In the West Connex neighbourhood that is Parramatta Road, Haberfield, there’s an entire block on Cadigal land with the street frontage almost completely camouflaged by a dense outgrowth of foliage, overgrown Moreton Bay figs and other assorted large trees. If you stop and peer through the ancient but imposing gates, beyond the locked high wire fence, you’ll see a deserted, winding driveway, bisecting the sprawling green maze. At the end of this serpentine path is Yasmar House in the inner west suburb of Haberfield. The name sounds vaguely Middle Eastern (Arabic female name?), but is actually less exotic than it sounds, “Yasmar” is simply “Ramsay” spelt backwards. Ramsay is the name of an early 19th century landowner in what was originally called the Dobroyde Estate, David Ramsay𖤓. Ramsay’s son-in-law Alexander Learmonth and daughter Mary Louisa Ramsay commissioned architect John Bibb to design their Yasmar House as their family residence on a parcel of the estate land.
Yasmar House (1854–56), still extant today, is the sole remaining villa estate on Parramatta Road, Australia’s oldest and busiest road. The once grand building is U-shaped with rear wings (originally servants’ quarters and service rooms) and stables, the buildings set well back from the front entrance…architecturally, it is a Regency designed villa in the Greek Revival Style (John Bibb’s speciality). The classical gateposts, made of Italianate style sandstone with Gothic recesses and a ball motif atop them are connected to a high, ornate iron palisade fence. After Yasmarbecame a borstal the entrance was widened to accommodate prison trucks. The garden design of the arboretum and Georgian landscaping adhered to JC Loudon’s “Gardenesque” principles. During this period many exceptional and unusual species of flora were planted…to a large part this was the work of Mrs Learmonth’s brother Edward Ramsay who had a keen botanical interest. Among the rare or uncommon plantings that survive are palo blanco trees, Chilean wine/coquito palms, Pacific kauris and a Chinese midenhair tree [Jackson-Stepowski, Sue, Yasmar, Dictionary of Sydney, 2008, https://dictionaryofsydney.org/entry/yasmar, viewed 02 Nov 2024].
Yasmar House has had only three owners in its nearly 170-year history – the Learmonth family, the Grace family (co-founder of the iconic Grace Brothers Department Store Joseph Neal Grace and his wife Sarah Selina Smith) and the NSW state government.
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Yasmar House has bore many names and many uses over the course of its existence, including Yasmar Hostel, Yasmar Detention Centre, Yasmar Child Welfare Home, Yasmar Shelter, Yasmar Juvenile Justice Centre, Ashfield Remand Home. It also functioned as a Sunday school in the 1860s. At one point the site included a reform school facility for girls, the Sunning Hill Education and Training Unit.
Currently, the complex operates as the Yasmar Training Centre (administered by the Department of Corrective Services). The state government acquired the villa in 1944 after it had served as army officers’ quarters during the war. In 1946 Yasmar House became a remand centre for delinquent boys, with its grand reception rooms serving as a children’s court and other rooms assigned for attending magistrates.To accommodate the increase in juvenile inmate numbers at Yasmar, timber structures were built on top of the property’s tennis courts and croquet lawns§ (Jackson-Stepowski).
In 1991 Juvenile Justice relocated away from Haberfield and Yasmar House became vacant, leading to a marked deterioration in the condition of the heritage-listed villa and the gardens. Consequently, Yasmar has been described as “a landscape at risk”, prompting locals from the Haberfield Association to volunteer their labour to try to restore the garden to its comely former state.
𖤓 nearby the Yasmar site there is both a Ramsay Street and a Yasmar Avenue
§ former inmates of the Yasmar institution from decades ago paint a picture of harsh living conditions, brutal treatment, beatings at the hands of the guards and other abuses of authority [‘Yasmar – Ashfield, NSW’, Past/Lives of the Near Future, (Michael Wayne), www.pastlivesofthenearfuture.com]
One of the favourite characters of the American moviegoing public in the 1930s and 1940s was the affable but inscrutable Chinese detective from Honolulu, Charlie Chan. Some 44 black and white (mostly B) movies were made by Fox Film Corp (20th Century Fox) and later Monogram Pictures spanning the years 1931 and 1949. Budgeted at $200,000 to $250,000 per film Chan pictures regularly returned a million dollars in profit for Fox (‘China and the Chinese in Popular Film: From Fu Manchu to Charlie Chan: 9781350985681, 9781786730640’, (2017), www.dokumen.pub). Bargain-basement Monogram made their Chans for much less than this.
The producers used three non-Chinese actors to fill the eponymous role over the course of the series – a Swede, Warner Oland and two Americans, Sidney Toler and Roland Winters. This recourse to non-Asian white actors presuming to play Asians fuelled vitriolic criticism much later (and rightly so), but back around circa 1940 this was what Hollywood got away with without discernible objection or diminution of the character’s popularity🅐. Before the Fox series started up in 1931 there had been three earlier (1920s) representations of Charlie Chan on screen, two of which were played by Japanese actors.
It all starts in Honolulu: The life of the literary “Charlie Chan” begins with a midwestern United States writer on holiday in 1920. Earl Derr Biggers, who had already had a measure of success as an author, was relaxing on a beach in Hawaii when he concocted the bare bones of a murder mystery. As for the character of “Chan” himself, Biggers stitched together composite attributes based on what he learned about a brace of real-life Chinese-Hawaiian detectives𖣓. The end-product was Biggers’ novel The House Without a Key, the first Charlie Chan detective fiction, published in 1925. The author explained how he envisaged the character of the brilliant fictional oriental master-sleuth: “I had seen movies depicting and read stories about Chinatown and wicked Chinese villains, and it struck me that a Chinese hero, trustworthy, benevolent, and philosophical, would come nearer to presenting a correct portrayal of the race” (Barbara Gregorich, ‘Earl Derr Biggers’, Harvard Magazine, 03-Jan-2000). Biggers’ intention was an anti-racist creation, an antidote to the villainous yellow peril persona commonly constructed for the screen (as typified by the archetypal Dr Fu Manchu).
The first four films of the Charlie Chan series including the first in the Fox franchise featuring Warner Oland, Charlie Chan Carries On, are all lost (destroyed in a vault fire), so of the remaining films in the sub-genre, critics generally rate these among the best: Charlie Chan at the Opera, Charlie Chan in London, Charlie Chan at the Circus,Charlie Chan in Shanghai, Charlie Chan at the Olympics, (all Oland); Charlie Chan in Honolulu, Castle in the Desert, Charlie Chan atTreasure Island, Dead Men Tell (all Toler). The quality dropped off alarmingly the longer the series went, especially after Monogram, the “Poverty Row” studio, with its low-budget approach and inferior production values, took charge of the films🅑.
Pseudo-Confucian wisdom: One of the standard tropes of the CC films is Charlie’s habitual indulgence in oriental fortune cookie-style aphorisms, intoned deadpan in his characteristically truncated syntax. Some of the more memorable ones include “Accidents can happen, if planned that way”; “A soft word does not scratch the tongue”; “Caution sometime mother of suspicion”; “Tongue often hang man quicker than rope”; “Mind, like parachute, only function when open”; “Fish in sea like flea on dog – always present, but difficult to catch”; “Grain of sand in eye may hide mountain”; “If you want wild bird to sing, do not put him in cage”; “Innocent act without thinking, guilty always make plans”; “Motive like string, tied in many knots, end may be in sight but hard to unravel”; “Opinion like tea leaf in hot water – both need time for brewing”; “Optimist only see only doughnut, pessimist see hole”; ”Person who ask riddle should know answer”; “Talk cannot cook rice”; “Waiting for tomorrow is waste of today”; “When money talk, few are deaf”; “Bad alibi like dead fish – cannot stand test of time”. Another stock phrase of Chan’s, oft-repeated in every film, is “Contradiction, please!” Followed by observations such as “Case still open like swinging gate”.
Sons No. 1, 2 and 3: The honourable Inspector Chan is a family man with multiple offspring (the Chan clan numbering 14 at the last count!), but it is his three eldest sons, #1, #2 and #3, that mostly get to share the spotlight with their father, and even play a role (sometimes inadvertently) in the solving of the particular case in question, whilst irritating the bejesus out of Chan. In most of the Warner Oland films Charlie is paired with Son #1, Lee Chan (played by Keye Luke). In the Sidney Toler films Chan is joined by Son #2, Jimmy (portrayed by Victor Sen Yung). By Charlie Chan in the Secret Service (1944) Son #3, Tommy (Benson Fong) is on board, opposite Toler in several of the Chan movies. After the CC baton is passed to Roland Winters in the late Forties, Keye Luke🅒 returns as Son #1 for the last few entries in the sequence. The favourite sons act as foils to Charlie, emphasising the generation gap between themselves and their “Pop” by demonstrating how thoroughly as Chinese-Americans they have assimilated into the dominant white culture (Tino Balio, “Balio on Charlie Chan ‘Grand Design’”, Some critical perspectives on Charlie Chan, (University of Missouri – St Louis) www.umsl.edu). African-American actor Mantan Moreland injected moments of comedy relief (usually working in unison with one of the numbered sons), appearing in 15 of the later mystery whodunnits in the 1940s as Chan’s jittery chauffeur Birmingham Brown.
What made Charlie Chan so popular with Waspish America?🅓 Chan’s portrayal in a positive light (as intended by Biggers) made him something of a novelty for white audiences accustomed to negative depictions of Asians on the screen. Chan was different, it seemed incongruous, here was a rotund, humorous Chinese man who held the senior position of police inspector and the obvious respect of his peers. Endowed with Sherlock Holmes-like acute powers of observation, he solves baffling crimes that no one else can (Elaine Kim ‘Images of Asians in Anglo-American Literature’, Some critical perspectives on Charlie Chan, (University of Missouri – St Louis) www.umsl.edu). Another appealing factor was the movies’ variety of settings…though based in Honolulu, the usual format sees globe-trotting Charlie Chan following the murder trail to a host of exotic international locations—London, Paris, Monte Carlo, Río, Egypt, Shànghâi, Panama, Mexico, Berlin, etc—for a spot of outreach sleuth work. The regular changes of locale/scenery helped to maintain the interest of moviegoers.
Is Chan a transitional figure bridging the divide in cultures?:The Charlie Chan persona has certainly polarised critics in America. Some see the character as having been a positive for changing the perception of Asian and specifically Chinese people. Hitherto American audiences were exposed to the notion of Orientals as “heathen Chinee”, denizens of the squalid opium den or as nondescript types who worked solely in damp, dingy laundries. Det. Inspector Chan is a very different Oriental, his attributes, intelligence, diligence, good humour and loyalty, are qualities much valued in the American cultural ethos. In this context the Chinese-Hawaiian shamus is seen as a good stereotype, countering the bad Oriental stereotype so long ingrained in US cinema. (Sandra Hawley, ‘The Importance of Being Charlie Chan’, www.enotes.com).
Charlie Chan as “showcase” representative of a “model minority”: Other critics take a more trenchant view of why Americans of the day so readily accepted Charlie Chan. They see Chan as one-dimensional, subservient, kowtowing to white authority, merely a subject for satire. Even when he is demonstrating his superior intellectual powers, meek of demeanour Chan is self-effacing and apologetic (“so sorry to disagree”), he never challenges the power imbalance in the Caucasians’ favour🅔. Culturally assimilated, Chan knows his place in white American society as the “benevolent Other”…always stoical, he cheerfully accepts his assigned status (Shilpa Dave et al, East Main Street: Asian American Popular Culture, and Jeffrey Crean, Fear of Chinese Power: An International History, (both cited in Wikipedia); Kim, ‘Images of Asians’). Some critiques see the Chan character as an emasculated figure, a pernicious racial stereotype blocking the articulation of “more credible, self-determined enunciations of Asian American identity” (‘The Hardboiled and the Haunted: Race, Masculinity and the Asian American Detective’, Calvin McMillin, (2012), www.academia.edu). Philippa Gates sees Chan as “existing in a liminal space between Chinese and American culture symbolized by his home: the mid-Pacific territory of Hawaii” (Philippa Gates, “‘Asian’ Detectives. An Overview”, Crime Culture, www.crimeculture.com).
Resuscitating “Yellowface“ in a more racial diverse and inclusive era: The Charlie Chan films worked for their time and cultural context. Attempts to revive the Charlie Chan mystique in remakes a generation later with The Return of Charlie Chan (1973), and the lame Charlie Chan and the Curse of the Dragon Queen (1981), still committing the sin of casting Caucasian actors in the title role, misfired badly and were called out for their cultural insensitivity and political incorrectness🅕. The Curse of the Dragon Queen provoked a vociferous backlash from Asian-Americans who labelled Chan “a yellow Uncle Tom” and organised protests against the film, beginning even before it into production (‘Charlie Chan and the Curse of the Dragon Queen’ (1981), AFI Catalog, www.catalog.afi.com).
Sceptical police inspector: Aren’t you jumping to conclusions? Chan: No, conclusions are jumping at me.xxxxxxxxxxxxxxxx (Charlie Chan in London)
𖣓 for more on this see ‘Chan and Chang: The Origin and Cultural Vicissitudes of the Most Famous Chinese-American Literary and Screen Detective’, posted July 2020 on this site
🅐 from the Forties right through to the Sixties Hollywood westerns dished up to the public Italians, Hungarians, Russian actors with three-day growths, passing them all off as American “Indians”, anyone it seemed was used other than actual native Americans
🅑 relating to the films in the later phase of Toler and his successor Winter
🅒 the popular Luke scored a solo turn in the Chinese-American detective whodunnit caper in Phantom of Chinatown (1940)
🅓 intriguingly Chan was also very popular in China during the 1930s, even seen as a Chinese hero. Warner Oland was feted like royalty when he visited the country. Homegrown versions of the Charlie Chan movies were made in Shànghâi and Hong Kong
🅔 although as Fletcher Chan notes, Charlie doesn’t always passively accept the doormat position. In The Chinese Parrot, confronted with egregious racism he reacts with discernible anger and displeasure towards the offending white person (Fletcher Chan, ‘Charlie Chan: A Hero of Sorts’, California Literary Review, 26-Mar-2007, www.calitreview.com)
🅕 Hollywood’s casting of a “yellowface” Charlie continued into television, a 1957 series, The New Adventures of Charlie Chan, saw fit to feature an American of Irish heritage in the lead role
In an isolated, off-the-beaten track northern peninsula in the Northern Territory, all that’s left of an early 19th century British outpost are the remnants of several buildings and a few crumbling cemetery headstones. This was once the Victoria Settlement (aka “New Victoria”) at Port Essington, founded in 1838 on the traditional lands of the Madjunbalmi clan.
⌂ Location of Cobourg Peninsula & Victoria Settlement (red arrow)
Britain’s motives for establishing an outpost on the northern coast of the continent were both military and commercial. A garrison guarding the northern approach to Australia would, it was hoped, be a deterrent to any colonial ambitions nurtured by Britain’s imperial rivals, France and Holland. Britain from the early 1820s on had an inkling of France’s intention to claim part of northern Australia (‘Victoria Settlement 1838–1849’, www.pastmasters.org.au)𝟙. British ambitions for the settlement, protected by an armed garrison, included the hope that it might develop into a trading hub along the lines of Singapore (‘Ruined Dreams of Victoria Settlement’, Julie Fison, 20-Sep-2022, www.juliefison.com). The British also hoped to benefit from the lucrative trade in trepang (sea cucumber), which had brought Makassan fishermen from the East Indies to Pt Essington for centuries. Unfortunately for them this remained unrealised as the Makassans continued to trade exclusively with the Dutch (‘The doomed attempt to claim Australia’s north for the British Empire’, Georgia Moodie, ABC News, Upd 03-Dec-2019, www.amp.abc.net).⌂ Part of town remains today (photo: ABC RN/Georgia Moodie)
The fledgling colony was beleaguered by many obstacles and setbacks. A cyclone in 1839 wreaked much havoc and destruction, precious stores were lost𝟚, the jetty was wrecked as well as damage to buildings and moored ships. The water supply was inadequate, proving a vexing problem in the dry season (Garig Gunak Barlu National Park, ‘Victoria Settlement’, http://nt.gov.au).⌂ Explorer Ludwig Leichhardt visited remote Victoria Settlement during his 1844-45 northern expedition
Malaria was a regular companion of the colony’s inhabitants, eventually claiming the lives of nearly a quarter of the residents. Allied with outbreaks of dysentery, influenza and scurvy, the illnesses inflicting the garrison often confined much needed labour to the hospital’s sick bay. The lack of skilled labour and poor quality resources resulted in a lot of substandard dwellings. The exacting climate, the harsh conditions of Port Essington, made the colony an unattractive prospect to new settlers the government had hoped to lure from the south or from the “old country”. Visiting scientist Thomas Huxley’s description of Port Essington as “most wretched, the climate the most unhealthy, the human beings the most uncomfortable and houses in a condition most decayed and rotten” didn’t help the cause.⌂ Sketch of Port Essington by Commandant John McArthur
The royal marine corps, led by Commandant John McArthur, and most unsuitably attired (heavy wool uniforms) for the region’s conditions, struggled to adapt to life the tropics. A sign of the residents’ despair at their situation can be gleaned from McArthur’s habit of signing all his letters “John McArthur, World’s End”. The settlement struggled on for eleven years, the British authorities having given up on its prospects as a viable colony, maintained it for several years only as a strategic outpost to discourage the possible plans of other European colonial powers in that part of the continent (Moodie). Finally, Victoria Settlement’s failure was evident and the outpost was abandoned in 1849 and the marines returned to Sydney.⌂ History information board at site (photo: John Baas)
Footnote: Indigenous–White interactions
In stark contrast to the tragic and violent colonial interactions characterised by Aboriginals and Europeans elsewhere in the Great Southern Land, a refreshingly good relationship formed between the settlers and the local clans𝟛 – the White settlers in time came to develop a respect for the area’s Blacks and their unique culture (Moodie). And without the crucial local knowledge and advice provided by the Madjunbalmi people at the onset of the settlement, it would likely have folded within a couple of years.⌂ Map of 1820s–1830s historic settlements (source: Northern Territory Library)
𝟙 there had been two prior, unsuccessful British attempts at colony made at nearby Raffles Bay and Melville Island in the 1820s
𝟚 stores—sourced from various locations, Sydney, Timor, Java, India (Darwin wasn’t established until 1869)—were often in short supply, especially medical supplies
𝟛 the small White population was a factor in the peaceful accord
Mao Zedong’s “Great Leap Forward” (GLF) in 1958—communist China’s bold venture to transform the nation’s economy from agrarian to industrial—necessitated some drastic social engineering, and more than a little tinkering with nature. The “Paramount Leader”, repudiating the advice of state economists, consistently advocated the efficacy of population growth for China (Ren Duo, Liliang Da – “With Many People, Strength is Great”) …he stated that “even if China’s population multiplies many times, she is fully capable of finding a solution, the solution is production” (‘The Bankruptcy of the Idealist Conception of History’, (1949)). One strategy of Mao’s for protecting the imperative of national productivity and boosting output involved an extreme “solution” in itself.
Pest controllers: As a plank of the GLF Mao spearheaded the “Four Evils Campaign”, four “pests” of the natural world were targeted for elimination – rats, flies, mosquitoes and sparrows…the first three especially concentrated in large numbers certainly could pose a threat to public health and hygiene, but why sparrows? Mao singled out the sparrow because it consumed the grain seed and rice from agricultural fields. What followed was a government propaganda campaign exhorting the people to fulfil their patriotic duty and zealously hunt down these proscribed “enemies of the state”. The regime enlisted the civilian population in a military-like operation, a coordinated mass mobilisation, dedicated to this singular task. The mass participation event included the very young, armies of children aged five and older were despatched from their homes armed with slingshot and stones, to formicate all over the countryside and wipe out vast numbers of sparrows often with frightening effectiveness.
Mao v Nature: Mao’s war on passerine birds was part of a wider war on nature. Mao encapsulated the objective for China in one of his oft-repeated slogans: Ren Ding Sheng Tian (“Man must conquer nature”). Mao’s modernist conception of the world saw humans as fundamentally distinct and separate from nature, so in order to fashion the world’s most populous republic into the socialist utopia that he envisioned, nature, this external thing, had to be harnessed and defeated (Zhansheng ziran). The result was a drastic reshaping of China’s physical landscape, the over-extraction of resources, intensive farming schemes, massive deforestation, riverine pollution, over-hunting and over-fishing [Judith Shapiro, Mao’s War against Nature (2001)]
A monstrous ecological imbalance and a species endangered: The nationally coordinated campaign against the four pests proceeded with phenomenal speed and ruthless efficiency. By early 1960 an estimated one billion sparrows had been destroyed🄰, nearly wiping out the species altogether in China…a fateful consequence that was to prove catastrophic for the country’s food production. The authorities had not heeded the expert advice from Chinese scientists🄱 that sparrows fulfilled a vital function in feeding off not just crops but off insects including locusts. With the removal of this natural predator, locusts in plague quantities were free to ravage the nation’s fields of grain and rice, and ravage they did, in Nanjiang 60% of the produce fields were ruined [‘Mao and the Sparrows: A Communist State’s War Against Nature’, Agata Kasprolewicz, Przekroj, 22-Mar-2019, www.przekroj.org] .
The Great (man-made) Famine, 1959–1961: The resulting Great Famine in the PRC caused up to 30 million deaths and an estimated similar figure or more in lost or postponed births, making it the worstfamine in human history judged by population loss [‘Berkeley study: Historic famineleavesmultiplegenerationsvulnerable to infectiousdisease’, Berkeley Public Health, www.publichealth.berkeley.edu]. The plunge in agricultural output linked to the sparrow decimation project was further exacerbated by other factors such as Peking’s procurements policy, increase in grain exports from 1957 (redirecting grain away from domestic consumption which otherwise could have allowed millions of Chinese to survive the famine); the priority on industrialisation diverting huge numbers of agriculturalworkers into industrial sectors adversely affected the food scarcity crisis.
Postscript: Reprising the eradication campaign In 1960 the Chinese government upon realising the folly of its sparrow offensive, overturned its proscription of the birds, declaring war on bed bugs in their place. The disastrous sparrow mega-kill episode however didn’t bury the Four Evils campaign forever. The Chinese government in 1998 launched a new version of the movement, posters were seen in Beijing and Chongqing urging citizens to kill the four pests…the first three were the usual suspects as in 1958, but this time cockroaches were substituted for sparrows. Unlike the original sparrow campaign the 1998 version was not successful [‘The Four Pests Campaign: Objectives, Execution, Failure, And Consequences, World Atlas, www.worldatlas.com].
🄰 along with 1.5 billion rats, over 220 million pounds of flies and over 24 million pounds of mosquitoes
🄱 there were doubters within the hierarchy of the Communist Party who had misgivings about the wisdom of the Paramount Leader’s policy, but most found it expedient to remain silent for fear of the personal consequences of incurring the wrath of Mao