Cantonese Opera Skirt

Unlike most Cantonese opera costumes, this costume resembles actual clothing. From about 1920-1930, there was experimentation in Cantonese opera with using costumes resembling actual contemporary clothing, “sih jong”. This experiment was specific to Cantonese opera. The Vancouver newspaper “Chinese Times”, “Daaih Hong Gung Bou”, had advertisements for operas featuring costumes in contemporary style, “sih jong hei”, and new stories. The short sleeves and stiff fitted collar of this costume reflect this, as does the long skirt with pleated sides and flat front and back panels with which it was worn. Such blouses with rounded lower edges predate those with straight lower edges. This kind of costume reflects Manchu influences. It was worn to represent a stylish wealthy young woman. It probably was worn by an actress with short hair and with a sun hat rather than an opera headdress.
The style of most Cantonese opera costumes derives from clothing of the Ming Dynasty, with the exception of some costumes that are specific in style to clothing of the Qing Dynasty, for operas set in that dynasty. Ming Dynasty style costumes are used for operas set in all other dynasties. In Cantonese opera, the standards for indicating particular role types and character types through costumes were and are not as strict as those for Beijing opera, and the use of symbols appears to have been inconsistent. The performance style of Cantonese opera is also much more flexible than that of Beijing opera, and change and novelty were and are valued. This is reflected in the costumes. It was important that robes and headdresses be appropriate to each other, but the footwear was less strictly controlled.
Early in the twentieth century there was a multiplicity of role types, but the number of role types was simplified over time, and some were merged. More than one actor can play a particular role type at any one time, and they are ranked. A basic list follows, but more role types exist. Among the female role types are those who can fight (called “fa daan”). The highest of these can sing, and is called the ”jing yahn fa daan”. Another female role type is the “ching yi”, a humble, struggling gentlewoman. A third female role type is the old woman “louh daan”. A fourth is the female clown “neuih chauh”. Male role types include the “siu saang” (young gentleman), “mouh saang” (military man), “fa mihn” (painted face, military man with less education), “sou saang” (bearded gentleman, older civil male), “jung saang” (mid-rank male with many skills, but not outstanding), and “chauh saang” (male clown). Costumes are specific to general role type and often to character type, but rarely to the specific character. They are divided into civil and military types, as indicated by their sleeves. Civil costumes have wide sleeves, while military costumes have tight sleeves. Other details such as colour indicate the role type and character type. As indicated by this collection, “water sleeves” “seuih jauh” were rarely used in the pre World War II period. Many costumes conform to named types, such as “yuhn lehng” “round neck” and “hoi ching”, scholar’s long robe overlapping at the front, with wide sleeves.
Male and female role types can be played by either men or women, depending on their abilities and attributes. In the past, troupes were all-male, but later all-female troupes and mixed troupes were formed. Mixed troupes were accepted in the overseas Chinese context before they were accepted in China.

A large group of Cantonese opera costumes, musical instruments, props, trunks, and stage fittings was left with the Jin Wah Sing Musical Association, apparently by some of the many itinerant troupes visiting Vancouver to perform in the Chinatown theatres in the pre World War II period. There is no certain knowledge of why these materials were not taken back to China by them. They were used by the Jin Wah Sing Musical Association in their performances until they became too dated. The association continued to preserve them carefully, storing them in their headquarters and in the basement of the Chinese Freemasons building until several groups of materials were sold and donated to the Museum of Anthropology.

theatre

Emdroidery is done with long satin stitches, using loosely spun coarse silk thread. Motifs are outlined with a double row of couched silver thread. Skirt is pleated onto waistband on either side of flat front and back panels. Stitching that is visible is done by machine, except for the hem.

Yellow skirt (part b) with a cotton waistband, accordion pleats and side openings with long ties. On the front and back panels are peacock, wave and cloud motifs in blue, turquoise and red. The lower border in the pleated areas has a prunus motif in blue and turquoise. The four yellow hanging panels attached at the waistband also have a prunus motif in blue and turquoise. The inside is unlined.