiziwin(Theatre by the Bay, Canada), Serving Elizabeth (Thousand Island Playhouse, Canada), Stories in the Woods (Frog in Hand, Canada), Mr.Shi and His Lover, I Swallowed Moon Made of Iron (Music Picnic). Echo is a member of the Associated Designers of Canada. www.echozhoudesign.com Echo is currently residing with her sweet gecko Princess in Tkaronto. For Grandpa.