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。
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。
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。
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。
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。
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，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。
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.
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.
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.
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.
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, 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, 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 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 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.