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How Taishan learned to absorb the world

Guangdong’s ‘hometown of overseas Chinese’ is where architecture and cuisine created by returning émigrés reveal how culture flows both ways

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The Tower of Heavenly Success with the Tan River in the background, in Majianglong, Taishan. Photo: Graeme Kennedy
Christopher St. Cavish

The records are clear and complete: about 300 years ago, a Huang clan from just across the Tan River got the idea to start their own village here, tucked into one of the river’s curves with Baizu mountain at its back. Hiring a feng shui master from Jiangxi province to lay it out, they built grey brick houses in a tight grid, with dragon-back or phoenix-crest ridges, surrounded by dense bamboo groves. Acres of fruit orchards were planted outside the village and a fish pond dug in front. A few hundred years later, the Guan clan moved in and built their own village nearby. It was typical Guangdong countryside life, in a particularly beautiful and well-ordered corner of Taishan, known as Toisan in Cantonese.

Today, these villages – known collectively as the villages of Majianglong – are recognised as a Unesco World Heritage site and part of a region that calls itself the “hometown of overseas Chinese”. The early immigrants from this part of Guangdong province set up the first Chinatowns in the cities where they landed and became the foundation of many diaspora communities. By the late 19th century, up to 90 per cent of all the Chinese in California were from the greater Taishan area, and until the 1970s, the Taishan dialect dominated overseas Chinatowns. In the early 2000s, a Unesco study found that the 500 people still living in Majianglong’s five villages had 800 or more relatives living in the United States, Canada and Australia.

Over the past century, these villages and the broader region to which they belong have been shaped by cultural currents that run across the world and back. Anthropologists consider the people of Chaoshan, another base of emigration from Guangdong, to have an “export culture”, meaning that when residents emigrated, mainly to Southeast Asia, they set up their communities, temples, buildings and societies to mirror their lives back home. By contrast, Taishan had an “import culture”, where returnees brought touches of overseas culture back home with them. They used Western architectural styles, dressed in wool suits, installed Western flush toilets and cast-iron bathtubs, and incorporated English words into the dialect.

A steamship mural above a door in Majianglong. Photo: Graeme Kennedy
A steamship mural above a door in Majianglong. Photo: Graeme Kennedy

Evidence of this history can still be found in Taishan. On multiple visits over the past year, I found murals above the doors on some of the low-slung brick houses painted with auspicious scenes of birds and deer. But looking closely, I saw that many houses had replaced those traditional paintings with murals of steamships headed either to or from lands of people dressed in suits and long Western dresses. Many of these paintings, touched up in the 2000s, are still vivid, the mode of transport outdated but the story they represent as relevant as ever.

Majianglong is just one corner of Kaiping, itself part of the greater Taishan area. Today, it’s a two-hour drive west of Shenzhen and the region is a major destination for overseas Chinese families chasing their roots. Tour buses crowd the more famous villages and stop at an impressive Overseas Chinese Museum, which is funded primarily by donations.

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