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FREE EST. 1974—SEATTLE VOLUME 43, NUMBER 12— June 15, 2016 – July 5, 2016 THE NEWSPAPER OF THE NORTHWEST ASIAN PACIFIC AMERICAN COMMUNITIES. FIND YOUR INSPIRASIAN. PRSRT STD U.S. POSTAGE PAID SEATTLE, WA Permit No. 2393 Seattle’s Asian Pacific Islander newspaper for over 40 years First and third Wednesdays each month. By Tamiko Nimura IE Contributor The judo training room at 1414 South Weller Street is filled with blue mats, many windows, wood floors. But a section of flooring is different from the rest. A sink stood there once, volunteer Mara Kage tells me—it was part of a kitchen, used by Japanese American families after World War II and during resettlement. After the wartime incarceration, the building became, for a time, known as “Hunt Hotel”: a temporary housing facility for four years for more than 25 families. The flooring change in the judo room floor is a detail, but it marks an important part of the building’s history that’s now being told by Unsettled/ Resettled: Seattle’s Hunt Hotel , a new exhibit at the Northwest Nikkei Museum in the Japanese Cultural and Community Center of Washington (JCCCW). Kage and I are walking around on the soft, dark wooden floors of the JCCCW. Our walk includes stops at 10 illustrations, each one at a different point in the building. Outside the judo room, for example, there’s a beautiful paper cut illustration of the room’s former life by local artist Aki Sogabe. Titled “Communal Kitchen,” it’s filled with women and children cooking, baking, doing laundry. Near the illustrations there are also brief recollections by former residents, speaking of their time in the building. One of the most poignant pieces of the testimonials is Shokichi Tokita’s: “[Our] parents pushed two cots together to make a double bed, we hung sheets as partitions ... it really was . . . HUNT HOTEL: Continued on page 6 just like an extension of camp.” Sogabe’s paper illustrations are vibrant and awash with color, which brings a sepia “older” history closer to the present. Eventually my tour guide and I come to a long hallway, which I remember from previous events as a connection between buildings—but this time I see it’s filled with the Hunt Hotel exhibit: display boards, pictures, text, even a few display cases. The display tells of the building’s post- wartime history: how different classrooms for the Japanese Language School were turned into apartments, for example. There are panels about moving in, about living conditions, about life after living at the Hunt Hotel. A few small display cases hold carefully preserved mementos: a single tax document filled out by Genji Mihara, the manager of the Hunt Hotel; cigar boxes, a few wartime-era toys. Most of Mihara’s paperwork related to the Hotel was destroyed in a 1976 fire; the edges of the tax document are still slightly charred. Finally, we pause before Sogabe’s illustration of a lone Issei man, a resident who took his own life while at the Hotel. I find out more about him from Elisa Law, curator of the exhibit. She is speaking of the stories which moved her the most during her research. “I think during the course of this research I fell most in love with Masakazu “William” Koshiyama. He lived at the Hunt Hotel from 1945 until 1959, for 14 years. He was the last tenant of the Hunt Hotel until he took his own life at the age of 76. Hunt Hotel exhibit demonstrates resilience of Japanese Americans By Kelsey Hamlin IE Contributor Amidst an already limited number of faculty to teach Asian American Studies at the University of Washington, three professors are retiring from the American Ethnic Studies department: Steve Sumida, Gail Nomura, and Tetsuden Kashima. “All American literature has an ethnic angle or another,” Sumida said. Walking into Sumida’s office is like walking into a vat of knowledge: the shelves are so full of books that there’s books crammed between the top of the rows and the spaces in between the shelves, his life memorabilia is littered everywhere around the office, and two pictures of his granddaughters sit on his desk. This is a man of experience and gratitude. Sumida began his teaching career at 22 years old in Japan, through Amherst College. He then had the desire to go back to his home and teach, and so left to be a professor at the University of Hawai‘i. After gaining his Master’s degree at Columbia University, Sumida transitioned to the University of Washington in 1969, “a time of turmoil on campuses,” he said, because of student revolutions. There, Sumida went into graduate school. But he didn’t stay. Instead, Sumida left to teach at Washington State University where he and his wife Gail Nomura established the college’s first Asian American studies curriculum. A hole left in Asian American Studies “For the movement eastward from the west coast of Asian American Studies,” Sumida said, “WSU was one of the important steps for that.” Before his arrival, WSU had settled a lawsuit against a member of the community who protested against the university’s exclusion of Asian American Studies when it already had Chicano, African American, and Native American studies. “If you lack Asian American Studies, you are violating your own educational principles,” Sumida said. Sumida then had the duty of creating WSU’s first Asian American Studies, and so did his wife, who is also set to retire from the UW’s studies this year. Nomura has a degree in East Asian History, specializing in modern Japan. Nomura also instigated the first Asian American Studies in the midwest when she went to teach at the University of Michigan. Sumida was also at this university, but focused on the Modern Language Association. Nomura’s beginnings were different than Sumida’s, however. Her first teaching job was at the University of California, Los Angeles. After teaching there for three years, she went to WSU, and then to the UW where she has stayed for 17 years. “It was nice to come to a department with colleagues I could work with,” Nomura said. Three American Ethnic Studies professors retire from UW . . . PROFESSORS: Continued on page 6 More than a thousand people gathered Sunday, June 12, for a candlelight vigil at Cal Anderson Park to mourn the victims of the mass shooting at a nightclub in Orlando. A statement released by API Chaya from the Muslim Alliance for Sexual and Gender Diversity said: “As LGBTQ Muslims, we know that there are many of us who are living at the intersections of LGBTQ identities and Islam. ... Tragedies like this often lead people to look for someone or something to blame, but we ask our friends to resist this temptation. Let us instead recommit ourselves to working toward a world without hatred and prejudice.” • Photo by Lexi Potter

June 15, 2016 International Examiner

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The International Examiner has been at the heart of Seattle's International District as a community newspaper for over 40 years. Rooted in the civil rights and Asian American movement of the Northwest, The International Examiner is Seattle's Asian Pacific Islander newspaper. The June 15, 2016 issue highlights the retirement of three American Ethnic Studies professors from UW and features a photo from the vigil in Cal Anderson Park for the victims of the Orlando nightclub shooting.

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Page 1: June 15, 2016 International Examiner

INTERNATIONAL EXAMINER June 15, 2016 – July 5, 2016 — 1

FREE EST. 1974—SEATTLE VOLUME 43, NUMBER 12— June 15, 2016 – July 5, 2016

THE NEWSPAPER OF THE NORTHWEST ASIAN PACIFIC AMERICAN COMMUNITIES. FIND YOUR INSPIRASIAN.

PRSRT STDU.S. POSTAGEPAIDSEATTLE, WAPermit No. 2393

Seattle’s Asian Pacific Islander newspaper for over 40 years First and third Wednesdays each month.

By Tamiko NimuraIE Contributor

The judo training room at 1414 South Weller Street is filled with blue mats, many windows, wood floors. But a section of flooring is different from the rest. A sink stood there once, volunteer Mara Kage tells me—it was part of a kitchen, used by Japanese American families after World War II and during resettlement. After the wartime incarceration, the building became, for a time, known as “Hunt Hotel”: a temporary housing facility for four years for more than 25 families. The flooring change in the judo room floor is a detail, but it marks an important part of the building’s history that’s now being told by Unsettled/Resettled: Seattle’s Hunt Hotel, a new exhibit at the Northwest Nikkei Museum

in the Japanese Cultural and Community Center of Washington (JCCCW).

Kage and I are walking around on the soft, dark wooden floors of the JCCCW. Our walk includes stops at 10 illustrations, each one at a different point in the building. Outside the judo room, for example, there’s a beautiful paper cut illustration of the room’s former life by local artist Aki Sogabe. Titled “Communal Kitchen,” it’s filled with women and children cooking, baking, doing laundry. Near the illustrations there are also brief recollections by former residents, speaking of their time in the building. One of the most poignant pieces of the testimonials is Shokichi Tokita’s: “[Our] parents pushed two cots together to make a double bed, we hung sheets as partitions ... it really was

. . . HUNT HOTEL: Continued on page 6

just like an extension of camp.” Sogabe’s paper illustrations are vibrant and awash with color, which brings a sepia “older” history closer to the present.

Eventually my tour guide and I come to a long hallway, which I remember from previous events as a connection between buildings—but this time I see it’s filled with the Hunt Hotel exhibit: display boards, pictures, text, even a few display cases. The display tells of the building’s post-wartime history: how different classrooms for the Japanese Language School were turned into apartments, for example. There are panels about moving in, about living conditions, about life after living at the Hunt Hotel. A few small display cases hold carefully preserved mementos: a single tax document filled out by Genji

Mihara, the manager of the Hunt Hotel; cigar boxes, a few wartime-era toys. Most of Mihara’s paperwork related to the Hotel was destroyed in a 1976 fire; the edges of the tax document are still slightly charred.

Finally, we pause before Sogabe’s illustration of a lone Issei man, a resident who took his own life while at the Hotel. I find out more about him from Elisa Law, curator of the exhibit. She is speaking of the stories which moved her the most during her research. “I think during the course of this research I fell most in love with Masakazu “William” Koshiyama. He lived at the Hunt Hotel from 1945 until 1959, for 14 years. He was the last tenant of the Hunt Hotel until he took his own life at the age of 76.

Hunt Hotel exhibit demonstrates resilience of Japanese Americans

By Kelsey HamlinIE Contributor

Amidst an already limited number of faculty to teach Asian American Studies at the University of Washington, three professors are retiring from the American Ethnic Studies department: Steve Sumida, Gail Nomura, and Tetsuden Kashima.

“All American literature has an ethnic angle or another,” Sumida said.

Walking into Sumida’s office is like walking into a vat of knowledge: the shelves are so full of books that there’s books crammed between the top of the rows and the spaces in between the shelves, his life memorabilia is littered everywhere around the office, and two pictures of his granddaughters sit on his desk. This is a man of experience and gratitude.

Sumida began his teaching career at 22 years old in Japan, through Amherst College. He then had the desire to go back to his home and teach, and so left to be a professor at the University of Hawai‘i. After gaining his Master’s degree at Columbia University, Sumida transitioned to the University of Washington in 1969, “a time of turmoil on campuses,” he said, because of student revolutions. There, Sumida went into graduate school.

But he didn’t stay. Instead, Sumida left to teach at Washington State University where he and his wife Gail Nomura established the college’s first Asian American studies curriculum.

A hole left in Asian American Studies“For the movement eastward from the west

coast of Asian American Studies,” Sumida said, “WSU was one of the important steps for that.”

Before his arrival, WSU had settled a lawsuit against a member of the community who protested against the university’s exclusion of Asian American Studies when it already had Chicano, African American, and Native American studies.

“If you lack Asian American Studies, you are violating your own educational principles,” Sumida said.

Sumida then had the duty of creating WSU’s first Asian American Studies, and so did his wife, who is also set to retire from the UW’s studies this year. Nomura has a degree in East Asian History, specializing in modern Japan.

Nomura also instigated the first Asian American Studies in the midwest when she went to teach at the University of Michigan. Sumida was also at this university, but focused on the Modern Language Association.

Nomura’s beginnings were different than Sumida’s, however. Her first teaching job was at the University of California, Los Angeles. After teaching there for three years, she went to WSU, and then to the UW where she has stayed for 17 years.

“It was nice to come to a department with colleagues I could work with,” Nomura said.

Three American Ethnic Studies professors retire from UW

. . . PROFESSORS: Continued on page 6

More than a thousand people gathered Sunday, June 12, for a candlelight vigil at Cal Anderson Park to mourn the victims of the mass shooting at a nightclub in Orlando. A statement released by API Chaya from the Muslim Alliance for Sexual and Gender Diversity said: “As LGBTQ Muslims, we know that there are many of us who are living at the intersections of LGBTQ identities and Islam. ... Tragedies like this often lead people to look for someone or something to blame, but we ask our friends to resist this temptation. Let us instead recommit ourselves to working toward a world without hatred and prejudice.” • Photo by Lexi Potter

Page 2: June 15, 2016 International Examiner

2 — June 15, 2016 – July 5, 2016 INTERNATIONAL EXAMINER

IESTAFF

Established in 1974, the International Examiner is the only non-profit pan-Asian American and Pacific Islander 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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Jordan Wong, At-Large Edgar Batayola, At-Large

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CHIEF COPY EDITORAnna Carriveau

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STAFF PHOTOGRAPHER Isaac Liu

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EDITORIAL INTERN Tiger Song

CONTRIBUTORS Tamiko Nimura Anna C.T. Tsai

Nalini Iyer Imana Gunawan Yayoi Winfrey Ruth Vincent Roxanne Ray

DISTRIBUTORS Joshua Kelso

Makayla Dorn Maryross Olanday

Tiger Song

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IE OPINION

By Anna C.T. TsaiSpecial to IE

In the United States, immigration is an issue that is not often associated with the Asian and Pacific Islander (API) commu-nity, and few people realize the ways that an unjust and broken immigration system affects APIs. Members of the undocu-mented API community can be deported at any time, and face barriers accessing basic rights, such as health care. Undocumented APIs also face exploitative labor practices, and struggle to meet the financial demands of higher education. Twenty-six percent of undocumented immigrants in Washington State identify as API, but undocumented APIs are far less visible.

In an effort to bring visibility to the undocumented API community, students from University of Washington’s Leadership Without Borders Center and the Asian Student Commission, and community leaders from 21 Progress, hosted a gathering on May 12, 2016 for an event highlighting the stories of undocumented immigrants. The event, Undocumented Stories of Asian and Pacific Islanders, featured Ju Hong, a nationally recognized immigration rights activist. Hong has been involved in immigration rights activism nation-wide, and has been arrested for acts of civil disobedience. He gained national attention in 2013 for protesting deportations during a speech by President Barack Obama.

During the event, Hong called for more safe spaces that allow undocumented APIs to come together in solidarity to share their stories. These spaces can allow undocumented APIs to connect with community organizations, grow their leadership skills, and become advocates for change. Local community organizations that provide support and resources to undocumented APIs include 21 Progress, one of the hosts of the event. 21 Progress has a variety of programs that focus on social justice and economic welfare. One of their programs, Fearless Asians for Immigration Reform (FAIR!) was created to address the specific needs

of the undocumented API community. Marissa Vichayapai, FAIR! Organizing Director, presented insights about the community and provided opportunities for resources and allyship.

For Hong, immigration rights is a personal as well as political issue. Hong came to America when he was 11 with his mother and older sister on a tourist visa that they overstayed. Hong learned that his family lacked legal status when he found out it would be difficult for him to apply for college as a result of being undocumented. Hong was able to attend Laney College in Oakland, California, thanks to a California law granting undocumented students in-state tuition. After two years at Laney, he transferred to UC Berkeley and graduated with a degree in political science. To fund his education Hong worked odd jobs and got financial aid from community organizations with scholarship programs for undocumented students.

At the event, Hong presented a movie, Halmoni, that reflects his experiences as an undocumented immigrant. Halmoni is about Hong’s first trip to Korea in over 13 years to visit his ailing grandmother. In the film, it is evident how much Hong continues to struggle with the separation

from his grandmother and family in Korea as a result of his immigration status in America.

At the end of the night, Hong reflected on his experience as both an immigrants rights activist and an undocumented immigrant to provide advice to up-and-coming advocates for the undocumented API community, Hong emphasized the importance of community building and organizing around issues of immigration rights. If you want to create positive change in the undocumented API community, Hong said, you can begin by starting conversations within the community, and listening to the wants and needs of undocumented APIs. Finally, he said, if you can, vote. Voting is one of the most important ways that change is enacted.

To learn more about the FAIR! Campaign, find resources for undocumented APIs, connect with trustworthy professionals, and learn how you can support the hardworking undocumented Asians and Pacific Islander community visit www.itshouldbefair.com or email [email protected].

Community gathers to share stories of undocumented APIs

Lloyd Hara (left), keynote speaker at the Hing Hay Park Memorial Day ceremony for Cathay Post #186 of the American Legion. Hara spoke of remembering the Asian Pacific Americans who lost their lives fighting for freedom: “We can make the country for which they have died a better place. One than honors the sacrifices and epitomizes the ideals and enshrines our constitution.” • Photo by Lexi Potter

Ju Hong speaks about his experience as an immigrant rights activist and an undocumented immigrant at the University of Washington on May 12, 2016. • Photo by Bryan Nakata

Page 3: June 15, 2016 International Examiner

INTERNATIONAL EXAMINER June 15, 2016 – July 5, 2016 — 3

IE COMMUNITY

Volunteers Yong Lee (from left), a relationship manager with Key Commercial Bank, Riley Gaffney, a KeyBank middle market relationship manager, and Becky Beers, a KeyBank middle market relationship manager, cover Asian pear trees with netting to protect the fruit from pests at the Danny Woo Community Garden in Seattle, Washington, on Wednesday, May 25, 2016. KeyBank volunteers were supporting City Fruit, a nonprofit that helps protect heritage fruit trees, harvest the tree’s fruit and then deliver it to food banks, during KeyBank’s 26th annual Neighbors Make the Difference Day. • Photo by Dan DeLong

Panelists and moderator at the first “Connecting the Lessons of History” community panel at Nisei Vets Hall on May 30, 2016. Left to right: panelist Arsalan Bukhari (executive director of CAIR-WA), panelist Maru Mora Villalpando (immigrant rights activist), moderator Frank Abe (writer and director of Conscience and Constitution), panelist Lorraine Bannai (director of the Fred T. Korematsu Center for Law and Equality). • Photo by Heidi Park

IE News ServicesThe second panel discussion as a part of

the “Connecting the Lessons of History” community discussions will examine the similarities between anti-Japanese rhetoric and violence during WWII (that ultimately led to the incarceration of 120,000 people based solely on their ancestry) and the hate speech and hate crimes targeted at Muslim Americans, immigrants, and refugees in the post-9/11 world.

The panel will be moderated by Richard Stolz and will be held on Saturday, June 18 at the Wing Luke Museum of the Asian Pacific American Experience Tateuchi Theatre (719 South King Street).

The four featured panelists are Former Seattle City Councilmember John Okamoto, Current City Councilmember Lorena González, Jasmit Singh of The Sikh Coalition, and Ubax A. Gardheere of Puget Sound Sage.

This project is made possible by a grant from the Office of Superintendent of Public Instruction (OSPI) awarded to the International Examiner, 21 Progress,

and The Seattle Channel as part of the Kip Tokuda Memorial Washington Civil Liberties Public Education Program.

For more information about the event, visit the Facebook event page at https://www.facebook.com/events/644132452409148/.

Connecting the Lessons of History: Second panel discussion on June 18

At the first “Connecting the Lessons of History” community panel discussion on May 30, 2016, moderator Frank Abe (far left) holds up a copy of The Seattle Times. The cover story reported on the former interim Seatac city manager who tried to map out Muslim residences for the purpose of identifying terrorism suspects. • Photo by Heidi Park

Page 4: June 15, 2016 International Examiner

4 — June 15, 2016 – July 5, 2016 INTERNATIONAL EXAMINER

IE NEWS

Employment

Executive Assistant at ACRS

Provides administrative, clerical, project support to Executive Dir and Board. Highly organized; attention to details, writing and note taking skills required. Experience organizing meetings, events. Cultural competence, experience working with Asian Pacific American community highly desirable. For more information, visit https://acrs.org/careers/current-openings/. Send resume & cover letter to: [email protected].

Announcements

Rep. Santos, IDEC will host community update on the Donnie Chin murder investigation on June 23

Rep. Sharon Tomiko Santos and the International District Emergency Center (IDEC) are hosting a community meeting on public safety in the Chinatown International District on June 23 from 5:30 p.m. to 7:30 p.m. at Nagomi Tea House (519 6th Ave S #200, Seattle, WA 98104).

The meeting will also update the community on the latest information about the Donnie Chin murder investigation and the future plans for IDEC. Chin, the founder and director of IDEC, was shot and killed on July 23, 2015 as he was responding to a reported dispute. An arrest for Chin’s murder has yet to be made.

Seattle Police Chief Kathleen O’Toole and the SPD have been invited to update the community on the status of the investigation. King County Councilmember Joe McDermott and Seattle City Councilmember Bruce Harrell will be attending. This is in follow-up to a November 2015 community meeting.

Kobo to feature work of Dean WongKobo Gallery and Shop at Higo will be

hosting the work of Dean Wong. The show will run from June 25 to July 24, with gallery talks during its run.

Kobo will also be working with Bruce Rutledge and Chin Music Press to feature Wong’s new book, Seeing the Light.

The opening reception for the artist and book signing will be from 3:00 p.m. to 6:00 p.m. on Saturday, June 25. Some details are subject to change.

Dean Wong exhibit at Jack StrawJack Straw Productions will present an

exhibit of new photographs of Chinatowns in San Francisco, Vancouver, and Seattle by Dean Wong, in conjunction with the release of his new book Seeing the Light: Four Decades in Chinatown, out now from Chin Music Press.

A free reading and talk titled, Dean Wong: New Street Photography, happens Friday, June 17 at 7:00 p.m. at Jack Straw Cultural Center, 4261 Roosevelt Way NE (southwest corner of 43rd and Roosevelt), Seattle 98105. The exhibit will run through September 2.

Yoko Shimomura joins Bill and Melinda Gates Foundation COO Leadership Team

The Bill and Melinda Gates Foundation announced that Yoko Shimomura will be joining its Chief Operating Officer Leadership Team. Shimomura will assume the role of Chief of Staff, Office of the COO effective June 27, transitioning from her current role as Deputy Director, Operations Management in GWR.

Shimomura spent the last four years leading the GWR team through strategic planning, led a number of cross-Ops projects, oversaw the team’s success measures and metrics, and managed process improvement & technology for Travel, Events, Facilities, and the Visitor Center. Prior to that, she was a consultant in IT helping with new Seattle Campus workplace technology, and served as Vice President in Corporate Services at Washington Mutual Bank.

Shimomura received a BA from Fairhaven College at Western Washington University in American Ethnic Studies. She is widely known and respected as a strong leader, high-integrity collaborator, and brings a wealth of operations knowledge and experience that will help us deliver on our priorities, the foundation said.

Shimomura will be a key advisor and representative of the COO, lead priority initiatives/projects/investments, develop and maintain critical relationships across Operations, Programs and Regional Offices, while overseeing the management of the Office of the COO.

Naoko Morisawa’s Morse Code Project. • Courtesy Photo

Naoko Morisawa’s Morse Code Project featured at Seattle Center

Seattle Center is collaborating with the Seattle Office of Arts & Culture to bring Temporary Art Installations to campus year-round. Naoko Morisawa was one of four artists selected as part of Seattle Center’s Poetry Garden Art Series.

Morisawa’s Morse Code Project will be featured through August 1. Morisawa installed a Morse code pattern made of colorful garden hose tubing in the Poetry Garden. Morisawa transforms a functional garden material into an art object by amplifying the form and color of the garden hose. For more information, visit http://seattlecenter.com/art/.

Morisawa also received a purchase award for the piece “Wave VI – Dive” (oil-stained wood mosaic, acrylic, oil, sumi, and paper on wooden board) from the Kent Arts Commission. Every summer, the Kent Arts Commission displays photographs, paintings, works on paper, prints and collages in the Summer Art Exhibit. Morisawa was one of 63 artists who submitted digital images of more than 500 pieces to be considered, and the jurors selected 57 artworks from 27 artists. For more information, visit kentwa.gov/arts/gallery/.

Recalling Bush GardenJoan Tomiko Seko, former owner and

manager of Seattle’s iconic Bush Garden restaurant will be the Omoide (Memories) speaker on June 18. She and her late husband, Roy, and brother-in-law, Bob Seko, operated the famed eating facility for 47 years in the International District until their retirement in 1997.

The restaurant gained a nation-wide reputation for excellence in Japanese cuisine and hospitality. Under the Sekos’ management, their famed “tatami rooms” were the “in places” for weddings, parties and meetings, including visiting celebrities and dignitaries.

Ms. Seko was born in Seattle in 1937. When she was four years old, she visited Hiroshima with her parents. With threats of pending World War II, the family returned to Seattle on the last ship from

Japan. Her wartime incarceration journey took her to Puyallup Assembly Center and the Minidoka, ID, War Relocation Authority center.

Ms. Seko explained that the original Bush Garden was started by her husband’s father in 1953 in the Bush Hotel on South Jackson Street. The restaurant name is derived from the Japanese “Bushido”—meaning samurai. The Seko family moved the facility to its current location in 1957.

“The first major event at our new location was our wedding reception,” Ms. Seko said in a statement. Future plans by current owners are to eventually demolish the building. The future of Bush Garden is unknown.

Since her retirement, Ms. Seko has been active in community events and volunteers with numerous organizations. Her business career serves as a model for today’s generation of aspiring Asian businesswomen.

Ms. Seko’s Saturday, June 18, presentation is another in the monthly series sponsored by the Japanese Cultural and Community Center of Washington (JCCCW). The programs are held at the JCCCW building, 1414 So Weller Street, from 1:00 p.m. to 2:00 p.m.

The Omoide writing group session follows the speaker’s program. The public is invited to hear the speakers and participate in the beginning writing group. The events are free. For more information, contact [email protected] or (206) 568-7114.

Page 5: June 15, 2016 International Examiner

INTERNATIONAL EXAMINER June 15, 2016 – July 5, 2016 — 5

IE NEWS

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TICKET SPECIALSFelix Hernandez Bobblehead NightFriday, June 24 7:10 p.m. vs. Cardinals

UPCOMING EVENTS

Queer, transgender South Asian anthology celebrates anniversary

By Imana GunawanIE Contributor

For many South Asian queer and transgender individuals, addressing both their queer and trans identity with their Desi families is akin to a balancing act. But an anthology, which recently celebrated its first anniversary of publication, shows that addressing both queer and Desi identities don’t have to always be a conflict.

A year ago, Aparajeeta “Sasha” Duttchoudhury and Rukie Hartman put together Moving Truth(s), a collection of stories from queer and transgender South Asian individuals to bring conversations surrounding gender and sexuality home to families and communities. Hartman and Duttchoudhury, along with contributing writers, celebrated the anthology’s first anniversary on April 23 at the U Bookstore.

“A lot of what some folks wrote about is the negotiation of two identities that seem contradictory, and I think that contradiction folds when people are openly accepting,” Duttchoudhury said.

So often, they said, conversations or approaches to understand gender and sexuality within Desi communities involve feelings of discomfort, fear and silence. They and co-organizer Hartman wanted to provide a resource for their communities to address those feelings, for example, in the context of coming out as queer or trans to Desi families, or finding support systems while growing up and exploring LGBTQI identities.

At the first anniversary event, with approximately 25 people in attendance, the co-organizers talked about the process of putting together the anthology. Some contributors also read excerpts from it, followed by a question-and-answer session.

Duttchoudhury said when they and Hartman had the idea for the anthology, picking the topic came naturally: family.

“The topic was easy to pick in a sense that my relationship with my family really shifted when I was in college because of moving out,” Duttchoudhury said. “Their growth and my growth and our struggle together have kind of been a lingering thing for me personally.”

Duttchoudhury said they realized that while in college at the University of Washington, they had resources like Q Center as a place to explore and understand deeper issues of gender and sexuality, whereas their parents don’t have either language or resource to talk about such issues. Feelings of both confusion and frustration then are put on Duttchoudhury, who is also dealing with the same feelings.

“I’m the only one they can talk to about these things—I’m a source of their frustration but also the place where they kind of process it,” they said. “So what [Hartman and I] wanted to create was a resource for families, but also for queer and trans South Asians to unearth that really tender place around family.”

The anthology features 13 stories of familial relationships that revolve around gender and sexuality. Duttchoudhury said the range of stories shows that families address the topics in different ways. While there are sometimes hurt and pain involved within these relationships, there are also others dealing with such feelings from a place of love and care.

Harsimran Bagri, one of the contributors, says collections of stories like these are important because Desi voices are often left to the margins.

“These stories in particular are typically silenced intentionally, whether that’s implicit through culture or explicit through people

not wanting to deal with the subject matter,” Bagri said. “By silencing these stories, you’re silencing the individuals … and take power from these individuals.”

In the year since Moving Truth(s) was published, the contributors have had the chance to reflect on their relationships with their respective families. One of the challenges of the writing process, Duttchoudhury said, was that the writers were working through families and problems in a public way. Some wondered whether that meant “dishonoring” their families by publishing their problems. They often took caution with the angles they took for the stories to ensure that their stories are authentic.

The process went for a little over 10 weeks, with a few rounds of peer-editing and a final round of editing with the publisher.

“That was all really helpful because ... for the first time not only were we writing down our stories, but people who [edited it] had stories like that and had that nuanced understanding of what it means to be a queer Desi or trans Desi person relating to their families,” Bagri said. [It helped] the stories come to a reconciliatory point as opposed to a painful point.”

Some contributors even gave a copy of the anthology to their families as a way to share their perspectives and experiences with family members and then giving space for them to process.

“It’s like an entry point for conversation where you have distance, where you don’t have to be reactive,” they said. “And I think this is a gentle way of creating space versus like moving out is a very dramatic way of creating space, which for a lot of us, that’s what we had to do.”

Duttchoudhury said people who don’t see themselves as being affected by issues surrounding queer, transgender, and Desi identities can still get use out of the book, as those people can be support systems to those who are affected.

“I think about my family not having people to talk to about this—if their neighbors or friends had language around gender and sexuality or just very open about these things, then at least [the family] have some sort of outlet,” they said. “I think that would save a lot of grief in terms of negotiating what is and what should be.”

Bagri said a year after publication, the first anniversary event had powerful moments where people could speak their truths and laugh, cry, listen and celebrate all that has happened since.

“[I remember] holding that book in my hand for the first time and realizing that these stories have been written down now,” Bagri said. “Even if not everybody in the world will read this book, they have been written now and they can be a resource for those that come after us … and these stories are still happening.”

Moving Truth(s) contributors at their first anniversary celebration. • Photo courtesy of Lidya Luk

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6 — June 15, 2016 – July 5, 2016 INTERNATIONAL EXAMINER

IE COMMUNITY

SHIMANE FOOD FAIR

June 15-21, 2016With Demos at Seattle and Beaverton Stores Daily

Celebrate and savor the delicacies of Shimane Prefecture as we welcome over a dozen specialty food vendors from Japan!

SHIMANE FOOD FAIR

島根県観光キャラクター「しまねっこ」島観連許諾第3429号 June 15-21, 2016

Celebrate and savor the delicacies of Japan’sShimane Prefecture as we welcome over a dozen specialty food vendors from Japan!

EnjEnjoy tastings and food demonstrations at our Seattle locationJune 15-21 from 11am to 5pm.

For more info, visitwww.uwajimaya.com

“I became fascinated by this Issei (first generation Japanese immigrant) man who had had no family, who had found shelter at this temporary hostel for so long,” says Elisa Law, who was brought on as Project Manager in 2016. “I asked every former resident what they remembered about him to try and piece together his story ... I think I have spent so much time imagining his life (he would complain about other tenants of Camp Minidoka smoking in the barracks, that it made him unable to sleep) and his experience during World War II (he adamantly refused to go anywhere but back to Seattle after the incarceration camps were shut down. He represents in a very real way to me, the forgotten Issei bachelor men who lost everything during WWII and who did not have children to take care of them or to remember their struggles. The only physical evidence of William, or of many of these Issei bachelors, are signatures on federal documents that are saved in public records. If I ever saw a photo of William, I think I would have a good cry.”

Unsettled/Resettled is the culmination of several years of work, begun in 2009 by then-interim JCCCW director Bif Brigman and then continued by a team of intern and JCCCW staff members, including Laura Araki and Stephen Kitajo. “I knew,” says Brigman, “[that] the trauma of camp didn’t end when the camps closed.”

Grants from 4Culture and the National Parks Japanese American Confinement Sites program helped to support the

. . . HUNT HOTEL: Continued from page 1research, documentation, and display. A community team of former Hotel residents, local Japanese American history specialists, and museum professionals helped the JCCCW staff to develop and display the exhibit and catalog materials.

“I hope that visitors [can] come away with a new appreciation of the resilience of the Japanese American community in the face of adversity,” says Law. “That the struggles and losses of the Issei generation not be forgotten and that the importance of community (whether that be a Language School, a church or a neighborhood) is understood.”

Run by volunteers, the Northwest Nikkei Museum at the Japanese Cultural and Community Center of Washington is open between 10:00 a.m. and 5:00 p.m., Monday through Friday. Admission is free. To schedule a tour, e-mail [email protected] or call (206) 568-7114. The exhibit catalog, ‘Unsettled/Resettled: Seattle’s Hunt Hotel,’ should be available in May 2016 by contacting the JCCCW, and will contain all of the exhibit text as well as all of Sogabe’s illustrations. Part of the exhibit remains at the JCCCW, but part of the exhibit is scheduled to travel to the University of Washington, the JANM in Los Angeles, and the Oregon Nikkei Endowment. The exhibit’s traveling schedule, when finalized, will be available on the webpage www.jcccw.org/hunthotel.

“It’s hard being the pioneer, it can get a bit lonely.”

Nomura recanted her admiration for the history of activism within the UW and the broader Seattle community. “Bridging town and gown,” she called it. For her, one of the most important parts of teaching in American Asian Studies is serv-ing the community and bringing that relevance to the classroom.

“It’s better if there’s a community behind you or, rather, leading,” Nomura said. “We don’t have to be everything to everybody. There’s a lot of skilled people out there.”

The last of the three Asian American Studies professors retiring this year at the UW is Tetsuden Kashima. He actually par-took in the activism Nomura admires.

“In 1967, when we had a strike in San Francisco State [University],” Kashima said, “we didn’t have ethnic studies, women’s studies, environmental studies. I was on a picket line.”

At the time, he was a graduate student.“I knew that when we

talked about minorities in American society, the point of view came from the larger dominant soci-ety,” Kashima said, “and they didn’t allow us—or it wasn’t encouraged, or they didn’t even know—that the minorities have their own history.”

Kashima got his doctorate at the Univer-sity of California, San Diego and then came to the UW in 1976. But, after 39 years at the UW, he said he leaves with both regret and a certain amount of happiness.

“I’ve come to appreciate what a great uni-versity we have,” Kashima said, “just treat-ing people fairly—much more so than many other schools. I’ve had a wonderful career teaching, and faculty is one of the best in the world.”

Kashima expressed the same sentiments as Nomura, however, in that what they do is but a grain of sand in the hourglass of time.

“I’m really grateful for our comrades, but we have many many people out in the com-munity and on campus who helped greatly, if not more, than we three,” he said. Kashima said that if it weren’t for the community of faculty, and those outside town, a lot of the events that are put on through Asian Ameri-can Studies wouldn’t be possible.

“And so I think we should say thank you to everybody,” Kashima said. “I played a small role. I don’t even want to talk about my role.”

One of the many memorable events that the retiring professors and the greater Asian American community put together was the Long Journey Home, a gathering of all the UW’s 1941-1942 Japanese students who were sent to incarceration camps during World War II solely due to their ancestry. Many of them weren’t able to finish their degrees but, at this event, the UW and Nikkei students gave them honorary degrees in 2008.

“What happened in 1942 was a tremen-dous violation to civil liberties,” Kashima said. “That issue is something that we should not forget. We don’t have to dwell on it or get upset about it, but we need to make sure it doesn’t happen again to any other group.”

The crowd on that day in 2008 was an emotional one. Some of the previous UW students had already passed and so relatives were sent in their honor.

“Many of them just didn’t realize how much they would feel after 66 years,” No-mura said. She, Kashima, Sumida, and the broader community watched as 440 people were finally listed as UW gradu-ates.

“There’s nowhere you can draw lines saying ‘this is community, this is cam-

pus,’” Sumida said. “It’s our job.”

Although all three are retiring, their il-lustrious careers don’t end there. All three are going to continue working on

speeches, research, and book publica-tions. Meanwhile, Sumida himself plans on continuing his job as an Asian Ameri-can actor, and documenting the oral histo-ries of Japanese Americans.

“The only thing that changes is I don’t have to grade papers anymore,” Nomura said. She laughed about it being the only thing she’ll miss.

Kashima already speaks at one of the three national parks used for the Japanese American incarceration camps: Mini-doka, Idaho, the place most Japanese Se-attleites were sent.

“I’d like to continue in this area be-cause we have to teach the young people, the grandchildren of the grandparents who were there,” Kashima said. “And the people who aren’t of Japanese ancestry, to tell them what the story is about and why it’s important; to remember.”

Despite so many plans and aspira-tions, there’s some worry about the gaps the three professors are leaving in Asian American Studies.

“I’m worried that without community voices,” Nomura said, “the university may not replace all of us.”

The Divisional Dean of Social Sci-ences, Judy Howard, is part of one of four divisions in the College of Arts & Scienc-es. She said the UW is currently looking for temporary lecturers for next year, and will begin searching for full-time faculty once they hire the temporaries.

“With three retirements, that’s a lot of change,” Howard said. “It’s an opportuni-ty to build the next chapter, hiring people earlier in their careers.” She did say, how-ever, how much of a loss it is to lose three dedicated faculty.

The hiring really depends on the fiscal circumstances of next year, according to Howard. She predicts Asian American Studies will make one to two new tenure track hires. That leaves one gap unfilled, which Howard attributed to “difficult fi-nancial circumstances.”

“What you hope for in retirements is people do it one by one rather than all at one period of time,” Howard said.

Nomura said the American Ethnic Studies department does the major lift-ing of diversity teaching on the UW cam-pus. She argued that that reason alone, and especially when paired with a “Race and Equity Initiative”-driven president, should be enough to fill the needed facul-ty. Nomura questioned where the money that would otherwise pay the three retir-ing professors is going.

“It’s maddening,” she said. “I don’t see how we can justify that.”

The Seattle area Nikkei community is planning a midday “Sensei-tional3” retire-ment celebration for all 3 professors on Au-gust 27, 2016. Details will be announced, but for more information, please e-mail [email protected].

. . . PROFESSORS: Continued from page 1

Nomura Sumida

Kashima

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INTERNATIONAL EXAMINER June 15, 2016 – July 5, 2016 — 7

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8 — June 15, 2016 – July 5, 2016 INTERNATIONAL EXAMINER

IE ARTS

By Yayoi L. WinfreyIE Contributor

A quietly radical style of filmmaking is presented by 26 year-old writer/director Bi Gan in Kaili Blues. Unfolding like a fantastic dream, with its ethereal characters floating against hazy mountain terrain, this hypnotic, visually rich creation also unveils a dazzling storyline.

Chen (Yongzhong Chen) is a former inmate and doctor who wasn’t there for his mother when she passed away. But his brother, Crazy Face (Lixun Xie), was—often reminding Chen while threatening to sell his own son, Weiwei (Feiyang Luo), Chen’s nephew, to whom he’s grown quite attached. Gambling and playing pool with his shiftless friends, Crazy Face ignores Weiwei, who is given to tracking time by drawing clocks and watches, as do others that appear later in the film.

After learning that Crazy Face has sent Weiwei to Zhenyuan, Chen sets off to find him. But first, he’s asked by his colleague to present a shirt and mix-tape to her sick, elderly friend, someone she shared a history with during the Cultural Revolution. Earlier, the two doctors revealed their similar dreams to each other, the colleague dreaming of her dead son; Chen, of his late mother.

Along his trek to Zhenyuan, Chen stops in peaceful Dang Ma, searching for the Miao minority who play an instrument called the Lusheng. He hires a motorcycle driver; then, hitches a ride on a truck. Everyone he encounters takes him a few steps farther into his mystical journey.

Shot like a dreamscape by cinematographer Wang Tianxing, the film features several

astonishingly long scenes with no breaks. In one 41-minute stretch, the camera follows a character until they branch off and another takes their place. Climbing endless steps up and down, people enter buildings and walk through them to roads and alleys on the other side.

Considerable symbolism is displayed through the movement of bikes, boats, trucks and trains. In one scene, a rushing train is juxtaposed on a window giving the sense that it’s barreling into the room. There are also shots taken through reflections, like from the mirror of a motorcycle. Just like the picturesque green river that carries the boat that a woman named Yang Yang rides to a public concert, the plot turns in unexpected places but always attentively. Throughout, Chen recites poetry aloud. And, being naturally skilled at picking locks, he’s able to open that which remains closed to others. In Kaili Blues, Chen questions his thoughts and memories, of his life feeling like a dream (or is it his dream that feels like life?).

‘Kaili Blues’ shows June 23 to 26 at Northwest Film Forum. For more info, visit nwfilmforum.org.

* * *Another kind of reality is highlighted

in the documentary Gurukulam, a quest into the meaning of life. At an ashram in Tamil Nadu, India, the filmmakers feature several devotees of (the now late) Swami Dayananda Saraswati. Located in a thick forest, the venue (Arsha Vidya Gurukulam) at times looks much too busy to be all that relaxing. For instance, the opening scenes show followers endlessly hacking away

at coconuts with machetes. Others pick vegetables, or cook and serve meals, or else clean up around the facility. There seems to be constant motion when there should be more meditation.

Nevertheless, Swami Saraswati is a charismatic, jovial chap and his teachings of the Hindu philosophy, Advaita Vedanta, are fairly straightforward. Even though some of his pronouncements—perception is existence—are fundamental, he is able to laugh at himself. It’s his students who take everything so seriously, like the American woman who came to study for a few months and ended up living there for decades. Another young man seems distressed that his parents don’t understand why he wants to remain at the ashram instead of getting on with his life.

The fussiness of devotees eating, chanting, praying, and performing rituals and chores, is in stark contrast to the times they sit quietly, raptly listening as Swami Saraswati recites the Bhagavad Gita. In those moments, it really does feel like they are “One.”

‘Gurukulam’ screens June 17 at Sundance Cinemas Seattle. For more info, visit www.sundancecinemas.com.

* * *In the narrative Before the Streets,

Shawnouk (Rykko Bellemare) is like too many young men in his First Nations community of native Atikamekw; restless and rebellious. In spite of having a strong male role model in his mother’s boyfriend, a tribal sheriff no less, Shawnouk finds himself living on the wrong side of the law. Hanging out with a bad crowd, drinking

Films: Kaili Blues, Gurukulam highlight reality, Streets finds its rootsbeers, smoking cigarettes, and playing war in the sand with them, he doesn’t seem to have any goals in life.

His sister (Kwena Bellemare Boivin) isn’t much better. She allows her mother to care for her baby while she gets high with her brother. Unfortunately, their mother seems to be resigned to the fact that she has no control over her own children.

Then, one night, while Shawnouk is out, he meets a stranger who convinces him to help burglarize a supposedly empty house. Unexpectedly, the owner appears just as the two are loading up and Shawnouk has to make a split-second moral decision. Before long, someone lies dead. Running away, Shawnouk meets a girl and her wise mother who tries to convince him to go to the sweat lodge for a spiritual cleansing. Instead, Shawnouk goes home where his mother’s sheriff boyfriend protects him from civilian police and forces him to get a job. But Shawnouk is consumed with guilt and makes a drastic decision rife with consequences.

The first feature for director Chloe Leriche, this film is also the first ever made in the language of Atikamekw spoken by the mostly non-professional actors. Shot on location in three native Atikamekw villages of Quebec, it makes a powerful statement about Indigenous people who stray too far from their cultural roots. Jacques Newashish is especially outstanding as the sheriff who cares too much about his girlfriend’s wayward children.

‘Before the Streets’ screened at SIFF in June.

By Yayoi L. Winfrey IE Contributor

Prolific filmmaker Xu Haofeng recently premiered his martial arts movie, The Final Master, at this year’s SIFF. Even though he graduated from the Beijing Film Academy in 1997, the auteur spent years studying martial arts, Taoism, and apprenticing to two masters before shooting a single frame of any movie.

In 2006, Xu wrote a biographical novel, The Bygone Kung-Fu World. The next year, it was a martial arts fantasy, Monk Comes Down the Mountain, that Chen Kaige (Farewell, My Concubine) turned into a film in 2015.

Xu finally directed his first film, The Sword Identity, in 2011, followed by Judge Archer in 2012. That same year, director Wong Kar-wai asked Xu to write a screenplay, which became the film, The Grandmaster. In 2014, Xu wrote a novella, The Master, on which he based The Final Master.

With his love for fine art, Xu naturally includes fashionably dressed characters in this period piece about rivaling martial arts schools. Besides its glamorous visual tone, the film also features jazz-infused music—another deviation from most martial arts films. The International Examiner caught up with Xu Haofeng to talk about filmmaking, martial arts, and history.

International Examiner: The style that you chose to tell a martial arts story is such a departure from the usual narrative. Was there anything in particular that inspired

you to make such a fashion-conscious film about fighting?

Xu Haofeng: Chi-nese people not only invented kung-fu films, but also in-vented a genre about social issues, which are about Chinese traditional morals. Through the stories about father and son relationships, husband and wife relationships, etc., this social issues genre presented the rise and fall of different Chinese communities and classes when West-erners came to China at the beginning of the 20th century. After China started to follow the ideology of communism, this genre started to die down. An Italian film critic mentioned to a professor at film school that this Chinese social issues genre had some influence on the neo-realism films of Italy. I combined both the martial arts genre and the social issues genre in making this film.

IE: The music in The Final Master was incredible. What made you choose music not typically associated with martial arts?

Xu: Because Italian western films have unique scores, I was exploring—trying to find a unique score for my kung-fu films. There are a large number of young Chinese people creating experimental music. My method is to put the experimental music into a regular story. It turned out that the majority of the audience liked the music. They thought it was fresh, proving that experimental art can be acceptable in pop culture.

IE: The strong presence of Europeans also added a different element to the film. Even though there have been period pieces about foreigners in China before, your film seems to uniquely highlight them. Is there a reason for that?

Xu: The recent hundred years of Chinese history is the history about westernization. The real Chinese gentlemen class in Northern China is just like the people from the Meiji Restoration in Japan. They learned very carefully from Westerners. The generation of my grandfather still has the habit of drinking afternoon tea, influenced by the West when they grew up. In that period of time, Westerners lived together with Chinese people in Beijing and Tianjin. They did not live in westernized houses, but in siheyuan (courtyard houses) and were part of the life of my grandfather’s generation. That generation was not against the idea of marrying Westerners. Because China was in a transformational moment after being through lots of revolutions, the Western women who came to China thought

China was a mysterious and romantic place. They had high expectations about Chinese men, and Chinese men were good at saying sweet words and taking care of women. So, Western women accepted offers of marrying Chinese men.

IE: How much has your martial arts background contributed to making this film more realistic?

Xu: My background in martial arts is vital to my filmmaking. I do not know how to do a Hong Kong style kung-fu film. I do martial arts films based on my own martial arts training experience.

IE: What about your background as a writer?

Xu: My background as a writer helps me a lot. After training as a writer, I am very clear about my choices in film. I can be very accurate about what to put and what not to put in my films. I do not film extra angles or takes. There are barely any wasted takes.

IE: What’s your next film about?Xu: It’s about the last battle with cold

weaponry during WWII in China. I will show the big saber techniques from China. During that period of time, China was very behind in modern weaponry. At the beginning of the war, there were barely any modern weapons warehouses in Northern China, so that the Chinese army had to use the big sabers to help fight the war. They had to do sneak attacks and tried to get into melees as fast as they could. You can see some photos with Chinese soldiers with grenades at their waists, but holding big sabers in their hands. I really want to present the huge amount of courage Chinese people had in such a bad situation.

The Final Master director Xu Haofeng talks history, martial arts

The Final Master

Xu Haofeng

Page 9: June 15, 2016 International Examiner

INTERNATIONAL EXAMINER June 15, 2016 – July 5, 2016 — 9

IE ARTS

Mt. Baker complex acts as haven for local arts communityBy Jeff Nguyen

South Seattle EmeraldSitting across the way from Franklin

High School, the Mt. Baker Lofts can been seen as yet another series of apartments sprouting up in a city filled with smart-growth high-rise residency. Now take a closer look. From a table inside Campadre Coffee tucked in a street-level corner of the building, you can turn your eyes away from your steaming mug to look at some gorgeous mosaics, locals mingle with some artists amongst low-key electronic beats and dreamlike illustrations exploring existential philosophy. It’s evident these lofts have something unique. Here, photographers, jazz musicians, and painters coexist, all part of the thriving art scene of the 206.

The Mt. Baker Lofts are part of the nationwide ArtSpace projects, which include similar residences across the nation. They all provide affordable housing for eligible artists and creative professionals, as well as commercial space. Currently the Mt. Baker residency hosts up to 50 artists with hundreds more on the waiting list.

And the artists living here don’t have to look far to see the variability and span of the local art scene. These residents have occupations and fields of work that range from dollmaking, to mixed-media sculpture, to videography. Collaborations are common between artists, such as a cartoonist and a videographer creating a Japanese character stop-motion movie. Subsequently, their work has been displayed at numerous galleries and shows around the city and across the country.

Artists have also come from all across the country—and sometimes the world—from various circumstances. Craig Cundiff, an illustrator residing at the Lofts said: “I’m originally from New Orleans, I moved here after Hurricane Katrina. So I’ve been here for about 10 years, tirelessly trying to get better at art.”

Since coming to Seattle in 2006, Cundiff has established his name within the Seattle art scene, although he acknowledges that it was difficult at first. “It’s hard to get into, but as soon as you’re in it you realize how tight-knit the small community is,” he

said. Cundiff’s breakthrough show in the Emerald City was hosted by the Alibi Room in Pike Place.

His main body of work is made up of illustrations and drawings exploring anatomy, space, and displacement, working with materials like oil, pastels, and graphite. Acrylic portraits, musculature, and body forms populate his portfolio along with displaced urban familiarities such as garbage containers and abandoned shopping carts among natural landscapes. Cundiff’s work was recently shown with many of his contemporaries, whose work played on concepts from female deities to the duality between physical form and spiritual being.

The lofts are full of creative talent from right here in Seattle as well. Resident Henry Jackson-Spieker is a sculptor and metalworker hailing from the Emerald City. “As a kid, I was always taking stuff apart, putting stuff back together,” he said. “My parents really wanted me to channel that energy into something more constructive.” Local Pratt Center for the Arts, offering classes in metalworking and glassblowing, set Jackson-Spieker on his path. He then pursued fine arts studies at Western Washington University.

Jackson-Spieker’s work can be easily recognized for its unique attention to spatial relationships, and playing with that concept

in 3-D material. “I think much more spatially, and in that way I feel it’s much more intuitive to me,” he said. His work has evolved currently to explore the source of physical tension in physical works and how different materials can cohesively interact. “I want to see how some materials that don’t naturally go together, like glass and metal, can interact, and create that balance and that duality,” he said. His techniques also incorporate the complex skill of glassblowing and glass carving.

Cundiff and Jackson-Spieker won’t have an absence of an audience and reception for their work. They are two strong examples out of many artists finding their way in a vibrant, art-centric city. Seattle boasts around 100 commercial galleries, as well as numerous artist and nonprofit studios open to public viewing, in addition to renowned institutions such as the Seattle Art Museum and the Burke Museum.

In addition to these more formal settings, local artists are finding recognition in more austere venues. Cafés, bars, localized gatherings, and festivals are hosts to a burgeoning underground art movement with elements of street art, urban art, and pop culture and design, commonly dubbed “low-brow” or “alternative art.” This current trend in local art has become extremely popular in recent years, as well as displaying art in unconventional areas and settings.

Closer to the artists’ homes, some of the work can be seen featured at Compadre Coffee. Founder Aubrey Batchelor, who is a musician and dancer herself, opened shop in October 2015. Since then the café has displayed visual artwork from four of the artists, with plans to continue to display work from creatives inside and outside the lofts. “I think that people enjoy that connection to their own neighborhoods and their own community,” said Batchelor. “I’ve had no shortage of people wanting to hang up their work or perform, so that’s really exciting.”

The café has had an influx of unique talent from across the South Seattle area. Local workers coming off their shifts, students, and ordinary residents around the Rainier Vista and Columbia City neighborhoods

have showed off their talents here. “One of the Franklin High School students comes and plays, some musicians a couple blocks down the street. Some of the Metro bus drivers formed a band and played here,” said Batchelor. “And that’s been really fun for me, having this shop to provide a place where people of all ages can enjoy themselves.” The café’s counterparts can be easily found in the immediate neighborhood, such as the Columbia City Gallery and the Royal Room, hosting artwork and live music/open mics respectively.

This strong local foundation of arts institutions reaffirms Batchelor’s faith in the community connections and cultural identity through supporting local artists. For many of the Lofts’ artists, the support for the local art scene has become a vital pathway to their success. Cundiff is one example, citing the influence of many of his local mentors.“There’s a handful of local artists who are nationally acclaimed and that are very approachable, so I go and talk to them, and ask how did they get themselves to that next level,” he said.

For Jackson-Spieker, being connected to the local scene means that he can participate in the exciting and unexpected that the local art scene has to offer, “With the influx of people to Seattle, there’s a lot of push and pull in speaking about expanding the art scene,” said Jackson-Spieker. “And it’s all really interesting. I feel really fortunate to be plugged into this vibrant, constantly changing scene.”

From Roger Shimomura’s iconic East/West mural in Westlake Station funded through the state, to the murals adorning the tallest buildings downtown, Washington is exuberant in its support for the arts. “I have a lot of personal appreciation of the scene, like the Roq La Rue gallery which puts out some of the best shows in the entire nation and there’s just a lot of people and lot of talent dedicated to art here,” said Cundiff. “I mean, without art, without that culture, what is there?”

Jeff Nguyen is a senior at Garfield High School and the South Seattle Emerald’s student intern. This story originally appeared at southseattleemerald.com.

Interior of Compadre Coffee. • Photo by Jeff Nguyen

By Ruth VincentIE Contributor

Cloth is raised from the dye vat; oxygen interacts with the indigo and the magical transformation begins. Gradually, before our eyes, the color mutates from a soft yellow-green to varying intensities of blue. But the magic is not just in this wondrous moment, it is in the long, labor-intensive process that starts as a seed, and in the battles over its possession throughout history. All around the world many cultures used this dye to show off their position in society, to protect themselves spiritually and physically and to identify themselves. Seattle Asian Art Museum’s new exhibition Mood Indigo: Textiles From Around the World (on display through October 9, 2016) reveals the many creative forms to which this dye was applied.

Walking into the exhibition we are first enveloped by the indigo-dyed work of Rowland Ricketts, an American contemporary textile artist steeped in the Japanese tradition of indigo, showing the many shades of blue and the structure echoing the grain silos of his mid-west home. Surrounded by the dried plants

Mood Indigo, an exhibition on a textile that covers the worldthemselves (Persicaria tinctoria), we have a visual sense of where the process begins. It is hard to imagine the lengthy, skillful and stinking journey involved in turning these leaves into a dye used to color court robes and blue jeans. (A video in the next gallery reveals this process.) Accompanying the visual installation is the techno-environmental music of Norbert Herbert, creating a moodiness of sound: of falling seeds, crumpling leaves, dripping dye, flowing water and synthesizing of data taken during the composting process. Sensors activated by visitors meld these sounds into a variety of combinations.

The story of indigo is the story of a world history of trade, commerce, colonialism, slavery, war, peasant labor, taxation, industrialization, get-rich-quick schemes and valued spiritual practices. A variety of plants growing naturally in tropical, sub-tropical and temperate areas of the world contain the key chemical substance processed by a number of cultures to create a color-fast blue--the color of sky and sea. These skilled techniques were kept secret as long as possible, fooling rivals into thinking the blue came from a mineral stone! But as plants became an important crop on plantations in

the Caribbean, South Carolina and Louisiana, fortunes were made and agricultural labor oppressed until chemists synthesized the dye in the late 19th century. Finally, coming full circle, the popularity of blue jeans rescued natural indigo dye production because of the coveted variable qualities of this special blue.

Continuing through four galleries visitors are treated to an array of items dyed with indigo from bedding and wall hangings to ceremonial and workday clothing. Excellent labelling will satisfy the curiosity of inquiring minds. Curator Pam McClusky and her team (Ping Foong, Chiyo Ishikawa, Xiaojin Wu, Barbara Brotherton and Lisa Mothersbaugh) take us through the symbolism and sacred lives of many cultures—from playful rabbits to profound religious garments. Awesome wearables, including robes, shawls and kimono, plus cloths and bedding feature a plethora of weaving and surface design techniques including many types of resist dyeing and stitching. Three exquisite 17th C. Belgium tapestries, that the museum has had professionally cleaned, take pride of place in the second gallery and represent a European world view which is, to say the least, strange to us.

Textiles from East, Southeast and South Asia, Africa, and the Americas illustrate the close connection to their cultures and the high degree of skill and simple technology needed to produce these items of beauty and utility. In the third gallery there are two figures which engage the viewer in the active use of these textiles. One is the Japanese fireman with his quilted hood, coat, trousers, and gloves ready to be wetted down to battle a fire. Standing opposite is an African ceremonial figure with mask and gown created from cloth, feathers, quills, mirrors, herbs, shells and cat skin to take part in an initiation ceremony to detect and expose witchcraft.

The final gallery displays some of SAAM’s fine collection of diverse kimono emphasizing the skill of dyers to make clothing for working people, the theater and the leisure class. Many stories are contained in these garments and in the wide variety of special cloths found throughout the exhibition. Put on your blue jeans and travel the world of BLUE!

‘Mood Indigo’ remains on view through October 9, 2016 at Seattle Asian Art Museum. Located in Volunteer Park at 1400 E. Prospect St. For more info, call (206) 654-3100.

Page 10: June 15, 2016 International Examiner

10 — June 15, 2016 – July 5, 2016 INTERNATIONAL EXAMINER

IE COMMUNITY RESOURCE DIRECTORY

Community Care Network of Kin On815 S Weller St, Suite 212, Seattle, WA 98104ph: 206-652-2330 fx: [email protected] www.kinon.orgProvides home care, Alzheimer’s and caregiver support, com-munity education and chronic care management; coordinates medical supply delivery for Asian/Chinese seniors and families in King County.

Kin On Health Care Center 4416 S Brandon St, Seattle, WA 98118ph: 206-721-3630 fx: [email protected] www.kinon.orgA 100-bed, Medicare and Medicaid certified, not-for-profit skilled nursing facility offering long-term skilled nursing and short-term rehab care for Asian/Chinese seniors.

Arts & Culture

[email protected] www.deniselouie.orgMulticultural preschool ages 3-5 years old. Now enrolling Private Pay full-day ($900/mo) and part-day classes ($500/mo) with locations at ID, Beacon Hill, and Rainier Beach.

3327 Beacon Ave S.Seattle, WA 98144 ph: 206-725-9740

Education

Housing & Neighborhood Planning

HomeSight5117 Rainier Ave S, Seattle, WA 98118ph: 206-723-4355 fx: 206-760-4210www.homesightwa.org

HomeSight creates homeownership opportunities through real estate development, home buyer education and counseling, and lending.

InterIm Community Development Association310 Maynard Ave S, Seattle, WA 98104Ph: 206-624-1802 Services: 601 S King St, Ph: 206-623-5132Interimicda.orgMultilingual community building: housing & parking, housing/asset counseling, projects, teen leadership and gardening programs.

Asia Pacific Cultural Center4851 So. Tacoma WayTacoma, WA 98409Ph: 253-383-3900Fx: 253-292-1551faalua@comcast.netwww.asiapacificculturalcenter.orgBridging communities and generations through arts, culture, education and business.

Kawabe Memorial House221 18th Ave S, Seattle, WA 98144 ph: 206-322-4550 fx: [email protected] provide affordable, safe, culturally sensitive housing and support services to people aged 62 and older.

Address tobacco control and other health justice issues in the Asian American/Pacific Islander communities.

601 S King St.Seattle, WA 98104ph: 206-682-1668 website www.apicat.org

Asian Counseling & Referral Service3639 Martin Luther King Jr. Way S, Seattle, WA 98144 ph: 206-695-7600 fx: [email protected] www.acrs.orgACRS offers multilingual, behavioral health and social services to Asian Pacific Americans and other low-income people in King County.

1601 E Yesler Way, Seattle, WA 98122ph: 206-323-7100 www.keironorthwest.orgrehabilitation care | skilled nursing | assisted living | home care | senior day care | meal delivery | transportation | continuing education | catering services

Legacy House803 South Lane Street Seattle, WA 98104ph: 206-292-5184 fx: [email protected] www.scidpda.org/programs/legacyhouse.aspx

Description of organization/services offered: Assisted Living, Adult Day Services, meal programs for low-income seniors. Medicaid accepted.

Senior Services

WE MAKE LEADERS

Queen Anne Station, P.O. Box 19888, Seattle, WA [email protected], www.naaapseattle.orgFostering future leaders through education, networking and community services for Asian American professionals and entrepreneurs.Facebook: NAAAP-Seattle Twitter: twitter.com/naaapseattle

Social & Health Services

Chinese Information & Service Center611 S Lane St, Seattle, WA 98104 ph: 206-624-5633 fax: [email protected] www.cisc-seattle.org

Creating opportunities for Asian immigrants and their families to succeed by helping them make the transition to a new life while keeping later generations in touch with their rich heritage.

International District Medical & Dental Clinic720 8th Avenue S, Seattle, WA 98114 ph: 206-788-3700email: [email protected] website: www.ichs.com

Bellevue Medical & Dental Clinic1050 140th Avenue NE, Bellevue, WA 98005ph: 425-373-3000

Shoreline Medical & Dental Clinic16549 Aurora Avenue N, Shoreline, WA 98133ph: 206-533-2600

Holly Park Medical & Dental Clinic3815 S Othello St, Seattle, WA 98118ph: 206-788-3500

ICHS is a non-profit medical and dental center that provides health care to low income Asian, Pacific Islanders, immigrants and refugees in Washington State.

Seattle Chinatown/International District Preservation and Development Authorityph: 206-624-8929 fx: 206-467-6376 [email protected]

Housing, property management and community development.

Executive Development Institute 310 – 120th Ave NE. Suite A102 Bellevue, WA Ph. 425-467-9365 • Fax: 425-467-1244 Email: [email protected] • Website: www.ediorg.org EDI offers culturally relevant leadership development programs.

Professional & Leadership Development

ph: 206-624-3426 [email protected]

Merchants Parking provides convenient and affordable community parking. Transia provides community transportation: para-transit services, shuttle services, and field trips in and out of Chinatown/International District, and South King County.

Social & Health ServicesSenior Services

Horizon House900 University St Seattle, WA 98101 ph: 206-382-3100 fx: [email protected]

www.horizonhouse.orgA welcoming community in downtown Seattle, offering seniors vibrant activities, independent or assisted living, and memory care.

Fearless Asians for Immigration Reforms (FAIR!) ph: 206-578-1255 [email protected]

Free and confidential support for undocumented Asians and Pacific Islanders. DACA screenings, financial assistance, legal help, scholarships, DACA renewals, and consultations for service providers. Benefits include: work permit, $$ for school, protection from deportation, driver’s license.

IDIC is a nonprofit human services organization that offers wellness and social service programs to Filipinos and API communities.

7301 Beacon Ave SSeattle, WA 98108ph: 206-587-3735fax: 206-748-0282 [email protected]

Southeast Seattle Senior Center4655 S. Holly St., Seattle, WA 98118ph: 206-722-0317 fax: [email protected] www.sessc.orgDaytime activities center providing activities social services, trips, and community for seniors and South Seattle neighbors. We have weaving, Tai Chi, indoor beach-ball, yoga, dance, senior-oriented computer classes, trips to the casino, and serve scratch cooked lunch. Open Monday through Friday, 8:30-4. Our thrift store next door is open Mon-Fri 10-2, Sat 10-4. This sweet center has services and fun for the health and well-being of boomers and beyond. Check us out on Facebook or our website.

2500 NE 54th StreetSeattle, WA 98105ph: 206-694-4500 [email protected]

Working to prevent and end youth homelessness with services including meals, shelter, housing, job training, education, and more.

Organization of Chinese AmericansAsian Pacific American AdvocatesGreater Seattle ChapterP.O. Box 14141Seattle, WA 98114 www.ocaseattle.org

OCA—Greater Seattle Chapter was formed in 1995 and since that time it has been serving the Greater Seattle Chinese and Asian Pacific American community as well as other communities in the Pacific Northwest. It is recognized in the local community for its advocacy of civil and voting rights as well as its sponsorship of community activities and events.

Commission on Asian Pacific American AffairsGA Bldg., 210 11th Ave SW, Suite 301AOlympia, WA 98504ph: (360) 725-5667 www.facebook.com/[email protected] www.capaa.wa.gov

Statewide liaison between government and APA communities. Monitors and informs the public about legislative issues.

Public Interest Law Group, PLLC705 Second Avenue, Suite 1000, Seattle WA 98104Ph: 206-838-1800 Email: [email protected] attorneys Hank Balson, Wendy Chen, and Nancy Chupp provide information, advice, and representation in areas such as employment discrimination, unpaid wages, and other violations of workers’ rights.

Legal Services

Page 11: June 15, 2016 International Examiner

INTERNATIONAL EXAMINER June 15, 2016 – July 5, 2016 — 11

IE ARTS

Answers to this puzzle are on Wednesday, July 6.

The Company of Lerner & Loewe’s Paint Your Wagon at The 5th Avenue Theatre. • Photo by Tracy Martin

By Roxanne RayIE Contributor

A wider array of actors will have opportunities to perform in The 5th Avenue Theatre’s new adaptation of Paint Your Wagon. Instead of a cast of almost-entirely white males, the new version will feature a diverse group of performers, including three Asian American men.

Actors Mikko Juan, Ulyber (U.J.) Mangune, and Steven Eng all portray immigrants to 19th-century America, helping to paint a more accurate picture of this historic era. All three performers began studying acting or dance in their youth, and have been developing their careers, as well as their cultural perspectives, in recent years.

In this new version by Jon Marans, Mikko Juan plays a character named Guang-Li. “I think what makes Guang-Li’s character stand out is his willingness to fit in despite the hatred that comes from the others in the mining community,” Juan said. “He still finds it in his heart to be sociable and to interact with everybody in the community.”

The role of Guang-Li represents several firsts for Juan. “This is my first show with The 5th Ave., and this is actually my first professional gig, period, which is really, really exciting,” Juan said. “Seeing all of these people that I’ve admired and looked up to—working with them is kind of a dream come true.”

Juan has been preparing for this role for several months. “I did the developmental lab over the summer, but prior to that I had no idea what Paint Your Wagon was,” he said. “Much to my surprise, I found out that it was a really really old musical and little old me tried to do some research on my character and I found out that this was a new book. My character was new! So it’s just exciting that I’m doing something new and creating something almost new.”

He engaged in a variety of preparation processes along the way. “It’s constantly developing and how I prepared for it is really just familiarizing myself with the show and the era it’s based on,” Juan said. “So I’d go and watch clips of the original movie with Clint Eastwood and listen to the original Broadway soundtrack, and also refresh what we’ve done for the developmental lab.”

Ulyber (U.J.) Mangune also did some developmental work on the character of Guang-Li during earlier workshops, but is now performing the role of Wee Cheng in the mainstage show. His prior work with The 5th Avenue was through Adventure Musical Theatre, The 5th Avenue’s touring company that visits elementary schools across Washington state to present curriculum-based musicals to children. “In 2014, I did the AMT production of Northwest Book Shelf,” Mangune said. “Then the following year in 2015 I did the AMT tour of Baseball Saved Us.”

Mangune sees this new role of Wee Cheng as a good opportunity. “I am actually able to play a character of my own ethnicity,” he said. “I mean, it’s not exactly my background—I’m predominantly Filipino and my character is Chinese—but being able to tell a story that highlights so much of the struggle that so many immigrants went through, both through social situations they are placed in and the social pressures they have to experience throughout the show.”

He too has been preparing for this project for months. “In preparing for one of my previous

roles when the show was still in workshops, I looked up quite a bit about what it was like to be Chinese and coming over here and going through that whole process,” he said, “and what the discrimination was like at that time, because that’s actually a very big part of the show—how the Chinese brothers [Ming and Guang-Li] are discriminated against and how they are dealt with by their community.”

The complexity of this ethnic discrimination is explored in this new version of Paint Your Wagon. “When the Chinese first came, they actually weren’t discriminated against as much,” Mangune discovered. “But once the gold started drying up and disappearing, suddenly there was propaganda that was released that blamed the immigrants first, and that ultimately boiled down to the Chinese who bore the brunt of it.”

But Mangune found that the social conflict was not simply white versus Asian. “One of the things that was interesting to me is that, throughout the show, the other immigrants aren’t necessarily nice to the Chinese,” Mangune said. “There is an Irish character, William, whose background is in a sense very similar to Ming and Guang-Li. They both have come from halfway around the world to earn money to send home.”

However, these similarities yield only limited cooperation. “Initially, William is very nice to them,” Mangune said about the Asian brothers. “But as the show progresses and William interacts with the other characters that are also white, he starts to throw us under the bus and discriminate against us the same way that he is discriminated against by the ‘American’ white characters.”

This turn-about by the show’s characters was educational for the performers. “William pits others against us specifically because we are Chinese. It’s like there is a hierarchy of immigrants, and Chinese were at the bottom,” Mangune said. “I feel like that’s something that I have always known, but never fully understood.”

Similarly, actor Steven Eng has always known that his parents were immigrants, but this is his first opportunity to share this immigrant story with others. “I play the character of Ming-Li, and I think one of the most compelling things is how close his story is to that of immigrants of not too long ago,” he said. “As long as I’ve known, it’s been a very common practice that recent immigrants come to the United States to make money to send back home with the intention of returning. That immigrant story is still very

common, even a century and a half after this story takes place.”

Eng’s first role at The 5th Avenue was in Waterfall earlier this season. “I live in New York,” he said. “I had many friends who’d come through on tour or had been jobbed in to work here. I’d always heard really great things. So when I came for Waterfall, it was just such a great experience.”

A key aspect of Eng’s reaction was the ability to focus on the creative process. “I would say The 5th Avenue is certainly among the most creative environments I’ve been in because the company knows how to allow the actor to do his or her work and not worry about a lot of other stuff,” Eng said. “There’s so much involved in going to a new city, not knowing it, having to leave everything behind and just live for a couple of months. A lot of that is really having the opportunity to settle, just mentally. So having to worry about all these other things—groceries, and how am I going to wash clothes—other theaters have solutions to that, but The 5th staff has worked very hard so that I can come and just focus on my job.”

And highlighting the Chinese immigrant story is his job. “One of the most exciting things about this production is being able to tell the story,” Eng said. “I was having a conversation with playwright Jon Marans yesterday, and I expressed to him how important it was to me that this story be told. The Chinese as a group, a community of people, have not had—certainly not on the musical stage—the opportunity to show their contribution to the development of the country.”

But Eng believes that Paint Your Wagon’s task is multi-faceted. “It’s not about one race, or the tension that exists between one race,” he said. “The show takes a really complex, controversial issue and tries to find its humanity.”

Each of these performers, Juan, Mangune, and Eng, have faced a variety of challenges in their performing careers. For Juan, who is debuting at The 5th Avenue, some of the challenges are just beginning. “From time to time in becomes a sort of routine and it can get hard sometimes to keep it fresh,” Juan said. “I think it’s just a matter of keeping myself grounded and knowing that I get to do this almost for a living.”

Having made a living in theatre before, Mangune has faced challenges in the gaps between projects. “The biggest one actually just hit about eight months ago at the end of the last Paint Your Wagon workshop in August or so,” he said. “The opportunities just ran out for me because most of the shows being produced in Seattle were predominantly white. There just really wasn’t a place for me. So for the first time, I had to do the starving artist grind and be broke and work dead-end jobs.”

Eng echoed these sentiments. “I’d say the biggest challenge is not letting all of the rejection, the lack of opportunity for me, not weigh down my love for what I do,” Eng said. “Because it’s easy for that to happen: Long stretches of time between jobs, or long stretches of time between even opportunities, can happen all the time.”

Getting support from colleagues and friends has helped during the difficult times. “The good thing for me is that my closest friends are artists as well, so I think we feed each other,” Eng said. “The challenge is not letting that be a burden to continuing to pursue what I believe I have a love for. I think we all know those people who choose not to pursue things because they feel the need to make money or they want to live comfortably, and as a result they don’t pursue that which feeds them.”

Despite the difficulties of the theatre industry, all three actors are pleased with the multi-racial inclusion in this new version of Paint Your Wagon. “I think this show is a great opportunity and a great show, not only because it’s well written, but because it does give a lot of opportunity to diverse actors and it gives us a voice, not only as actors and performers, but as a race in the show,” Mangune said. “It does highlight what a lot of people went through. And even though we are secondary characters, what we experience is a very big part of the show.”

‘Paint Your Wagon’ will run from June 2 to 25, at The 5th Avenue Theatre, 1308 Fifth Avenue, Seattle. For more information, visit https://www.5thavenue.org/show/paint-your-wagon

Paint Your Wagon: Asian American actors reflect on new roles

Juan

Mangune

Eng

Page 12: June 15, 2016 International Examiner

12 — June 15, 2016 – July 5, 2016 INTERNATIONAL EXAMINER


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