Podcasts about Asian American studies

Author Anne Soon Choi joins us to reveal the life of Dr. Thomas Noguchi, who was known as the "coroner to the stars" in Los Angeles who performed the autopsies of Robert F. Kennedy, Marilyn Monroe and Natalie Wood. The inspiration for the Jack Klugman TV series "Quincy, M.E.," Noguchi became famous for his big press conferences—which often created more controversy than offered solutions.  Join us to learn about Noguchi and never-before-revealed facts about his biggest cases, which took place against the backdrop of Hollywood's infamous celebrity culture and the heated racial politics of the 1960s and 1970s.  Anne Soon Choi, Ph.D., author of L.A. Coroner: Thomas Noguchi and Death in Hollywood (Third State Books), is a historian and professor of Asian American Studies and university administrator at California State University, Northridge. Her essay “The Japanese American Citizens League, Los Angeles Politics, and the Thomas Noguchi Case,” on which this book is based, won the 2021 prize for best essay from the Historical Society of Southern California. Choi has previously served on the faculty of Swarthmore College and the University of Kansas and is an Andrew Mellon Fellow and an American Council of Learned Societies Digital Ethnic Studies Fellow. She lives and writes in Los Angeles, California. Our moderator, Helen Zia, is a author, journalist and Fulbright Scholar. Her latest book, Last Boat Out of Shanghai: The Epic Story of the Chinese Who Fled Mao's Revolution, was an NPR best book and shortlisted for a national Pen America award, while her first book, Asian American Dreams: The Emergence of an American People, is a foundational textbook in schools across the country. The daughter of Chinese immigrants, Helen's role in organizing and leading the national Asian American civil rights movement to obtain justice for Vincent Chin and to counter anti-Asian racism is documented in the Academy-award nominated “Who Killed Vincent Chin?” and has been featured on the PBS series "The Asian Americans," "Amanpour & Co.," Lisa Ling's "This is Life," Soledad O'Brien, and other media.  Learn more about your ad choices. Visit megaphone.fm/adchoices

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Host Miko Lee celebrates AAPINH Month by interviewing Filmmakers: Sara Kambe Holland, Alleluiah Panis, and Kyle Casey Chu, also known as Panda Dulce. We also cover a bunch of AAPINH month events happening throughout the Bay Area.   Calendar of Events Community Calendar May 3 2-6pm Daly City AAPI Fest celebrating local Asian American & Pacific Islander culture in Daly City and the Greater San Francisco Bay Area     May 10 10am-12pm PT Our Heritage 5K 2025  a FREE, family-friendly 5K fun walk/run honoring the rich history and contributions of Asian American and Pacific Islander communities in San Francisco. This scenic route winds through the heart of the city, passing by over 16+ historic AAPI landmarks—featuring goodies, resources, and fun facts about its cultural significance. Expect cheer stations, photo ops, sweet treats, and entertainment along the route to keep the energy high! May 10th is also AAPI Mental Health Day! The Our Wellness Festival, will celebrate mental health, community, and joy. The festival will feature family-friendly activities, carnival-style games, music, dancing, wellness resources, and more! May 23 at 5:30 pm – 8:30 pm Asian American and Pacific Islander LGBTQ2S+ Mixer NJAHS Peace Gallery 1684 Post Street, San Francisco Children's Fairyland in Oakland, and Stanford's Asian American studies department host a series of events throughout the month that we will post in the show notes for you to check out.  Bay Area Public Libraries AAPI Month Oakland public libraries feature reading lists for all ages, a grab and grow seedling kit and events like watermelon kimchi making!San Francisco Public Libraries There will be events for all ages at Library locations throughout the City, including free author talks, book clubs, film screenings, crafts, food programs and musical and dance performances. San Jose Public libraries host a series of events with a highlights being Tapa Cloth making on May 6 and Vegan Filipino Cooking with Astig Vegan on May 7 Berkeley public libraries   CAAMFest 2025 United States of Asian America Through June 1    Transcript: Filmmakers Exploring Boundaries   Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the Apex Express.   Ayame Keane-Lee: [00:00:57] Welcome to Apex Express and happy Asian American and Pacific Islander Heritage Month. Even though the Trump administration has eliminated recognizing cultural heritage months, we are still celebrating diversity and inclusion. Here at Apex Express and KPFA, we believe in lifting up people's voices. And tonight on Apex Express, we are focusing on Asian American filmmakers exploring boundaries. Host Mika Lee talks with filmmakers, creators, writers Sarah Kambe Holland, Alleluiah Panis, and Kyle Casey Chu, also known as Panda Dulce. Join us on Apex Express.    Miko Lee: [00:01:51] Welcome, Sarah Kambe Holland, the amazing young filmmaker, writer, director, here to talk about your very first film, egghead and Twinkie. Welcome to Apex Express.    Sarah Kambe Holland: [00:02:04] Thanks so much for having me.   Miko Lee: [00:02:06] So first I'm gonna start with a personal question, which is an adaptation from the amazing poet Chinaka Hodges. And my first question is, who are your people and what legacy do you carry with you?    Sarah Kambe Holland: [00:02:19] Oh wow. What a great question. , I think that I represent my family and my heritage. I'm mixed, so I'm half Japanese and half British. I grew up partially in Japan and partially in the States. I feel like those experiences, my family, they make up who I am and the stories that I wanna tell.   Miko Lee: [00:02:41] And what legacy do you carry with you?    Sarah Kambe Holland: [00:02:45] I think the legacy of my family, my grandparents on both sides have overcome so much, and, , they're a big inspiration to me. Funny enough, my grandparents play kind of a secret role in this film. My grandparents on my mom's side were incarcerated in the Japanese American camps. My grandmom, my British side overcame a lot of adversity as well in her life. , I think that's the legacy that I carry.    Miko Lee: [00:03:09] Thank you. Tell me a little more, what secret role do your grandparents play in the film?    Sarah Kambe Holland: [00:03:14] all my grandparents have always been very supportive of, my art and my filmmaking. But my grandparents on my mom's side, they passed away ahead of the making of this film. And I inherited my grandfather's car. And that car is the car in the movie that, Egghead Twinkie drive cross country. So I like to think that this is their way of supporting me. I think that they would get a kick out of the fact that their car is like a main character in the film,    Miko Lee: [00:03:41] literally carrying you on your journey. I had so much fun watching the film. Can you share with our audience a little bit about what the film is about and what inspired you to create this?    Sarah Kambe Holland: [00:03:52] So the film is called Egghead and Twinkie, and it's about this mixed Asian teenage lesbian named Twinkie who's coming out and her best friend Egghead, who unfortunately is in love with her and she does not feel the same. , and they end up going on this cross country road trip to meet Twinkie Online love interest IRL for the very first time. So it's kind of like a buddy comedy road trip movie. Coming of age queer story, , and it's one that's very personal to me, I think is a mixed Asian queer person. This was a story I was drawn to tell because it was a story that I didn't really see on screen when I was growing up.   Miko Lee: [00:04:30] Can you talk to me a little bit more about the use of the name Twinkie, which for many folks in the A API community is seen as a slur, and I know she talks about it a little in the film, but can you share more how you came up with that?    Sarah Kambe Holland: [00:04:44] Yes, it's a very nuanced thing and it's something I was kind of nervous to tackle, especially like in a comedy film. , but really with the creation of Twinkie's character, , I feel like she's going on this journey to embrace herself as a lesbian, as a gay woman, but then also I think that she's searching for herself as a mixed Asian person. I feel like within the Asian American community, if you're raised here in the US or if you're mixed or if you're adopted, I think that there can be this feeling of not feeling Asian enough. I think the word Twinkie was something that was kind of weaponized against her. Like, oh, you know, you're not Asian enough, you're a Twinkie. And her way of coping with that is to kind of reclaim that word and kind of own that. As her own name.    Miko Lee: [00:05:31] Thank you so much for sharing. I read online that this is the very first feature film to be crowdfunded on TikTok. Can you talk a little bit about, I know your background is in as a social media creator. Can you talk about that journey from social media creator to filmmaker?    Sarah Kambe Holland: [00:05:51] Yes. Yeah. TikTok and social media was such a big part of getting this film made. Uh, so for myself, yeah. I was a YouTuber before I was a filmmaker. I should be clear, I wasn't like PewDiePie or anything like that. I had like 40,000 followers. Um, but for me at that time when I was like 15, 16, that felt like the whole world. Um, and I think that YouTube was really my first introduction to. Storytelling, but also to making friends with people through the internet. And that ended up being a really big influence on this film because Twinkie is traveling cross country to meet a girl that she meets online. And I think that that is such a common story nowadays. Like people make friends online all the time. Um, and the ways that we find love and community has changed.Because of the internet. Um, so it felt very appropriate that we turned to TikTok turned to social media as a means to raise money for this film. Uh, we did a whole targeted crowdfunding campaign on TikTok and we raised over $20,000 from a lot of strangers that I will never meet, but I owe a lot of thanks to.   Miko Lee: [00:06:53] So now that the film has been going out to different festivals and being screened at different places, have any of those that participated in the crowdfund, have you met any of those kind of anonymous supporters?    Sarah Kambe Holland: [00:07:05] Yes. And that was crazy. it was awesome. We screened it over 40 festivals all around the world. Our international premiere was at the British Film Institute in London. And it was at that screening that someone raised their hand during the q and a and they were like, I just wanted you to know that I backed your movie, uh, and I found you on TikTok. And that just blew my mind that someone on the other side of the world, you know, had donated whatever, you know, 10, 20 bucks to making this thing a reality.   Miko Lee: [00:07:31] Oh, I love that when the anonymous becomes real like a person in front of you that you can actually meet. How fun. I'm wondering if your use of animation is, , been influenced by your social media background.    Sarah Kambe Holland: [00:07:45] Not really. Actually. I think the animation part of this film is just because I'm a total nerd. I really love animation, I love comics. And so that kind of bled into Twinkies character. You know, she loves comics, she wants to be an animator. And, uh, I think I've always been interested in the idea of combining 2D animation with live action footage. I feel like that's something that we see a lot in like children's movies or, um.Music videos, but it's not something that you really see in like, feature films all that often. So I was kind of excited to explore that, and it was a really fun collaboration with myself and our lead animator, Dylan Ello, who did most of the animations in the movie.   Miko Lee: [00:08:28] Oh, thank you for that. I, I, it was very delightful. Um, I'm wondering, because we're, our world right now is incredibly complicated and so conflicted. How do you feel filmmaking can make a difference?    Sarah Kambe Holland: [00:08:44] I feel like art is more important now than ever because I see even in just this film's journey how art literature and movies, it can change people's minds and they don't even realize that their minds are changing.I think especially with this film, 'cause it's so lighthearted and funny and silly, you'd be like, oh, it's just, you know, a good laugh and that's it. But, but not really. I've seen this film. Open doors and open conversations. And I think that that's really my hope is that maybe, you know, parents who have a queer kid and they're not sure what to do about it, maybe they'll watch this film and they'll be able to talk to their kid about things that maybe they're afraid to talk about. I think that art really has the power to, to change people's minds.    Miko Lee: [00:09:29] Have you experienced that with somebody that has actually seen your film, that you've had a conversation with them where they walked away, changed from seeing it?    Sarah Kambe Holland: [00:09:38] Well, on a very personal level, um, my parents, uh, are conservative and I think when I first came out to them, it was an adjustment for sure. Um, I. When I initially kind of pitched the idea of Egghead and Twinkie to them years, years ago, uh, as a short film, they were confused. They were like, why do you wanna make this film about being gay? Like, why do you have to make everything about being gay? And that's not really what it was. I just wanted to tell this story.  And it's been such an amazing journey to see my parents like fully embrace this movie. Like they are egghead and Twinkie biggest fans. They might love this movie more than me. Uh, so that has been really amazing to be able to kind of talk to them about queer issues in my identity through the making of this movie.   Miko Lee: [00:10:24] I love that. So let our audience know how they can see your film, egghead and Twinkie.    Sarah Kambe Holland: [00:10:31] So Egg and Twinkie is coming out on streaming platforms on April 29th. It'll be on Apple tv, Amazon Prime, uh, any video on demand streaming platform in North America.    Miko Lee: [00:10:43] Yay. And Sarah, what are you working on next?    Sarah Kambe Holland: [00:10:46] Oh boy, have a big question. Uh, I have a few screenplays in the works, one of which is a time traveling lesbian rom-com. So, uh, I'm waiting for when I get the big bucks so I can make my first period piece.    Miko Lee: [00:10:59] Love it. Sounds fun. , thank you so much for sharing with us. It was such a delight to see your film and I look forward to seeing more of your work.   Sarah Kambe Holland: [00:11:08] Thanks so much for having me, Miko. This was great.    Jalena Keane-Lee: [00:11:11] Listen to Kushimoto Bushi by Minyo crusaders, a Japanese cumbia band    MUSIC   Welcome back. This is the Powerleegirls on apex express, and that was Kushimoto Bushi by Minyo Crusaders    Miko Lee: [00:15:24] Welcome, Alleluia Panis, the Executive Director of Kularts to Apex Express.    Alleluia Panis: [00:15:30] Thank you. I'm so honored to be here.    Miko Lee: [00:15:34] I wanna talk with you about your film, but first I wanna start with a personal question, which is an adaptation from the amazing poet Chinaka Hodges. And that is, who are your people and what legacy do you carry with you?   Alleluia Panis: [00:15:49] Wow, that's deep who are my people? My people is my community. And so it is here in, in the diaspora, Filipino Americans, Asian Americans, and folks of color. And then of course the indigenous people in the Philippines. . What I carry with me and continues to inspire me on the daily is the knowing that we have been here for a long time. Our ancestors have survived eons of whether it's, good times and bad times. And so that keeps me going.   Miko Lee: [00:16:28] Thank you so much for sharing. you have been working in the field for a long time. You're really, , a trailblazer in terms of putting Filipino arts on the map and really lifting up the culture. Can you talk about your new film Memories of Mindanao, where that came from, what it's all about?   Alleluia Panis: [00:16:49] Is a leg of, , Tribo tour, which began in 2002. But actually inspired by my first trip to, , then the wild and being with in 1989 , and, , basically traveling and. Setting myself and my, my, my music and dance company at the time to just be with indigenous people. ,and how profoundly that particular experience really impacted me. For years I've been wanting to like, how can I bring this? Experience or share the experience with other diasporic folks. Fortunately I was able to connect with Carlo Abeo in the Philippines, who's been my tour manager, in 2001. And then in 2002 we embarked on the first, Tribo tour.   Miko Lee: [00:17:50] So this was an effort to really share this powerful kind of artistic travel journey with more folks. Is that right?    Alleluia Panis: [00:17:57] Yes. And it's actually beyond artistic. It's really about recognizing something deeper, right? Because our history of colonization is pretty intense. 500 years and or is it 400 years? Give or take, a century. And so there are a lot of things that had been co-opted. It has been erased, it has been gaslit. And fortunately, I feel like within the culture of the archipelago, there are, and even those. That are, of the, what is considered the colonized people or the Christianized people. there are practices that exist today that might have a different name, um, or but actually is indigenous and so, and only. Could I say that because I was able to really experience and be with folks and, uh, and it's years, you know, it's years of kind of like assessing and looking at you know, different, uh, practices. And so that is so I don't know. It's beyond gratifying. It's connecting. I mean, it seems so cliche. It's connecting with something so deep, you know, it's like connecting to, you know, to Mother Earth in, in that way our, our Mama Ocean. And recognizing yourself that, that you are bigger and have, and has agency, you know, in terms of just. What you are connected to, uh, what we are connected to. Um, and so it's, it's it, of course within the cultural practices, which is artistic practices that we see that connection.    Miko Lee: [00:19:40] You were looking at, the impact of colonization and how arts and culture has really spoke to that or fought back against that in the Philippines. Can you talk about bringing that over to our colonized United States and how you see that playing out?    Alleluia Panis: [00:19:58] Well, I think first of all as, um, as folks of color. And as former subjects of the United States, you know, 40 years of the US and still, still, um, you know, in some ways kind of soft power over the people of the Archipelago. It's, it's really, um, first and foremost knowing or getting that sense of connection and confidence and, um, self-identity. That leads, that would lead us to create, um, in the diaspora. And so what, what this pro with this project, this particular program does and, and I continue to prove it with so many folks, is that it's really. Kind of finding yourself, I mean, that, that seems so cliche and knowing your place in the world and how you are connected so deeply despite all the, you know, like all the brainwashing that you don't know anything. Everything is, uh, you know, everything that, that, that, um, that exists in terms of the cultural practices of the arch of the people of the archipelago are borrowed or, or, um. Basically borrowed or taken from another culture, um, really kind of diminishes that, that colonized thinking. And so I think the power of it is finding your stepping into your own power in this way. Um, and, and, um, you know, it is also not just the current, like in, in once lifetime do you get that abuse or trauma, but it's also all the. You know, the, the, the inheritance from our, you know, from our parents, from our grandparents, right? Great. Passed down the generation and, um, oftentimes construed as the real deal, unt true. And so, aside from the form. Aside from, um, the practices, because this trip is really a little, is is focused more on not learning or like, you know, we don't go to learn like dance music or. Weaving or, you know, design or anything like that. Yes, that happens. We do, we do have workshops, but you know, it's not like it's, it's more like opening the ice of each, you know, individual. I. To the, to the, the whole, the whole thing. What, what is the, the presence of nature is, are they water people? Well, how does the water impact the cultural practices and therefore the artistic practices, um, and understanding sort of like, oh, they, they do that kind of steps with the, you know, flat feet or whatever. Because the sound of the bamboo slats is just. Amazing, you know, uh, under their feet. And so it's not so much that I'm gonna learn, you know, x, y, Z dance or x, y, z music, music or gongs, or, but it's more like w. Through those practices, how do we see the people, how do they mirror our own existence? And what, what we can remember really is remembering, um, what my, what, what we have forgotten or what we know it's true, but we're not sure. So I dunno if I'm answering your question. It's a roundabout response.    Miko Lee:[00:23:26]  I feel like you're talking about how we step into our ancestral wisdom and power.    Alleluia Panis: [00:23:33] Correct.    Miko Lee: [00:23:33] And I'm wondering if you can expand on that,, to talk a little bit more about this time of oligarchy we are living in, which is really built in colonization. How do we both as artists use our superpowers to fight back against that and then encourage other people? How do we use our artist beings to encourage other people to fight back against the world that we're living in right now?  Alleluia Panis: [00:24:00] One of the most powerful impact on me , in experiencing, indigenous practices and culture is the practice of spirituality, the rituals, the ceremonies. There's one specific ceremony from Ana as a magana on ceremony, um, that really, It was just such a profound experience in opening up, my senses and my sense of connection to something larger than this. And, and the EPO and, um, there's several, um. Ritual practices with different names. It's basically similar, uh, practice, uh, is the connection to the five elements and the basic, um, um, and fundamental elements of life. You know, water, earth, wind, fire, and the darkness. The, there's a transcendence. Um. And that that discovery is a, or that connection, um, is something that's, it sounds really woo woo, right? I mean, um, but it really becomes kind of a, a, an experience, an embodiment experience, a belief in your own kind of intuition, your gut feeling. My, uh, my. Um, response, you know, to it, a physical response. And, um, that, that's become like a, a guide for, for everything that I do. And so, um, to me that that is the grounding that, um, has allowed me to continue the work that that. That I've been doing, continue living, period. And so it's really, I think the, a matter of really kind of like, knowing yourself, it just sounds all so cliche, you know? And, and, the power of, Really understanding that you have or I have a depth of connection, that I can draw from in terms of energy and spirit and love, that is beyond kind of the physical, but also the physical. And so for me, that sense of knowing. Is what is allowing me to continue doing what I do despite all the, you know, challenges and difficulties and, you know, the insanity of these times or any time. and having kind of that grounding, I mean, you, you, the, the, clarity, is everything. it allows me to. follow what seems to be the correct route to wherever I was going. it doesn't mean that it's, it's, I'm, I'm not working on it, you know, but I'm also not, not pushing in a way that, you know, I'm, I'm gonna make you believe in me and I'll, you know, like, sort of like, I will tell you what is the right thing and, and, and I will make you, um, agree with me. It, it's, it's not that. Um, I is, I dunno. Is that making any sense? Do you have any other,    Miko Lee: [00:27:24] you totally make sense to me. I'm wondering how people can find out how, how can people find out more about your film and about all of your work?    Alleluia Panis: [00:27:34] Oh, sure. people can find out about, my work and the film through, um, the website. It's, uh, KulArts SF dot org and, most of, if not all of my work, uh, and the work of others, are actually on there. There's a lot of information there. the, the film is gonna be shown at the Los Angeles Asian Pacific, film Festival May 3rd at, uh, a MC. Eight or 14 or is it in, Monterey Park and, folks can actually just find that information on our website as well.    Miko Lee: [00:28:13] And what would you like audience to walk away from your film with an understanding of?   Alleluia Panis: [00:28:21] I want the audience to feel the. Power of being there in TT T is the southernness most islands of, of the Philippines. And, not too many people actually go there. If you have seen the Sam Baja, um, you know, divers, uh, where they can dive for, I think they can stay from five to 15 minutes underwater without any, you know, oxygen or assistance. These are, these are the people who, who, uh, these islands belong to. and as usual, their, you know, their live livelihood is being challenged by everything that's happening in the world. And what the, the film itself, itself, is really trying to put, put the audience within the, you know, like the, I guess the, the shoe of the there and how, you know, their experiences. there's not a lot of explanation to it because we really want it to be a more visceral experience. for the audience,    Miko Lee: [00:29:22] is there anything else you'd like to share with us?    Alleluia Panis: [00:29:26] Let's keep on going. Let's, you know, we, we all, we all need to be in community to uplift each other and keep hope alive.    Miko Lee: [00:29:38] Thank you so much for joining us today and sharing a little bit more about your film and about your work and your connection to the ancestors and the need to move forward.   Alleluia Panis: [00:29:47] Appreciate you. Thank you, Miko.   Miko Lee: [00:29:51] Welcome Kyle Casey, Chu, also known as Panda Dulce to Apex Express.    Kyle Casey Chu: [00:29:57] Hi so much for having me.    Miko Lee: [00:29:59] We're so happy to have you back here, onto Apex Express Land and you have a bunch of new things happening, not just a new film, but also a new book. First off, I'm gonna just start with a personal question, which I ask everyone. Who are your people and what legacy do you carry with you?    Kyle Casey Chu: [00:30:16] Ooh, that's a juicy one. Um, my people, I would say my people are the weirdos and the art freaks of the world. Uh, queer and trans people, Asian Americans, queer and trans Asian Americans, people of color, people from the Bay Area. Um, people who have noticed the boxes that they're in and are pushing the walls and the boundaries of that. I feel like these are the people who really inspire me the most. In terms of the legacy I bring, I am a fourth generation Chinese American, uh, queer and trans femme person living in the San Francisco Bay area where I was born and raised.   Miko Lee: [00:30:56] Thanks so much for sharing. , first let's start with just finding out more about your film, which was based on a true story called After What Happened at the Library. This was a national story, I remember hearing about it, but for folks that don't know, can you describe the real incident that inspired the film?    Kyle Casey Chu: [00:31:14] So, I'm one of the founders of Drag Story Hour, which is exactly what it sounds like., drag queens reading stories to, , children and their families and libraries, bookstores and schools. In 2022, I took a gig in Pride Month at San Lorenzo Public Library, , where I was doing a drag story hour and the Proud Boys stormed in. They called me a tranny, a groomer and an it. They wore shirts saying, kill your local pedophile and I had to retreat to the back and lock myself in the back room. They scoured the premises looking for me. , the authorities showed up and didn't get any of their names or information, um, and just. Dispersed them. And after the incident, I came back to the reading room where the children and families were there, but shaken and I completed the reading.    Miko Lee: [00:32:05] Incredibly traumatic. What happened after that in real life?    Kyle Casey Chu: [00:32:10] It's funny that you, uh, because the short film is called After What Happened at the Library, uh, for a reason because I feel like it's natural as social creatures for humans to focus on the incident itself. We want to approach people with empathy and we want to, really put ourselves in their shoes, uh, to kind of be there as a support for them. What I wasn't prepared for was the gauntlet of media attention, how people would be coming out of the woodwork to ask me about the situation. They would send gushing praise, hate mail, death threats, love letters, care packages, and this wave of attention. Almost added to the overwhelm of the experience and the fact that I had suddenly become a figure and a lightning rod in a culture war when I just wanted to read a book in a library. 'cause that's what I was doing. Um, and not only this, but in the coverage of the event. Because the authorities were so slow to act on this and only started investigating it as a hate crime after it blew up on Instagram and they suddenly felt the heat of media attention. Um, I felt the, my only recourse was to go to the media and was to talk, and especially as a writer and a storyteller, I felt I needed to kind of sound the alarm because it was pride month.  This was the first, this was the inciting incident of a national, even international anti-D drag wave of right wing extremism. Um, it was a couple days later that the oath keepers were found planning some kind of resistance, like violent insurrection in before Ohio Pride. And so I would talk to these journalists and. I felt in the beginning I trusted them because, you know, I trusted that they wanted to get the word out, that they had the same intentions that I did in protecting my people. And what I found instead was that they kind of almost, they tried to elicit the most emotional response from me, which often involved asking me to relive the most excruciating aspects of that time and that experience. So I had to go back and revisit it over and over again. And when the stories actually came out, I'd found that my story was edited to suit another preconceived formula that they had already pitched a certain idea for how the story was would go. That painted me as this static monolithic victim. And they would just plug in one tearful soundbite and the rest of the story, they could just say whatever they wanted with.And there's a certain violence in that. There's a certain. Greater injustice to going through something like that, number one. But number two, telling your story and having that be distorted to suit other political aims or to, you know, buttress a call for public safety. And that specific dynamic of the direct aftermath of notoriety is what the short film gets at.   Miko Lee: [00:35:11] Oh so you're taking back your own story.    Kyle Casey Chu: [00:35:14] Absolutely. So after what happened at the library, the short film is a very much a radical reclamation of my own voice and my own story. Um, prying it back from the hands of the media and telling it on my own terms.    Miko Lee: [00:35:26] Thank you for that. And how has it been received   Kyle Casey Chu: [00:35:29] So far it's been received very well. The short film World premiered at Florida Film Festival in Orlando. Received a special jury prize for courageous voice in a time of great need, which is incredible. It's our first screening and we already got an award, which is so exciting. It just screened at SF Film on April 23rd as part of the shorts block. SF film is an Academy Award qualifying festival, and it is going to screen again at Can Fest, one of my favorite local festivals, the world's largest Asian and Asian American film showcase it's screening on Friday, May 9th at Kabuki and tickets are on sale.   Miko Lee: [00:36:11] Thank you for that. And can you tell us about your new book? This is very exciting. You have a coming of age story, the Queen Bees of Tybee County. Can you tell us about your book?   Kyle Casey Chu: [00:36:22] Absolutely. When it rains, it pours in creative worlds. I had a lot of irons on the fire and it just so happened that all of them were exhibiting or debuting or hitting shelves in the same week of April, which is last week. The Queen Bees of Tybee County is my debut novel. It's middle grade, so for ages eight through 12, though like a Pixar movie, it's for all ages really. Um, and it is a hopeful drag coming out story about a queer Chinese American seventh grade basketball star. Derek Chan, who is unceremoniously shipped off to his grandma Claudia's in rural Georgia, and she is volunteering for a local pageant. And so he. Explores his queer identity and his love for drag via Southern pageant culture.    Miko Lee: [00:37:09] Ooh, do we see a film of this in the future?    Kyle Casey Chu: [00:37:12] Actually, Queen Bees of Tybee County was optioned by Lambert Productions, which put on the Hardy Boys on Hulu. So it is on its way to becoming a TV show if every, if all the stars align, it'll be on TVs in the uk. Fingers and toes crossed for that.    Miko Lee: [00:37:27] Amazing. I'm looking forward to that. Can we pull ourselves out a little bit and talk about the times that we're living in right now and how artists use our super powers to fight back against the oligarchy that we're living in?    Kyle Casey Chu: [00:37:43] We all know, or perhaps should know that the beginnings of fascism involve suppressing intellectuals and artistic voices, increasing police presence and trying to maintain a stiff and consistent lid on the voices of the people. And so this type of suppression is happening right now. There are book bans across the country. , there are state and federal efforts legislatively to curtail the rights of trans kids and trans athletes, and Intellectuals, diplomats and scholars are all being expelled or suppressed, and I think something that I've learned is that, and it sounds really cheesy, but that quote is so real where it's like being brave isn't the absence of fear, but it's doing things in spite of it. I know it feels very scary to speak out right now, but now is the exact time to speak out because any. Ground that is seated cannot be taken back. And so holding of the line by way of protest, by way of publication, by way of dissenting is how we crack this. The armor of fascism.    Miko Lee: [00:38:55] And can you talk a little bit about the moment of joy or celebrating joy within the context of the strife that we're living in? I bring that up because , you've given me much joy as part of the rice rocketts and a lot of the work that you do. So I wonder if you could just talk about what does joy mean in the moment like this?    Kyle Casey Chu: [00:39:16] Yeah. I think. I have a background in social work and one of the first things that we learned is this is hard work. It is hard to always start on your back foot and to have to argue your own humanity and justify your existence as an artist or as a person. I found myself doing that when coverage of the library incident was happening and. One of the things that they tell you is the way that you do your best work and the way that you best serve your communities is by keeping your own self afloat. And what this means is maintaining a balance. When you have hard work, you also need to reward yourself. You also need to take care of yourself. And I don't think it's enough to just say self-care. You need to expose yourself, and you need to fully embrace the full spectrum of human emotion, which necessarily includes joy. And so. After completing such an intense project, like after what happened at the library, I knew that I needed to engage in something that was hopeful and that really struck the cord of why community is so vital and important, and why social support is integral to all of us thriving. And so the Queen Bees of Tubby County, I was told by a reviewer, and this is my favorite review, they said that it's like Chapel R'S Pink Pony Club. If it were a book. Um, and I'm going with that 'cause I love that. But this story is really just about hope. It's about friendship, it's about, it's about dancing towards the future we want. And I don't think it is enough for us to react. I don't think it's enough for us to strike down. Terrible and horrifying regimes. We also must have a vision for the future that includes ourselves thriving and enjoying ourselves. And I think a part of that practice for me is making art and scaffolding a vision for the future that is positive.    Miko Lee: [00:41:20] And what would you like people to walk away from after either reading your book or seeing your short film?   Kyle Casey Chu: [00:41:29] I think after seeing the short film. What this gets at is whenever there's a flashpoint of a culture war and it's localized on one person, whenever a culture war is personified in one singular person, like for example, ma Moon kil. There's only so much of his life that we get to see, and it's through the headlines and this viral moment of like a flash on the pan. And I want people to realize that the way that you interact with these people in that fleeting moment is going to stick with them long after this moment of notoriety passes. And. To be conscientious and aware of what impact you're bringing to that person because it may just be a moment or a blip in your feed, but the impact is enduring for the person who's living it. And I also want us to be critical of how we consume trauma and violence in the media, and to ask ourselves if. We really, truly need to get all the details if we really, truly need to be put, put that victim in the position of reliving their experience just so we can relive it for a moment. Whereas they will have to relive it for the rest of their lives. And I think survivor narratives and victim narratives are way more messy and complicated and sometimes funny than people give it credit for or realize. And to realize that when you are reading something. That is just one dimension in one shade. Uh, yeah. So that was a lot, sorry. But, um, the other thing is for the Queen Bees of Tybee County. And the reason why I wanted to end on that is because it's uplifting is as dark as the world can be. It can also be as dazzling and bright and hopeful, and that the future that we are fighting for is worth fighting for. And we need to remind ourselves of that. Especially in times like these, and I know it might seem counterintuitive for us to celebrate or to be around each other when it feels earth shatteringly bleak, but it is essential to our survival, and don't be afraid to embrace that.   Miko Lee: [00:44:00] Kyle, thank you so much. Kyle, Casey Chu, thank you so much for joining us on Apex Express. I encourage people to check the film out and the book out and we appreciate chatting with you.    Kyle Casey Chu: [00:44:11] Thanks so much.    Ayame Keane-Lee: [00:44:14] Kyle's film will be showcased at Cam Fest, the nation's largest showcase for new Asian American and Asian films, which runs from May 8th to 11th in San Francisco at a time when it feels particularly fraught to express stories from communities of color. Cam is doing what we've done for over 40 years, sharing films from Asian America to a wide array of audiences. It says, Cam's, director of programs, Dawn Young. Watching these stories in a theater full of friends and neighbors is an opportunity to laugh and cry, and ultimately to celebrate human experiences that transcend bounds. This year's festival will return to the A MC Kabuki in San Francisco's Japan town for opening night, and a total of four days of screenings in the historic neighborhood that is undergoing its own resurgence with new restaurants, cafes, and boutiques, highlighting both traditional and youth oriented culture. The Roxy Theater will also host three days of screenings. Cam Fest continues to strengthen ties with other local arts institutions with the Asian Art Museum hosting the Cam Fest gala. Following the opening night film on Thursday May 8th and SF M Om a opening the Phyllis Wa Theater for Mother's Day programming on Sunday, May 10th. Turning a lens on history, whether it's the end of the Vietnam War or the trailblazing women in the Bay Area, offers a chance to reconsider the stories through which we come to understand ourselves. Says Cam Fest program Manager Del Holton, ranging from intimate narratives of family and memory to experimental work that bends the conventions of storytelling. These films illuminate the many perspectives of Asian America.    CAAM Fest 2025 wraps up on Mother's Day with dedicated events that highlight strength and visionary artistry of Asian American women. You can also catch my sister Jalena Keane-Lee's film Standing Above the Clouds at 5:00 PM at the Kabuki. Honoring Mothering also includes celebrating the nurturing of community and pioneering of aesthetics. Cam's final day reflects on the contributions of Asian American women's work while looking to the future of storytelling. Another major multimedia arts, dance and music festival to check out is the annual United States of Asian America which runs through June 1st at venues around the Bay Area. This year's theme Critical Refuge asks us to reflect on our journey as immigrants, refugees, and generations of descendants and or mixed raced people in the diaspora as we seek necessary sanctuary within ourselves and in our communities in times of unrest and uncertainty. The festival will honor a API Arts and Culture, reflecting on where we have been, where we are now, and what our collective future holds, while acknowledging our roots as immigrants, refugees, and mixed race descendants. Also check out the 42nd annual Himalayan Fair in Berkeley's Live Oak Park happening May 17th and 18th. There will be Himalayan Food, handicrafts, music, and Dance. There are so many events happening in celebration of Asian American and Pacific Islander Heritage Month. Check out our show notes for links to all the wheelchair accessible events In addition to the films we featured tonight, camp Fest and United States of Asian America, there is also May 3rd, two to 6:00 PM daily city AAPI fest celebrating local Asian American and Pacific Islander culture in daily city in the greater San Francisco Bay area.    May 10th, 10:00 AM to 12:00 PM Our heritage, 5K 2025. A free family friendly, 5K fun walk slash run. Honoring the rich history and contributions of Asian American and Pacific Islander communities in San Francisco. This scenic route winds through the heart of the city. Passing by over 16 plus historic A API Landmarks featuring goodies, resources, and fun facts about its cultural significance. Expect cheer stations, photo ops, sweet treats, and entertainment along the route to keep the energy high. May 10th is also a API Mental Health Day. The Our Wellness Festival will celebrate mental health, community and joy. The festival will feature family friendly activities, carnival style games, music, dancing, wellness resources, and more. May 23rd at 5:30 PM to 8:30 PM Asian American and Pacific Islander, LGBT Q2 s plus Mixer, NJAHS, peace Gallery 1684 Post Street in San Francisco. Children's Fairyland in Oakland and Stanford's Asian American Studies apartment will also host a series of events throughout the month that we will post in the show notes for you to check out in Bay Area Public Library News. Oakland Public Libraries feature reading lists for all ages, a grab and grow seedling kit and events like Watermelon Kimchi making. San Francisco Public Libraries will have events for all ages at library locations throughout the city, including free author talks, book clubs, film screenings, crafts, food programs, and musical and dance performances. Highlights for adults include the launch of Corky Lee's Asian America at the main library on May 23rd. The new book features over 200 breathtaking photos celebrating the history and cultural impact of the Asian American Social Justice movement. We've covered Corky Lee's work in multiple previous Apex episodes.    Additionally, four members of the Asian American Journalist Association, AAJA, who cover the Asian American and Pacific Islander News beat will discuss how authentic local reporting happens, important stories they've reported recently, and how having reporters dedicated to the BEAT impacts the A API community on May 8th, moderated by the interim president of the AAJA-SF Bay Area chapter Harry Mock. The panel features Ko Lyn Chang from the San Francisco Chronicle, Han Lee from the San Francisco Standard, and Ravi Kapoor, CEO of Dia, TV on May 25th. The library partners with the Chinese Cultural Center of San Francisco to welcome Curtis Chin, author of everything I Learned, I learned in a Chinese restaurant for a book talk and library popup. For youth on May 25th, join June Jo Lee Food ethnographer and award-winning children's book author for a kimchi demo. Read aloud and krautchy making activity. Experience a read aloud of New Picture Storybooks for Children and participate in a drawing workshop on comics with illustrators mini fan and Sophie Dialo on May 23rd at Excelsior Branch Library. Katie Kwan, who has been featured on Apex dives into the world of comics and zines through the lens of an Asian American artist and educator, and teaches the community how to make their own comics and zines at multiple locations throughout May. San Jose Public Libraries host a series of events with highlights being top of cloth making on May 6th and vegan Filipino cooking with Aztec Vegan on May 7th. Once again, happy Asian American and Pacific Islander Heritage Month from us at Apex Express. Please do checkout CAAM Fest. May 8th through 11th in San Francisco. If you get the chance and you'll be able to see Kyle's film. As well as many other incredible AAPI, histories and stories. You can check out all of that community calendar info in our show notes, as well as information on all of the guests you heard from tonight.   Miko Lee: [00:51:55] Please check out our website, kpfa.org to find out more about our show tonight. We think all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world because your voices are important. APEX Express is created by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, Aisa Villarosa, Estella Owoimaha-Church, Gabriel Tangloao, Cheryl Truong and Ayame Keane-Lee.        The post APEX Express – 5.1.25 – Filmmakers Exploring Boundaries appeared first on KPFA.

Alan Aquino,a professor of Asian American Studies at CSUN, shares his journey from childhood aspirations to becoming a community organizer and poet. He reflects on his upbringing in Panorama City, the cultural shifts he witnessed, and the impact of gangs in the 90s. Alan discusses the importance of education, representation in media, and the role of Asian American Studies in fostering community and understanding. He emphasizes the significance of pursuing one's passion, navigating the challenges of adulthood, and the power of poetry and hip-hop as forms of expression. The conversation concludes with Alan offering heartfelt advice to young adults facing hardships, encouraging them to embrace their journey one step at a time.Chapters (00:00) Introduction to Alan Aquino(03:37) Growing Up in Panorama City(06:43) The Impact of Gangs and Culture in the 90s(09:25) Schooling and Social Stratification(12:32) College Life and the Northridge Earthquake(15:43) The LA Riots and Their Aftermath(18:36) Pursuing Asian American Studies(21:37) Misconceptions About Ethnic Studies(24:42) The Journey into Poetry and Hip-Hop(43:07) The Journey of a Poet(44:18) CSUN: A Hidden Gem(46:25) Asian Americans in Media(47:22) Stereotypes and Representation(50:19) Cultural Appropriation vs. Appreciation(56:54) Batman: A Personal Talisman(01:02:21) The Essence of Community(01:09:15) Pursuing Passion vs. Stability(01:14:56) Navigating Hardships in LifeFollow Me on Social Media:https://www.instagram.com/thevoncastshow/https://www.instagram.com/shibavon/ https://www.iamvon.net/Alan IG:https://www.instagram.com/poetproflife/

In The Promise of Beauty (Duke UP, 2024), Mimi Thi Nguyen explores the relationship between the concept of beauty and narratives of crisis and catastrophe. Nguyen conceptualizes beauty, which, she observes, we turn to in emergencies and times of destruction, as a tool to identify and bridge the discrepancy between the world as it is and what it ought to be. Drawing widely from aesthetic and critical theories, Nguyen outlines how beauty—or its lack—points to the conditions that must exist for it to flourish. She notes that an absence of beauty becomes both a political observation and a call to action to transform the conditions of the situation so as to replicate, preserve, or repair beauty. The promise of beauty can then engender a critique of social arrangements and political structures that would set the foundations for its possibility and presence. In this way, Nguyen highlights the role of beauty in inspiring action toward a more just world. Mimi Thi Nguyen is Professor of Gender and Women's Studies at the University of Illinois, Urbana-Champaign. Her first book, called The Gift of Freedom: War, Debt, and Other Refugee Passages, focuses on the promise of “giving” freedom concurrent and contingent with waging war (Duke University Press, 2012; Outstanding Book Award in Cultural Studies from the Association of Asian American Studies, 2014). She is also co-editor with Fiona I.B. Ngo and Mariam Lam of a special issue of positions: asia critique on Southeast Asian American Studies (20:3, Winter 2012), and co-editor with Thuy Linh Nguyen Tu of Alien Encounters: Pop Culture in Asian America (Duke University Press, 2007). Her papers have been solicited for the Feminist Theory Archive at Brown University. Her second book is called The Promise of Beauty, and she is part of an editorial collective with Patty Ahn, Michelle Cho, Vernadette Vicuna Gonzalez, Rani Neutill, and Yutian Wong for Bangtan Remixed: A Critical BTS Reader; both books are being published with Duke University Press in 2024. She has also published in Signs, Camera Obscura, The Funambulist, Women & Performance, positions, Radical History Review, and ArtForum. Najwa Mayer is an interdisciplinary cultural scholar of race, gender, sexuality, and Islam in/and the United States, working at the intersections of politics, aesthetics, and critical theory. She is currently a Society of Fellows Postdoctoral Scholar at Boston University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In The Promise of Beauty (Duke UP, 2024), Mimi Thi Nguyen explores the relationship between the concept of beauty and narratives of crisis and catastrophe. Nguyen conceptualizes beauty, which, she observes, we turn to in emergencies and times of destruction, as a tool to identify and bridge the discrepancy between the world as it is and what it ought to be. Drawing widely from aesthetic and critical theories, Nguyen outlines how beauty—or its lack—points to the conditions that must exist for it to flourish. She notes that an absence of beauty becomes both a political observation and a call to action to transform the conditions of the situation so as to replicate, preserve, or repair beauty. The promise of beauty can then engender a critique of social arrangements and political structures that would set the foundations for its possibility and presence. In this way, Nguyen highlights the role of beauty in inspiring action toward a more just world. Mimi Thi Nguyen is Professor of Gender and Women's Studies at the University of Illinois, Urbana-Champaign. Her first book, called The Gift of Freedom: War, Debt, and Other Refugee Passages, focuses on the promise of “giving” freedom concurrent and contingent with waging war (Duke University Press, 2012; Outstanding Book Award in Cultural Studies from the Association of Asian American Studies, 2014). She is also co-editor with Fiona I.B. Ngo and Mariam Lam of a special issue of positions: asia critique on Southeast Asian American Studies (20:3, Winter 2012), and co-editor with Thuy Linh Nguyen Tu of Alien Encounters: Pop Culture in Asian America (Duke University Press, 2007). Her papers have been solicited for the Feminist Theory Archive at Brown University. Her second book is called The Promise of Beauty, and she is part of an editorial collective with Patty Ahn, Michelle Cho, Vernadette Vicuna Gonzalez, Rani Neutill, and Yutian Wong for Bangtan Remixed: A Critical BTS Reader; both books are being published with Duke University Press in 2024. She has also published in Signs, Camera Obscura, The Funambulist, Women & Performance, positions, Radical History Review, and ArtForum. Najwa Mayer is an interdisciplinary cultural scholar of race, gender, sexuality, and Islam in/and the United States, working at the intersections of politics, aesthetics, and critical theory. She is currently a Society of Fellows Postdoctoral Scholar at Boston University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Acclaimed author Sameer Pandya, Associate Professor of Asian American Studies at the University of California, Santa Barbara, discusses how we should listen to our teens when they try to speak to us, how to talk to teens about their futures while giving them both agency and guidance, and how we can bridge communication gaps as a society. Sameer's new novel is Our Beautiful Boys.

This is the conclusion of our two part conversation with Maryam Kashani on her book Medina by the Bay: Scenes of Muslim Study and Survival Among other things, in this conversation we talk about the impact and meaning of 1492 to the Muslim world. We discuss Kashani's concept of the Blues Adhan by way of Clyde Woods. We discuss the experiences of women muslims, and women scholars in Kashani's book. We talk about the two jihads and other Muslim practices such as zakat and the contradictions between Islamic thought and practice and those demanded by the capitalist and carceral state. It's a rich discussion that I hope folks find as interesting as I did.  Make sure you also catch the first part of this conversation which is linked in the show notes. Kashani is an associate professor in Gender and Women's Studies and Asian American Studies at the University of Illinois Urbana-Champaign and is in the leadership collective of Believers Bail Out, a community-led effort to bailout Muslims in pretrial and immigration incarceration towards abolition.  Believers Bail Out has a fundraiser to bail out Muslims during Ramadan which we will link in the show description. We really encourage folks to kick in what they can to support that initiative.  If you like the work that we do please become a patron of the show. It's the best way to support our show, and in addition to gaining access to our study groups the next time one opens up, you'll also get an email for each episode we release. Whether an audio episode like this one and the episode on the writings of Brendan Hughes we released earlier this week or a YouTube livestream like the ones we hosted with Orisanmi Burton, James Kilgore, and Mark Neocleous earlier this week, you'll always be notified when we have new conversations to check out. You can become a patron for as little as $1 a month at patreon.com/millennialsarekillingcapitalism  Links: first part of this conversation fundraiser to bail out Muslims during Ramadan Medina by the Bay: Scenes of Muslim Study and Survival More on the Blues Epistemology in this interview with César “che” Rodriguez Zakat fir-Riqab: Becoming Muslim in Colonial Racial Capitalism and its Carceral Regimes by Maryam Kashani  

Dr. Cathery Yeh, Supporting Neurodiverse Students in Elementary Mathematics Classrooms ROUNDING UP: SEASON 3 | EPISODE 14 What meaning does the term neurodiverse convey and how might it impact a student's learning experience?  And how can educators think about the work of designing environments and experiences that support neurodiverse students learning mathematics?  In this episode, we discuss these questions with Dr. Cathery Yeh, a professor in STEM education from the University of Texas at Austin.  BIOGRAPHY Dr. Cathery Yeh is an assistant professor in STEM education and a core faculty member in the Center for Asian American Studies from the University of Texas at Austin. Her research examines the intersections of race, language, and disability to provide a nuanced analysis of the constructions of ability in mathematics classrooms and education systems. TRANSCRIPT Mike Wallus: What meaning does the term neurodiverse convey and how might that language impact a student's learning experience? In this episode, we'll explore those questions. And we'll think about ways that educators can design learning environments that support all of their students. Joining us for this conversation is Dr. Cathery Yeh, a professor in STEM education from the University of Texas at Austin.  Welcome to the podcast, Cathery. It's really exciting to have you with us today. Cathery Yeh: Thank you, Mike. Honored to be invited. Mike: So, I wonder if we can start by offering listeners a common understanding of language that we'll use from time to time throughout the episode. How do you think about the meaning of neurodiversity? Cathery: Thank you for this thoughtful question. Language matters a lot. For me, neurodiversity refers to the natural variation in our human brains and our neurocognition, challenging this idea that there's a normal brain. I always think of… In Texas, we just had a snow day two days ago. And I think of, just as, there's no two snowflakes that are the same, there's no two brains that are exactly the same, too. I also think of its meaning from a personal perspective. I am not a special educator. I was a bilingual teacher and taught in inclusive settings. And my first exposure to the meaning of neurodiversity came from my own child, who—she openly blogs about it—as a Chinese-American girl, it was actually really hard for her to be diagnosed. Asian Americans, 1 out of 10 are diagnosed—that's the lowest of any ethnic racial group. And I'll often think about when… She's proud of her disabled identity. It is who she is. But what she noticed that when she tells people about her disabled identity, what do you think is the first thing people say when she says, “I'm neurodivergent. I have ADHD. I have autism.” What do you think folks usually say to her? The most common response? Mike: I'm going to guess that they express some level of surprise, and it might be associated with her ethnic background or racial identity. Cathery: She doesn't get that as much. The first thing people say is, they apologize to her. They say, “I'm sorry.” Mike: Wow. Cathery: And that happens quite a lot. And I say that because–and then I connected back to the term neurodiversity—because I think it's important to know its origins. It came about by Judy Singer. She's a sociologist. And about 30 years ago, she coined the term neurodiversity as an opposition to the medical model of understanding people and human difference as deficits. And her understanding is that difference is beautiful. All of us think and learn and process differently, and that's part of human diversity. So that original definition of neurodiversity was tied to the autism rights movement. But now, when we think about the term, it's expanded to include folks with ADHD, dyslexia, dyscalculia, mental health, conditions like depression, anxiety, and other neuro minorities like Tourette syndrome, and even memory loss. I wanted to name out all these things because sometimes we're looking for a really clean definition, and definitions are messy. There's a personal one. There's a societal one of how we position neurodiversity as something that's deficit, that needs to be fixed. But it's part of who one is. But it's also socially constructed. Because how do you decide when a difference becomes a difference that counts where you qualify as being neurodiverse, right? So, I think there's a lot to consider around that. Mike: You know, the answer that you shared is really a good segue because the question I was going to ask you involves something that I suspect you hear quite often is people asking you, “What are the best ways that I can support my neurodiverse students?” And it occurs to me that part of the challenge of that question is it assumes that there's this narrow range of things that you do for this narrow range of students who are different. The way that you just talked about the meaning of neurodiversity probably means that you have a different kind of answer to that question when people ask it. Cathery: I do get this question quite a lot. People email it to me, or they'll ask me. That's usually the first thing people ask. I think my response kind of matches my pink hair question. When they ask me the question, I often ask a question back. And I go, “How would you best educate Chinese children in math?” And they're like, “Why would you ask that?” The underlining assumption is that all Chinese children are the same, and they learn the same ways, they have the same needs, and also that their needs are different than the research-based equity math practices we know and have done 50–60 years of research that we've highlighted our effective teaching practices for all children. We've been part of NCTM for 20 years. We know that tasks that promote reasoning and problem solving have been effectively shown to be good for all. Using a connecting math representation—across math representations in a lesson—is good for all. Multimodal math discourse, not just verbal, written, but embodied in part who we are and, in building on student thinking, and all those things we know. And those are often the recommendations we should ask. But I think an important question is how often are our questions connecting to that instead? How often are we seeing that we assume that certain students cannot engage in these practices? And I think that's something we should prioritize more. I'm not saying that there are not specific struggles or difficulties that the neurodiversity umbrella includes, which includes ADHD, dyslexia, autism, bipolar disorder, on and on, so many things. I'm not saying that they don't experience difficulties in our school environment, but it's also understanding that if you know one neurodiverse student—you know me or my child—you only know one. That's all you know. And by assuming we're all the same, it ignores the other social identities and lived experiences that students have that impact their learning.  So, I'm going to ask you a question. Mike: Fire away. Cathery: OK. What comes to your mind when you hear the term “neurodiverse student”? What does that student look like, sound like, appear like to you? Mike: I think that's a really great question. There's a version of me not long ago that would have thought of that student as someone who's been categorized as special education, receiving special education services, perhaps a student that has ADHD. I might've used language like “students who have sensory needs or processing.” And I think as I hear myself say some of those things that I would've previously said, what jumps out is two things: One is I'm painting with a really broad brush as opposed to looking at the individual student and the things that they need. And two is the extent to which painting with a broad brush or trying to find a bucket of strategies that's for a particular group of students, that that really limits my thinking around what they can do or all the brilliance that they may have inside them. Cathery: Thank you for sharing that because that's a reflection I often do. I think about when I learned about my child, I learned about myself. How I automatically went to a deficit lens of like, “Oh, no, how are we going to function in the world? How's she going to function in the world?” But I also do this prompt quite a lot with teachers and others, and I ask them to draw it. When you draw someone, what do you see? And I'll be honest, kind of like drawing a scientist, we often draw Albert Einstein. When I ask folks to draw what a neurodiverse student looks like, they're predominantly white boys, to be honest with you. And I want to name that out. It's because students of color, especially black, brown, native students—they're disproportionately over- and under-identified as disabled in our schooling. Like we think about this idea that when most of us associate autism or ADHD mainly as part of the neurodiversity branch and as entirely within as white boys, which often happens with many of the teachers that I talk to and parents. We see them as needing services, but in contrast, when we think about, particularly our students of color and our boys—these young men—there's often a contrast of criminalization in being deprived of services for them. And this is not even what I'm saying. It's been 50 years of documented research from the Department of Ed from annual civil rights that repeatedly shows for 50 years now extreme disproportionality for disabled black and Latinx boys, in particular from suspension, expulsion, and in-school arrests. I think one of the most surprising statistics for me that I had learned recently was African-American youth are five times more likely to be misdiagnosed with conduct disorder before receiving the proper diagnosis of autism spectrum disorder. And I appreciate going back to that term of neurodiversity because I think it's really important for us to realize that neurodiversity is an asset-based perspective that makes us shift from looking at it as the student that needs to be fixed, that neurodiversity is the norm, but for us to look at the environment. And I really believe that we cannot have conversations about disability without fully having conversations about race, language, and the need to question what needs to be fixed, particularly not just our teaching, but our assessment practices. For example, we talk about neurodiversities around what we consider normal or abnormal, which is based on how we make expectations around what society thinks. One of the things that showed up in our own household—when we think about neurodiversity or assessments for autism—is this idea of maintaining eye contact. That's one of the widely considered autistic traits. In the Chinese and in the Asian household, and also in African communities, making eye contact to an adult or somebody with authority? It is considered rude. But we consider that as one of the characteristics when we engage in diagnostic tools. This is where I think there needs to be more deep reflection around how one is diagnosed, how a conversation of disability is not separate from our understanding of students and their language practices, their cultural practices. What do we consider normative? Because normative is highly situated in culture and context. Mike: I would love to stay on this theme because one of the things that stands out in that last portion of our conversation was this notion that rather than thinking about, “We need to change the child.” Part of what we really want to think about is, “What is the work that we might do to change the learning environment?” And I wonder if you could talk a bit about how educators go about that and what, maybe, some of the tools could be in their toolbox if they were trying to think in that way. Cathery: I love that question of, “What can we as teachers do? What's some actionable things?” I really appreciate Universal Design for Learning framework, particularly their revised updated version, or 3.0 version, that just came out, I think it was June or July of this year. Let me give you a little bit of background about universal design. And I'm sure you probably already know. I've been reading a lot around its origins. It came about [in the] 1980s, we know from cast.org. But I want to go further back, and it really builds from universal design and the work of architecture. So universal design was coined by a disabled architect. His name was Ronald Mace. And as I was reading his words, it really helped me better understand what UDL is. We know that UDL— Universal Design for Learning and universal design—is about access. Everybody should have access to curriculum. And that sounds great, but I've also seen classrooms where access to curriculum meant doing a different worksheet while everybody else is engaging in small group, whole group problem-based learning.  Access might mean your desk is in the front of the room where you're self-isolated—where you're really close to the front of the board so you can see it really well—but you can't talk to your peers. Or that access might mean you're in a whole different classroom, doing the same set of worksheets or problems, but you're not with your grade-level peers.  And when Ronald Mace talks about access, he explained that access in architecture had already been a focus in the late 1900s, around 1998, I think. But he said that universal design is really about the longing. And I think that really shifted the framing. And his argument was that we need to design a place, an environment where folks across a range of bodies and minds feel a sense of belonging there. That we don't need to adapt—the space was already designed for you. And that has been such a transformative perspective: That it shouldn't be going a different route or doing something different, because by doing that, you don't feel like you belong. But if the space is one where you can take part equally and access across the ways you may engage, then you feel a sense of belonging. Mike: The piece of what you said that I'm really contemplating right now is this notion of belonging. What occurs to me is that approaching design principles for a learning environment or a learning experience with belonging in mind is a really profound shift. Like asking the question, “What would it mean to feel a sense of belonging in this classroom or during this activity that's happening?” That really changes the kinds of things that an educator might consider going through a planning process. I'm wondering if you think you might be able to share an example or two of how you've seen educators apply universal design principles in their classrooms in ways that remove barriers in the environment and support students' mathematical learning. Cathery: Oh gosh, I feel so blessed. I spend… Tomorrow I'm going to be at a school site all day doing this. UDL is about being responsive to our students and knowing that the best teaching requires us to listen deeply to who they are, honor their mathematical brilliance, and their agency. It's about honoring who they are. I think where UDL ups it to another level, is it asks us to consider who makes the decision. If we are making all the decisions of what is best for that student, that's not fully aligned with UDL. The heart of UDL, it's around multiple ways for me to engage, to represent and express, and then students are given choice. So, one of the things that's an important part of UDL is honoring students' agency, so we do something called “access needs.” At the start of a lesson, we might go, “What do you need to be able to fully participate in math today?” And kids from kindergarten to high school or even my college students will just write out what they need. And usually, it's pretty stereotypical: “I want to talk to someone when I'm learning.” “I would like to see it and not just hear it.” And then you continually go back and you ask, “What are your access needs? What do you need to fully participate?”  So students are reflecting on their own what they need to be fully present and what they believe is helpful to create a successful learning environment. So that's a very strong UDL principle—that instead of us coming up with a set of norms for our students, we co-develop that. But we're co-developing it based on students reflecting on their experience in their environment. In kindergarten, we have children draw pictures. As they get older, they can draw, they can write. But it's this idea that it's an ongoing process for me to name out what I need to be fully present. And oftentimes, they're going to say things that are pretty critical. It's almost always critical, to be honest with you, but that's a… I would say that's a core component of UDL. We're allowing students to reflect on what they need so they can name it for themselves, and then we can then design that space together. And along the way, we have kids that name, “You know what? I need the manipulatives to be closer.” That would not come about at the start of me asking about access needs. But if we did a lesson, and it was not close by, they'll tell me. So it's really around designing an environment where they can fully participate and be their full selves and feel a sense of belonging. So, that's one example.  Another one that we've been doing is teachers and kids who have traditionally not participated the most in our classrooms or have even engaged in pullout intervention. And we'll have them walk around school, telling us about their day. “Will you walk me through your day and tell me how you feel in each of these spaces, and what are your experiences like?” And again, we're allowing the students to name out what they need. And then they're naming out… Oftentimes, with the students that we're at, where I'm working in mostly multilingual spaces, they'll say, “Oh, I love this teacher because she allows us to speak in Spanish in the room. It's OK.” So that's going back to ideas of action, expression, engagement, where students are allowed a trans language. That's one of the language principles.  But we're allowing students and providing spaces and really paying close attention to: “How do we decide how to maximize participation for our students with these set of UDL guidelines? How we are able to listen and make certain decisions on how we can strengthen their participation, their sense of belonging in our classrooms.” Mike: I think what's lovely about both of those examples—asking them to write or draw what they need or the description of, “Let's walk through the day. Let's walk through the different spaces that you learn in or the humans that you learn with”—is one, it really is listening to them and trying to make meaning of that and using that as your starting point. I think the other piece is that it makes me think that it's something that happens over time. It might shift, you might gain more clarity around the things that students need or they might gain more clarity around the things that they need over time. And those might shift a little bit, or it might come into greater focus. Like, “I thought I needed this” or “I think I needed this, but what I really meant was this.” There's this opportunity for kids to refine their needs and for educators to think about that in the designs that they create. Cathery: I really appreciate you naming that because it's all of that. It's an ongoing process where we're building a relationship with our students for us to co-design what effective teaching looks like—that it's not a one size fits all. It's disrupting this idea that what works for one works for all. It's around supporting our students to name out what they need. Now, I'm almost 50. I struggle to name out what I need sometimes, so it's not going to happen in, like, one time. It's an ongoing process. And what we need is linked to context, so it has to be ongoing. But there's also in the moments as well. And it's the heart of good teaching in math, when you allow students to solve problems in the ways that make sense to them, that's UDL by design. That's honoring the ideas of multiplicity in action, expression. When you might give a context-based problem and you take the numbers away and you give a set of number choices that students get to choose from. That is also this idea of UDL because there's multiple ways for them to engage. So there are also little things that we do that… note how they're just effective teaching. But we're honoring this idea that children should have agency. All children can engage in doing mathematics. And part of learning mathematics is also supporting our students to see the brilliance in themselves and to leverage that in their own teaching and learning. Mike: Yeah. Something else that really occurred to me as we've been talking is the difference between the way we've been talking about centering students' needs and asking them to help us understand them and the process that that kind of kicks off. I think what strikes me is that it's actually opening up the possibilities of what might happen or the ways that a student could be successful as opposed to this notion that “You're neurodiverse, you fit in this bucket. There's a set of strategies that I'm going to do just for you,” and those strategies might actually limit or constrict the options you have. For example, in terms of mathematics, what I remember happening very often when I was teaching is, I would create an open space for students to think about ways that they could solve problems. And at the time, often what would happen is kids who were characterized as neurodiverse wouldn't get access to those same strategies. It would be kind of the idea that “This is the way we should show them how to do it.” It just strikes me how different that experience is. I suspect that that was done with the best of intentions, but I think the impact unfortunately probably really didn't match the intent. Cathery: I love how you're being honest. I did the same thing when I was teaching, too, because we were often instructed to engage in whole-group instruction and probably do a small-group pullout. That was how I was taught. And when the same kids are repeatedly pulled out because we're saying that they're not able to engage in the instruction. I think that part of UDL is UDL is a process, realizing that if students are not engaging fully in the ways that we had hoped, instead of trying to fix the child, we look at the environment and think about what changes we need to make in tier one. So whole-group instruction, whole-group participation first to see how we can maximize their participation. And it's not one strategy, because it depends; it really depends. I think of, for example, with a group of teachers in California and Texas now, we've been looking at how we can track participation in whole-group settings. And we look at them across social demographics, and then we started to notice that when we promote multimodal whole-group participation, like kids have access to manipulatives even during whole-group share out. Or they have visuals that they can point to, their participation and who gets to participate drastically increase. So there's many ways in which, by nature, we engage in some narrow practices because, too, oftentimes whole group discussion is almost completely verbal and, at times, written, and usually the teacher's writing. So it's going back to the idea of, “Can we look at what we want our students to do at that moment? So starting on the math concept and practices, but then looking at our students and when they're not participating fully, it's not them. What are the UDL principles and things that I know and strategies that I have with my colleagues that I can make some small shifts?” Mike: You know, one of the things that I enjoy most about the podcast is that we really can take a deep dive into some big ideas, and the limitation is we have 20 minutes to perhaps a half hour. And I suspect there are a lot of people who are trying to make meaning of what we're talking about and thinking about, “How might I follow up? How might I take action on some of the ideas?” So I want to turn just for a little while to resources, and I'm wondering if there are resources that you would suggest for a listener who wants to continue learning about universal design in a mathematics classroom? Cathery: Oh, my goodness, that's such a hard question because there's so many. Some good ones overall: I would definitely encourage folks to dive into the UDL guidelines—the 3.0 updates. They're amazing. They're so joyful and transformative that they even have, one of the principles is centering joy in play, and for us to imagine that, right? Mike: Yes! Cathery: What does that mean to do that in a math classroom? We can name out 50 different ways. So how often do we get to see that? So, I would highly encourage folks to download that, engage in deep discussion because it was a 2.2 version for, I think, quite a few years. I would also lean into a resource that I'm glad to email later on so it's more easily accessible. I talked about access needs, this idea of asking students, asking community members, asking folks to give this opportunity to name out what they need. It's written by a colleague, Dr. Daniel Reinholz and Dr. Samantha Ridgway. It's a lovely reading, and it focuses specifically in STEM but I think it's a great place to read. I would say that Dr. Rachel Lambert's new book on UDL math is an excellent read. It's a great joyful read to think about. I'm going to give one shout out to the book called the Year of the Tiger: An Activist's Life. It's by Alice Wong. I encourage that because how often do we put the word activism next to disability? And Alice Wong is one of the most amazing humans in the world, and it's a graphic novel. So it's just joyful. It's words with poetry and graphic novel mixed together to see the life of what it means to be a disabled activist and how activism and disability goes hand in hand. Because when you are disabled and multi-marginalized, you are often advocating for yourself and others. It's amazing. So I'll stop there. There's endless amounts. Mike: So for listeners, we'll link the resources that Cathery was talking about in our show notes. I could keep going, but I think this is probably a great place to stop. I want to thank you so much for joining us. It's really been a pleasure talking with you. Cathery: Thank you. Thank you. Mike: This podcast is brought to you by The Math Learning Center and the Maier Math Foundation, dedicated to inspiring and enabling all individuals to discover and develop their mathematical confidence and ability. © 2025 The Math Learning Center | www.mathlearningcenter.org

In today's show, I speak with Evyn Le Espiritu Gandhi about two pathbreaking studies which create new ways of thinking about populations bound by complex and contradictory notions of loyalty and psychological investment. Based on meticulous archival research and oral histories amongst disparate populations in South Vietnam, Guam, and Israel-Palestine, in Archipelago of Resettlement: Vietnamese Refugee Settlers and Decolonization across Guam and Israel-Palestine Gandhi is able to probe deeply into fascinating personal stories of refugees that have moved between these spaces, disclosing complex and often contradictory notions of belonging and loyalty. We also talk about her current book project, which tackles the idea of southern regions such as South Korea, South Vietnam, and the American South, as each mourning lost images of the nation.Evyn Lê Espiritu Gandhi is an associate professor of Asian American Studies at UCLA (Tovaangar). She is the author of Archipelago of Resettlement: Vietnamese Refugee Settlers and Decolonization across Guam and Israel-Palestine (University of California Press, 2022) and co-editor with Vinh Nguyen of The Routledge Handbook of Refugee Narratives (Routledge, 2023). She is the lead curator of a public history exhibit, “Remembering Saigon: Journeys through and from Guam,” which opened this month at UC Irvine's Southeast Asian Archive. She is currently working on a second book project which revisits Gramsci's “southern question” by constellating the southern spaces of South Korea, South Vietnam, and the US South.

This is the first part of a two part conversation with Maryam Kashani on her book Medina By The Bay: Scenes of Muslim Study and Survival It's a cool book that weaves Maryam's scholarly ethnographic work with her talents as a filmmaker and a DJ to examine and illuminate various strains of Islam in the San Francisco Bay Area from the Black Power Movement to the so-called war on terror and the rise of the surveillance state. She dubs her approach an “ethnocinematic.”  We discuss legacies of anti-imperialist Islam on Turtle Island as well as more assimilative ways of being. We'll dig into this more in part 2, but we wanted to make sure to get this part out during Ramadan.  Kashani is an associate professor in Gender and Women's Studies and Asian American Studies at the University of Illinois Urbana-Champaign and is in the leadership collective of Believers Bail Out, a community-led effort to bailout Muslims in pretrial and immigration incarceration towards abolition. We'll include a lengthier bio in the show description. Believers Bail Out has a fundraiser to bail out Muslims during Ramadan which we will link in the show description. We really encourage folks to kick in what they can to support that initiative.  The other thing I wanted to make sure to mention is we do talk a little bit about Imam Jamil Al-Amin in this episode. I'm including a couple of links to projects and campaigns related to Imam Jamil Al-Amin in the show description. According to Students for Imam Jamil he has received a medical transfer thanks to the support and calls of many folks. But there are other ways people can continue to support Imam Jamil Al-Amin (see below).  And lastly, we have a Samir Amin Accumulation on a World Scale Study Group for patrons only. It will start Wednesday the 12th of March and run through June. I'll include a link with more details in the show description, but space is limited on that so if you want to reserve a spot make sure to sign up today at patreon.com/millennialsarekillingcapitalism which is also the best place to support our work on this podcast. Links: Purchase Medina By The Bay through Massive Bookshop, the bookstore that bails people out of jail. For Maryam's essay on Hajja Dhameera Ahmad check out the book Black Power Afterlives For more on Imam Jamil Al Amin: https://www.imamjamilactionnetwork.org/ and freeimamjamil.com and support the fundraiser for the "What Happened to Rap" film. Samir Amin Accumulation on a World Scale Study Group (7:30 PM Eastern Time US on Wednesdays) Believers Bail Out use Zakat to bail Muslims out of jail or immigrant detention Full bio: Maryam Kashani works from a deep commitment to the aesthetic and political possibilities of experimental filmmaking, music, and the essay form, whether as 16mm films and videos, text/sound/image installations and live performance, DJing, or written monograph. Her work explores the relationships between physical landscapes and the sociopolitical, material, and spiritual histories and forces that emerge with and against them and is concerned with narration and description, archive, and knowledge production with a particular focus on collective study and struggle in and against colonial racial capitalism across local and global geographies. She recently published Medina by the Bay: Scenes of Muslim Study and Survival (Duke University Press, 2023), which is an ethnocinematic examination of how multiracial Muslim communities in the San Francisco Bay Area survive within and against racial capitalist, carceral, and imperial logics. Her films and video installations (http://www.maryamkashani.com/) have been shown at film festivals, universities, and museums internationally, including the Sharjah Biennial, MoMA, Hammer Museum, Chelsea Museum, and the Pacific Film Archive. Kashani is an associate professor in Gender and Women's Studies and Asian American Studies at the University of Illinois at Urbana-Champaign and is in the leadership collective of Believers Bail Out, a community-led effort to bailout Muslims in pretrial and immigration incarceration towards abolition.    

In this episode on the Speaking Out of Place podcast, Professor David Palumbo-Liu talks with Evyn Le Espiritu Gandhi about two pathbreaking studies that create new ways of thinking about populations bound by complex and contradictory notions of loyalty and psychological investment. Based on meticulous archival research and oral histories amongst disparate populations in South Vietnam, Guam, and Israel-Palestine, in Archipelago of Resettlement: Vietnamese Refugee Settlers and Decolonization across Guam and Israel-Palestine Gandhi is able to probe deeply into fascinating personal stories of refugees that have moved between these spaces, disclosing complex and often contradictory notions of belonging and loyalty. They also talk about her current book project, which tackles the idea of southern regions such as South Korea, South Vietnam, and the American South, as each mourning lost images of the nation.Evyn Lê Espiritu Gandhi is an associate professor of Asian American Studies at UCLA (Tovaangar). She is the author of Archipelago of Resettlement: Vietnamese Refugee Settlers and Decolonization across Guam and Israel-Palestine (University of California Press, 2022) and co-editor with Vinh Nguyen of The Routledge Handbook of Refugee Narratives (Routledge, 2023). She is the lead curator of a public history exhibit, “Remembering Saigon: Journeys through and from Guam,” which opened this month at UC Irvine's Southeast Asian Archive. She is currently working on a second book project which revisits Gramsci's “southern question” by constellating the southern spaces of South Korea, South Vietnam, and the US South.www.palumbo-liu.comhttps://speakingoutofplace.comBluesky @palumboliu.bsky.socialInstagram @speaking_out_of_place

Hello, listeners of Opening Dharma Access, for February, we're doing things a little bit different by offering you some meditations and Dharma talks on current conditions as 2025 brings to the United States a whole bunch of difficult circumstances: the L.A.  fires; the current administration.This dharma talk is from co-host Rev. Dana Takagi. Dana speaks on what wisdom could look like in times like these, and how to expand our vision as well as awareness about our current national systems work, and the history of how they were built over time, as they are being dismantled. May it be for the benefit of all beings.Your hostREVEREND DANA TAKAGI (she/her) is a retired professor of Sociology and zen priest, practicing zen since 1998. She spent 33 years teaching sociology and Asian American history at UC Santa Cruz, and she is a past president of the Association for Asian American Studies. 

Cathy Linh Che is a Vietnamese American writer and multidisciplinary artist. She is the author of Split, winner of the Norma Farber First Book Award from the Poetry Society of America and the Best Poetry Book Award from the Association of Asian American Studies, An Asian American A to Z: A Children's Guide to Our History, and Becoming Ghost. Her writing has been published in The New Republic, The Nation, and McSweeney's and she has received awards from MacDowell, Bread Loaf, Tin House, and the Sewanee Writers' Conference. Her newest book is "Becoming Ghost." She currently lives in New York. www.cathylinhche.com

In this episode of Occupied Thoughts, FMEP Fellow Dr. Nour Joudah speaks with Ahmad Gharbieh, professor at the American University of Beirut and co-founder of the Beirut Urban Lab, an interdisciplinary research space. They discuss the process and value of critical cartography, which analyzes maps as instruments of power, looking at who has the authority to create maps and what is included and represented within them. And the speak about Beirut Urban Lab's critical mapping of Israel's genocide in Gaza, its invasion of southern Lebanon, and attacks on Beirut, and the links between mapping and policy-making. See their projects here: https://beiruturbanlab.com/en/Projects Ahmad Gharbieh is Associate Professor and Convener of the Graphic Design Program at the School of Architecture and Design at the American University of Beirut. He is also co-founder of the Beirut Urban Lab, an interdisciplinary and collaborative research space where he leads the Critical Mapping design-research track. His scholarly work explores mapping as a method of researching, representing, and analyzing socio-spatial phenomena. His work in critical cartography has covered many subjects including urban security and recovery, public space, refugee practices in the city, political violence, and much more.  Nour Joudah, PhD is an Assistant Professor in the Department of Asian American Studies at UCLA and a former President's and Andrew W. Mellon Postdoctoral Fellow in Geography at UC-Berkeley (2022-23). Dr. Joudah completed her PhD in Geography at UCLA (2022), and wrote her dissertation Mapping Decolonized Futures: Indigenous Visions for Hawaii and Palestine on the efforts by Palestinian and native Hawaiian communities to imagine and work toward liberated futures while centering indigenous duration as a non-linear temporality. Her work examines mapping practices and indigenous survival and futures in settler states, highlighting how indigenous countermapping is a both cartographic and decolonial praxis. She also has a MA in Arab Studies from Georgetown University, and wrote her MA thesis on the role and perception of exile politics within the Palestinian liberation struggle, in particular among politically active Palestinian youth living in the United States and occupied Palestine. Prof. Joudah is a 2024 FMEP non-residential Fellow. Original music by Jalal Yaquoub.

Another Nguyen ist der Künstlername von Ngoc Anh Nguyen. Doch bis sie sich traute, Sängerin zu werden, hat es eine Weile gedauert. Mit Frank spricht sie über zweisprachige Streits zu Hause, ihre deutsche Oma, fehlende Vorbilder und ihren Freiwilligendienst in Vietnam, der alles veränderte. Über ihre emotionale Erfahrung als Familienhelferin, wie sie ihren roten Faden im Leben entdeckte – und Schweine auf Mopeds. (03:55) Passkontrolle (07:30) Klischee-Check (19:55) Deutsche Oma, Asia Imbiss & Erstes Mal Rassismus (31:20) Eltern: Zweisprachige Streits, Kontrolle & Rebellion (50:10) Studium, Freiwilligendienst in Vietnam & Stammbaum-Tour (1:09:20) Soziale Arbeit, Politisierung & "Ich muss singen!" (1:22:35) Asian-American Studies in LA, Familienhelferin im Vietnam-Team (1:42:10) Becoming Another Nguyen: Sinneskrise, Werbekampagne, Motherland *** Anzeige Für alle 21- bis 30-Jährigen: Bewirb dich jetzt bis zum 20. Januar 2025 für ein ASA-Stipendium. ASA ermöglicht jungen Menschen zwischen 21 und 30 Jahren die Teilnahme an Projekten zu Nachhaltigkeitsthemen in Deutschland, Afrika, Asien, Lateinamerika und Südosteuropa. https://asa.engagement-global.de/bewerbung.html *** Anzeige SUPPORT: Halbe Katoffl unterstützen: https://halbekatoffl.de/unterstuetzen/ Paypal: frank@halbekatoffl.de Steady: https://steadyhq.com/de/halbekatoffl/about Überweisung/ Dauerauftrag: Schreib an frank@halbekatoffl.de | Stichwort: KONTO Website: https://halbekatoffl.de Instagram: https://www.instagram.com/halbekatoffl/ LinkedIn: https://www.linkedin.com/in/frank-joung-76-fjo/

Co-editors Nicholas D. Hartlep, Terrell L. Strayhorn, and Fred A. Bonner II will present on Belonging in Higher Education: Perspectives and Lessons from Diverse Faculty (Routledge, 2024), a new book that illuminates autoethnographic stories of belonging in higher education in the United States. These narratives celebrate diverse experiences and offer unique and useful insights about how to foster what foreword author, Michael Eric Dyson, refers to as, deep belonging. This critical volume is essential reading for researchers, faculty, administrators, and graduate students in Education, Sociology, Psychology, Student Affairs, African American Studies, and Asian American Studies. Additionally, it offers crucial insights for individuals who are key stakeholders in foregrounding policy that centers belonging for diverse faculty.

In this episode of Occupied Thoughts, FMEP Fellow Nour Joudah speaks with Cal State University-San Bernadino Professor Ahlam Muhtaseb. Dr. Muhtaseb is co-founder of the Phoenix of Gaza XR, an interactive virtual reality experience that captures the untold stories of Gaza's people and its transformation and provides a deep dive into the lives of those who endure and rebuild. The project itself started well before the current genocide, but as a result has taken on a new form and meaning. Professors Joudah and Muhtaseb discuss the Phoenix of Gaza XR as a project and how audiences are responding to it, as well as the relationship between technology and social justice and the challenges and changes they've seen over many years of teaching on Palestine in the U.S. Phoenix of Gaza XR: https://www.gazaxr.com/ Dr. Ahlam Muhtaseb is a professor of media studies and the graduate coordinator of the Department of Communication Studies at California State University, San Bernardino and the Ida B. Wells Senior Data Justice Fellow at Princeton University . She is also the recipient of numerous community and research awards including CSU-SB's Outstanding Scholarship, Research, and Creative Activities and Faculty Mentor awards, the 2019 Rebuilding Alliance “Story Teller” award, and has been recently named the 2024 Women Support Organization's Distinguished Woman of the Year. Prof. Muhtaseb co-produced and co-directed the film 1948: Creation & Catastrophe, a documentary focusing on the catastrophic consequences of 1948 for the Palestinian nation. It has been screened at over 20 film festivals and at universities and community organizations. In 2019, the film won the Jerusalem International Film Festival's Special Jury Award. She is also the producer and lead researcher of the documentary 36 Seconds: Portrait of a Hate Crime which centered the three young Muslims murdered in Chapel Hill in 2015 and discusses the state of hate crimes, Islamophobia, and racism in the United States. Nour Joudah is an Assistant Professor in the Department of Asian American Studies at UCLA and a former President's and Andrew W. Mellon Postdoctoral Fellow in Geography at UC-Berkeley (2022-23). Dr. Joudah completed her PhD in Geography at UCLA (2022), and wrote her dissertation Mapping Decolonized Futures: Indigenous Visions for Hawaii and Palestine on the efforts by Palestinian and native Hawaiian communities to imagine and work toward liberated futures while centering indigenous duration as a non-linear temporality. Her work examines mapping practices and indigenous survival and futures in settler states, highlighting how indigenous countermapping is a both cartographic and decolonial praxis. She also has a MA in Arab Studies from Georgetown University, and wrote her MA thesis on the role and perception of exile politics within the Palestinian liberation struggle, in particular among politically active Palestinian youth living in the United States and occupied Palestine. Prof. Joudah is a 2024 FMEP non-residential Fellow. Original music by Jalal Yaquoub.

  A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists.   In this episode of APEX Express, host Cheryl shares Part 1 of a powerful intergenerational conversation featuring the OG organizers of Chinese for Affirmative Action (CAA) and young leaders from Hmong Innovating Politics (HIP). The discussion highlights the challenges and inspirations that drove CAA's founders to join the Asian American Movement of the '60s and '70s, offering valuable lessons for sustaining activism across generations. Important Links: Chinese for Affirmative Action: Website  |  Instagram Hmong Innovating Politics: Website  |  Instagram Transcript   Cheryl Truong: good evening and welcome to tonight's episode of apex express. I'm your host, Cheryl Truong and tonight is an AACRE night. Now you might be wondering what is AACRE. AACRE stands for the Asian Americans for civil rights and Equality network, which is made up of 11 grassroots, social justice groups. Together leverage the power of our network to focus on longterm movement, building and support for Asian-Americans committed to social justice. And speaking of AACRE groups. APEX express is proud to be a part of the AACRE network.  For tonight's show, I'm thrilled to share a really special and intimate recording from a panel discussion we hosted here at the AACRE network that bridges generations of organizing. This panel brought together the OGs– originals– who helped build chinese for Affirmative Action or CAA into the esteemed 50 year old civil rights organization it is today. Alongside young organizers from Hmong Innovating Politics, also known as HIP, who are paving the way for Hmong Americans in Sacramento and Fresno. Both hip and CAA are vital groups within the AACRE network. The purpose of this exchange. To spark an intergenerational dialogue between seasoned CAA leaders and current hip staff and exploring how their roles in the movement have evolved over time.  Together, they delve into the strategies they've employed to sustain their impact over decades of organizing. However, this is only part one of what is and was a much longer conversation. So for tonight's episode, we'll focus on getting to know some of the CAA OGs. You'll hear them introduce themselves. Share some of the hardships they faced as pivotal organizers during the Asian-American movement of the tumultuous sixties and seventies. And reflect on what catalyze them to get involved in the movement. Through the stories we hope to uncover lessons from the past that can guide us in sustaining and evolving the fight for justice today. So stay tuned. It's going to be an inspiring and reflective journey into the heart of activism.  So I'm pleased to introduce. The panel facilitator, Miko Lee who is AACRE's director of programs. And CAA OGs Germaine Wong Henry Der Laureen Chew Stephen Owyang and Yvonne Yim-Hung Lee  Miko: Yvonne,  what was a kind of chrysalis moment for you in terms of social justice? Yvonne Yim-Hung Lee: First of all, when I got the email, I didn't know what O. G. was, so I said “Oh Geezer!” That's how I interpret it. I said “Oh, I'm there!” This is going to be a really honest and frank family gathering so thank you inviting me and I'm really excited to be here with my, peers and colleagues and more importantly to really hear from you, your experience. I am a first generation immigrant. My parents were very well to do business people in Hong Kong. They decided to immigrate to this country with three young kids. My father when he was young, he was the richest boy in his village. Overnight, people came and forced his father to give up 98 acres of their 99 acre farm. So from being the richest boy in town, in his village, to have to go to Hong Kong to live with this uncle. My mom was from a rich family in China also. Her father was one of the few merchants who came to the U.S. after the Chinese Exclusion Act, he went to New York, opened up a pastry shop, but he found his goal. He won second prize of a New York lotto. So he decided to go back to China because even though he was a merchant, he experienced a lot of discrimination. He never talked about his experience in America. But my mom was a little princess. You know, we used to call her , and her friends, the little Paris Hilton of the group, because that's what they did. They went to school as ABC's, never had to work a day in their life. But one thing, She and my father, because they were both from richest families in different villages, they were supposed to be matched up. But by the time they were at marriage age, he was already a poor kid. But my mom told the father, said, a promise is a promise.. So she married this poor guy, moved to Hong Kong, and he did quite well for himself. So we were brought up, ” money is not what should drive you in your life. You can lose it in one day. The most important thing is to have a good heart, to make sure that everything in this world, you have to make a difference. Whether it's to your family, or to others. You cannot be angry, because someone else is going to make you angry. When we came, it was a really tough time for him. You know, we lived really well in Hong Kong. Coming here to live in Chinatown back in the 60s really wasn't that pleasant. But, we made do based on the three principles. We came here for freedom. We came here for knowledge. And knowledge doesn't mean just college. So we were lucky. We never were forced to study certain fields so that we can make money because for him, it was always experience to really, really take in the nourishment for yourself, but give out whatever you have to others. So based on the guidance and that's how, that's my North Star. That's what's driven me. So I went to Davis. Yay Davis and the Cows! They're still there. What really got me to community activism was when I was 16, I was in the hospital. And They put this, at the time I thought she was elderly, but thinking back she was probably in her 30s. But when she was 16, anyway over 20 is elderly. And she could not speak English. And they could not communicate with her. And half of the hospital staff was making fun of her. And that was in, 70? 1970? It wasn't that long ago. It was still in my our lifetime. So, I was young but I acted as her translator. It was very difficult because she has women issues. And I didn't know her. And her husband was standing there. And she had to tell me her most intimate thing. And all the room of doctors, nurses and everything– they were very dismissive of her because of the fact that she did not speak their language. So because of that I felt that that's wrong. Because prior to that, even when we were living in Chinatown, I still felt I was privileged. You know, we weren't poor. We were still doing well. But after seeing that experience, it really taught me that even though we came to America for freedom, freedom is only for those who could really stand for themselves. And there are some who, if they cannot, send someone else in to fight with them. Not for them, but with them. So that's how I started my career, and I jumped from place to place. I'm not the CAA member, but I'm the honorary member of CAA because I had the privilege of working with Henry. All the meetings that we had back in the 70s, 80s, and 90s and everything with Ted and Steve on redistricting, immigration reform, census, welfare reform, everything that we today take granted. We don't even think about it. Came from here. This room. Before this room, it was another room. It was a little less, little place. We, we moved up by, by moving here in the 90s. So, thank you so much for this privilege and I look forward to our conversation. Miko: Thank you, Yvonne. And I just, OG, just so you know, does not mean OG. Does anybody want to explain what OG means? Hmong Innovating Politics (HIP) Staff: Old Gangster   Miko: It's actually a hip hop terminology for gangster, but it actually means the original. Who's the original, the source of the knowledge, the source of the power. So it's, we use it with love and honor.  Yvonne Yim-Hung Lee: Intergenerational communication.  Miko: I'm sorry I did  Henry Derr: I have to say, I never liked the term O. G. when I first heard it. Because I thought it meant an old guy, Even though I'm old, I didn't want to admit that I was old. , one thing I have to say straight away is, you all are happy about this weather, I'm very unhappy about this weather, because I, even though I'm a native of San Francisco, Chinatown, at the age of seven, my family moved into Stockton. I went through all my schooling till I graduated from Franklin High School on the east side of Highway 99. Some of you may have, your high schools may have competed against Franklin High School. When we moved into Stockton for the longest time, We could never figure out why in the hell our father moved us into Stockton, because we were the only one or two Chinese family on the east side of Stockton right there on Main Street. And then over time, and actually very recently when I think about it, there was, he probably had a good reason for moving us into Stockton. Because my father was actually quite clever in terms of circumventing the discriminatory impact of the Chinese Exclusion Act. As some of you may know, a lot of Chinese men who came here to the United States after the Exclusion Act had to lie about who they were. They would claim that they were sons of U. S. citizens in order to enter the United States. Well, it turned out that my father and my mother on paper had 17 children. And in our family, there were really only just eight of us who were born from our parents and my oldest brother who was adopted. The rest were actually paper sons. So my father moved the family into Stockton because I remember very clearly when I was less than five years old, my mom said to us, children, don't say anything about the family when you go out the streets and I could never understand why don't say anything about that. Well, it turned out that. There were a lot of immigration agents prowling around Chinatown during the fifties, during the confession program. So, I think my father made the right choice to move the family into Stockton. And we always longed about coming back to San Francisco. But also looking back at it, it was actually a blessing in disguise. Because I actually grew up, as some of you may know, from Fresno, Sacramento, Visalia, Ceres, Modesto, then, not now. It was actually, I lived in a very diverse neighborhood. There were blacks, there were Mexicans and there were whites and the whites were not rich. They were like the rest of us. They were poor from Oklahoma. So probably the first social, I would consider this first social justice consciousness that I developed during the 19 50s and 60s when I was growing up. In addition to following what was going on and unfolding with the Black Civil Rights Movement in the South, was that Stockton Unified was impacted by school desegregation and there was busing. So there was a lot of talk that kids from our high school in Franklin were going to be bused to Stagg High School. And at that time, in the 50s and 60s, Stagg was all white, they were all wealthy, and we basically protested, said, we are not going to go, that we're not, we don't need those rich white folks. We're okay by ourselves. So that kind of built a consciousness in me. And I would say the other big social justice consciousness was really actually during college, when many of us protested against the war in Vietnam. We marched to the Oakland Army Induction Center in Oakland. We had a sleep in, in the old student union on the college campus. We didn't get arrested like the kids are being arrested today who are protesting the atrocities in Gaza. During my last year in college, There wasn't anything known as Asian American Studies, but there were enough black students who wanted black studies on the campus. So, we just joined in and helped protest that there was an absence of black studies on the college campus. After I graduated from college, I knew that I was going to go into Peace Corps because I was inspired by President Kennedy. And it didn't make, truth be told, it made no difference what college I was going to go to. I knew I was going to go into Peace Corps, and that's what I did, because the last year I was in college, they offered Swahili, and I said, oh, that's perfect, I'm going to enroll in Swahili, and I end up going to Kenya for two years. And after two years of service in Kenya, you know, it kind of made sense for me to say, you know, if I can go halfway around the world to do public service work, I can certainly come back to Chinatown and do community work. And that's how I end up coming back to San Francisco in 1970. And then, The rest is whatever I did.  Female speaker: The rest is history.  Female Speaker 2: The rest is documented history.  Miko: We'll get into that a little bit more. Steve, what about you? What was your first kind of experience of recognizing social justice?  Stephen Owyang: Okay, so, Both sides of my family came to the U. S. a long time ago in the 1870s from Southern China. And they were in San Francisco until the big earthquake in 1906, after which point most of the family went into the Sacramento Valley. So I was born in Sacramento. I was raised in, down the river in the Delta. I'm really excited to meet you because my father had a small business back then and we went up and down Highway 99 all the time. So, Stockton, Lodi, Modesto, Merced, Kingsburg, Fresno, Hanford, Ripon, Visalia. And my father's business was basically delivering stuff to little mom and pop grocery stores run by Chinese families, mainly from one little county in Guangdong province. There was no I 5 back then, just 99, and you know, in the summer, as you know, it gets really hot. So it was a treat for me to go along with my father because I always got free sodas at every store, so I would go out with him and you know after six or seven sodas It was like, it was a great day. My first glimmers about social justice were just growing up in the Delta and I'll give you three stories.  It's the town of Walnut Grove, and the town of Walnut Grove on Highway 160 is one of the few delta towns that are on both sides of the river. There's a bridge that connects it. And on one side of the river, it's middle class and upper middle class and wealthy white families. Our side of the river, you had the folks from the Dust Bowl days, as Henry mentioned, people from Oklahoma and Texas who came out during the Depression. You also had a small Chinatown, a small J Town, a small Filipino area, a small Mexican area. And that just reflected the social conditions of California agriculture, because each one of those communities at one time was the main source of farm workers. And in fact, my own family, because of the alien land laws, they were farmers, but they couldn't own farmland, right? And so they were sharecroppers. Just, you hear about sharecropping happening in the South, but it also happened in California. So when I was growing up, three things. On the rich side of town, the white side of town, there's a swimming pool that was only open to white families. It was a private pool. You could only go there if you were a member. You could only be a member if you were white. The only way I could go there is if a friend who's a white, from a white family, who's a member, takes you there as a guest. So that's number one. Number two. My best friend was from one of these landed white families, and we were, we were very close. We were good students in elementary school. And then one day in the seventh grade, he, he takes me aside and he says, You know, I can't hang out with you anymore because my mom says I need to have more white friends. So he just cut it off like that. And I, that's the, that's, that's the truth. That's just how it happened. I guess the other thing that affected me back then was I used to go to a little American Baptist church and we had, I guess visits to black churches. And I remember going up to Sacramento on one of these visits and one of the kids there did Martin Luther King's, I have a dream speech from memory. And, it's like amazing oration. And I thought, wow, there's something. going on here that you sort of opened up my eyes to the situation in this country.  So basically until high school, I was a country kid, you know, but then we moved out to San Francisco and it was a big culture shock, big shock. So I was in, I basically came out for high school and this was in the late 60s and I remember it was 1968 when Laureen was on strike for, uh, Ethnic Studies and the Third World Strike in SF State. My high school was literally a few blocks away. I was at Lowell High. And students from SF State were coming over and leafleting us. I started reading that stuff and that's when I really got interested in what was going on at State and later on when I was at Berkeley, you know, in Ethnic Studies. So I think my grounding came from Ethnic Studies, the anti war movement, and, you know, I would love to talk to you about the whole thing about the Vietnam War because, You know, I'm guessing maybe your parents or grandparents were involved in the secret war in Laos, a war that the U. S. wouldn't even acknowledge happened even though we were bombing Laos. So it was ethnic studies, the civil rights movement, and the anti war movement that got me involved. In Berkeley, I was involved in some of the ethnic studies stuff. Even though I'm a fourth generation Chinese American, it's always been very important to me to try to learn the language so I was in the Cantonese working group. So I helped put together the curriculum stuff that was going on in Asian American Studies. I think before Germaine was there, or maybe around the same time. Yeah, I've known these folks for literally 50 years. It's kind of scary. So, um, I was inspired by what was going on at CAA, what Laureen was doing at SF State. So I joined CAA. Biggest mistake of my life. Because I saw this little ad in East West newspaper, used to be this community newspaper, and there was literally a coupon that you would clip out. And I sent in the coupon with a 5 check. It's like the most expensive 5 I've spent in my whole life. And then I went to law school, and I was involved in the law caucus and a number of other things, but my first job out of law school was Right here at CAA. Well, not here, but up on Stockton Street. Henry was my boss. You know, I feel like I would have been less burned out had we done some of this stuff. But we didn't do any of this. I remember my first desk had literally a door on top of like cardboard boxes. That was our office back then. And in one form or another, I've been involved in CAA ever since. I've been in a couple of organizations. Other organizations, but CAA is the one that's closest to my heart, and I'll tell you why. One, I met my wife here. And number two, I feel like the great thing about CAA is it's never lost its real community roots. I feel like other organizations do great work, don't get me wrong, but I feel like CAA has always maintained a real close connection to the community, and that's why everybody. I wrote that 5 check and, and several others. So yeah, that's, that's my story.  Miko: Thanks, Steve. Laureen, what about you?  Laureen Chew: Wow, this is amazing. Listening to everybody else's story, really. I guess I'll start pretty much how, my family was. My grandfather came in 1870s. I think I found out when I went to the roots program, which is only like five years ago, that was an adventure. so my parent, my father and his whole family was born here and born during Chinese exclusion. And so obviously they lived in Chinatown and nowhere else to go, even though they, my father and especially his, younger siblings. They all spoke English. Interestingly, his first two sisters were born here too. They didn't speak a lick of English because they never went to school. So what was really interesting for me, so I was born and raised in Chinatown. Okay. I wasn't born in Chinese Hospital. I was born in Children's Hospital, which everybody thinks is odd. But that's another story. My mother is actually an immigrant. She's a first generation, but she didn't come until 1947. So what's interesting is that I'm always kind of stuck between generations, like one and a half. But having a very strong mother who spoke only Chinese and my father's side, who's mostly English speaking. But a lot of them, my cousins or whatever, they were a lot older. They did speak Chinese also. But what's really stark to me is because growing up in Chinatown, you go to school with basically majority Chinese kids, right? And so you live in this community that on the one hand is very nurturing, very safe. Very intimate in a lot of ways. All my cousins and whatever are here. I mean, to show you how large my father's side was, when my aunt, the oldest aunt had her 50th anniversary wedding anniversary, she married when she was 14 because otherwise women, people forget. I I'm probably the first generation of women that either had a choice to not get married and I was still able to eat because I made my own money. Okay, my mother's generation, no, all her friends, no, you know, so don't take that one for granted either as women. So what was interesting was the fact that because she is very strong in being Chinese and then my father's side are total assimilationists, mainly, which was really interesting because many of them who grew up during Chinese exclusion. It was horrific, but you would never, I never heard one story. His family must have had over 300 people because his sister had 13 kids. Okay, then they had all had kids, one at 10, one of her daughter in law. So it was like huge. Growing up in this area, I just never felt I was different than anyone else because you don't come in contact with anyone that's really different until I went to high school. My mother is the immigrant. She wanted to send me to a school that was not a public school that a lot of the Chinatown kids went to, which was Galileo, because she somehow felt that I would be the kind of kid that would go not the straight and narrow, but more towards the the More naughty kids, to put it mildly, she knew that. So what she did was that she sent me to a Catholic school, okay, because she, God knows, oh yeah, she went to school for two years in Hong Kong. She's another story, she didn't have any money, and so she was given to an aunt to be raised. So she married to get out of Hong Kong because At twenty, she told me the only thing she told me was at twenty seven, I was considered an old maid. And then my father, who was, didn't have, there weren't very many women here because of Chinese exclusion, and he had to marry Chinese, actually saw my mom, and my mom's a picture bride, so they didn't even know each other when they got married. But she took over. My mom is like the queen of the family and the decision maker. And my father made the money and she spent it however little she had. Okay. And going to Catholic school was one thing that she felt that would help me become a good girl, except that I had never been to a where there were white kids. And so this school Was not only Catholic, but it was also a school that was considered kind of the, the best girls, Catholic high school. It was at the end of Chinatown. And that's the only reason why she wanted me to go there because I didn't have to take the bus. I can walk home. It's, it's a French school called Notre Dame de Victoire. So I went there and I thought I would have a really good time, just like all, all the high school. My problem was, was that. I was different, but never to know that you're different until you're in high school. Because you know, you know how mean girls can be in high school. And then they're all, it's an all girls school and it's a small school. And so my mom told me very clearly, you know, it's $150 a year. We really don't have that money, but. You know, we'll scrape and do whatever we can to send you through that. I said, Oh, okay, cool. Right. Except I had no friends. I mean, I was one of three Chinese girls in the school and I never knew how different I was until I got there because I used to get home perms, you know, permanence. And all the other girls had money. They were at least middle class, if not richer, and they all went to beauty parlors. My mom cut my hair and gave me the home perms, and she was into saving money, like I said, so she always kept the perm on longer than you should have it. I swore one year it came out like I had an afro, and I was so embarrassed. I made her cut it just to make it look straighter, but it was horrible. I don't have a picture. No, first of all, pictures aren't that common back then, you know, it costs money to have film and a camera. You didn't even have a camera. Yeah. So anyway, plus another thing is that because I wasn't the smartest Chinese girl either. Okay, the other two Chinese girls did pretty well. They were smart, and they were good in sports. I was neither. And I looked like a dork. Then what would made it even worse was that my mother spoke no English. My father did, but he might as well be absent because he slept during the day and worked at night. So we have things called mother daughter fashion shows. Mother, daughter breakfast. And I saw the way those mothers were dressed and I saw the way everybody acted and my way of dealing with it was I had no mom. I never brought her to the school. Any mother, daughter thing, I didn't go to. You didn't have to. I mean, that made me even less part of the school. And it was very painful because I didn't understand why I would be treated that way. Just because I looked, but I spoke English, it didn't matter. I did look a little weird, you know, so to this, I think it influenced me a couple of ways. One, whenever I had money, clothes was going to be my big deal. It still is, you know, it's kind of psychological. And then secondly, then that was a time that I figured out like, how come I don't, I hate myself and my family versus versus hating those girls. Right. I mean, that's how I dealt with it. It was, I call it a form of self hatred and it's, it's done by schooling. It's done by not only schooling in terms of omission about who we were as a people here, but omission about racism. Omission about discrimination and just about our histories here. But I didn't have a label for it in high school. I just, I really thought there was something wrong with me and my family. And that's the greatest danger about racism, is this form of internalizing it and not having a vehicle to deal with it. And there was nothing in our schools that dealt with it, you know, and I think what I came out of there realizing was that. Oh, another thing, I had mixed messages about what was happening because Martin Luther King was already on TV, and I was trying to watch it, and then I was still in high school, and my mom would, and my cousins, American boys, don't watch the black people. They're troublemakers. You know, all they do is make trouble, you know, they don't, they should be like us. We don't complain, right? We don't make trouble. And that's how you succeed. You succeed, I think, in my, what I was raised with, with the older generation of American born who had to go through this horrific history, you know, one, you don't get a job in Chinatown. You should get a job outside of Chinatown because it means that you're working for white folks and working for white folks is better than working for your own. So self hatred doesn't just run in yourself. It kind of permeates how we feel. feel as, as a group of people, right? And so, my whole thing was that I was looking for answers as to why, why I felt the way I did. And not only that, I wasn't the only one. That's what was interesting. And I didn't realize that until I went to San Francisco state, you know, because I was told, my mom said, you want to go to college, you're going to have to You know, find your way up to court because she, you know, she spent that on my fabulous high school education, which I came up miserable and, and I would tell her I want to go to Galileo. I want to go there. She said, no, you're not going to go. I said, she goes, what is wrong with you? Because I started crying certain times and she would just say, well, you're going to school to learn, not to make friends, so forget about it. I'm giving you the best with best intentions. But then when I went to college, this one girl who grew up in South City, similar experience because South City was all white back then. So she said to me one day, she was, she's Chinese too. And she says, you know, there's a meeting there that's huge. The people are talking about all this stuff. We talk about how we were mistreated in high school and how people are blah, blah. There's a name for it. It's called racism. I was called what racism. Okay. She goes, you want to go? I said, well, who's there? She said, black people. But I said, Oh, my mom would kill me. I mean, I was really worried because my mom doesn't even know what I do at state. So I went. I think that time we had some pretty interesting people. One time there was Eldridge Cleaver, who was the head of the Black Panther Party. Um, there were people like Carlton Goodlett, who was from the Bayview Hunters Point, who had certain people from the mission. They were all kind of leaders of different communities. There was Yuri Wada, who was a Japanese American. He was very prominent in dealing with civil rights. Chinatown, I, George Woo, George Woo is an infamous person also. He was the spokesperson for gang kids in Chinatown. He was very, very, very alive and took over in terms of the whole thing about the youth problems in Chinatown. So he was not part of this group, but just hearing the stories of these other ethnic groups that were very similar, not the same, but this whole thing of like just being dissed for the way you look, the way you speak, and supposedly your values. And my whole thing is that, that thing opened my eyes to the extent that helped me to release a lot of my anger towards something I didn't know who to be angry at, right? So you have to, I felt that the San Francisco State Strike, I mean, I was all in and with a small group of Chinese that were there, including Mason, all these people. And we had to really open our eyes to working with other people that were not like us. And what was more interesting for me to see was that every single group said that if we're ever going to have classes on ethnic studies, a key part of those classes should be why we are getting an education. And why we're getting an education primarily is to serve our communities. So there is a real strong component to ethnic studies that was community based. And because of that, during my college years, I actually came back, I mean came back, I was still living in Chinatown, but I actually placed myself in the Chinatown that I knew nothing about, which is our issues, our problems. And during my time, it was mainly about youth problems. We had a gang problem. We had girls that were on drugs. We had immigrant kids that didn't speak any English and just thrown into schools nilly willy without anybody helping them. So I was lucky enough for three years or four years during college that I worked as a house parent for runaway girls. I worked trying to tutor immigrant kids, you know, and I was trying to become a teacher. So those formative years, in terms of just having my feet in different things really showed me that, you know what, I don't want next generations of people who kind of look like me to have to go through the struggle of hating myself. Because of things that are my home, that are based home base, you know, this country, this is what I feel that very strongly about the United States, that I think people are losing sight of, especially now that we're all in very ethnic silos. This country is very different in the sense of just the whole fact of different groups mixing, you know, you go to China or whatever it's still basically you. you're Chinese, even in my north, south, pink, whatever direction you are. It's still basically Chinese, but in this country you can come from different areas and different places of the world and still have a vision that ties you together. That should be a singular vision, which is a democracy at this point. And then also this very simple statement of justice. And equality for all. We sometimes forget about the all, if we're just kind of in our little silos. But I think that's the reason why, from state on, and reacquainting to my community, it was life changing. Whatever job I took after that, whether I was a teacher, a faculty, associate dean, chair of the department. My main focus was that I'm here for the students and the people, quote unquote, who are here with me that have this similar vision, that we all have a place here. And in order to, for us to really respect others, we have to respect ourselves. And that includes what we're raised with in terms of our values and also our history here. Miko: Thanks, Laureen. Germaine?  Germaine Wong: Oh. well, my experience is similar to many of yours and a little bit different. I grew up in Oakland, Chinatown, and Went to a school that was only three blocks from where I live. And the school was Mexicans, blacks, as well as Chinese. Although I would say maybe half the school, at least half the school was Chinese. And I didn't, I didn't speak any English until I went to school, so I had that experience too. And then, my father was always very upwardly mobile, wanted to live the white middle class life. And I didn't know it at the time, but, he managed to buy property in Castro Valley, Southeast of Oakland. At the time, they wouldn't sell to Chinese. So he got somebody at work to buy the property for him. And then sold it to my father. That's how we got to move there. So I started high school in Castro Valley. I was the only non white in the whole school. The janitors, the cafeteria workers, everybody was white. I was the only one in that school who was not white. But I'm a little bit more dense than all of you, so I was not aware of whatever racism there was. At that time Castro Valley was really white. And also very affluent. So most of my classmates. It's unlike in Oakland, Chinatown, these classmates, they were children of doctors and lawyers and engineers and dentists and most of the people in my high school, they, the kids either had horses or cars. At that time, Castro Valley was not the suburb it is today. Our neighbors, for example, our next door neighbors had chickens and goats So it was really different. So it was all so different from Oakland Chinatown. And then I finally experienced some racism the following year when a black family moved in and somebody really literally did burn a cross in their front lawn. Wow. Yeah. And she was in the same grade I was in, one of the daughters. And then another Chinese girl moved in. And I recognized her, but we were never friends in Oakland Chinatown. And that's where I first experienced reverse discrimination. Because I met the stereotype of an Asian student, right? So I did well in math and all the classes. Well, she was definitely a C student and the teachers treated her as if she was an F student. Teachers just expect us to excel in our classes. So that was my first, really, where it hit home for me. And then in the 50s, in Oakland, Chinatown, I experienced what Henry did during the confession program. So my mother was going through all these things. These are your aunts and uncles and these are not your aunts and uncles. And so if any white person comes and starts asking you about your family, just remember these people are not related to you because all of us had paper names. Like I'm not really a Wong. My family's really a Kwan. But in my situation, I had a great grandfather who was here legitimately. And then the next generation, when they went back, they decided we're never coming back to the United States. So they sold their papers. So then when the next generation decided to come back, they had to buy papers. So my family went through that situation. I had jobs where I lived in, during college, I, I had live in jobs, I lived with a family first when I was going to UC Berkeley, and then later on when I transferred over to San Francisco State, I worked for an older white woman, and so I, I got to see what upper white middle class families lived like, and then with this older woman that I lived in with here in San Francisco, what the rich people lived like, so that was kind a different world. And then somebody asked me to work at the Chinatown YWCA here. And I got to experience San Francisco Chinatown then. I was assigned to work in a pilot program where I worked with third grade Chinatown girls. One group were immigrant girls who lived in the SROs here. They literally are eight by eight rooms with a whole family lives in them. And the kitchen and the bathrooms are down the hall. So that was the first time I had ever seen people living like that, in such crowded digits. And the other group of girls I worked with, again, were middle class, upper middle class Chinese girls whose parents were doctors and dentists and like that. And the woman who was the executive director was a Korean American woman named Hannah Sir. And this was all when I went to college when President Kennedy was assassinated and then Lyndon Johnson became president. And so it was during this time that this Korean American woman said to me, you have to apply for this program because right now, President Lyndon Johnson only thought about blacks and Hispanics who needed help. And we really need to get Asian Americans in. So she convinced me to apply for program and some miracle happened and I got into the program. After I went to that summer training program, I came back here to San Francisco and I was assigned to work in the Bayview, Hunters Point, and Fillmore areas of San Francisco working with black gang kids. That was a new experience for me too. Then from there, then I went to grad school, then when I came back, I got assigned to working here in Chinatown, where I worked mainly with immigrant adults looking for jobs as well as the gang kids, both English speaking as well as Chinese speaking. And, from there, I met people like Ling Chi Wong and Eileen Dong. who were already working in Chinatown before I was. And that's when we got together and Ling Chi was actually the organizer, the lead person. And, we started CAA. So all of us had other jobs. We had full time jobs and so we were doing this kind of on the side. I think Ling Chi was the only one who didn't have a job. He was a graduate student. And I want to tell you, he was a graduate student in Middle Eastern ancient languages. That's what he was studying at UC Berkeley at the time. And, uh, but all the rest of us had full time jobs. We started CAA as a volunteer organization. We had no office, no staff, no money. And that's how we started. And eventually I first met Laureen, who really helped us out with one of our first major projects. Teaching English on television, remember? You and Helen, yes. You and Helen Chin really helped us out. Laureen Chew: Okay, nice to know.  Germaine Wong: And then I remember meeting, and then when Henry came to Chinatown and his Swahili was better than his Cantonese. Wow. Yes. Wow. Anyway, and I met all of these good people and CAA continued to grow. And there still is. Yep. Amazing, amazing story.  And that wraps up part one of this incredible intergenerational conversation. Between the OGs of Chinese for affirmative action. And the young organizers of mung innovating politics. Tonight. We got a glimpse into the powerful stories of CAS.  Of CA's founders.  Their hardships resilience and what drove them to commit their lives to the movement. Their reflections, remind us that the fight for justice is not just about the moments of triumph and the victories, but also about the struggles, the sacrifices. And perhaps most importantly, the. Vital importance of being grounded in our communities and our values. Be sure to join us next time for part two, where we'll dive into the dialogue between. Seasoned OJI leaders and today's. Today's youth Changemakers from Monday innovating politics. Together, they'll explore strategies, how strategies have shifted over the decades and how we can sustain our work for social justice in the longterm. As always thank you for tuning into apex express. For more about Chinese for affirmative action and mung innovating politics.  Please do check them out on their websites, which will be linked in the show notes. At apex express. At kpfa.org/apex express. Until next time. Apex express is produced by Miko Lee, Paige Chung, Jalena Keane-Lee, Preeti Mangala Shekar. Shekar, Anuj Vaidya, Kiki Rivera, Swati Rayasam, Nate Tan, Hien Nguyen, Nikki Chan, and Cheryl Truong  Cheryl Truong: Tonight's show was produced by me, cheryl. Thanks to the team at KPFA for all of their support. And thank you for listening!  The post APEX Express – December 19, 2024 – Bridging Generations appeared first on KPFA.

163: A Story of Intergenerational Family Therapy Through Filipino StudiesFull video of Caitilin's live event is available now on https://thenewfilipina.com/ Join the conversation for FREE today!On behalf of The Filipino American Woman Project, which seeks to amplify Filipina representation in mainstream media, Nani facilitates the launch event of Damacion's traveling exhibit. The two are joined by Francis Wong, a professor in Asian American Studies at San Francisco State University, jazz musician, and father figure in Bay Area community organizing for an insightful discussion about migration, student activism, and resistance.For Those I've Saved Names For (FTISNF) is a call to action for Filipino American Representation. Originally a Master's Thesis for San Francisco State University's Department of Humanities and Comparative World Literature, FTISNF is now a traveling multimedia exhibit that can be experienced in-person or online at https://www.forthoseivesavednamesfor.com/Shoutout to the late Uncle Kenneth Damacion for leaving us with a valuable legacy to learn from, and to Caitilin for her significant labor of love in packaging his story to share with us.This episode is also available on YouTube: https://youtu.be/BZ_NxPiu-Vk--Read our latest newsletter, published Tuesday, December 10, 2024: https://mailchi.mp/3966cae5cc36/tfaw-project--Love our show? Leave us a message and show us your support! Visit https://tfawproject.com/supportMonthly Book Club -- Every 3rd Friday of the month @ Noon (PT) / 3 PM (ET), members of the Tsismis with Jen and Nani Book Club get together to discuss their latest readings. The best part?? No reading is required! Whether you're an avid reader or just want to soak in what our readers have to share, we'd love to have you. First-timers are welcome to attend for FREE! Join us at THENEWFILIPINA.COM to RSVP today.Upcoming FREE Events (Online)5-Day Reflection SeriesOpen Mic NightsVision Board PlanningFor specific dates and times, join our FREE app today at THENEWFILIPINA.COM--NEWSLETTER: Receive the latest stories, updates, and media coverage by subscribing to our FREE newsletter: http://eepurl.com/cO0bifABOUT US: Welcome to The Filipino American Woman (TFAW) Project, a podcast that strengthens Filipino voices one conversation at a time through all things life, culture and personal development. Hosted by Jen Amos and Nani Dominguez-Smith. This show is brought to you by our family at THENEWFILIPINA.COM. Join the conversation today!UPCOMING BOOK: Special thanks to the Bulosan Center for Filipino Studies at UC Davis for the opportunity to present our academic paper, Pinay Podcasters: Building a Self-Sustaining Community Through Storytelling, Collective Healing & Learning, and Collaboration. The initial draft is now available! Read more at

LISA NAKAMURA (she/her) is the Gwendolyn Calvert Baker Collegiate Professor of American Culture and Digital Studies at the University of Michigan, Ann Arbor. She is also a core faculty member of the Asian American Studies Program, the Film, Television and Media department, and the English department at Michigan. Lisa is the author of four books on racism, sexism, and the Internet and her book “The Inattention Economy: Women of Color and the Internet” is forthcoming in Fall 2025 from University of Minnesota Press. She has published research on Asian stereotypes in massively multiplayer online games, the connections between virtual reality, empathy, and racial and disability justice, the overlooked role of indigenous women in postwar electronics manufacture, and on cross-racial and cross-gender role play in anonymous digital environments like chatrooms and games. lisanakamura.netYour hostREVEREND DANA TAKAGI (she/her) is a retired professor of Sociology and zen priest, practicing zen since 1998. She spent 33 years teaching sociology and Asian American history at UC Santa Cruz, and she is a past president of the Association for Asian American Studies. 

Over the past several years, fear and anger have become the dominant forces in American politics. For Japanese elders, who were unjustly imprisoned during World War II because of their race, this political climate feels all too familiar. To satisfy their mission, the Heart Mountain Wyoming Foundation is committed to not only educate about the past, but also help shape the kind of leaders we need for the future.The Mineta-Simpson Institute is a dedicated retreat space at the center, a home for workshops and programming specifically designed to foster empathy, courage, and cooperation in the next generation of leaders. The Institute has expanded the Foundation's capacity for digital outreach, allowing us to carry the message of the Heart Mountain Wyoming Foundation's message all over the world. Aura Sunada Newlin is a fourth-generation Wyomingite, fourth-generation Japanese American, and Executive Director for the Heart Mountain Wyoming Foundation (HMWF). Her heritage involves intertwined stories of imprisonment at Heart Mountain and Tule Lake; segregated military service; and hardships suffered by railroaders who were fired because of their Japanese ancestry. Aura was elected to the HMWF board of directors in 2013 and served as board secretary for eight years. She is also on the board of directors for the National Consortium on Racial and Ethnic Fairness in the Courts and was a founding member of the National Steering Committee for Tsuru for Solidarity. She previously taught Asian American Studies courses at the University of Wyoming and was a tenured faculty member in sociology and anthropology at Wyoming's Northwest College.Aura earned a BA in ethnomusicology from the University of Wyoming and an MA in medical anthropology from Case Western Reserve University. Now focusing on the anthropology of law, she is a PhD candidate at Case Western Reserve University. Aura's work has been profiled by the Women in Wyoming podcast and gallery exhibit; the University of Wyoming's Featured Alumni series; and Wyoming PBS. She was named statewide Faculty Member of the Year by the Wyoming Association of Community College Trustees in 2018 and received the Community Member Award of the Shepard Symposium on Social Justice in 2021.

In this episode of Occupied Thoughts, FMEP Fellow Nour Joudah speaks with journalist Mariam Barghouti about reporting from the ground in the West Bank, views on the Palestinian Authority and Palestinian resistance, and understanding Israeli violence in Gaza and the West Bank within the larger frame of Palestinian history.  Mariam Barghouti is a Palestinian writer and commentator based in Ramallah. Her writing has appeared in the New York Times, Al-Jazeera English, Huffington Post, +972 Magazine, International Business Times and more. Nour Joudah is an Assistant Professor in the Department of Asian American Studies at UCLA, former President's and Andrew W. Mellon Postdoctoral Fellow in Geography at UC-Berkeley (2022-23), and 2024 FMEP Fellow. Original music by Jalal Yaquoub.

In a continuation of the previous episode conversation with Dr. Paula Arai, Paula shares an in-depth overview of her current "embodied" research on the often unacknowledged contributions to Buddhism that are at the foundation of its continuation throughout history, in part because of the perceived simplicity of these acts of generosity and practice. PAULA ARAI (she/her) (Ph.D., Buddhist Studies, Harvard University) holds the Eshinni & Kakushinni Chair of Women and Buddhist Studies at the Institute of Buddhist Studies. Steeped in ethnographic research, she takes an embodied approach to her work and finds poetic immersive storytelling a potent medium for conveying experiences of transformative healing.Her publications include:Women Living Zen (Oxford University Press)Bringing Zen Home (University of Hawaii Press)Painting Enlightenment: Healing Visions of the Heart Sutra (Shambhala Publications)The Little Book of Zen Healing: Japanese Rituals for Beauty, Harmony, and Love (Shambhala Publications)Explore her website to read some of Paula's poetry, stay up to date on appearances, and learn more about her. Your hostREVEREND DANA TAKAGI (she/her) is a retired professor of Sociology and zen priest, practicing zen since 1998. She spent 33 years teaching sociology and Asian American history at UC Santa Cruz, and she is a past president of the Association for Asian American Studies. 

Dr. Paula Arai talks with Dana about being brought up by her Japanese mother, and how she realized the way that she embodied Buddhism in her body and mind not through intellectual study or what Westerners view as formal practice, but through the simple actions and embodied guidance of her mother. PAULA ARAI (she/her) (Ph.D., Buddhist Studies, Harvard University) holds the Eshinni & Kakushinni Chair of Women and Buddhist Studies at the Institute of Buddhist Studies. Steeped in ethnographic research, she takes an embodied approach to her work and finds poetic immersive storytelling a potent medium for conveying experiences of transformative healing.Her publications include:Women Living Zen (Oxford University Press)Bringing Zen Home (University of Hawaii Press)Painting Enlightenment: Healing Visions of the Heart Sutra (Shambhala Publications)The Little Book of Zen Healing: Japanese Rituals for Beauty, Harmony, and Love (Shambhala Publications)Explore her website to read some of Paula's poetry, stay up to date on appearances, and learn more about her. Your hostREVEREND DANA TAKAGI (she/her) is a retired professor of Sociology and zen priest, practicing zen since 1998. She spent 33 years teaching sociology and Asian American history at UC Santa Cruz, and she is a past president of the Association for Asian American Studies. 

In part 2 of our interview with Min Zhou, survivor of the Cultural Revolution and Distinguished Professor of Sociology and Asian American Studies at UCLA, we're going to talk more about Professor Zhou's personal experience. We'll discuss why her dad was a target of the Red Guards, what it felt like knowing her family was in danger at such a young age, how many people were massacred in different parts of China, and the human cost of this mass hysteria, hatred-stoking, and groupthink originally led by Chairman Mao and his cult-like propaganda campaigns. She'll tell us about her parents being both sent to labor camps, the ways she and her siblings survived with them gone, how the Cultural Revolution finally calmed down over time and how she ended up all the way out here in LA, finally achieving her dream of teaching. Check out our great sponsors!! Quince - High-Quality Closet Essentials: Check out Quince.com/trust for free shipping and 365-day returns Shopify - Grow Your Business: Sign up at Shopify.com/trustme for a $1 per month trial period BUY OUR MERCH!! bit.ly/trustmemerch Got your own story about cults, extreme belief, or abuse of power? Leave a voicemail or text us at 347-86-TRUST (347-868-7878) OR shoot us an email at TrustMePod@gmail.com INSTAGRAM @TrustMePodcast @oohlalola @meaganelizabeth11 TWITTER @TrustMeCultPod @ohlalola @baberahamhicks TIKTOK @TrustMeCultPodcast

In this program, Russell M. Jeung, professor of Asian American Studies at San Francisco State University, explores COVID-19 racism against Asian Americans, which led to what he terms a period of “collective racial trauma.” Twenty-five peer-reviewed articles have since documented the deleterious impacts of direct and indirect racism on the mental health of Asian Americans. Yet Asian Americans have been resilient in the face of this trauma, and utilized their ethnic and cultural wealth as buffers against anti-Asian hate. Jeung identifies three key ways that Asian Americans responded to this trauma and even grew from this painful time. Asian Americans' posttraumatic growth, the positive psychological change after trauma incidents, is also be detailed. Jeung is the author of many books and articles on race and religion. In 2020, he co-founded Stop AAPI Hate to track instances of bias, harassment, and violence against AAPI people during Covid-19 and to fight racism. Series: "Ethics, Religion and Public Life: Walter H. Capps Center Series" [Public Affairs] [Humanities] [Show ID: 39867]

In this program, Russell M. Jeung, professor of Asian American Studies at San Francisco State University, explores COVID-19 racism against Asian Americans, which led to what he terms a period of “collective racial trauma.” Twenty-five peer-reviewed articles have since documented the deleterious impacts of direct and indirect racism on the mental health of Asian Americans. Yet Asian Americans have been resilient in the face of this trauma, and utilized their ethnic and cultural wealth as buffers against anti-Asian hate. Jeung identifies three key ways that Asian Americans responded to this trauma and even grew from this painful time. Asian Americans' posttraumatic growth, the positive psychological change after trauma incidents, is also be detailed. Jeung is the author of many books and articles on race and religion. In 2020, he co-founded Stop AAPI Hate to track instances of bias, harassment, and violence against AAPI people during Covid-19 and to fight racism. Series: "Ethics, Religion and Public Life: Walter H. Capps Center Series" [Public Affairs] [Humanities] [Show ID: 39867]

Today is part one with Min Zhou, Distinguished Professor of Sociology and Asian American Studies at UCLA, who also grew up during the Cultural Revolution: a decade of social chaos in China in the 1960s and 1970s where intellectuals, artists, and anyone perceived as representing capitalism or the "old ways" were persecuted and murdered in the hundreds of thousands or more. She'll tell us about the backstory leading to this moment in history, who Mao Zedong was and what the country's climate was like when he began to use propaganda to create a cult of personality around himself, and the movement to “purge,” through psychological or violent means, anyone who disagreed with Mao's policies. She'll tell us about just how far the fanaticism and propaganda around Chairman Mao went, who the Red Guards were and how they initially seemed just like a cool subculture of young people when she was a kid - until they began to grow more destructive - and why her father was an immediate target. Plus, next week, we'll discuss the labor camps her parents were sent to, and what it was like trying to survive while they were away. Check out our amazing sponsors this week! CBDistillery: Reset your health! Visit CBDistillery.com and use code TRUST for 20% off! Pluto.TV: Summer movies and tv... Free! Pluto.TV

GuestRyan Lee Wong is author of the novel Which Side Are You On, a finalist for the PEN/Hemingway Award for Debut Novel. He lived for two years at Ancestral Heart Temple and is the Administrative Director of Brooklyn Zen Center.Some of Ryan's publications include:Which Side Are You On, his novel published in 2023. Every Past Life All At Once, a critical essay on the films Past Lives and Everything Everywhere All At Once on The AMP.The Buddha on TV: Nam June Paik's fraught relationship to Buddhism, on PBS: American MastersCheck out his website to read more and stay updated. IG: @ryanlwong Your HostREVEREND DANA TAKAGI (she/her) is a retired professor of Sociology and zen priest, practicing zen since 1998. She spent 33 years teaching sociology and Asian American history at UC Santa Cruz, and she is a past president of the Association for Asian American Studies. 

Stephen Gong has been the Executive Director of the Center for Asian American Media (CAAM) since 2006. He joined CAAM in 1980 and has held positions at the Berkeley Art Museum and Pacific Film Archive, the National Endowment for the Arts, and the American Film Institute. Stephen has also lectured in Asian American Studies at UC Berkeley, where he developed a course on the history of Asian American media. In this episode, Stephen shared insights about his journey as Executive Director of the Center for Asian American Media (CAM). He highlighted CAM's mission to present diverse and authentic Asian American stories, the importance of representation in media, and the challenges of evolving media landscapes. Gong also discussed the significance of CAMFest, their flagship film festival, and its impact on fostering community and showcasing Asian American talent. Additionally, he touched on educational initiatives, youth programs, and the importance of projects like the 1920s Chinatown Insider in preserving cultural history and resilience.

After the 1965 Immigration and Nationality Act loosened discriminatory restrictions, people from Northeast Asian countries such as South Korea, Taiwan, Japan, and eventually China immigrated to the United States in large numbers. Highly skilled Asian immigrants flocked to professional-managerial occupations, especially in science, technology, engineering, and math. Asian American literature is now overwhelmingly defined by this generation's children, who often struggled with parental and social expectations that they would pursue lucrative careers on their way to becoming writers. In Asian American Fiction After 1965: Transnational Fantasies of Economic Mobility (Columbia UP, 2024), Christopher T. Fan offers a new way to understand Asian American fiction through the lens of the class and race formations that shaped its authors both in the United States and in Northeast Asia. In readings of writers including Ted Chiang, Chang-rae Lee, Ken Liu, Ling Ma, Ruth Ozeki, Kathy Wang, and Charles Yu, he examines how Asian American fiction maps the immigrant narrative of intergenerational conflict onto the “two cultures” conflict between the arts and sciences. Fan argues that the self-consciousness found in these writers' works is a legacy of Japanese and American modernization projects that emphasized technical and scientific skills in service of rapid industrialization. He considers Asian American writers' attraction to science fiction, the figure of the engineer and notions of the “postracial,” modernization theory and time travel, and what happens when the dream of a stable professional identity encounters the realities of deprofessionalization and proletarianization. Through a transnational and historical-materialist approach, this groundbreaking book illuminates what makes texts and authors “Asian American.” Christopher T. Fan is an assistant professor at the University of California, Irvine, in the Departments of English, Asian American Studies, and East Asian Studies. He is a cofounder and senior editor of Hyphen magazine. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

After the 1965 Immigration and Nationality Act loosened discriminatory restrictions, people from Northeast Asian countries such as South Korea, Taiwan, Japan, and eventually China immigrated to the United States in large numbers. Highly skilled Asian immigrants flocked to professional-managerial occupations, especially in science, technology, engineering, and math. Asian American literature is now overwhelmingly defined by this generation's children, who often struggled with parental and social expectations that they would pursue lucrative careers on their way to becoming writers. In Asian American Fiction After 1965: Transnational Fantasies of Economic Mobility (Columbia UP, 2024), Christopher T. Fan offers a new way to understand Asian American fiction through the lens of the class and race formations that shaped its authors both in the United States and in Northeast Asia. In readings of writers including Ted Chiang, Chang-rae Lee, Ken Liu, Ling Ma, Ruth Ozeki, Kathy Wang, and Charles Yu, he examines how Asian American fiction maps the immigrant narrative of intergenerational conflict onto the “two cultures” conflict between the arts and sciences. Fan argues that the self-consciousness found in these writers' works is a legacy of Japanese and American modernization projects that emphasized technical and scientific skills in service of rapid industrialization. He considers Asian American writers' attraction to science fiction, the figure of the engineer and notions of the “postracial,” modernization theory and time travel, and what happens when the dream of a stable professional identity encounters the realities of deprofessionalization and proletarianization. Through a transnational and historical-materialist approach, this groundbreaking book illuminates what makes texts and authors “Asian American.” Christopher T. Fan is an assistant professor at the University of California, Irvine, in the Departments of English, Asian American Studies, and East Asian Studies. He is a cofounder and senior editor of Hyphen magazine. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/asian-american-studies

After the 1965 Immigration and Nationality Act loosened discriminatory restrictions, people from Northeast Asian countries such as South Korea, Taiwan, Japan, and eventually China immigrated to the United States in large numbers. Highly skilled Asian immigrants flocked to professional-managerial occupations, especially in science, technology, engineering, and math. Asian American literature is now overwhelmingly defined by this generation's children, who often struggled with parental and social expectations that they would pursue lucrative careers on their way to becoming writers. In Asian American Fiction After 1965: Transnational Fantasies of Economic Mobility (Columbia UP, 2024), Christopher T. Fan offers a new way to understand Asian American fiction through the lens of the class and race formations that shaped its authors both in the United States and in Northeast Asia. In readings of writers including Ted Chiang, Chang-rae Lee, Ken Liu, Ling Ma, Ruth Ozeki, Kathy Wang, and Charles Yu, he examines how Asian American fiction maps the immigrant narrative of intergenerational conflict onto the “two cultures” conflict between the arts and sciences. Fan argues that the self-consciousness found in these writers' works is a legacy of Japanese and American modernization projects that emphasized technical and scientific skills in service of rapid industrialization. He considers Asian American writers' attraction to science fiction, the figure of the engineer and notions of the “postracial,” modernization theory and time travel, and what happens when the dream of a stable professional identity encounters the realities of deprofessionalization and proletarianization. Through a transnational and historical-materialist approach, this groundbreaking book illuminates what makes texts and authors “Asian American.” Christopher T. Fan is an assistant professor at the University of California, Irvine, in the Departments of English, Asian American Studies, and East Asian Studies. He is a cofounder and senior editor of Hyphen magazine. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

After the 1965 Immigration and Nationality Act loosened discriminatory restrictions, people from Northeast Asian countries such as South Korea, Taiwan, Japan, and eventually China immigrated to the United States in large numbers. Highly skilled Asian immigrants flocked to professional-managerial occupations, especially in science, technology, engineering, and math. Asian American literature is now overwhelmingly defined by this generation's children, who often struggled with parental and social expectations that they would pursue lucrative careers on their way to becoming writers. In Asian American Fiction After 1965: Transnational Fantasies of Economic Mobility (Columbia UP, 2024), Christopher T. Fan offers a new way to understand Asian American fiction through the lens of the class and race formations that shaped its authors both in the United States and in Northeast Asia. In readings of writers including Ted Chiang, Chang-rae Lee, Ken Liu, Ling Ma, Ruth Ozeki, Kathy Wang, and Charles Yu, he examines how Asian American fiction maps the immigrant narrative of intergenerational conflict onto the “two cultures” conflict between the arts and sciences. Fan argues that the self-consciousness found in these writers' works is a legacy of Japanese and American modernization projects that emphasized technical and scientific skills in service of rapid industrialization. He considers Asian American writers' attraction to science fiction, the figure of the engineer and notions of the “postracial,” modernization theory and time travel, and what happens when the dream of a stable professional identity encounters the realities of deprofessionalization and proletarianization. Through a transnational and historical-materialist approach, this groundbreaking book illuminates what makes texts and authors “Asian American.” Christopher T. Fan is an assistant professor at the University of California, Irvine, in the Departments of English, Asian American Studies, and East Asian Studies. He is a cofounder and senior editor of Hyphen magazine. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Fred Lee is a professor with a joint appointment in political science and Asian American Studies. He joins Teen to talk about his observations about mass burnout, the symptoms, causes, and likely effects. Byung-Chul Han's "Burnout Society" is discussed as well as Nietzsche's notions of sovereignty and will. Part 1 of 2 -- the related bonus episode can be found on the Patreon feed. To join the Plan A Patreon go to www.patreon.com/planamag EFPA Theme:
 "Escape From Plan A" by Ciel (Twitter: @aerialist)

In this episode, Helen Neville speaks with psychologists Drs. Roxanne Donovan, Grace Kim, and Karen Suyemoto about teaching for social justice in these challenging times. The authors share insights from their two books, Teaching Diversity Relationally and Unraveling Assumptions, both published by Routledge. They discuss psychological and social justice frameworks to teaching and learning about power, privilege, oppression, and resistance and they end with thoughts about practicing hope and engaging in self-care strategies amid domestic and global geopolitical crises. ABOUT THE GUESTS Dr. Roxanne A. Donovan is a licensed psychologist, certified yoga teacher, and Professor of Psychological Sciences at Kennesaw State University. She writes, presents, and teaches on topics of well-being and social justice. Her work has been featured in The Washington Post, The Conversation, The Atlanta Journal-Constitution, Georgia Public Radio, and other media outlets. Her two coauthored books, Teaching Diversity Relationally and Unraveling Assumptions, apply psychological and structural perspectives to the teaching and learning of diversity. Her popular Wellness Wednesday newsletter focuses on helping faculty of color and other scholars design purpose-driven lives of meaning, fulfillment, and vitality. Integrated with her professional identities are her rich and multilayered roles as spouse, mama, sister, and auntie. Linked in: linkedin.com/in/roxannedonovan Dr. Grace S. Kim is a clinical professor and chair of the Counseling Psychology & Applied Human Development Department at Boston University, Wheelock College of Education & Human Development. Dr. Kim was trained in clinical psychology and researches social justice education and Asian American psychology. She explores how students understand the meanings of diversity; how to teach diversity and social justice effectively; and how to train future professionals to be more culturally humble and responsive. She also focuses on resilience and the mental health of Asian Americans, centering their struggles for liberation, social agency, and solidarity with other marginalized groups. Dr. Kim is the co-author of two books, Unraveling Assumptions: A Primer for Understanding Oppression and Privilege, and Teaching Diversity Relationally: Engaging Emotions and Embracing Possibilities. She is a fellow of the American Psychological Association (Divisions 35 & 45) and the Asian American Psychological Association. She is the recipient of the 2023 Boston University Provost's Scholar-Teacher of the Year award. Linked in: www.linkedin.com/in/grace-s-kim-75600a8 Instagram: @drgraceskim Karen L. Suyemoto is Professor of Clinical Psychology and Asian American Studies at the University of Massachusetts, Boston. Her teaching, research, and consultations focus on processes and effects of resisting oppression, how racism affects mental health for Asian Americans, and the promotion of organizational change to advance anti-racism and social justice in the academy, and psychological and community organizations. Her recent co-authored books Unraveling Assumptions: A primer for understanding oppression and privilege and Teaching diversity relationally aim to promote conscientization and social justice action for university and community members. Dr. Suyemoto has served as the Chair of the American Psychological Association's Task Force for the Guidelines for Race and Ethnicity in Psychology, as President of the Asian American Psychological Association (AAPA), and as AAPA's delegate to the American Psychological Association Council of Representatives. Her expertise as an educator has been recognized through multiple awards, including the Toy Caldwell-Colbert Award for Distinguished Educator in Clinical Psychology and the Outstanding Teaching and Mentoring Award from the Society for Psychology Study of Social Issues. Nominated by her students and colleagues, she was recognized as a White House Champion of Change: Asian American Pacific Islander Women under the Obama administration. SELECTED RESOURCES Authors' Books: Kim, G. S., Donovan, R. A., & Suyemoto, K. L. (2022). Teaching diversity relationally: Engaging emotions and embracing possibilities. Routledge. Suyemoto, K. L., Donovan, R. A., & Kim, G. S. (2022). Unraveling assumptions: A primer for understanding oppression and privilege. Routledge. Other Books: Pope, K. S., Chavez-Dueñas, N. Y., Adames, H. Y., Sonne, J. L., & Greene, B. A. (2023). Speaking the unspoken: Breaking the silence, myths, and taboos that hurt therapists and patients. American Psychological Association. Sue, D. W. (2016). Race talk and the conspiracy of silence: Understanding and facilitating difficult dialogues on race. John Wiley & Sons. Online Resources: Guidelines for Discussing Difficult or High Stakes Topics by University of Michigan Center for Research on Learning and Teaching Let's Talk: Discussing Race, Racism, and Other Difficult Topics with Students by Learning for Justice Rethinking Schools Teach Palestine: A project of the Middle East Children's Alliance   Teaching about Race and Racism in College Classrooms by Cyndi Kernahan Visualizing Palestine 101: A Visual Resource and Educational Hub Zinn Education Project STAY IN TOUCH! #LiberationNowPodcast Email: liberationlab.uiuc@gmail.com | Instagram & X: @liberationlab_   EPISODE CREDITS Music: Amir Maghsoodi and Briana Williams Podcast Artwork: B. Andi Lee & Amir Maghsoodi Episode Editing: Helen Neville EPISODE TRANSCRIPT bit.ly/LibNowE14

Enjoy this short guided meditation from Sharon Suh, called, "Compassionate Touch Meditation."Guest:SHARON SUH is professor of Buddhism at Seattle University and author of Being Buddhist in a Christian World: Gender and Community (2004); Silver Screen Buddha: Buddhism in Asian and Western Film (2015); and Occupy This Body: A Buddhist Memoir (2019). She focuses on racialized trauma experienced by people of color and emphasizes the importance of embodiment. She's also President of Sakyadhita International Association of Buddhist Women. Her upcoming book, Emergent Dharma: An Anthology of Asian American Feminist Buddhist Women scheduled for Fall 2025.Links to social media:www.mindfuleatingmethod.com; @mindfuleatingmethodIn addition to books mentioned in bio: •.      “Western Buddhism and Race,” co-authored with Joseph Cheah, Oxford Research Encyclopedia (Oxford University Press, May 2022).• “Jeong as the Expression of the Interrelationality of Self and Other in Korean Buddhist Cinema” in Edward Y. J. Chung and Jea Sophia Oh, eds. Emotions in Korean Philosophy and Religion: Confucian, Comparative and Contemporary Perspectives.” (Palgrave, 2022).• “Taking Refuge in the Body to Know the Self Anew: Buddhism, Race, and Embodiment,” Embodying Knowledge: Asian and Asian American Women's Contributions to Theology and Religious Studies, ed. by Kwok Pui Lan (Palgrave MacMillan).• “We Interrupt Your Regularly Scheduled Programming to Bring You This Very Important Public Service Announcement . . .”: aka Buddhism as Usual in the Academy,” in Emily McCrae and George Yancy, eds., Buddhism and Whiteness: Critical Reflections (Rowman & Littlefield). •Suh. Sharon., “Buddhist Meditation as Strategic Embodiment: An Optative Reflection” in Flashpoints for Asian American Studies, ed. by Cathy Vials-Schlund. (Fordham University Press, 2017).•Suh, Sharon. A., “Buddhism and Gender” in Oxford Handbook of Contemporary Buddhism, ed. by Michael Jerryson. (Oxford: Oxford University Press, 2016):635-649.•Suh, Sharon A., “Buddhism, Rhetoric, and the Korean American Community: The Adjustment of Korean American Buddhists to the United States” in Richard Alba, Albert J. Raboteau, and Josh DeWing, eds., Immigration in America: Comparative Historical Perspectives. (New York: New York University Press, 2009):166-190.

This episode features a conversation with Dr. William Gow on his recently published book, Performing Chinatown: Hollywood, Tourism, and the Making of a Chinese American Community (Stanford University Press, 2024), focuses on the 1930s and 1940s Los Angeles–its Chinatowns, and “city,” as well as the Chinese American community's relationship with Hollywood. Chinatown and Hollywood, Gow argues, represented the two primary sites where Chinese Americans performed racial difference for popular audiences during the Chinese exclusion era. As he will illustrate later in this conversation, Chinese Americans in Los Angeles used these performances in Hollywood films and in Chinatown for tourists to shape widely-held understandings of race and national belonging during this pivotal chapter in U.S. history. Performing Chinatown builds on Gow's background as a historian, educator, and documentary filmmaker–even incorporating his own family's history with Hollywood throughout the book's opening and closing. A fourth-generation Chinese American and a proud graduate of the San Francisco Unified School District, he holds an M.A. in Asian American Studies from UCLA and a Ph.D. in Ethnic Studies from UC Berkeley. Before receiving his doctorate, he taught history for nearly a decade in California public schools. For the past 20 years, he has also served as a volunteer historian with the Chinese Historical Society of Southern California (CHSSC), a non-profit in Los Angeles Chinatown. At the CHSSC, he is the co-director of the Five Chinatowns project, documenting the history of the five Chinatowns that existed in Los Angeles before 1965. He is presently an assistant professor of Asian American and Ethnic Studies at Cal State Sacramento. Donna Doan Anderson (she/her) is a research assistant professor in History at the University of Nebraska-Lincoln. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

This episode features a conversation with Dr. William Gow on his recently published book, Performing Chinatown: Hollywood, Tourism, and the Making of a Chinese American Community (Stanford University Press, 2024), focuses on the 1930s and 1940s Los Angeles–its Chinatowns, and “city,” as well as the Chinese American community's relationship with Hollywood. Chinatown and Hollywood, Gow argues, represented the two primary sites where Chinese Americans performed racial difference for popular audiences during the Chinese exclusion era. As he will illustrate later in this conversation, Chinese Americans in Los Angeles used these performances in Hollywood films and in Chinatown for tourists to shape widely-held understandings of race and national belonging during this pivotal chapter in U.S. history. Performing Chinatown builds on Gow's background as a historian, educator, and documentary filmmaker–even incorporating his own family's history with Hollywood throughout the book's opening and closing. A fourth-generation Chinese American and a proud graduate of the San Francisco Unified School District, he holds an M.A. in Asian American Studies from UCLA and a Ph.D. in Ethnic Studies from UC Berkeley. Before receiving his doctorate, he taught history for nearly a decade in California public schools. For the past 20 years, he has also served as a volunteer historian with the Chinese Historical Society of Southern California (CHSSC), a non-profit in Los Angeles Chinatown. At the CHSSC, he is the co-director of the Five Chinatowns project, documenting the history of the five Chinatowns that existed in Los Angeles before 1965. He is presently an assistant professor of Asian American and Ethnic Studies at Cal State Sacramento. Donna Doan Anderson (she/her) is a research assistant professor in History at the University of Nebraska-Lincoln. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

This episode features a conversation with Dr. William Gow on his recently published book, Performing Chinatown: Hollywood, Tourism, and the Making of a Chinese American Community (Stanford University Press, 2024), focuses on the 1930s and 1940s Los Angeles–its Chinatowns, and “city,” as well as the Chinese American community's relationship with Hollywood. Chinatown and Hollywood, Gow argues, represented the two primary sites where Chinese Americans performed racial difference for popular audiences during the Chinese exclusion era. As he will illustrate later in this conversation, Chinese Americans in Los Angeles used these performances in Hollywood films and in Chinatown for tourists to shape widely-held understandings of race and national belonging during this pivotal chapter in U.S. history. Performing Chinatown builds on Gow's background as a historian, educator, and documentary filmmaker–even incorporating his own family's history with Hollywood throughout the book's opening and closing. A fourth-generation Chinese American and a proud graduate of the San Francisco Unified School District, he holds an M.A. in Asian American Studies from UCLA and a Ph.D. in Ethnic Studies from UC Berkeley. Before receiving his doctorate, he taught history for nearly a decade in California public schools. For the past 20 years, he has also served as a volunteer historian with the Chinese Historical Society of Southern California (CHSSC), a non-profit in Los Angeles Chinatown. At the CHSSC, he is the co-director of the Five Chinatowns project, documenting the history of the five Chinatowns that existed in Los Angeles before 1965. He is presently an assistant professor of Asian American and Ethnic Studies at Cal State Sacramento. Donna Doan Anderson (she/her) is a research assistant professor in History at the University of Nebraska-Lincoln. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/asian-american-studies

This episode features a conversation with Dr. William Gow on his recently published book, Performing Chinatown: Hollywood, Tourism, and the Making of a Chinese American Community (Stanford University Press, 2024), focuses on the 1930s and 1940s Los Angeles–its Chinatowns, and “city,” as well as the Chinese American community's relationship with Hollywood. Chinatown and Hollywood, Gow argues, represented the two primary sites where Chinese Americans performed racial difference for popular audiences during the Chinese exclusion era. As he will illustrate later in this conversation, Chinese Americans in Los Angeles used these performances in Hollywood films and in Chinatown for tourists to shape widely-held understandings of race and national belonging during this pivotal chapter in U.S. history. Performing Chinatown builds on Gow's background as a historian, educator, and documentary filmmaker–even incorporating his own family's history with Hollywood throughout the book's opening and closing. A fourth-generation Chinese American and a proud graduate of the San Francisco Unified School District, he holds an M.A. in Asian American Studies from UCLA and a Ph.D. in Ethnic Studies from UC Berkeley. Before receiving his doctorate, he taught history for nearly a decade in California public schools. For the past 20 years, he has also served as a volunteer historian with the Chinese Historical Society of Southern California (CHSSC), a non-profit in Los Angeles Chinatown. At the CHSSC, he is the co-director of the Five Chinatowns project, documenting the history of the five Chinatowns that existed in Los Angeles before 1965. He is presently an assistant professor of Asian American and Ethnic Studies at Cal State Sacramento. Donna Doan Anderson (she/her) is a research assistant professor in History at the University of Nebraska-Lincoln. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

This episode features a conversation with Dr. William Gow on his recently published book, Performing Chinatown: Hollywood, Tourism, and the Making of a Chinese American Community (Stanford University Press, 2024), focuses on the 1930s and 1940s Los Angeles–its Chinatowns, and “city,” as well as the Chinese American community's relationship with Hollywood. Chinatown and Hollywood, Gow argues, represented the two primary sites where Chinese Americans performed racial difference for popular audiences during the Chinese exclusion era. As he will illustrate later in this conversation, Chinese Americans in Los Angeles used these performances in Hollywood films and in Chinatown for tourists to shape widely-held understandings of race and national belonging during this pivotal chapter in U.S. history. Performing Chinatown builds on Gow's background as a historian, educator, and documentary filmmaker–even incorporating his own family's history with Hollywood throughout the book's opening and closing. A fourth-generation Chinese American and a proud graduate of the San Francisco Unified School District, he holds an M.A. in Asian American Studies from UCLA and a Ph.D. in Ethnic Studies from UC Berkeley. Before receiving his doctorate, he taught history for nearly a decade in California public schools. For the past 20 years, he has also served as a volunteer historian with the Chinese Historical Society of Southern California (CHSSC), a non-profit in Los Angeles Chinatown. At the CHSSC, he is the co-director of the Five Chinatowns project, documenting the history of the five Chinatowns that existed in Los Angeles before 1965. He is presently an assistant professor of Asian American and Ethnic Studies at Cal State Sacramento. Donna Doan Anderson (she/her) is a research assistant professor in History at the University of Nebraska-Lincoln. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

A layered and engaging discussion with Prof. Sharon Suh on what "Asian American Buddhism can be defined as; including the refusal to be silenced.Guest:SHARON SUH is professor of Buddhism at Seattle University and author of Being Buddhist in a Christian World: Gender and Community (2004); Silver Screen Buddha: Buddhism in Asian and Western Film (2015); and Occupy This Body: A Buddhist Memoir (2019). She focuses on racialized trauma experienced by people of color and emphasizes the importance of embodiment. She's also President of Sakyadhita International Association of Buddhist Women. Her upcoming book, Emergent Dharma: An Anthology of Asian American Feminist Buddhist Women scheduled for Fall 2025. Links to social media:www.mindfuleatingmethod.com; @mindfuleatingmethodIn addition to books mentioned in bio: •.      “Western Buddhism and Race,” co-authored with Joseph Cheah, Oxford Research Encyclopedia (Oxford University Press, May 2022).• “Jeong as the Expression of the Interrelationality of Self and Other in Korean Buddhist Cinema” in Edward Y. J. Chung and Jea Sophia Oh, eds. Emotions in Korean Philosophy and Religion: Confucian, Comparative and Contemporary Perspectives.” (Palgrave, 2022).• “Taking Refuge in the Body to Know the Self Anew: Buddhism, Race, and Embodiment,” Embodying Knowledge: Asian and Asian American Women's Contributions to Theology and Religious Studies, ed. by Kwok Pui Lan (Palgrave MacMillan).• “We Interrupt Your Regularly Scheduled Programming to Bring You This Very Important Public Service Announcement . . .”: aka Buddhism as Usual in the Academy,” in Emily McCrae and George Yancy, eds., Buddhism and Whiteness: Critical Reflections (Rowman & Littlefield). •Suh. Sharon., “Buddhist Meditation as Strategic Embodiment: An Optative Reflection” in Flashpoints for Asian American Studies, ed. by Cathy Vials-Schlund. (Fordham University Press, 2017).•Suh, Sharon. A., “Buddhism and Gender” in Oxford Handbook of Contemporary Buddhism, ed. by Michael Jerryson. (Oxford: Oxford University Press, 2016):635-649.•Suh, Sharon A., “Buddhism, Rhetoric, and the Korean American Community: The Adjustment of Korean American Buddhists to the United States” in Richard Alba, Albert J. Raboteau, and Josh DeWing, eds., Immigration in America: Comparative Historical Perspectives. (New York: New York University Press, 2009):166-190.Host: REV. LIÊN SHUTT (she/they) is a recognized leader in the movement that breaks through the wall of American white-centered convert Buddhism to welcome people of all backgrounds into a contemporary, engaged Buddhism. As an ordained Zen priest, licensed social worker, and longtime educator/teacher of Buddhism, Shutt represents new leadership at the nexus of spirituality and social justice, offering a special warm welcome to Asian Americans, all BIPOC, LGBTQIA+, immigrants, and those seeking a “home” in the midst of North American society's reckoning around racism, sexism, homophobia, and xenophobia. Shutt is a founder of Access to Zen (2014). You can learn more about her work at AccessToZen.org. Her new book, Home is Here: Practicing Antiracism with the Engaged Eightfold Path. See all her offerings at EVENTS

Why does American history still exclude so many? My latest guest Mae Ngai is Lung Professor of Asian American Studies and History at Columbia University and has written award-winning books on immigration and the Chinese diaspora sharing stories of immigrants during the Gold Rush and other pivotal historical events. Before becoming a historian, Mae was a labor union organizer and educator in New York City where she met another influential documenter of Asian America: photographer Corky Lee who sadly passed away from Covid-19 in early 2021. Mae has edited a brand new book “Corky Lee's Asian America: Fifty Years of Photographic Justice” which collects the activist photographer's iconic images into a beautiful and moving book. Join me as Professor Ngai gives us a glimpse into Asian American history and Corky's important contribution, and please share the episode with a friend who might enjoy this chat! SHOWNOTES for Ep. 93:Buy the new book: “Corky Lee's Asian America: Fifty Years of Photographic Justice”Professor Ngai's other books: The Chinese Question: The Gold Rushes, Chinese Migration, and Global Politics, The Lucky Ones: One Family and the Extraordinary Invention of Chinese AmericaThe NYT on Corky LeeOther books we discussed on the show:Orphan Bachelors: A Memoir by Fae Myenne NgQuestions? Comments? Get in touch @theindianeditpodcast on Instagram !Want to talk gardens? Follow me @readyourgardenSpecial thanks to Sudipta Biswas, Aman Moroney and the team @ Boon Castle / Flying Carpet Productions for audio post-production engineering!

Welcome to Season 4, Episode 25! Sometimes making space for diverse voices isn't about the realms of music, theater, TV, movies, or fictional literature… it's about hearing diverse voices in research and academia. We definitely encourage that… so it's with excitement that we could bring on Dr. Kelly Fong to our show. She's an author, community historian, and archaeologist who studies artifacts and oral histories to create a better understanding of communities. Her latest published work is an essay entitled “Conditional but Essential Contingency” which was part of the collection Conditionally Accepted: Navigating Higher Education from the Margins, edited by Eric Joy Denise and Bertin Louis Jr., and published by University of Texas Press. It's a great essay by Kelly, and it really adds to the book's overall narrative of the trends and challenges facing BIPOC scholars in academic institutions today. We recommend the book not just for Dr. Fong's contribution to it, but for all the essays… And if you purchase it from University of Texas Press with the code UTXSUMMER, then you get 40% off! Dr. Kelly Fong holds a Ph.D. in archaeology from UCLA with a graduate concentration in Asian American Studies. Her interdisciplinary work bridges her interest in Asian American social histories, community-based histories, and historical archaeology to examine everyday life through materials and memories left behind. Dr. Fong is involved with several research projects. Dr. Fong is working in a position as an instructor and staff member at UCLA in Asian American Studies, but she also balances that with her archaeological work, researching the Five Chinatowns in Los Angeles, collaborating with peers on community histories, and even providing historical context as a guest on the TV show “Take Out with Lisa Ling.” We talk about many of these things as well as, some challenges contingent faculty face (including research on the increasing percentage of the use of contingent faculty in universities by AAUP), tips for breaking out of “muted invisibility, how alumni and students can help improve the situation, and so much more. If you like what we do, please share, follow, and like us in your podcast directory of choice or on Instagram @AAHistory101. For previous episodes and resources, please visit our site at https://asianamericanhistory101.libsyn.com or social media links at http://castpie.com/AAHistory101. If you have any questions, comments or suggestions, email us at info@aahistory101.com.

Rev. Dr. Jean-Paul Contreras deGuzman talks about how he came to Jodo Shinshu Pureland Buddhist practice coming from a Catholic family and after moving forward from a traditional path as an academic. He and Dana Takagi have an enlivened discussion about the importance and power of cultural gatherings like Mochi-tsuki for sangha and the wider community, and the role of pop culture references in Rev JP's talks in the San Fernando Valley. REV. DR. JP DEGUZMAN (he/him) is minister's assistant at the 103-year-old San Fernando Valley Hongwanji Buddhist Temple and received tokudo ordination at Nishi Hongwanji in Kyoto, Japan in 2023. He teaches history and Ethnic Studies at Windward School and UCLA where he earned the University Distinguished Teaching Award. His publications include:Lions Roar: "The Pure Land is in the West"Everyday Buddhist: "The Dharma of a Turkey Sandwich" Wheel of Dharma: "Mindful Action in Mindless TImes: A Buddhist Response to Injustice" Young Buddhist Editorial: "Gratitude For My Mom"Explore his website to learn more about his academic publications as well. Your HostREVEREND DANA TAKAGI (she/her) is a retired professor of Sociology and zen priest, practicing zen since 1998. She spent 33 years teaching sociology and Asian American history at UC Santa Cruz, and she is a past president of the Association for Asian American Studies. 

Both Democrats and Republicans are hoping immigration policy will win them votes in 2024. This hour, we take a look at immigration laws from the past and present. Atlantic Staff Writer and 2023 Pulitzer Prize-winner Caitlin Dickerson talks about Biden and Trump's records on immigration and tells us who is immigrating to the U.S. today. We also hear from a group that supports immigrants through community organizing in Bridgeport and Hartford, and we learn about a restrictive immigration act that was signed 100 years ago. GUESTS: Caitlin Dickerson: Staff Writer for The Atlantic. In 2023 she won a Pulitzer Prize for her work on the U.S. policy of separating migrant children from their families. Barbara López: Director of Make the Road Connecticut Mae Ngai: Lung Family Professor of Asian American Studies and Professor of History at Columbia University. Her most recent book is The Chinese Question: The Gold Rushes and Global Politics. For more on the history of U.S. immigration policy, you can listen to our episode on Chinese American exclusion and resistance.See omnystudio.com/listener for privacy information.

To begin the celebration of Asian Pacific American Heritage Month, this episode features a conversation with Dr. Catherine Ceniza Choy about her book Asian American Histories of the United States (Beacon Press, 2022). Choy's study identifies pivotal years in Asian American history as the focus of her eight chapters, which includes the beginning of Asian exclusionary policy with the Page Law in 1875, the rapid changes of 1965 and 1969, which saw a growing Asian America in understanding and demographics, to 2020 and the impact of COVID-19 pandemic. In just 175 pages, Choy weaves together the layered histories of exclusion, violence, and resistance to rectify the generalizations that come from a “misunderstanding of Asian Americans and their histories” (Preface, ix).  Catherine Ceniza Choy is an award-winning Asian American historian and professor of ethnic studies at the University of California, Berkeley. She is the author of Global Families: A History of Asian International Adoption in America and Empire of Care: Nursing and Migration in Filipino American History, which won the 2003 American Journal of Nursing History and Public Policy Book Award and the 2005 Association for Asian American Studies History Book Award. An engaged public scholar, Choy has been interviewed in many media outlets, including ABC's 20/20, The Atlantic, CNN, the Los Angeles Times, NBC News, and Vox, about the history of anti-Asian hate and violence as well as the connections between racism and misogyny. Donna Doan Anderson (she/her) is a PhD candidate in History and Asian American Studies at the University of California, Santa Barbara. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

This week on Sinica, a discussion of Netflix's adaptation of Liu Cixin's The Three-Body Problem (or more accurately, Remembrance of Earth's Past). Joining me to chat about the big-budget show is Cindy Yu, host of The Spectator's “Chinese Whispers” podcast, one of the very best China-focused podcasts; and Christopher T. Fan, who teaches English, Asian American Studies, and East Asian Studies at U.C. Irvine and is a co-founder of Hyphen magazine. Cindy and Chris both wrote reviews of the show and a bunch of other folks answered the call and contributed their thoughts as well. 6:46 – 3 Body Problem as Chinese IP and audience reception 14:44 – The pros and cons of a more faithful adaptation, comparisons with Tencent's adaptation, [and the Netflix production (process) (? Or keep it separate, 20:17)]23:44 – How the show portrays its Chinese characters and China and audience responses38:14 – Allegorical interpretations and real-world (political?) connections 48:11 – What to look forward to in (possible?) future seasons 51:14 – Chenchen Zhang's humanity/autocracy binary and the 工业党 gōngyè dǎng 57:02 A win for Chinese soft power? Recommendations:Cindy: The Overstory by Richard Powers Chris: Same Bed Different Dreams by Ed ParkKaiser: Kaiser: Run and Hide by Pankaj Mishra; other novels by Pankaj Mishra, including Age of Anger: A History of the Present and From the Ruins of Empire: The Revolt Against the West and the Remaking of Asia; and other novels by Richard Powers, including Galatea 2.2, Operation Wandering Soul, and The Gold Bug Variations See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Jeff and Phil welcome Pawan Dhingra, associate provost and associate dean of the faculty at Amherst College and current president of the Association for Asian American Studies. He talks about the newly minted AAPI Studies program at Amherst -- the first of its kind for liberal arts colleges -- what's behind the seemingly sudden surge of interest in Asian American Studies, and how the field still needs to grow and expand. Pawan also talks a bit about Kumon, the South Asian stranglehold on the spelling bee, and his incredibly titled book Hyper Education: Why Good Schools, Good Grades, and Good Behavior Are Not Enough.