INSIGHTS Unveiled at the 5C Ethnic Studies Open House

INSIGHTS installation view

Students viewing the installation at the IDAAS Open House

Viewing the installation

Detail shot of installation

Artist Yong Soon Min with students Sam Pang, Diana Dao, and Evyn Espiritu

Updates and New Design on IDAAS Public Art Commission

Floor plan of project, orange area indicates location of art work

Project Design

INSIGHTS by Yong Soon Min

The title refers to the operations of the site as well as the content. The project involves the interactions between two surfaces that are part of the IDAAS center. The first that viewers encounter is the window that is located next to the entrance. The other surface is the wall that is located adjacent to the entrance and can be seen through the window.

When viewers look at the WINDOW, they will see colorful circles that are composed of words. Upon closer inspection, they will notice that the circular texts are also sentences that they can follow from one end to the other. Each circle is a full sentence; smaller circles – shorter sentences, larger – longer sentences. These sentences will be made of self-adhesive vinyl lettering that will be attached to the window. The type size will be about 50 pts which is easily legible.

The WALL will be painted black and decorated with circular patterns of differently sized mirrors and CDs (iridescent side of the discs). Depending on their vantage point, viewers standing in front of the wall can see various reflections on the mirror, including the colored text of the window (in the right orientation. That is to say, the text can be read properly when standing outside the IDAAS room looking in and also reflected on the mirrors.).

The window texts are a collection of insights or inspirational saying that we live by. I’ve listed a sampling of these expressions below. Some specifically address Asian American issues and experience, some are by authors of other ethnicities, others are lyrics from songs, and others are fortune cookie sayings.

I invite students, faculty and staff of IDAAS to contribute to this project. Your selection of inspirational words should ideally be one sentence long, not to exceed three. We are seeking proverbs or sayings that are thought-provoking with wit and relevance. The more succinct and pithy the expression, the better. These words can be taken from various sources, although those that pertain to Asian American concerns will be especially appreciated. Please be sure to note the author of the saying. A legend that identifies the authors or originators of the sayings will be displayed near the project. This is an opportunity to share with the public insights that are particularly inspirational and meaningful to you.

All suggestions for quotes should be submitted to Ming-Yuen S. Ma via email by Friday, September 4. Final selection of quotes will be done by the artist and Prof Ma.

Send quotes to: ming-yuen_ma@pitzer.edu

Sample of “Insights”

Dissonance is our way of life in America, we are something apart, yet an integral part. –Duke Ellington

Language is also a place of struggle – Bell Hooks

Within our society, there are hierarchies of need because there have been hierarchies of oppression. –Martha P. Cotera

We die. That may be the meaning of life. But we do language. That may be the measure of our lives. –Toni Morrison

Migration is the story of my body.—Victor Herandez Cruz

As a Vietnamese refugee who became an American writer, I can tell you that you matter, that your sadness matters, the story of how you survived and triumphed matters. For every story that belongs to you, in time, belongs to America. –Andrew Lam

History has determined our lives, and we must work hard for what we believe to be the right thing, life is something we borrow and must give back when the time comes – Carlos Bulosan

I am a poor man from a poor country, so I have to be entertaining every second. –Nam Jun Paik

Anecdotes,/The poor man’s history.—Rita Dove

America is filled with people whose histories have deep and complicated roots. Their stories give us alternative views to the grand narrative of Western European progress, modernization, and enlightenment. Often, they directly contradict the fiction the United States tells about itself as a nation as benevolent abroad and inclusive at home. –-Elaine Kim

All History is current; all injustice continues on some level, somewhere in the world. – Alice Walker

Keep speaking — it is real. You have a voice. –Chang-rae Lee

Why does BC stand for Before Christ? Why is it not Before Confucius? — Joe Fong

I learned to make my mind large, as the universe is large, so that there is room for paradoxes. –Maxine Hong Kingston

The bridge of their Enterprise, however, may now have a Klingon on board as the symbol of galactic coexistence, but at least a third of the population of our world and certainly the twenty-fourth century was absent. There were no Asians on their bridge. –George Takei

Freud is Filipino –-Sarita See

I don’t think there will ever be a time when people will stop wanting to bring about change. –Yuri Kochiyama

It is not our differences that divide us. It is our inability to recognize, accept, and celebrate those differences. –Audre Lorde

It was hard for me to do All American Girl because a lot of people didn’t even understand the concept of Asian-American. I was on a morning show, and the host said, ‘Awright, Margaret, we’re changing over to an ABC affiliate! So why don’t you tell our viewers “in your native language” that we’re making that transition?’ So I looked at the camera and said, ‘Um, they’re changing over to an ABC affiliate.’ -–Margaret Cho

When I was 7, I got my first job working in [a] garment factory, and I learned firsthand why they called the place a ’sweatshop,’ … I like to say I was taught in public school, but I was educated in a sweatshop. –John Liu

If you always put limit on everything you do, physical or anything else, it will spread into your work and into your life. There are no limits. There are only plateaus, and you must not stay there, you must go beyond them.–Bruce Lee

My religion is very simple. My religion is kindness.–Dalai Lama

Don’t gain the world and loose your soul, wisdom is better than silver and gold. — Bob Marley

Innocence is drowned in anarchy. The best lack conviction given time to think, and the worst are full of passion without mercy. – Joni Mitchell
Gotta start teaching the children that they can be just what they want to be, there’s much more to life than poverty. — 2 Pac

When the world is on your shoulder, got to straighten up your act and boogie down. — Michael Jackson

All in all is all we all are. –- Nirvana

Love is real, real is love, love is feeling, feeling love. — John Lennon

The space age is running out of distance. –- Beck

I gave you a wrist-watch, baby, and you wouldn’t even give me the time of day. — Patti Smith

I make your whole thang twang. –- Funkadelic

Touch, touch, touch, touch me love, I’m shaking inside. –-Yoko Ono

If you want the rainbow you must put up with the rain. –- fortune cookie

Harder the floor, higher the ping-pong ball bounces. –- fortune cookie

A scholar’s ink lasts longer than a martyr’s blood. –- fortune cookie

You are better off not knowing how sausages and laws are made. -– fortune cookie

He who asks is a fool for five minutes, but he who does not ask remains a fool forever. –- fortune cookie

Mighty Warriors of Comedy

I explored the film Mighty Warriors of Comedy as a component of my final research paper. I thought that I’d share some clips since it was so well done and the humor was so on point. The film follows a comedy group based in San Francisco. Their mission statement is as follows: “As artists and activists, the group seeks to explore and articulate images of Asian Pacific Islander Americans alternative to what has been perpetuated in the mainstream media. One of the group’s strategies is to push the envelope as comedic performers in both style and content, as well as to break down prevailing stereotypes and promote more positive images. Much of the group’ s impact lies in its lack of hesitation in lambasting the Asian American community itself as well. Almost all the faces of Asian America are represented, including Chinese, Japanese, Korean, Thai and Filipino backgrounds, allowing the group to represent a wide range of cultures and perspectives.” via 18mmw.com -Bailey

Fatimah Rony and Chants of Lotus

Financed by the Kalyana Shira Foundation project and with the goal of giving Indonesian woman a right to voice their opinions, Chants Of Lotus is a film with four episodes, written by Vivian Idris and Melissa Karim and directed by Fatimah T. Rony, Upi Avianti, Nia diNata and Lasja Susatyo. The intention is to tell stories from a feminine point of view in different geographical and social contexts in Indonesia.

Chants of Lotus was the most controversial winner at the Indonesian Film Awards in 2008. Presented in the full original version as the closing movie at the Jakarta International Film Festival in 2007, Chants Of Lotus (Perempuan punya cerita, or “the women have stories”) met serious resistance from the from the Indonesian film censor board, who demanded heavy editing before authorizing the film’s release. The producer and one of the directors Nia Dinata launched a vigorous campaign to defend the artistic integrity of the film as a reaction to this, taking a request to the Constitutional Court for the MFI (Masyarakat Filem Indonesia or the Indonesian Film Society) to reform the censor system. A documentary was even made about this case, but unfortunately, a censured version of the film was released in Indonesia in the end, while the full version is only available of screening at festivals and international markets.

This film was heavily censored by the Indonesian government. The uncensored version (if available) will be screened. Some scenes are graphic and shocking. This film is intended for mature audiences.

Four women filmmakers tackle four different stories about lives of marginalized women in Indonesia: In “Chant From The Capital City”, Lasja Susatyo confronts the prejudices that women, even in modern and relatively western cities like Jakarta, still have to go through. Laksmi (Susan Bachtiar), found out that her husband has died of AIDS. Barely recovered from grieve, she has to deal with the fact that she is infected with the same virus. Her mother-in-law demand the custody of their grandchild, Belinda (Ranti Maria). Laksmi struggles to keep Belinda. Trying to survive without a job, Laksmi begin to see the harsh reality: she has to choose between her daughter and her fight with HIV.

Upi Avianto is an Indonesian film director, writer and producer. He has worked on recent films popular in Indonesia. In 2004, he directed 30 hari mencari cinta (a romantic comedy) and in 2007, he directed, wrote and produced the hit Coklat stroberi. (Chocolate Strawberry, a teen drama comedy.)

In Chants of Lotus, Avianto directs “Chant From a Tourist City” which is based on a group of young people in Yogyakarta. Yogyakarta is known as a center for higher education and is the second most popular tourist city behind Bali. This segment explores what happens as young people use the internet to explore sex.

In 2000, Nia diNata founded an independent film company. In 2004, she directed the hit Arisan!, which won many awards and was the first Indonesian film with a gay theme.

She has been known to expose gender issues in her film and continues in that tradition with “Chant From A Village.” This film is about a single mother who works in a nightclub and struggles to protect her daughter from sex trafficking.

In “Chant from an Island” Sumantri is a midwife who lives on a small island that is far away from the capital Jakarta. Her role on the island is very important, and she has not told anyone that she has stage 3 cancer. When the village’s autistic girl is raped, Sumantri has to decide whether or not to give the girl an abortion, against the wishes of the religious community.

“Chant from an Island” is directed by Fatimah Rony, who visited us during the screening. She is a filmmaker, author, and educator. Her films have been screened at several international film festivals and art museums. Her filmmography includes “Demon Lover” and “Everything in Between”, which both won Director’s Guild of American Student Film Awards. She has won the Kodak Emerging Filmmaker Showcase at the Cannes Film Festival twice, in addition to a miriad of awards: Rockerfeller Media Arts Fellowship, a Fulbright to Indonesia, and a Jim Morrison Directing award. She has written articles for many publications, including Film Quarterly, Afterimage, Artforum, and Camera Obscura. Fatimah has also lectured at many institutions around the world, and currently teachers at University of California Irvine.

-Posted by Liana Engie, written by Rylee Rubalcava, Michelle Fong, and Liana Engie

Stereotype

A couple of days ago in a casual conversation, my friends started talking about The Fast and the Furious: Tokyo Drift. Most of them complimented the movie while one Taiwanese American said “It was good, but it was so *beeping* racist. He did not go into details as to why he thought it was racist; he just insisted that “it is just another one of those racist Hollywood movies”.

I thought this was very interesting because I knew that the director was Justin Lin, an Asian American director, and he did not make Tokyo Drift a racist film. But when my Taiwanese American friend viewed this movie, not knowing whom the director was, he automatically assumed that the movie was racist.

This also happened to me. One day, I noticed that on the sketches of my Japanese textbook, all the Asian people were drawn with common stereotypes. This made me furious. So I checked the writer and publisher of the textbook. The textbook was made in Japan, written by Japanese people, and published by Japan Times.

The question I want to raise is that does the mass media really portray Asian Americans in a racist, stereotyped way? Or do the preset mind of the viewers stereotype Hollywood.

According to Lippman, when people stereotype, “we do not first see, and then define, we define first and then see, we pick out what our culture has already defined for us, and we tend to perceive that which we have picked out in the form stereotyped for us by our culture.”

In the case of my Taiwanese American Friend, he did not first see then define. He defined Hollywood’s portrayal of Asian Americans as racist and stereotypical long before he watched The Fast and the Furious: Tokyo Drift.

Brandon

More From Ann Kaneko on Fujimori

Link to article in the NY Times, and see press release below:

Peru: Fujimori Verdict a Rights Victory
Former President’s Trial Likely to Advance Justice, Rule of Law

(Lima, April 7, 2009) – Today’s conviction of Alberto Fujimori, former president of Peru, is a major advance for human rights accountability in the region and beyond, Human Rights Watch said today.

A three-judge panel of the Peruvian Supreme Court found Fujimori guilty on charges involving serious human rights violations.

“After years of evading justice, Fujimori is finally being held to account for some of his crimes,” said Maria McFarland, senior Americas researcher at Human Rights Watch, who was in the courtroom for the ruling’s announcement. “With this ruling, and its exemplary performance during the trial, the Peruvian court has shown the world that even former heads of state cannot expect to get away with serious crimes.”

Human Rights Watch pointed out that today’s landmark decision fits within a global trend of increasing accountability for former heads of state. But it stands out because in contrast to many other situations, Peru’s national court system demonstrated the will, capacity, and independence to try its former president.

The ruling came after a lengthy televised trial, which Human Rights Watch said was respectful of due process guarantees and consistent with international standards on fair trial.

Fujimori was convicted of the killings of 25 people in two separate massacres, in 1991 and 1992, and the kidnappings of Gustavo Gorriti, a journalist, and Samuel Dyer, a businessman, in 1992. The massacres were carried out by the Colina unit, a specialized squad of military intelligence officers.

In its 2005 report, “Probable Cause: Evidence Implicating Fujimori” (http://www.hrw.org/en/reports/2005/12/20/probable-cause <http://www.hrw.org/en/reports/2005/12/20/probable-cause> ), Human Rights Watch detailed the substantial evidence then available linking Fujimori to the Colina unit and its activities. The evidence included extensive official documentation and testimony showing that the Colina unit was not a rogue operation, but rather existed as a formal structure within the Army. Its members received resources and logistical support from the highest levels of the Army and the National Intelligence Service, which were completely under Fujimori’s control.

During the trial, additional evidence surfaced showing that the killings formed part of a counterinsurgency strategy that Fujimori established and carried out through the country’s intelligence services.

Human Rights Watch noted that today’s ruling takes on added significance because of Peru’s history of authoritarianism and weak rule of law. For a decade, the Fujimori government used bribery, extortion, and intimidation to concentrate power in the presidency, subverting the democratic process and eliminating normal checks by the judiciary, legislature, and media on government abuses (http://www.hrw.org/en/reports/2005/12/20/probable-cause <http://www.hrw.org/en/reports/2005/12/20/probable-cause> ). Fujimori is to be tried separately on multiple corruption charges, which are also detailed in “Probable Cause.”

“Just a few years ago, Fujimori had near-total control of Peru’s judiciary,” said McFarland. “This court’s ruling is important not only because of its content, but also because it demonstrates the crucial role an independent tribunal can play in addressing past abuses and shoring up the rule of law.”

Today’s conviction is subject to appeal before the Supreme Court.

“We would like to believe that the court will continue to show the same transparency and impartiality it has demonstrated during the trial phase,” said McFarland. “If it does, we’re confident the verdict will stand.”

For more Human Rights Watch reporting on Peru, please visit:
http://www.hrw.org/en/americas/peru <http://www.hrw.org/en/americas/peru>

For more information, please contact:
In Lima, Peru, Maria McFarland (English, Spanish): +51-1-985441989 (Lima mobile); or +1-917-535-2816 (US mobile); or maria.mcfarland@hrw.org <mailto:maria.mcfarland@hrw.org>
In Lima, Peru, Daniel Wilkinson (English, Spanish): +51-1-995227757 (Lima mobile); or +1-646-552-8063 (US mobile); or daniel.wilkinson@hrw.org <mailto:daniel.wilkinson@hrw.org>
In Washington, DC, José Miguel Vivanco (English, Spanish): +1-202-612-4330; or +1-917-379-1180 (mobile)

Posted by Ming-Yuen S. Ma for Ann Kaneko

Ann Kaneko

Ann Kaneko

Ann Kaneko is an award-winning independent documentary filmmaker, fluent in Japanese and Spanish. She was recently selected as Best Emerging Feature Documentary Director at the New York Asian American International Film Festival for her Fulbright-supported film, Against the Grain: An Artist’s Survival Guide to Perú. Her documentaries and shorts have been funded by the Japan Foundation, Hoso Bunka Foundation and Durfee Foundation and have been televised here and abroad. Kaneko has produced media installations and videos for the Skirball Cultural Center, Japanese American National Museum, Getty Center and SEIU-UHW. She participated in the AFI Directing Workshop for Women and received an MFA in film directing from UCLA. In addition to Against the Grain, her films include Overstay and 100% Human Hair.

Other films

Overstay is an intimate exploration of migrant workers seeking a better life in Japan, a rare documentary that seamlessly combines personal narrative and social commentary. Leaving families, friends, and cultural identity behind, six young people share their unique stories: three men escape familial responsibilities in Pakistan for the opportunity to reinvent themselves; a young Peruvian flees tradition in search of her independence; an Iranian turns discrimination he encounters into passionate activism; and a Filipina woman is seduced by the promise of easy money, only to find herself demeaned as a hostess. Alive with the colors and sounds of modern-day Japan, Overstay is a compelling, vibrant film that captures the human side of a timely, universal issue. A tale of sacrifice, loneliness, and courage, Overstay deftly parallels the story of immigrants living in the U.S. while examining a little-seen side of Japan.

100% Human Hair is a 17-minute action-packed musical film set in a Crenshaw wig shop. Threatened by eviction, Mr. Kim struggles to keep the shop afloat for his motley crew of employees and customers while his yuppy daughter pressures him to retire. The story follows Mr. Kim and his streetwise granddaughter’s plan to keep the store alive. The numbers in 100% Human Hair ranges from country to opera, providing a wide genre of music choices.

Against the Grain

Finally, the film Against the Grain: An Artist’s Surival Guide to Peru, follows four inspiring artists (Claudio Jiménez Quispe, Eduardo Tokeshi, Natalia Iguíñiz, and Alfredo Marquez) in their quest to ignite change and challenge ordinary people to speak out against the tyranny that clamps down on free thinkers and forces artists to censor their selves.

TEFL

I’ve been doing a lot of research recently about teaching English in China. Clearly, this isn’t exactly Asian Americans in Media, but it has made me think about Chinese – American relations, and how those are shaping the opportunities available to me and the reception I’m supposed to expect in China.
Recently, the Chinese Ministry of Education decreed that all English language classes have a foreign, native English speaker to help the students master pronunciation and idiom. Apparently, there is significant tension between the Chinese school administrators and the imported native speakers. They see the decree as intrusive, and are not as friendly towards these new hires as they otherwise might be. The students themselves are largely nonplussed as well. Most will stay in China, and rarely, if ever, speak English again. For the blithe American, these jobs might seem fun and interesting, but the resentment is more than superficial.
Returning to Asian – American relations, this poses an interesting new mess to sort out: until now, we have only discussed White – on -Asian mistreatment, but now we have a forum for discussing prejudices working the other way. In China, do they teach American-Asians in Media courses? Is George Bush:Evil Americans as Fu Manchu:Evil Chinese?
If I get the job, I’ll probably get a chance to tackle the problem myself, but I wanted to present the problem as a new angle on immigrant model minorities in a way that references themes and trends we’ve discussed in class.

-Steven Pankratz

CHANTS OF LOTUS / PEREMPUAN PUNYA CERITA Screening – Wednesday, April 29, 7pm, Broad Hall 210, Pitzer College; Pizza Party at 6:30pm

In person: Fatimah Tobing Rony (Director)

Four women filmmakers tackle four different stories about lives of marginalized women in Indonesia: in “Chant From an Island”, a midwife in a deserted island sacrifices her dying health to rescue a mentally challenged woman; in “Chant From a Tourist Town”, a high-school student toys around with an overwhelming access to free sex, which may put her life in jeopardy; in “Chant From a Village”, a single mother is forced to see her daughter and her best friend fall victims to women and children trafficking syndicate; and in “Chant From the Capital City”, a middle class Chinese woman is about to be separated from her only daughter because of an HIV threat.

This film was heavily censored by the Indonesian government.  The uncensored version (if available) will be screened. Some scenes are graphic and shocking.  This film is intended for mature audiences.

Directors: Fatimah Tobing Rony, Upi Avianto, Nia diNata, Lasja F. Susatyo

Cast: Rieke Dyah Pitaloka, Rachel Maryam, Arswendy Nasution, Kirana Larasati, Fauzi Baadila, Shanty, Susan Bachtiar, Sarah Sechan

For more information, go to the film’s web site (in Indonesian), or view film trailer on YouTube, for information in English, search on google, internet movie database (IMDB), or YouTube.

The film screening will be preceded by a pizza party, both events are free and open to the public.  This is our final screening for the mini-festival, thanks to everyone who helped out and participated!

Posted by Ming-Yuen S. Ma

AGAINST THE GRAIN: An Artist’s Survival Guide to Perú Screening – Wednesday, April 22, 7pm, Broad Hall 210, Pitzer College

In person: Ann Kaneko (Director)

In 1989, Alfredo Márquez used an image of Mao in an artwork. He was sentenced to 20 years in prison. For every artist, the need to create and be heard is as basic as food and shelter. But what happens when you live in a country where the state clamps down on free thinkers, forcing artists to censure themselves? Four Peruvian visual artists, including Márquez, defy this tyranny through their work and ignite change, challenging ordinary people to speak out. These struggles and commitments raise the question: Is freedom of expression a right or a privilege?

Spanning two decades of corrupt governments and inept leaders, this film tells the story of four inspiring artists: Claudio Jiménez Quispe flees his home in Ayacucho because of insurgency with the Shining Path, a Maoist rebel group. He chronicles this violence in his retablos, traditional wooden display boxes. Alfredo Márquez, active in the 1980s underground punk scene, produces bold, political images despite four years of unjust imprisonment. With the downfall of former president Alberto Fujimori, critics targeted Japanese Peruvians like Eduardo Tokeshi, yet he reaffirms his identity through a series of red and white Peruvian flags. Natalia Iguíñiz provokes the Catholic Church and the socially conservative middle class with controversial images that challenge gender and class. Each artist teaches us what it means to persevere and make art in a country like Perú.

Highlighting amazing contemporary Peruvian artwork, this film combines gritty Super 8 with raw verité footage.  It also features music by iconic Peruvian bands, Leusemia and Uchpa, and Los Angeles indie rockers, Pilar Díaz and David Green, of los abandoned.

For more information on the film, or to see the trailer, go to the Against The Grain blog

Posted by Ming-Yuen S. Ma