International Examiner March 4, 2015

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FREE EST. 1974 —SEATTLE VOLUME 42, NUMBER 5 — MARCH 4, 2015 – MARCH 17, 2015

Jeff Chang

challenges

the racial

status quo.

2 — March 4, 2015 – March 17, 2015 INTERNATIONAL EXAMINER

IE OPINION

IESTAFF

Established in 1974, the International Examiner is the only non-profit pan-Asian American media organization in the country. Named after the International District in Seattle, the “IE” strives to create awareness within and for our APA communities. 409 Maynard Ave. S. #203, Seattle, WA 98104. (206) 624-3925. [email protected].

IE BOARD OF DIRECTORSRon Chew, President

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Arlene Oki, At-Large

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EDITOR IN CHIEFTravis Quezon

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ARTS EDITORAlan Chong Lau

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HERITAGE EDITORJacqueline Wu

OPERATIONS MANAGERJacob Chin

DEVELOPMENT MANAGER Third Andresen

VIDEOGRAPHERTuyen Kim Than

PROOFREADERAnna Carriveau

CALENDAR EDITOR Nina Huang

LEAD PHOTOGRAPHER Keoke Silvano

CONTRIBUTORS Ben Henry Tony Vo

Katy Wong Roxanne Ray Christina Twu

Tracy Lai Misa Shikuma

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By Ben HenryIE Columnist

I am convinced that conservative state senators in Olympia are dead set on poisoning us.

The Clean Fuels Standard, which would require oil refineries and distributors to cut carbon pollution from gasoline and diesel by 10 percent over 10 years, is up for debate in the Legislature. Adoption would create good jobs, provide more fuel alternatives, decrease costs and cut pollution.

But, in a political move as dirty as the air in South Park, this group of lawmakers in the state Senate has inserted a “poison pill” into a key piece of legislation in an attempt to allow big polluters to continue to poison us with dirty air.

On March 2, the Senate passed, by a 27-22 vote, a transportation revenue bill that includes the “poison pill.” The bill now goes to the House Transportation Committee, where there is still time for it to be amended to remove the provision.

As state Sen. Bob Hasegawa (11th Legislative District) explained in a meeting with constituents at the Asian Pacific Islander Coalition’s (APIC) annual Asian Pacific American Legislative Day on February 26, this maneuver was particularly counterproductive.

In a given legislation session, Hasegawa says, lawmakers essentially have three things they need to get done by the end of session: pass a transportation budget, pass a capital budget, and pass an operating budget. The poison pill Senate conservatives have inserted into the transportation package would eliminate all transit funding upon implementation of the Clean Fuels Standard. Efforts to reduce carbon emissions—you know, the stuff responsible for rising sea levels, record heat waves around the world, and the melting of our polar ice caps—would trigger this poison pill.

Legislative ‘poison pill’ seeks to keep our air dirty and eliminate state transit funding

Somehow, Senate Republicans have decided to target mass transit and clean air, deeming them an unworthy use of public attention.

And, believe it or not, it gets wilder. The provision would also limit training opportunities for young construction workers and erode wage standards that support working families in communities across Washington.

And this is quite the shame, because the Clean Fuels Standard tries to correct the real effects of bad air on our communities. A study by the University of Washington and Puget Sound Sage found diesel exhaust exposure was higher in Georgetown and South Park, which have more people with low incomes and people of color, compared to Queen Anne.

Sage Policy Director Nicole Keenan says exposure is widespread.

“More than 4 million people in Washington live or work next to highways where they are more likely to be exposed to diesel exhaust,” she says. “Depending on where you live, you breathe different air. And if you live near highways, truck routes, or industrial activity in neighborhoods like Georgetown and South Park, you are more likely to be exposed to our state’s most harmful air pollutant—diesel exhaust.”

January’s air pollution in the Chinatown/International District neighborhood was the highest since monitoring began in

June 2014, according to the Puget Sound Clean Air Agency.

Pollution and EquityOn February 19, I teamed up with

Washington Community Action Network Political Director Mauricio Ayon to testify at a Washington Department of Ecology hearing on the proposed standards at South Seattle Community College’s Georgetown campus.

Indeed, there is a very real cost to society due to health degradation from dirty air and water, and these clean standards would help mitigate those ill effects. But there is more to this argument, particularly around equity. It was a poignant moment in the room when Mauricio spoke about how this is an issue of racial justice.

Take, for example, Georgetown. Mauricio pointed out that about 88 percent of students at Concord Elementary School, just a couple miles away from the hearing room, were students of color.

“The people who contribute the least to pollution have the most to suffer because of it,” he said.

Economic Benefits of Clean AirNeedless to say, there are significant

gains to society in adopting these standards, which incentivizes the development of a variety of clean fuels and technology solutions like advanced biofuels, electricity, natural gas, and propane.

We need strong, durable, local economies that don’t ship economic gains to off-shore tax havens or Wall Street. I believe that building economies like this is the key to sustainable and equitable prosperity.

But the status quo presents us with a formula for instability and continued widening of wealth and income inequalities.

We spend $14 billion a year on oil, most of which goes out of state. By doing so, we doom the movement for local, clean energy innovation. We doom our economy to be more susceptible to falling apart at the seams when Wall Street has an off day. We doom future generations from the right to clean air.

Adoption of the standards would present locally produced alternatives to dirty oil.

It would also create jobs. Environmental Entrepreneurs estimates that every 1 million in advanced biofuels produced creates nearly 30 direct and indirect jobs.

However, while adoption of the Clean Fuels Standards would serve to strengthen our fragile economy, at the end of the day, that argument should not even matter. We should adopt these standards because it is the right thing to do. It’s good for equity, good for health, good for our future.

Demand ChangeTo do something about this, it’s up

to you to rise up speak out. As Sen. Hasegawa said at APA Legislative Day, you need to tell your stories to the Senate Republicans who uphold corporate profit over your right to clean air. And contact members of the House Transportation Committee and urge them to amend the bill.

They should not hold transit funding hostage because they’re beholden to the oil companies. Urge them to pass a clean bill.

Sen. Bob Hasegawa (far right) speaks at Asian Pacific American Legislative Day on February 26 in Olympia. • Photo by Ben Henry

INTERNATIONAL EXAMINER March 4, 2015 – March 17, 2015 — 3

IE OPINION

Superhero Run is back in White CenterBy Tony Vo

Guest Columnist

The White Center Community Develop-ment Association (CDA) is partnering with the YES Foundation of White Center and the White Center Food Bank to host the third annual White Center 5K Walk & Run. This community event will take place on March 28, 2014 from 9:00 a.m. to 11:00 a.m. at White Center Heights Park. Like the previ-ous year, this will be another Superhero Run and all participants are encouraged to dress up as their favorite superheroes.

The 5K has an official start time of 9:00 a.m. with registration beginning at 8:00 a.m. Following the completion of the race there will be an award ceremony to recognize the fastest runners in each age group. The registration cost is based on the age of the participant. It will be free for kids 5 years old or younger, $5 for 6-12 years old, $25 for participants aged 13 through 18, $30 for people between the ages of 19 and 54, and $25 for those aged 55 and up. All proceeds from the event will benefit the White Center CDA, the YES Foundation of White Center, and the White Center Food Bank.

Over 400 people participated in 2014 and similar numbers of participants are expected to walk and run at this year’s event. Like in year’s past the 5K will begin and end at White Center Height’s Park but the route will change in 2015. Instead of going through the Evergreen High School (EHS) Campus, the route will take runners around the school and the new Greenbridge housing development.

“The Integrated Learning Center at Evergreen High School has been a part of the White Center 5K since the beginning,” says Micah Gronvold, a teacher at the local Tech High School. Along with Elle Parsons of HS3 High School, also on the EHS Campus, the two of them will be bringing student groups to walk and run the 5K.

“It does different things for each student. For some it is something to look forward to, for some it is a reason for P.E. as we train as part of our class, and for some it is the pride they get from completing the 5K,”

adds Parsons. “This is one of our favorite events of the year!”

In addition to a free White Center 5K T-shirt, this event will provide attendees with free Starbucks drip coffee and a light breakfast. Also on site will be music and informational booths from local organizations including sponsor US Bank. Following the race, 5K attendees can receive discounts at participating local businesses for the week following the event.

Those interested in attending can sign up by visiting the White Center 5K registration page at whitecenter5k.brownpapertickets.com or visit www.facebook.com/WhiteCenter5kWalkRun for more information.

The mission of the White Center Community Development Association is to promote a vibrant neighborhood and high quality of life for White Center residents and stakeholders through the development of authentic leadership opportunities and community-led, neighborhood initiatives. This is accomplished through three lines of business: neighborhood revitalization, family development, and community building.

The YES Foundation of White Center exists to address the social, economic, educational, physical, and spiritual needs of youth in the White Center area. By developing programs and partnering with other organizations, they provide kids with positive role models and powerful life experiences to encourage their hope and vision for the future.

The White Center Food Bank (WCFB) began in the mid-1970’s as an emergency response to assist struggling families and individuals in the greater White Center and Highline areas during a major economic downturn. The Mission of the White Center Food Bank is to minimize hunger, while nourishing community, nurturing self-reliance and embracing our rich cultural diversity.

For more information please contact Tony Vo at [email protected].

By Alan LauIE Arts Editor

I remember when I first visited Seattle for the Asian American Writer’s Conference on the University of Washington campus in the late 1970s. We had a writing workshop in one of the rooms in the Ethnic Cultural Center. It was the first time I had a chance to meet some local poets like Al Hikida—writing instructor at Seattle Central—and Ticiang Diangson. Ticiang I remember most for having a mischievous twinkle in her eye and a penchant for speaking frankly.

I didn’t know about her professional career but I would later learn she was a fierce advocate for minorities and the disenfranchised and was always inclusive of the community in her work, whether it was as home energy auditor for Seattle City Light, advocate for recycling at Seattle Public Utilities, or the first person in the country to be appointed inaugural director of the Utilities Environmental Justice and Service Equity Division. She also worked in the Chinatown/ID and South End communities and was co-founder of the Asian Pacific Women’s Caucus in 1978 and the Community Coalition for Environmental Justice in 1992.

I knew Ticiang on a more casual level away from her job. When mutual friends and acquaintances like Yuri Takahashi and Nancy Lim met early, tragic deaths, she was one of the first to offer a help-ing hand and lead support groups for family and friends. I also recall how she tried to get the board at PCC Natu-

ral Markets to make more of an effort at outreach to minority com-munities in Se-attle so that they too, could reap the benefits of healthier eating.

She was an incredibly generous, com-passionate being. Her writing would also grace the pages of our newspaper, the International Examiner when she felt she had something important to say. I remember being moved by a poem she wrote about visiting her father in a Chi-cago hospital on his deathbed.

The last time I saw Ticiang still brings a smile to my face. I was with a friend to catch a set by the wonderful rhythm-and-blues veteran singer Bettye LaVette who was making a come back tour at the Triple Door. Ticiang was in the front row just beaming with her husband by her side, enjoying the sassy voice of a singer who knows how to tell it like it is. She turned to me and said, “It’s my birthday and Greg is taking me out.” Ticiang was another person who knew how to tell it like it is. She not only talked the talk, she walked the walk. Thanks, Ticiang! I know you will rest in peace and in justice.

A Celebration of Ticiang Diangson’s Life will be held on her upcoming 74th birthday, March 15, 2015, from 3:30 p.m. to 6:30 p.m. at the Filipino Community Center at 5740 Martin Luther King Jr. Way in Seattle.

Ticiang Diangson knew how to tell it like it is

Ticiang Diangson

Announcements

March 9 service for late activist

‘Paul’ PatuIE News Services

A funeral service will be held for South Pacific Islander activist Von Tresckow “Paul” Patu on March 9 at 10:00 a.m. at the Church By The Side of the Road in Tukwila.

Patu was an outspoken member of the community who advocated for South Pacific Islander youth to stay in school.

Remembrances may be sent to the Von Paul Memorial Scholarship Fund, P.O. Box 78317, Seattle, WA 98178, or online at http://www.gofundme.com/vonpaulscholarship.

The Pacific Northwest Historians Guild will honor Ron Chew at its Annual Membership Meeting and Award Ceremony on March 6. The event will run from 6:00 p.m. to 7:30 p.m. on the 10th floor of the Seattle Central Library located at 1000 Fourth Ave. and includes catered hors d’oeuvres and a cash bar (suggested donation $10). Paid parking in the library’s garage may be accessed from Spring Street, between Fourth and Fifth Avenues.

Chew is the former executive director of the Wing Luke Museum and is currently working on a project to document oral history interviews with approximately 25 veterans of the Cathay Post 186 of the American Legion.

Historians Guild honors Ron Chew


IE NEWS

By Katy WongIE Contributor

A three-year pilot program aimed at ad-dressing the twin problems of homelessness and domestic violence is making a difference.

The program, known as the Domestic Vio-lence Housing First (DVHF), provides do-mestic violence survivors with stable housing and flexible financial assistance to meet dif-ferent levels of needs.

The Washington State Coalition Against Domestic Violence (WSCADV), with the support of the Bill & Melinda Gates Founda-tion, released its findings on the pilot program last month.

According to the report, 61 percent of sur-vivors who received services from the Cohort 2 agencies have a high school diploma or less. Half of the survivors have an average house-hold monthly income of $800 or less. And 88 percent of the 438 participants who had received DVHF services from the Cohort 2 agencies have obtained or maintained stable housing.

Linda Olsen, the housing program coordi-nator for WSCADV, said the Gates Founda-tion was impressed by the results coming out of the pilot project and recently granted the WSCADV another $2 million for five years to launch a regional demonstration and re-search project this year.

“The earlier clients can get that support, the more likely they are able to stabilize in hous-ing with their children, and get the support they need for whatever trauma impacts they might be suffering,” Olsen said.

Olsen said the program allows survivors to have choices in what they want to do, and where they want to go.

“I think it is so important for every hu-man being to have the respect and to have that dignity of having their own choices honored,” said Olsen. “And to have that place where they can be safe together with their family, and provide for that family.”

The program began with a cohort of four domestic violence agencies. The “Cohort 2” agencies served survivors with higher barriers to housing, including survivors in rural, tribal, immigrant, and culturally spe-cific communities.

InterIm Community Development As-sociation (InterIm CDA), one of the nine agencies currently in Cohort 2, is a non-

profit affordable housing and community development organization based in Seat-tle’s International District. The association provides housing-related and community-building services to Asian Pacific Islander and immigrant and refugee communities in Seattle.

InterIm CDA executive director Andréa Akita said language and cultural barriers make the situation more difficult for domes-tic violence survivors. Many have no choice but to stay in a relationship and live in fear of losing their housing, children, communities or, being deported, she said.

“We often hear in some of those relation-ships, the abuser may not allow their part-ner or their wife to become a citizen,” Akita said. “And then they have very literally no rights once they separate.”

The DVHF program includes three differ-ent levels of needs including “light touch,” “medium touch,” and “high needs.” Advo-cates are able to use flexible financial as-sistance to meet survivors’ needs. Funding ranges from rent deposits, student-loan pay-ments, children’s school supplies, to items for infants, such as baby clothes and diapers.

“I think the program is very successful because it is a flexible funding,” said Caro-line James, the housing services manager at InterIm CDA. “There [are] no restrictions in this funding. It is not only empowering for the clients, it is also empowering for us.”

James described a situation involving an immigrant woman who suffered from do-mestic violence but had no legal status be-cause her husband at the time did not apply for it with her. After getting a divorce, she had no income and was couch surfing. She had once worked in a professional field in her country of origin.

With the help of the Northwest Justice Project and the Northwest Immigrant Rights Project, InterIm CDA helped the woman with immigration papers, divorce proceed-ings, food stamps, a short-term ORCA card, and gift cards for personal hygiene items and household necessities.

They also helped her draft her resume and prepare for an interview. She worked part time at a retail outlet within six months. She also managed to pursue further education and work full time.

Through the DVHF program, InterIm CDA has been able to provide more financial assistance.

Pilot program helps domestic violence survivors overcome barriers

InterIm CDA executive director Andréa Akita said it’s encouraging that the Gates Foundation and WSCADV fully recognize the issues around domestic violence and housing needs. • Photo by Katy Wong

API leaders speak out against vandalism targeting Hindu community in Washington

IE News Services

In February, Hindu temples in Kent and Bothell were the targets of vandalism.

On February 15, someone had spray pained a swastika and the words “get out” on a wall at the Hindu Temple and Cultural Center in Bothell. On February 26, vandals targeted Kent Hindu Temple using bricks to break several windows and painting the word “fear” on a wall. Seattle police are currently investigating both crimes.

The Washington State Commission on Asian Pacific American Affairs released the following joint statement from Commissioner Debadutta Dash and Director Michael Itti on March 3 in support of Washington’s Hindu community:

“We condemn the recent vandalism of Hindu temples in Bothell and Kent. Our

communities and state embrace diversity and inclusion. These acts are contrary to our values and must not be tolerated.

“In the face of these hateful acts and messages, people from across the state have shown an outpouring of support to help the communities affected remain strong and resilient.

“The Washington State Commission on Asian Pacific American Affairs stands in solidarity with the Hindu community and will look forward to continue working with community leaders to promote diversity, respect, and freedom.”

In another act of vandalism, on February 16, the words “Muslims Get Out” and a swastika were found spraypainted on a wall at Skyview Middle School, just two blocks away from the vandalized Hindu temple in Bothell.

Announcement

IE News Services

“Knowing Our Heroes—Fa Mulan and Guan Gong,” a children’s sto-rytelling circle with renown writer Frank Chin happens on Friday, March 6 at 3:30 p.m. at Panama Hotel, 605 S. Main Street, Seattle.

The event will be filmed and is part of Theatre Communications Group’s Legacy Leaders video project documenting leaders who founded theatres of color in the 60s and 70s.

Chin, writer and founder of Asian American Theatre Workshop in San Francisco, will also be taking part in “Meet and Tweet: Conversations with Frank Chin” from March 6 to 11 from 9:00 a.m. to 11:00 a.m. and 1:00 p.m. to 5:00 p.m. at Panama Hotel.

Frank Chin in Seattle for Children’s Story-telling Circle

Chin, known as the “Father of Asian Ameri-can Literature,” has written dramas, short stories, and novels. His 1971 play, Chickencoop Chinaman was the first by an Asian American to

be produced in New York City. In 1975, his Broadway produced play, The Year of the Dragon, was nationally televised by PBS as part of its Great Performances series. Many of his works are required reading in high schools, colleges, and universities. A col-lection of his short stories won the Ameri-can Book Award in 1989, and he received a Lifetime Achievement Award in 2000.

For more information on the events and to RSVP, contact Emilya Cachapero at [email protected] or (917) 817-9772.

Chin


IE ARTS

By Roxanne RayIE Contributor

Every year, ACT Theatre sends theatre artists into Puget Sound area schools to teach the basics of playwriting to students. This Young Playwrights Program culminates in a Young Playwrights Festival, in which top scripts emerging from the program are given a professional staged reading at ACT Theatre.

One of the participating playwrights in 2015 is Madeleine Le, who hails from Seattle Academy. Her play The Doctor in the Aoi Dai will be presented. “The selection of my play was a shock for me,” Le said.

Le previously had limited hopes that the script would be successful. “The most I had expected was an honorable mention, or to have my play read at a smaller theater,” she said. “So, when I found out that my play would be read for the program, I was excited, happy, and shocked at the same time.”

While many playwrights focus on themes, plot, or action, Le’s greatest interest in playwriting is her characters. “I’m much more of a writer who focuses on character interaction, than action,” she said. “Even though novels are good and I’ve written some before, I have trouble writing about objects or landscapes, something that is more prominent in novels than in plays. I’m just more interested in speech, so playwriting gives me a chance to write in the style that I like.”

Character development hasn’t always been easy for Le. “In the first drafts of my play, I found that the characters would just shift from one belief to another, in a very unnatural sense,” she said. “ACT’s mentors for the YPP have truly helped me develop that skill.”

“Another skill that I’ve learned is how to create realistic characters,” Le added. “In the brainstorming stages of my play, my characters were very stereotypical (i.e. controlling grandmother, rebellious daughter, etc.), and ACT’s mentors were able to give me criticism on how I should make these characters more realistic through dialogue.”

Le’s personal interests also shaped the subject matter of her play. “One of the things that I enjoy is to look at the different cultures (both modern and traditional) and see how they differ from ours,” she said. “I also like looking at Asian American culture and see how it differs from Modern Asian Culture and American Culture. I was recently looking at LGBT rights in Asia and I

was very shocked at how the LGBT rights in Asia were practically nonexistent.”

She combined this interest with her observation of the wide variety of family dynamics at play in Asian-American families. “Some parents are full on ‘Tiger

Parents,’ while some parents are more lax and other parents are in between,” she said. “Same with the kids: Asian-American teens are more than just the ‘quiet nerdy kid.’ Asian-American kids can

be brilliant athletes, the life of the party, or angry rebels.”

Le believes generational conflict is ripe for dramatic action. “No matter what type of person they are, I’ve seen that kids will still clash with their parents, no matter what.”

Le has been enjoying the rehearsal process to bring her play from the page to stage. “I really like working with my director,” she said. “When I first met him, he seemed very excited, and had many great suggestions for how to take my play from script to stage.”

She has also been impressed with the publicity around the Young Playwrights Festival. “ACT Theater has been awesome with getting the word out and are always alerting me of things coming up,” she said.

Similarly, Le has experienced encouragement from her family. “My family has been supportive throughout the entire time,” she said. “They’ve always supported my brother and me in everything we do, in both arts and sciences. They haven’t read my play yet, but they’re excited to see it being performed on stage.”

It appears that Le’s participation in the Young Playwrights Program has expanded her visions of her future goals. “Even though I want to pursue engineering or a science-related major in college, I would like to get involved in screenplays,” she said.

“I’ve always liked movies, particularly foreign films, and I do like learning new languages,” Le added. “I might try and see if I can get involved in the film industry in Asia, but realistically, I would like to do something in the Asian-American film community.”

The 2015 Young Playwrights Festival will be presented from March 5 to 7 at ACT Theatre, 700 Union Street, Seattle. For more information, visit www.acttheatre.org.

Madeleine Le

The Doctor in the Aoi Dai: Work of young playwright

Madeleine Le to be featuredBy Roxanne Ray

IE Contributor

Giacomo Puccini’s opera Madame Butterfly again graces Seattle’s stages: Lyric Opera Northwest will present two performances on March 13 and 15 at the Moore Theatre.

In this presentation, the role of Cio-Cio San (Madame Butterfly) will be shared by Grace Eun and Dohee Kim, and both are enthusiastic about their upcoming performances.

“I performed Madame Butterfly in 2006 with the Lyric Opera Northwest for my debut,” said Kim. “It is so meaningful to me to perform the debut opera again after 10 years.”

Likewise, Eun is looking forward to the challenge. “Madame Buttterfly is one of the most beautiful, long, and difficult operas for an accomplished soprano.”

Both performers are compelled by the tragic emotion of Cio-Cio’s story. “This grand opera has intimate, emotionally-charged exotic music with Japanese folk tunes throughout, which no other opera has,” said Eun.

“A lot of roles in opera face a sad end,” said Kim. “But Cio-Cio San has the most dramatic fate.”

To perform such a role successfully, Eun and Kim have faced both professional and personal challenges. “The show is very long and Cio-Cio is on the stage almost the whole time,” Eun said. “It’s not only vocally demanding, but physically as well.”

This places heavy requirements upon the performers during rehearsal. “One can’t speak much because it’s very bad for singing this strenuous of music,” Eun said. “One has to make sure she’s well-nourished, and has exercised, rested, slept enough, just like an athlete.”

Kim also emphasized the importance of balance between home and work. “Being a mom of two boys has been the biggest challenges of my career,” she said. “I have always tried to keep both my performing career and family life the best, but it would have not been easy without support and sacrifice from my family members.”

This production brings together many performing artists whose careers have developed alongside each other, including Mary Mariko Ohno of the Kabuki Academy, who will direct the kimono movement of Eun and Kim.

Eun said that Ohno is a “favorite of the Japanese community,” and that collaborating with her “will also be a special treat.”

For her part, Ohno is looking forward to working on Madame Butterfly again. “This is my second time, conducting their movements with kimono, with this production,” Ohno said. “Last time was 2006, and I did dance by myself on the same stage of Madame Butterfly with an orchestra. It was such an honor.”

Ohno enjoys directing as much as she has enjoyed performing. “It is very joyful time, showing them the correct ways of walking or moving with kimono, using fan or parasol gracefully,” she said. “This is my mission, sharing traditional Japanese culture and performing arts with them.”

She hopes that Madame Butterfly will be another avenue for Seattlites to learn about Japanese culture. “Being a Goodwill Ambassador from Japan, my dream really came true,” Ohno said. “I’ve been enjoying teaching and sharing Japanese dance, shamisen music, culture, and language for over 30 years with hundreds of enthusiasts all over the USA. My Kabuki Academy door is always open and welcoming everybody.”

Kim said the same of Lyric Opera Northwest. “For more than a decade, we have been working hard to enrich the quality of life in the area.”

And Eun believes that this production is an ideal avenue to support these goals: “The story of Madame Butterfly is a classic not to be missed.”

Madame Butterfly will be presented by Lyric Opera Northwest on March 13 and 15 at Moore Theatre, 1932 Second Avenue, Seattle. For more information, visit www.lonw.org/events.html.

Grace Eun and Dohee Kim share role in Madame Butterfly

Promotional art for Madame Butterfly, which will be presented by Lyric Opera Northwest on March 13 and 15 at Moore Theatre.


IE COMMENTARY

Musicians say Seattle club ‘Chop Suey’ needs a name changeBy Christina Twu

IE Contributor

It’s hard to believe that an alternative music club known for its diverse acts in politically correct Seattle has been called the Chop Suey for 13 years. It’s even more surprising to me that no one has made a big fuss about it until this year.

Andy Allen, an elementary school teacher and bassist for all people of color dance band My Parade, saw an opportunity to challenge the venue’s name when he heard new club owners, Brian Houck, Erin Carnes, and Brianna Rettig from Chicago, Minneapolis, and Los Angeles, respectively, would be taking over and making renovations to the club. On January 27, he sent and published an open letter asking Rettig to consider renaming the venue.

Though he wants to have a conversation with the new owners about this before its soft reopening on March 6, the likelihood that this will happen seems to be waning every day. To this day, Allen has not heard back from them.

Rettig, in response to a phone call on February 25, also said she had no comment on the matter.

Though a name change does not look like it is in the works, in a press release disseminated on February 16, venue promoters announced that Chop Suey will be the future home of The Den, which will replace the club’s Asian-themed “Dragon Lounge.”

While groups like The Chromatics, and LICK!, who once organized the venue’s monthly queer dance parties, have publicly stated they support Allen’s renaming efforts, when The Stranger interviewed Allen in February, the post generated 72 comments mostly questioning what the big deal was.

One commenter, “Brooklyn Reader,” stated:

“When it comes to decor and names, I’m having trouble setting aside the romantic relationship Americans have with oriental imagery in order to find it underpinned by animus. I can understand how having your culture misunderstood and misrepresented can be irritating, but I don’t think it’s being done out of hatred or prejudice. To most Americans, and certainly to many East Coast Jewish Americans, Chinese restaurants were their first taste of something exotic in their lives. Can’t we cut a little slack for residual mid-20th century cultural infatuation? At worst, it’s a fond nostalgia for exposure to something seemingly exotic.”

Many of the commenters, in fact, compared Allen’s request to reverse

racism toward European cultures. One self-proclaimed Irish-English man likened the Chop Suey decor and name to the exaggerated adornment of the Georgian Room inside Seattle’s Olympic Hotel.

Not surprising in the fifth whitest city in the nation, but the comparisons “don’t equate to the racism I felt when I was a kid,” said Allen.

Like so many forms of subtle racism in Seattle that overlap with hipster culture, the use of Chinese ephemera and “kitsch” are so ubiquitous from a consumer standpoint, that they appear harmless to a mass majority. This is not the case for Allen, who is Chinese American.

“Growing up in rural Louisiana, being the only Asian person I knew in all of the town I grew up in, and [having] the experiences I go through whenever I walk into something that’s caricaturing [my culture] brings up all the stuff I experienced as a kid,” he said.

Allen doubts that an American of Italian descent, for example, would have that same experience walking into an Olive Garden.

Though this type of dialogue is pretty typical of Seattle, he was still surprised at the spectrum of comments leaning towards the side of implicating him for reverse racism, especially since he never actually called the new club owners racist.

“They just bought this thing, right? So of course I’m not going to say, ‘You’re racist,’” Allen said.

In his letter, Allen did however explain why he thought the new owners should rename the venue,

considering the historic legend of the food’s invention:

“The dish came about when a group of drunken miners stumbled into a Chinese restaurant. Though the restaurant was closing and out of food, the miners demanded service. Out of fear for their lives, the workers assembled all the table scraps, fried them up and served them to the miners. The miners loved the dish and asked what the name of it was. The workers made up the name Chop Suey.”

Marc Mazique, a longtime Seattle drummer and Chop Suey renaming supporter is not surprised about how Seattle has responded to Allen’s request.

“I think people just feel it’s OK to do that to Asian folks because I think they think they feel that … Asian folks aren’t really suffering all that much compared to other people,” he said. “And I think it’s just a lack of understanding of a history of oppression of Asian folks and how that still, people have those things going today.”

The issue isn’t black and white. Allen thinks the reason why a group of people haven’t banded together to challenge the name of the venue before, for the most part, is because the club has gathered an inclusive and diverse community, thanks to booker Jodi Ecklund. In the instance that individuals have decided to boycott the venue, it has been weighed against its history of supporting DIY music and queer communities in Seattle. (Chop Suey has hosted queer music festivals and the monthly queer dance parties for years).

The Capitol Hill club uses their name against Bruce Lee’s image to promote their venue. • Photo from Chop Suey Facebook page

Its history isn’t so straightforward either. In 2002, the “Chop Suey” replaced The Breakroom when a Japan-based company assumed ownership, and in 2009, Japanese-American Roy Atizado took over to help upgrade the space. Subsequent ownership has kept with the catchy, identifiable theme.

This doesn’t make it OK, as Mazique, who is African American, stated in an excerpt of his letter in support of Chop Suey’s renaming:

“You might see this as hyperbolic, but imagine a club called ‘Mammy’s Kitchen’ that featured pictures of ‘happy slaves,’ Aunt Jemima, lawn jockeys, etc. As an African American, I’d find such a place upsetting even if it was owned by black folks. But my point is this: ‘Chop Suey’ may seem less offensive, but perhaps the question needs to be asked—why? Such distinctions simply enable certain racist acts and attitudes to seem okay, since it’s just about a particular set of non-white folks, which just keeps racism going. And then it’s just a matter of time before those attitudes and actions start seeming okay towards other folks of color.”

Without a response from the new owners, Allen is left to think of alternatives.

“I think if they keep opening as Chop Suey, then it’s time to start talking to the music community about whether they’re going to keep supporting clubs like that,” he said. “I think it’s been hard to get individuals to say, ‘I’m not going to go there.’ But what if bands start saying they’re not going to play there until they change their name?”

For now, it’s just a thought.

This story originally appeared at the Seattle Globalist. Visit seattleglobalist.com for more.

Ironic nod to Chinese culture, kitsch or racism? A Chop Suey promotional flyer from 2011. • Image from Chop Suey Facebook page


IE ARTS

By Tracy LaiIE Contributor

Jeff Chang is a cultural critic whose lively writings explore the intersections of politics, art, and music. His first book, Can’t Stop Won’t Stop: a History of the Hip Hop Generation (2005), received the American Book Award and the Asian American Literary Award. Chang masterfully tells the socio-political history of hip hop from the inside out: a generation whose words, rhythms and style captured youth imagination and yearning for a just world. The backlash against hip hop—and anyone identified with this cultural movement—as well as the attempts to co-opt and commercialize hip hop show the edge of on-going culture wars that still divide this nation, meanwhile spilling across borders, as globalization crosscuts the world.

Currently generating buzz is Chang’s Who We Be: the Colorization of America, released in October 2014. As a historian with a master’s degree in multicultural studies, I was eager to read Chang’s analysis of the rise of multiculturalism, its diminishment and the supposed “post-racial” present. Chang bluntly calls for a “new way of seeing America.” Specifically, he probes the spaces between how we see and perceive race and how race manifests in national culture. He critiques the claim that the historic election of Barack Obama, the first Black multiracial president, can be read as “post-racial.”

Chang challenges us to an honest national conversation about race. The last attempt to set such an agenda was President William Clinton’s 1997 Initiative on Race. The initiative called for a “constructive dialogue” and included an educational outreach component, leadership development and problem solving in areas such as “education, economic opportunity, housing, healthcare, crime and administration of justice.”

However, Chang focuses on how artists and activists approach redefining how we see race, since what we perceive is warped by the “twin conditions of cultural segregation—the absence of representation and the presence of misrepresentation.” Before we can enter such dialogue, we must talk about how we see race and this may expose how much we don’t see race at all.

Chang states that “our visual culture has been colorized,” such that race literally colors media, marketing, and societal structures while masking the deepening inequality, compounded by gender, class, and race. People of color may be visible everywhere yet they fundamentally lack power to significantly transform deepening inequality—or token people of color have been sufficiently co-opted to rationalize the status quo of resegregation and racial disparities.

Chang’s writing is fresh and redolent of the youth movements that proved

formative for his own sensibilities and values. In an interview for SFGate by Bojan Srbinovski, Chang describes a turning point as a freshman at UC Berkeley when he realized that the campus police were more concerned with campus property than students and their shantytown protest of UC investments in South African apartheid.

Through his activism in student government, he confronted institutional policies of racism and inequity. The voices of people that he’s worked with and interviewed literally help tell the stories, whether of hip hop or culture wars.

This technique of “talk story” may reflect Chang’s own Chinese and native Hawaiian roots, as well as his academic work with late historian and Ethnic Studies scholar, Ronald Takaki, who also came to the continental United States as a college student. Similar to Takaki, Chang perceives and experiences race matters from the unique perspective of having grown up in an Asian majority environment. Hawai‘i, as the last state to enter the union in 1959, more closely resembles the post-colonial world and the continued Hawaiian sovereignty movement underscores this tension.

In his early teens, Chang fell in love with hip hop and through this way of being, became racially aware in the “mainland” paradigm. Another shared aspect with his mentor, Takaki, is their national roles in the culture wars. Takaki’s A Different Mirror: A History of Multicultural America (1993) was at the center of the culture wars, and Takaki defended multiculturalism in

national debates. Fearing fragmentation, mainstream academics like Arthur Schlesinger criticized multiculturalists with such works as The Disuniting of America (1991).

In my email interview, Chang foregrounds the role of artists and activists because they “help us to see what we can’t yet see. They are constantly showing that another world is possible. At this moment when it’s impossible for us to imagine how change could come through the

way politics is currently structured, they keep the imagination for change alive. In this regard they are indispensable to the movement.”

Chang cites a “2014 MTV poll [that] showed that 73 percent of millennials believe that ‘never considering race’ would improve society. The poll also showed that 81 percent believed ‘embracing diversity and celebrating the differences between the races’ would improve society.” Chang suggests that “after decades of culture wars, they are really confused about how to move forward on issues of racial justice.”

In Who We Be, Chang points “to young organizers, activists, and artists who are doing this (generating new language on issues of racial disparities)—and they use the language of dreams—the DREAM activists and the Dream Defenders.”

“I’m really inspired by the way that they think of identity, difference, and movement,” he continues.

Chang acknowledges the inspiration and influence of Grace Lee Boggs, a Chinese American revolutionary, activist, and author. Chang explains that “Grace’s vision of a new American Revolution is the most expansive, ethical, and sustainable path forward. She draws on both Malcolm X’s rage against oppression and Martin Luther King’s ideal of the beloved community to help us understand how we form movements now. And in Grace’s vision, everything is connected—and we all must take responsibility for addressing these big questions and shaping the future together.”

Jeff Chang will to deliver a talk entitled, Who We Be: The Colorization of America, based on his book of the same title, at UW Bothell, March 10 from 6:00 p.m. to 8:00 p.m. at Discovery Hall 061.

Jeff Chang. • Photo by Brian B+ Cross

Who We Be: Chang challenges current racial paradigm


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By Roxanne RayIE Contributor

The University of Washington School of Music regularly hosts visiting artists, who come to teach, practice, and learn together with UW faculty and students. The current visiting artist in Ethnomusicology is Srivani Jade, who is focusing on the music of North India.

As a capstone to this artistic residency, Jade will be performing with students on March 10 at UW, and the focus of this concert will be Hindustani Khayal. “Khayal, meaning ‘imagination’ in Persian, is an improvisational art form that originated in the Mughal courts in the 18th century, and is the predominant classical genre of vocal music today,” Jade said.

According to Jade, for many centuries, the voice has been considered the principal instrument in India. “Khayal involves a slow and gradual unfolding of a raga (or mode) through one or more compositions,” she explained, “over several movements of increasing melodic range and complexity, moving from a relaxed pace to faster rhythmic cycles.”

Jade appreciates Khayal for its ability to accommodate the individual interests of each musician. “Khayal attracted me first and foremost because it allows a very personal exploration of a raga, mediated only by the composition ‘off of’ which we improvise,” she said. “I also like that the lyrics are inclusively secular, and you can sing about virtually anything that inspires you.”

With that freedom, Jade has explored widely. “I have composed a bandish about the squirrels at play in my backyard!” she said. “The monsoons and other seasonal tropes are more common, and traditional. Love and loss are common topics, too.”

Jade’s passion for music began very early. “There was always music playing in the house—the radio, records, or my father playing an instrument,” she said.

Although Jade studied Carnatic (South Indian Classical) music during childhood, she experienced a lengthy gap before returning to formal lessons. “I didn’t resume until after I finished my Masters in Engineering, got married, and started working as an engineer in Seattle,” she said. “In the meantime, listening to music was my ‘recharge’ activity after a long day of work.”

Her interest in music then moved northward. “I gravitated toward the beauty and complexity of North Indian Classical music, and developed an appreciation of good music from all the different Gharanas,” she said. “I fell in love with Amir Khan Saheb’s monumental Khayals, Bade Ghulam Ali Khan Saheb’s lilting Thumris, and started digging for more.”

Motherhood deepened this interest further. “In the year 2000, I started

singing to my newborn son,” Jade said. “This put me back ‘in touch’ with my music ... and indeed with myself. I rediscovered music as a deeply personal and spiritual medium of expression.”

At this point, Jade’s career interests also began to shift. “I did not consider a career in music, and went with Engineering all the way through graduate school,” she said. “After that, I had a fairly decent career spanning almost a decade in various technology companies, but realized at some point that I was happiest while singing.”

When her son became a toddler, Jade pursued this passion more seriously. “In retrospect, the universe seems to have conspired in my favor, and brought a wonderful Guru, Pandit Parameshwar Hegde, into my life, in 2002,” she said.

Jade worked for four years, both in the United States and in India, on the Kirana Gharana style of Khayal, before preparing to perform. “In 2006, I debuted with a solo concert in a major festival for emerging artists in Bengaluru.”

Since then, Jade has focused on her practice and on sharing the music with others. “As Artist-in-Residence, I am an ambassador of my art form. I like to not only make music and share it freely, but be available as a resource to anyone who may have an interest or even curiosity about Indian classical music,” she said. “Everything comes full circle in this role—performing, teaching, observing, learning.”

This new multi-faceted role has not always been without challenges, which

have more to do with organization than with the music itself. “People often think the ‘language barrier’ might pose a problem, as I usually sing in various dialects of Hindi, and some Marathi, Kannada, Urdu, and Punjabi,” she said. “But I have never had an issue building a bridge through the medium of human experience. Music transcends language.”

Instead, it is the challenge of multiple roles that poses the most conflict. “The real challenges have been mostly internal—of balancing the various demands on my time as mother, teacher, and musician—and staying focused on the music,” she said. “It’s also a challenge balancing the external and active side of it (performing schedule and travel) with the internal and still side (introspection, deep listening, and riyaz). Usually it involves the word ‘discipline.’”

The importance of discipline emerges for Jade as part of music’s independence from each individual musician who practices it. “Music has a mind of its own,” she said. “You don’t ever master it. You learn and practice, but hope and pray that it may one day master you!”

“It’s quite humbling really,” she said.

Srivani Jade performs on March 10 at 7:30 p.m. at the Brechemin Auditorium on the University of Washington campus. She will be joined by her students for this presentation of Hindustani khyal, a form of Indian classical music. $5 cash or check at the door. For more information, visit music.washington.edu/events.

Srivani Jade to perform Hindustani Khayal

Srivani Jade comes from an intensely musical family, and was introduced to music at the age of four by her father Bhavani Prasad Jade and uncle Raghavendra Tilwalli. • Courtesy Photo


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1,000 rally at Asian Pacific American Legislative Day

ICHS Foundation director Ron Chew and ACRS executive director Diane Narasaki speak with legislators about API issues on APA Legislative Day on February 26, 2015. • Courtesy Photo

By Herbert AtienzaIE Contributor

More than 1,000 people turned out in Olympia on Thursday, February 26 for Asian Pacific American Legislative Day to rally and bring issues near and dear to the community before Gov. Jay Inslee and state legislators.

The rally, organized by the Asian Pacific Islander Coalition, were joined by representatives of Asian Pacific islander community groups and their clients, including many seniors, students, and disabled residents. Among the groups represented at the event were International Community Health Services (ICHS), Asian Referral and Counseling Services (ACRS), and Chinese Information and Service Center (CISC).

Among the issues presented by the community groups to lawmakers were calls for more support for health care, including a capital request from ICHS Foundation director Ron Chew to support the new Shoreline Medical and Dental Clinic; more support for K-12 and higher education; increased environmental protection; and increased support for case management and senior housing.

Preceding his appearance at the rally, Inslee met with representatives of the community groups, where he highlighted the budget and revenue challenges confronting the legislature. He urged them to work with their state lawmakers to support issues that are important for the API community.


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International Examiner March 4, 2015