The Chinese Lady and China for the Ladies Race, Gender, and Public Exhibition in Jacksonian America John Haddad

The Chinese Lady and China for the Ladies Race, Gender, and Public Exhibition in Jacksonian America John Haddad John Haddad, “The Chinese Lady and China for the Ladies: Race, area amusements hints at the difference between Moy and Gender, and Public Exhibition in Jacksonian America,” Chinese some of the other popular attractions of Jacksonian America: America: History & Perspectives —The Journal of the Chi- Mr. Maelzell burns Moscow in an improved style. —The eastern nese Historical Society of America (San Francisco: Chinese Magician, Bahad Marchael, astonished crowds by raising and Historical Society of America with UCLA Asian American Studies laying ghosts, and shows himself to be the most expert professor Center, 2011), 5–19. of legerdemain and necromancy that has ever visited the city. — The Chinese lady, Afong Moy, has arrived there from the south— and last, as well as least, there is an exhibition of trained fleas.3 Unlike most acts from this period, Afong Moy did not juggle, INTRODUCTION work with trained animals, or profess to communicate with the dead—yet American audiences did not seem to mind. n 1830, Harriet Low, the niece of a China trader, strolled For they required only that the Chinese Lady be exactly that: through the narrow streets of Canton, China. Though authentically Chinese and a woman of affluence, elegance, Ithis activity may seem routine, she was actually acting and refinement. in bold defiance of a Qing law that forbade the presence of Indeed, Afong Moy’s nationality, gender, and class were Western women in China. Not surprisingly, Low attracted absolutely crucial to her popularity, because without each of a crowd of Cantonese onlookers, most of whom had never these, she would not have possessed the remarkable physi- before seen a White woman. In her journal, Low commented cal feature that set off a firestorm of interest everywhere she on their behavior: “I think the Chinese are much more civil went: her diminutive feet. Like many Chinese women, Moy than either American or English people would have been if had undergone the painful process of foot binding as a child. a Chinawoman with little feet had appeared in our streets, During her exhibitions, men in the audience tended to fix- dressed in the costume of her country. Why, she would be ate on her small feet, deeming them inexhaustible sources mobbed and hooted at immediately!”1 Four years later, her of anatomical fascination, moral disgust, or erotic pleasure. prediction was tested when a merchant vessel arrived in New While women also studied Moy’s feet, they were equally York Harbor conveying just such a passenger. When ship- drawn to her surroundings—a luxurious setting composed ping news columns in the city papers announced her arrival, of Chinese home furnishings and decorative objects. In other the curiosity of New Yorkers was piqued. In the days that words, the Chinese Lady appealed to men and women alike, followed, they would scour the dailies for updates on Afong but their consumption of her performance tended to be actu- Moy, the young woman who would come to be known as ated by different desires and concerns. While the male gaze “the Chinese Lady.” was motivated by impulses we could classify as moral, physi- This article tells the story of Afong Moy, focusing on the ological, and sexual, the female gaze was often driven by shrewd marketing scheme that brought her to New York, commercial and aesthetic concerns. the American views of China she faced and helped reshape, We can best understand the highly gendered response the intense public interest her exhibition generated, and her to the Chinese Lady by situating her exhibition in its larger extensive tour of the United States.2 Moy visited some of economic, cultural, and historical contexts. As Americans America’s largest cities after departing New York, drawing flocked to see the exotic Asian beauty with the tiny feet, their crowds everywhere she went. In Washington, she even pro- behavior in her presence and subsequent written accounts vided President Andrew Jackson with a private performance were, to a large degree, shaped by sweeping changes trans- in the White House. Yet “performance” may not be the appro- forming American life: the market revolution and rapidly priate term, for performing was conspicuously absent in the industrializing economy, the rising tide of religious revival- exhibition of Afong Moy. Indeed, the following list of Boston- ism and reform movements, and the advent of new gender 5 6 John Haddad roles in a reconfigured home. One reporter from Baltimore certainly gathered the raw materials for his fictional travel- was keenly aware of the peculiar American behavior Moy was ogue from the published accounts of missionaries and mer- witnessing daily; he reported in jest that she was considering chants. In the story, Jonathan discovers wild ginseng growing publishing her observations on the “domestic manners of the in his native Salem and decides to sell it to the Chinese. After Americans”! His joke underscored an important irony: the voyaging to Canton, he enjoys several adventures, one of exhibition of the Chinese Lady, while offering some insight which involves his accidental intrusion into the inner sanc- into Chinese civilization, shed plenty of light on American tum of a Chinese home. Once inside, he becomes privy to society in the age of Jackson.4 the rarest of sights—a genuine Chinese lady. He approached her still nearer, took up the guitar, and begged her to play him a tune. Jonathan was . as handsome a lad THE RAREST OF SIGHTS as might be seen; tall and straight, with blue eyes, white fore- head, and red cheeks, a little rusted to be sure with the voyage. Though Afong Moy was not the first Chinese person to The pretty creature with the little feet, whose name was Shang- touch American soil, she was probably the first Chinese tshee, ventured at last to look at this impudent intruder, and, 5 sooth to say, he did not appear so terrible at the second glance as woman. This fact is not surprising, given the closed nature at the first. She smiled, and put out her small foot for Jonathan of China before the Opium War (1839–42). Back in 1760, to admire. She then took her guitar and played him a tune. Emperor Qianlong, desiring to control the empire’s foreign intercourse, had adopted a highly restrictive policy regard- Jonathan’s chance meeting with a Chinese lady provides both ing the movement of Westerners in China. The latter were parties with an erotic encounter. Though nothing becomes confined to the southern port of Canton and banned from of their flirtation (when he gets too close, she scratches his traveling to other parts of the country.6 If China was largely face with her long, sharp fingernails), Paulding’s story never- unknown to the West, affluent Chinese women were utterly theless foreshadows Afong Moy’s relationship with many of enveloped in mystery. Since wealthy Chinese men seques- the men in her audience: she would sing to them and show tered their wives and daughters from the public, these off her small feet as they gazed upon her with thinly veiled women seldom ventured onto the streets, leading an exis- sexual curiosity.9 tence that was almost exclusively domestic. The ancient With Chinese women being so tantalizingly difficult to practice of foot binding, which became widespread in the see, it is not surprising that Westerners treated them almost Qing dynasty (1644–1911), further intensified their seclu- like mythic creatures. They yearned to witness one in the sion by inhibiting their mobility.7 flesh. After all, to look upon one, as Jonathan does in the In Canton, women with small feet were so hidden from story, was to have access to a sight that was doubly forbid- view that Americans residing there treated their attempts den: a woman secluded from society inside a country sealed to see one like a game. “A Chinese lady I have never seen,” off from the world. Clearly, an individual who could smug- wrote John Latimer, a trader, in the 1820s. “They never walk, gle a woman with small feet out of China and exhibit her in indeed I believe they cannot owing to the barbarous custom America stood to benefit financially. Yet the Chinese Lady, of confining the feet while young.” He added that a Chinese unlike many of the so-called human curiosities displayed friend had promised him a pair of shoes, 31/2 inches long, in the United States, was not the creation of a showman once worn by that individual’s wife. Brantz Mayer, a travel like P. T. Barnum. Rather, her story is interwoven within the writer who visited Canton in 1827, described the “well-born larger economic tapestry of Jacksonian America. lady” in China as “a hot-house plant, grown under glass and watched as carefully as the choicest bud”; her “paleness” was a symptom of her “concealment” and “seclusion.” At A NOVEL PLOY FOR A NEW ECONOMY the time of writing, Mayer had successfully secured a pair of the sought-after tiny shoes. According to Osmond Tiffany, When Captain B. T. Obear of Beverly, Massachusetts,10 sailed another travel writer, foreigners’ intense fascination with the ship Howard from Canton to New York in 1832, Nathan- foot binding eventually reached the awareness of Cantonese iel and Frederick Carne, the vessel’s owners, placed the cargo shopkeepers, who, eager to profit from this curiosity, began of Chinese goods up for auction. Though this event perhaps to sell clay models of “contracted feet, painted flesh color and seems rather ordinary in the mercantile world, it actually set into shoes.”8 signaled a new development in the China trade.

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