Podcasts about east asian

There is something ancient and ineradicable in the human need to look into another person's eyes and see their doom written there. Not metaphorically, but literally, as if the iris were a seal and the sclera a parchment upon which the universe had inscribed its verdict. The Japanese call it sanpaku, meaning "three whites," and it refers to a condition where the white of the eye is visible on three sides of the iris rather than the customary two. According to a tradition that stretches back through centuries of East Asian face reading, this third crescent of white is not mere anatomy. It is prophecy.

At the beginning of the current decade, views of China were near historic lows in many countries. Recently, however, positive opinions of China have become more widespread, as measured in a recent Pew Research Center survey, and more people now have confidence in Chinese President Xi Jinping to do the right thing regarding world affairs. Still, in most of the 37 countries surveyed, and particularly in some of the wealthier ones, views of Xi remain more negative than positive. Views of China are also more positive in Latin America, Africa and parts of South and Southeast Asia than in wealthier European and East Asian countries. Anxieties about China persist, including concerns about its government's respect for personal freedoms, the possibility of territorial conflict with its neighbors, and interference in the affairs of other countries.  In an interview conducted on August 7, 2026, Pew Research Center Associate Director Laura Silver joins Steve Orlins to discuss changes in global perceptions of China over the past few years.  About the speaker

Greg Jenner is joined in medieval Korea by Dr John Lee and comedian Erika Ehler to learn all about the Goryeo and Joseon dynasties. Nowadays, Korean culture has a global reach and international fanbase – but what about the country's medieval history? During the period known in Europe as the Middle Ages, the ancient kingdoms of Korea were unified, and the resulting polity ruled in turn by two dynasties, the Goryeo and the Joseon. This episode explores this period in Korea's history, from the foundation of the Goryeo state in 918, through the Mongol invasions of the thirteenth century and the coup that brought the Joseon dynasty to power, to the Japanese invasions of the 1590s. Along the way, we take in a foundation myth involving a garlic-eating bear, look at the position of women and enslaved people in Joseon society, explore the architectural styles of the period, and tell the story of Sejong the Great and the creation of Hangul. If you're a fan of Korean culture, palace coups and political intrigue, and the everyday details of life in the past, you'll love our episode on medieval Korea. If you want more East Asian history, listen to our episodes on Edo Japan and Tang Dynasty China. And for more on the Mongols, check out our episode on Genghis Khan. You're Dead To Me is the comedy podcast that takes history seriously. Every episode, Greg Jenner brings together the best names in history and comedy to learn and laugh about the past. Hosted by: Greg Jenner Research by: Auréliane Perrin Written by: Dr Emmie Rose Price-Goodfellow, Dr Emma Nagouse, and Greg Jenner Produced by: Dr Emmie Rose Price-Goodfellow and Greg Jenner Studio and Edit Producer: Steve Hankey Production Coordinator: Gill Huggett Series Producer: Dr Emma Nagouse Executive Editor: Philip Sellars

The Roundtable Panel: a daily open discussion of issues in the news and beyond. Today's panelists are: Theresa Bourgeois - Public policy and communications expertJustin Patch - Associate Professor of Music at Vassar College. He studies music in American politics; sound studies; East Asian art music; and music in the African diaspora. Donna Welton - Diplomat in Residence at Bard College. She retired from the U.S. Foreign Service in 2025 after over 30 years in public service. Her last post was ambassador to the SE Asian country, Timor-Leste.Warren Whitlock - a former federal senior executive having served as the Deputy Assistant Secretary of the Army for Diversity & Leadership, and Associate Administrator for Civil Rights at the Federal Highway Administration.

In this episode of Pekingology, Senior Fellow Henrietta Levin is joined by Ambassador Daniel Kritenbrink, former Assistant Secretary of State for East Asian and Pacific Affairs, U.S. Ambassador to Vietnam, and Senior Director for Asian Affairs at the National Security Council, to discuss U.S.-China diplomacy and the upcoming meeting between President Donald Trump and Chinese President Xi Jinping. Drawing on decades of experience engaging with senior Chinese officials, including Xi Jinping, Kritenbrink reflects on Xi's leadership style and China's increasingly confident approach to the United States and the international system. He discusses the role of leader-level diplomacy in managing U.S.-China competition, lessons he learned from preparing for Xi's 2015 state visit to Washington, and what effective communication between Washington and Beijing looks like behind closed doors. They also examine what to expect from the Trump-Xi summit, the prospects for maintaining what Kritenbrink describes as a “fragile truce” between the two countries, and the economic, technological, and security issues that will continue to test U.S.-China relations.

Commentary by Dr. Jian'an Wang.

In this FocusCore Podcast episode, host David Sweet interviews Lars Schandorff, Senior Director of People & Talent for APAC Supply Chain with a global American company. With over 17 years of experience spanning Denmark, Singapore, Dubai, and Japan, Lars has built talent strategies for organizations including British American Tobacco, Seadrill, and Maersk, from managing an $8 billion global portfolio to building the entire talent ecosystem for a $1 billion greenfield factory in Japan. Lars and David discuss how to cultivate a sustainable Japan executive bench instead of relying on expats indefinitely, why executive presence looks different depending on culture, how to keep leadership teams stable through high-stakes transformation, why speaking Japanese is as much about respect as communication, what an "AI native" organization actually looks like in Japan, and what Lars sees as Japan's biggest talent challenge over the next five years.The 2026 FocusCore Salary Guide is here: 2026 Salary GuideIn this episode you will hear:How to build a sustainable local executive bench in Japan instead of relying on expatsWhy "executive presence" reads differently across American, European, and Japanese leadership culturesHow to keep leaders and teams steady through high-pressure transformation and M&AWhy fluency in Japanese is, for Lars, primarily a signal of respect rather than just a skillWhat an "AI native" organization looks like inside a Japanese business, and the infrastructure gap between companies who can afford closed AI systems and those who can'tLars's prediction for Japan's biggest talent acquisition challenge and opportunity over the next five yearsAbout Lars:Lars Schandorff has built his career around a consistent thread: helping organizations grow their people even as the ground shifts beneath them, whether that ground is a collapsing oil price, an acquisition, or an entry into a wholly new market. With more than 17 years of experience spanning Denmark, the Middle East, Singapore, and Japan, he has spent his career designing talent strategy for some of the most demanding transformation environments in global business.He currently serves as Senior Director of People & Talent for APAC Supply Chain at a leading American company, where he oversees the talent agenda across 11 complex markets. Before that, Lars held senior talent and HR roles at British American Tobacco, Seadrill, and Maersk, building the entire talent ecosystem for a $1 billion greenfield factory in Japan, managing workforce architecture for an $8 billion global portfolio at Seadrill, and helping launch multi-billion-dollar energy projects across Singapore and Korea.Lars's path to Japan began in Copenhagen, where he studied East Asian studies before joining the Japanese Embassy in Denmark. From there he moved into Maersk's shipping and drilling operations, spent time in Dubai building a global leadership development function, and eventually returned to Japan, where he has now lived and worked for the past eight years. Fluent in Japanese, Lars approaches his work in Japan with a simple philosophy: as a guest in the country, it is on him to adapt, not the other way around, an outlook that shapes how he builds trust with the leaders and teams he supports.Connect with Lars Schandorff:LinkedIn: https://www.linkedin.com/in/lars-schandorff-178baa7/Connect with David Sweet:LinkedIn: https://www.linkedin.com/in/drdavidsweet/Twitter: https://twitter.com/focuscorejpFacebook: :https://www.facebook.com/focuscoreasiaInstagram: https://www.instagram.com/focuscorejp/Website: https://www.japan.focuscoregroup.com/This podcast was proudly produced by Lisa Yasuda.“Doin' the Uptown Lowdown,” used by permission of Christopher Davis-Shannon. To find out more, check out www.thetinman.co. Support independent musicians and artists.

Eliza Chan, Sunday Times bestseller Dr Rachel Knightley's guest at the Writers' Gym is speculative fiction author, Eliza Chan. Eliza is a Scottish-born speculative fiction author who writes about East Asian mythology, British folklore and reclaiming the dragon lady. Her debut fantasy novel FATHOMFOLK, published in 2024, was an instant Sunday Times bestseller. Set in a semi-submerged city, revolution is brewing between the humans and the sea folk who live in its waters. TIDEBORN completed the duology in 2025. Her next novel, HARBOUR OF HUNGRY GHOSTS, a historical fantasy set in mid-Opium War era Hong Kong, is forthcoming in July 2026. Her short fiction has been shortlisted for the British Fantasy Awards and has featured in various magazine and anthologies including The Secret Romantic's Book of Magic and The Best of British Fantasy. She has been a medical school drop-out, a kilt shop assistant, an English teacher and a speech and language therapist, but currently spends her time collecting weapons, crafting, watching animation and trying to eat her way around the entire world. She lives in Manchester with her family and dragon collection. Instagram: @elizachanwrites Website: www.elizachan.co.uk Representation: Alex Cochran of Greyhound Literary If you enjoyed listening to the Writers' Gym Podcast, head to our website at www.writersgym.com and follow us on instagram: @jointhewritersgym

Our guest today is someone whose work touches almost every corner of oncology: from the exam room to the lab to the systems we work within.Dr Narjust Florez, MD, FASCO, is a thoracic medical oncologist at Dana-Farber Cancer Institute and Assistant Professor of Medicine at Harvard Medical School, where she treats young patients and women with lung cancer and leads a research program spanning early diagnosis, clinical trials, and cancer health disparities. She's the Associate Director of the Cancer Care Equity Program and leads the EQUAL Study, which tackles disparities in lung cancer screening among Hispanic and East Asian patients. She's also become one of the most influential voices on physician wellness and burnout in oncology, and on building a more equitable path for women and underrepresented trainees in the field — work that's earned her recognition as the youngest Fellow ever named to the Association for Clinical Oncology, and a spot as JAMA Oncology's first Latina Associate Editor for Diversity, Equity, and Inclusion.Please welcome Dr Narjust Florez.For more episodes, resources and blog posts, visit www.inquisitiveonc.comPlease find us on Twitter @InquisitiveOnc!If you want us to look at a specific trial or subject, email us at inquisitiveonc@gmail.comArt courtesy of Taryn SilverMusic courtesy of AlisiaBeats: https://pixabay.com/users/alisiabeats-39461785/Disclaimer: This podcast is for educational purposes only. If you are unwell, seek medical advice.Oncology for the Inquisitive Mind is recorded with the support of education grants from our foundation partners, Pfizer and Merck Pharmaceuticals. Our partners have access to the episode at the same time you do and have no editorial control over the content. Hosted on Acast. See acast.com/privacy for more information.

Doug Lee, founder and CEO of D3Jubilee Partners, a Seoul-based impact venture firm, joins Dennis Price. D3 is co-hosting Asia Impact Nights in Kobe, Japan alongside the Japan Social Innovation and Investment Foundation. For this 10th anniversary convening, D3 has moved from Korea for the first time, to Japan, under the theme of Asia's "triple transition" — demographics, climate and, of course, AI.

The 2025 PISA results were published a few days ago. And they're quite a bad surprise for most European countries. Educational performance is declining almost everywhere on the continent.What can we learn from East Asian countries? Hosted on Acast. See acast.com/privacy for more information.

Dr Ruth Barratt-Peacock is a musicologist and literary studies scholar. She has published widely in the areas of childhood studies, television, popular music and East Asian popular culture. She is the recipient of a Walter Benjamin grant for research on the social construction of childhood in metal music funded by the German Research Foundation in cooperation with the University of Huddersfield, United Kingdom. Her most recent papers appear in English: Journal of the English Society Oxford, East Asian Journal of Popular Culture, Australasian Journal of Popular Culture and Jeunesse: Young People, Texts, Cultures and Metal Music Studies. Among her many pieces is this one on Heavysaurus and heavy metal for kids See omnystudio.com/listener for privacy information.

Breathwork and walking – a natural pair for pursuing health and vitality. Indeed, Dr. Jacques MoraMarco and Dr. Yun Kim, our guides today, are the authors of Walking Your Way to Vitality: Integrating Walking, Breathwork, and Mindfulness into Your Daily Exercise. They're doctors of East Asian medicine, licensed acupuncturists, and will share their combined wisdom, including a 5-step breathing pattern that pairs the breath with the steps – spelled out during this episode, so we can try it while we listen. An underappreciated aspect of walking can be the regulation of our nervous system, and our levels of stress, which can be a ticket to better health. But we might not come to it naturally, and so don't miss a moment of this important conversation! LET'S TALK THE WALK! Join here for support, motivation and fun! Wellness While Walking Facebook page Walking to Wellness Together Facebook GROUP Wellness While Walking on Instagram Wellness While Walking on Threads Wellness While Walking on Twitter Wellness While Walking website for show notes and other information wellnesswhilewalking@gmail.com RESOURCES AND SOURCES (some links may be affiliate links) Walking Your Way to Vitality: Integrating Walking, Breathwork, and Mindfulness into Your Daily Exercise, Dr. Jacques MoraMarco and Dr. Yun Kim Walking Your Way to Vitality Website Basic 5-Step Vitality Walk -- Illustration Video What Is Tai Chi Walking? Benefits Include Better Balance, Mobility, today.com HOW TO RATE AND REVIEW WELLNESS WHILE WALKING How to Leave a Review on Apple Podcasts on Your iOS Device 1. Open Apple Podcast App (purple app icon that says Podcasts). 2. Go to the icons at the bottom of the screen and choose "search" 3. Search for "Wellness While Walking" 4. Click on the SHOW, not the episode. 5. Scroll all the way down to "Ratings and Reviews" section 6. Click on "Write a Review" (if you don't see that option, click on "See All" first) 7. Then you will be able to rate the show on a five-star scale (5 is highest rating) and write a review! 8. Thank you! I so appreciate this! How to Leave a Review on Apple Podcasts on a Computer 1. Visit Wellness While Walking page on Apple Podcasts in your web browser (search for Apple Podcasts or click here) https://www.apple.com/apple-podcasts/ 2. Click on "Listen on Apple Podcasts" or "Open the App" 3. This will open Apple Podcasts and put in search bar at top left "Wellness While Walking" 4. This should bring you to the show, not a particular episode – click on the show's artwork 5. Scroll down until you see "Rating and Reviews" 6. Click on "See All" all the way to the right, near the Ratings and Review Section and its bar chart 7. To leave a written review, please click on "Write a Review" 8. You'll be able to leave a review, along with a title for it, plus you'll be able to rate the show on the 5-star scale (with 5 being the highest rating) 9. Thank you so very much!! OTHER APPS WHERE RATINGS OR REVIEWS ARE POSSIBLE Spotify Goodpods Overcast (if you star certain episodes, or every one, that will help others find the show) Castbox Podcast Addict Podchaser Podbean HOW TO SHARE WELLNESS WHILE WALKING Tell a friend or family member about Wellness While Walking, maybe while you're walking together or lamenting not feeling 100% Follow up with a quick text with more info, as noted below! (My favorite is pod.link/walking because it works with all the apps!) Screenshot a favorite episode playing on your phone and share to social media or to a friend via text or email! Wellness While Walking on Apple – click the up arrow to share with a friend via text or email, or share to social media Wellness While Walking on Spotify -- click the up arrow to share with a friend via text or email, or share to social media Use this universal link for any podcast app: pod.link/walking – give it to friends or share on social media Tell your pal about the Wellness While Walking website Thanks for listening and now for sharing! : ) DISCLAIMER Neither I nor many of my podcast guests are doctors or healthcare professionals of any kind, and nothing on this podcast or associated content should be considered medical advice. The information provided by Wellness While Walking Podcast and associated material, by Whole Life Workshop and by Bermuda Road Wellness LLC is for informational and entertainment purposes only. It is not intended to be a substitute for professional medical advice, diagnosis or treatment. Always seek the advice of your physician or other qualified health care provider with any questions you may have regarding a medical condition or treatment, and before undertaking a new health care regimen, including walking. Thanks for listening to Wellness While Walking, a walking podcast and a "best podcast for walking"!

What if the photos and videos you lovingly share of your children online are entering a world you never imagined… and can't fully see? Kate Mason sits down with Crystal Abidin; Malay-Australian professor of internet studies at Curtin University, anthropologist, and mother, to explore one of the most pressing and least understood challenges facing modern families. Crystal's new book, Child Influencers: How Children Become Entangled with Social Media Fame, pulls back the curtain on the world of child influencers, from the mummy-blogging origins of the 1990s to the AI-doctored dangers of today. Whether you've casually shared a birthday photo or are raising a child who dreams of going viral, this conversation offers vital insight, a global perspective, and the practical understanding every parent urgently needs. Listen for:4:50 Where did child influencers actually come from and how did it all begin?9:27 How do East Asian countries approach children and social media so differently to Australia?12:35 What is "sharenting" and how does everyday family sharing become a risk?15:47 What gaps in the law leave child influencers unprotected when filming at home?29:02 What is Crystal's most important advice for parents sharing their children online? Guest: Crystal Abidin, Professor of Internet Studies, Curtin University; Anthropologist and Ethnographer of Internet CulturesWebsite | Publication | Instagram | Child Influencers Leave a rating/review for this podcast with one click Contact Kate:Email | Website | Kate's Book on Amazon | LinkedIn | Facebook | X

Welcome to the latest episode of the Food and Beverage Magazine Podcast, hosted by the Editors of Food and Beverage Magazine. In this week's episode, we explore major distribution deals, international franchise agreements, and the technology and consumer trends reshaping the food, beverage, and hospitality sectors. We kick off with major business and distribution updates, starting with Pat LaFrieda Meat Purveyors expanding its reach into the Southeast through a strategic partnership with Inland Foods. We also discuss Red Robin's massive ninety-six million dollar refranchising push with the sale of one hundred and sixteen restaurants, TGI Fridays entering the Balkans with a new ten-unit franchise deal, and WOWorks expanding its footprint to two hundred and forty units with dozens of active locations in its development pipeline.Next, we look at seasonal flavor rollouts and products capturing consumer attention as we transition into the autumn months. We discuss the return of Jersey Mike's Hot Italian sub for the NFL season and PrimoHoagies bringing back its PrimoPilgrim limited-time offer, alongside Chocolove introducing an apple cider SKU to its fall lineup and Culture Pop launching a sparkling probiotic apple soda. On the CPG and grocery shelves, we cover Mars launching Cheez-It and Club crackers in convenient resealable canisters, Applegate's regenerative beef hot dogs posting a unique Omega fatty acid ratio, and Power Crunch relaunching under Ferrero with a refined protein formulation.Finally, we highlight operational milestones and major hospitality updates. We cover Chipotle expanding its global footprint by opening its first East Asian location in Seoul's Gangnam district, while luxury travelers look to Augustus Resort's new dining concept, Bistrot Villa Agnelli in Versilia. We also address critical supply chain developments, including food service operational costs surging as the ISM prices index hits a four-year high, and a massive consumer shift as GLP-1 medication users drive high demand for protein-rich frozen and refrigerated foods.For full articles on these stories, exclusive insights, and daily industry news, visit fbmagazine.com. Be sure to also check out our network syndication at foodservice.media, which gives brands, buyers, and operators a direct path to the categories that matter most. Thank you for listening, and remember to subscribe to the newsletter so you never miss the latest trends.

The Enlightened Family Business Podcast Ep. 168: You Can't Change What You Can't Be With — A Conversation with David Young   In this episode of the Enlightened Family Business Podcast, host Chris Yonker sits down with David Young — somatic experiencing practitioner, collective trauma healer, co-executive director at Somatic Experiencing International, and founder of The Art of Collective Integration — for a wide-ranging conversation on one of the most underexplored dimensions of human development: why intelligent, well-educated people keep repeating patterns that hurt them, and what it actually takes to change. David brings a remarkable lineage to this work — the son of an African American former Black Panther-turned-missionary and a Taiwanese mother, trained in intelligence analysis, East Asian philosophy, pastoral ministry, and somatic psychology. Together Chris and David explore why transformation isn't a cognitive event but a full-body physiological experience; why self-help books give us the cherry on top without the cake underneath; the difference between cultivating performance and cultivating wisdom; how the nervous system holds patterns that fire faster than the speed of thought; why anxiety in the rising generation is best met with co-regulation before analysis; what resilience actually means and why it's the highway to both personal and collective change; and what it looks like to raise a generation that can hold the complexity of a volatile, uncertain, rapidly accelerating world. This is a conversation for anyone who has ever wondered why knowing better doesn't always lead to doing better. Episode Chapters ·       1:07   Meet David Young ·       4:05   Breaking Patterns — What's Really Going On ·       5:55   Developing the Rising Generation for the Future ·       7:00   The Stages of Development Haven't Changed — But Everything Else Has ·       10:56  Belonging vs. Becoming: The Tension Every Rising Gen Faces ·       15:37  Why Highly Intelligent People Keep Repeating Harmful Patterns ·       17:24  Why Self-Help Books Give You the Realization Without the Change ·       22:36  Same Car, Different Engine: What Changes When Healing Happens ·       23:09  Performance Culture vs. Wisdom Culture ·       27:53  Pain and Pleasure Are Not Enough — The Limits of Leverage ·       29:33  What the Nervous System Has to Do With Everything ·       34:35  Anxiety in the Rising Generation — What's Really Driving It ·       36:52  Co-Regulation: The First Step Before Asking Why ·       41:14  Building Resilience: The Highway to Personal and Collective Change ·       47:16  Resilience Is the Capacity to Stay in Flow With Adversity ·       48:01  A Message for Parents and Family Principals ·       50:28  Resources and Farewell   Websites ·       artofcollectiveintegration.com ·       traumahealing.org ·       chrisyonker.com   About David Young David Young 楊正賢, M.A., CMMT is the Co-Executive Director of Somatic Experiencing International and the founder and lead teacher of The Art of Collective Integration (ACI), a methodology for addressing collective trauma and societal polarization through somatic, relational, and systems-based practices. As a collective trauma integration facilitator, certified mindfulness meditation teacher, and executive coach, David supports communities and organizations through critical transitions — helping them heal from collective trauma, navigate complexity, and enable healthy communication in polarized environments. With 20+ years of experience in leadership development, systems change, and trauma-informed consulting, David brings a unique approach that integrates somatic awareness, collective intelligence, and wisdom traditions to foster resilient, adaptive organizations. He has designed and facilitated large-scale leadership retreats and community healing initiatives in over 30 cities across the US and Europe, focusing on intergenerational leadership, cultural resilience, and conflict transformation. He is also a co-creator and co-facilitator of Attuned: Becoming Trauma Informed & Trauma Responsive in Professional Settings (accredited by the Law Society of Ontario) and The Leadership Dojo, an eight-week practice-based facilitation training. A student of collective trauma healing with Thomas Hübl, David holds multiple certifications in mindfulness, trauma facilitation, and conscious leadership, and is a teacher on Insight Timer, a global meditation app. He enjoys traveling, camping with his kids, martial arts, and hanging out in tea shops.

To close out our 10th anniversary micro-series, we flip the format: Yulee interviews Daniel about his own journey to founding the Asian American Center at Fuller Seminary. It's a more personal episode than usual, tracing the family history, faith formation, and institutional battles that shaped both Daniel and the Center itself. Daniel's upbringing in a Korean American church in Northern Virginia, and how growing up alongside non-Korean Asian American friends—while navigating an abusive father—shaped his early pull toward a broader Asian American identity His campus ministry years as “Grace Man,” and the pushback he got for it Going to Princeton to study Karl Barth and, for a time, trying to leave Asian American ministry behind entirely in pursuit of becoming “a legitimate theologian” The unraveling of that plan: unresolved family patterns, disillusionment with Tim Keller's Redeemer model, and a friend's blunt observation—”all you do is talk about Asian American stuff”—that brought him back Arriving at Fuller, starting the Asian American Theological Fellowship as a lone ThM student, and the years of institutional confusion that followed (mistaken-identity emails, “what language will you teach it in?”) The financial and political cost of building the Center—years on food stamps, a breakdown in an empty office, HR complaints, and resistance from unexpected places, including fellow Asian Americans The founding commitment to a truly pan-Asian American Center—not a “wink-wink” Korean or East Asian program—built around Asian heritage, migration experience, American culture, and racialization Where the Center is headed next: the Filipino American Ministry Initiative, the Korean American Ministry Initiative, South Asian American work, and the shift from research toward resourcing This one's a little different—less history lecture, more origin story. Thanks for listening, and thanks for walking this whole micro-series with us. We'll see you at the 10th anniversary celebration this October. Sign up to receive more updates from the AAC: aac.fuller.edu/newsletter/ If you appreciate the work we do at the Asian American Center at Fuller Seminary, please consider supporting us! Your monetary support sustains our vital work and expands Asian American research, leadership development, and pastoral formation for the Church in the year ahead. Donate here: fuller.edu/giveaac. For information about our 10th anniversary gala, visit tinyurl.com/10yearsaac

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. Join Host Miko Lee as she introduces Dr. Robynn Rodriquez's show “Spitting Fire.” Dr. Robynn speaks about Filipinx and colorism with Dr. Joanne Rondilla.   LINKS Dr. Robynn, The People's Professor   SHOW TRANSCRIPT [00:00:00] Opening: 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.   [00:00:35] Miko Lee: Welcome to Apex Express. I'm your host, Miko Lee, and tonight we get to hear the podcast from Dr. Robin Rodriguez called Spitting Fire, and I'm so excited for you to listen to it. Check it out, and if you wanna hear more, we're gonna link in the show notes an earlier interview I did with Dr. Robin Rodriguez. So please listen to Spitting Fire with Dr. Robin   [00:01:01] Dr. Robyn Rodriguez: I can't actually remember a specific episode when my parents or my Lola, who helped raise me, explicitly said, “Don't stay out in the sun.” But I always knew growing up that staying out in the sun was something I shouldn't do because being dark was something to be avoided. I remember being embarrassed by my mom who would bust out an umbrella on a bright and shiny day. “Mom, it's not even raining outside,” I remember complaining. I hated the big hats she would wear or insist I wear, or the comments of, “You're getting darker,” also in a disapproving tone. I remember, too, the high praises anyone with lighter skin was heaped, even when I didn't think they were that particularly attractive. Or how if my relatives knew someone was going to be marrying an American, basically a white person, they would exclaim, “Oh, they're going to have beautiful children.” When I brought home a hapa, a dude who was Filipino and white, I was told that if we got married, I would be improving the race. I've always known, whether I can remember being told, “Don't stay out in the sun,” that if there was a skin hue to aspire to, it was to be light.   [00:02:49] To be called mestiza was to receive one of the best compliments. To be a mestiza is always already to be beautiful. Of course, if anyone said I was mestiza, it was always qualified as mestizang morena. That is, someone who exhibits certain types of physical traits that are associated with a mestiza, like having a more pointed nose or being slightly taller than the average Pinay, but not the lighter skin of a genuine mestiza. So that's why I was sometimes called mestizang morena. Still meant as a compliment. After all, I could still enjoy the privilege of being associated with mestizaje, but only partially So many Filipinas in the diaspora, especially those of us who live in white settler colonial societies like what we now know as the United States as well as Canada, so many of us share experiences similar to the ones I've experienced.   [00:03:58] My dear friend and colleague, a fellow sociologist, Dr. Connolly De Leon, who currently teaches at Ryerson University in Canada, made this shared experience a topic of study in her book chapter, “Mas Maputi Ako Sa'yo,” I'm Lighter Than You: The Spatial Politics of Intraracial Colorism Among Filipina-Filipino Youth in the Greater Toronto Area. It was a chapter that was part of the very historic anthology, Filipinos in Canada: Disturbing Invisibility, edited by Roland Coloma, Bonnie McElvaney, Ellen Ethel Dongohan, John Paul Katungol, and Lisa M. Davidson, and it was published in 2012. Now, I've taught, uh, Dr. De Leon's chapter, Connolly's chapter, in my Filipino American experience courses in the past, and it's always, always deeply resonated with my Filipina students. In Dr. De Leon's chapter, she starts off with a quote that so many of us are familiar with in some way. She writes, quote, “You're so dark. Yuck.' My cousin would say to me in disgust as she would place her forearm beside mine to compare her light skin to my dark skin.” End quote. Dr. De Leon continues, quote, “As early as the age of four, as early as the age of four, I was taught to feel ashamed of my complexion. I did not understand what was so shameful about being the particular shade of brown that I was.” End quote. The shaming that Dr. De Leon and so many of us experience comes from colorism, which scholars define as the discriminatory treatment of individuals falling within the same racial group on the basis of skin color.   [00:06:01] On this episode of Spitting Fire, Dr.- Doctora Robyn Speaks, you'll actually hear less from me and more from yet another friend and colleague, Dr. Joanne Rondilia, who I recently hosted as part of a lecture series jointly sponsored by the Bolosan Center for Filipinx Studies, of which I serve as the founding faculty director, and the School for Liberating Education, my platform for offering Filipinx or Filipinos and ethnic studies courses that are often only available to those who happen to be able to get accepted into the four-year, often elite institutions where they are taught. It's where I get to teach all of these amazing courses that I think all of us should have to the broader community. Dr. Rondilia has researched on colorism in the Philippines and the diaspora for over a decade. It was a topic of her 2012 dissertation, which was entitled Colonial Faces: Beauty and Skin Color Hierarchy in the Philippines and the United States. In her 2007 book, co-edited with Paul Spickard, entitled Is Lighter Better? Skin Tone Discrimination Among Asian Americans, she explores colorism as a phenomenon that no- not only plagues Filipinos, but Asian Americans actually more broadly. So now I'm gonna turn to Dr. Rondilia and her lecture entitled Don't Stay Out in the Sun: Understanding Filipinx and Colorism. Go ahead, Joanne. Take it away. So happy you're here.    [00:07:44] Dr. Joanne Rondilla: All right. Thank you so much, Robyn. It's, uh… Do you mind if I call you Robyn? Shall I call you Dr. Robyn?    [00:07:50] Dr. Robyn Rodriguez: Oh my God. You only know me as Robyn. Okay.    [00:07:56] Dr. Joanne Rondilla: I will call you Robyn, but everybody else, you, you are required to call her Dr. Robyn- … Queen Robyn. You know, that's, that's how. But it's, it's such a, a joy to be here. Um, you know, before we opened the doors, uh, Robyn and I were talking about, um, you know, what it is to be an academic and the type of language and, and spaces in which we share our research. And I think one of the things that's really hard, especially for the soul of a lot of, uh, academics, is that we… it's so rare for us to really share our research, uh, with the community, right? ‘Cause I don't think of myself as a researcher. I think of myself more as a, a storyteller Right? And I think that that's really, uh, when students- when I have students who refuse to, like, engage in research, I try to remind them, like, research is not… I don't think of research as, uh, sort of like the white person's, uh, uh, game. I think of research as something that is connected to us, um, and it's our birthright. It's our ancestral birthright, right? Because storytelling is our ancestral birthright, and that's the lens in which I come into, uh, to exploring this issue of colorism.   [00:09:15] So show of hands, for those of you in the room, I'm curious to know how many of you were told, uh, were, were told this: “Don't stay out in the sun or you're- or, or else you'll get too dark.” How many of you were raised with that sort of mantra? Yes. Right. I, I almost feel like these words, uh, are so quintessential to the Filipino experience or the Filipinx experience. Like, “Don't stay out in the sun or else you'll get too dark.” And I'm someone who, I was born and raised on Guam, um, and so everybody on Guam is dark because we are always out in the sun, right? And my mother is very light-skinned. Uh, she came from a middle-class family from San Pablo City in the Philippines. My father's from Lucena, and he ca- he grew up poor, uh, and rai- was raised by a single mother. And so m- there was this definite class difference between my parents, uh, but there's also a, a skin tone difference between my parents. Like, my dad was someone who was very, very kuripot. He was very cheap, but he had this great love for my mother. Um, you know, and I think part of that was he saw her as like, you know, this, this wonderful, like, prize almost, you know. Because she came from a well-to-do family, and, you know, when they got married, her family did not want them to get married because, uh, he was not wealthy. But he was someone who, because he works on Guam as an engineer for the government of Guam, uh, and, and the US military, like that sort of… and, and he had, uh, I think in total like 13 deeds to his name. That's sort of what eased my, my mother's family into, you know, being supportive of their marriage. But there was… And, and on my mother's side of the family, this is a family, and mind you, I love them very much, but this is a family that, um, values beauty a lot, right? My mom and my aunties were all some form of provincial, uh, beauty queen And so this is why me and my brother and my sister were always told, “Don't stay out in the sun or you'll get too dark.” Because the idea was you had to preserve whatever, whatever it was our mother gave us, right? Even though, um, you know, like, uh, you know, even though, like, members of her family say didn't, didn't necessarily find us attractive , you know, the idea was, like, you know, as children of this, this woman or as chil- as, as, you know, members of this particular family, you had to, um, you had to sort of preserve yourself.   [00:12:18] So as a young kid growing up on Guam, I always wanted to go swimming, uh, 'cause my, my neighbors across the street, actually one of them, uh, represented the island of Guam, uh, during the 1988 Olympics in, in Seoul, right? So I always wanted to go swimming. I wanted to learn swimming, but my mother wouldn't let me because I would get too dark And so that, you know, like, there, there was so much of our lives that were limited because of this need to preserve beauty. And this is how I entered the research, uh, the exploration of colorism. So very quickly, for those of you who do not know what colorism is, simply put, colorism is a looks-based or, you know, um, you know, physical look, a looks-based system of discrimination where light skin and Eurocentric features are favored over darker skin and non-Eurocentric features.   [00:13:13] These discriminations typically occur within the same racial or ethnic community. Uh, the term colorism was coined by, um, the writer Alice Walker. And when she first started writing about colorism, she was talking about, she was talking about colorism in a very intimate way. She was talking about the way in which lighter-skinned Black women evoked pain, right, uh, onto darker-skinned Black women. And so this is where she comes up with this term called colorism. Colorism is intimate. It happens within the same racial or ethnic group, typically. And the reason why I say typically is because, um, in our society, we live in a very colorist society. So I'm sure some of you, and you can throw up reactions, some of you know people, may be related to people who say, “I'm not a racist. I don't have a racist bone in my body, in my body. I love Black people. I listen to Beyoncé. Halle Berry's my favorite actress.” Like, you know, they'll go on and on and on about how they're not racist. But when you look at the patterns of what they deem is attractive or, um, sort of civilized among, uh, the Black or African American community, they always resort to people who tend to be, like, lighter skinned, right? And that's also a way that, um, colorism manifests itself. It starts in the intimate space, but it manifests itself in a much larger, um, you know, in a much larger sphere. So for, um, the Filipinx community, when we look at popular culture, right? And, um, I don't know if any of you have heard of the show or are watching a show called, uh, The Cleaning Lady It's a new show that was, uh, it just premiered last week through Fox. And The Cleaning Lady, the reason why this is really big for, uh, the Filipinx community is because the… It, it's supposed… It originally was supposed to be a Filipino storyline, right? And it was a way to sort of introduce, uh, you know, Filipinx characters in the public sphere. But what happened was S- Shannon Sossamon, the actress Shannon Sossamon, uh, was originally slated to play the main character, who is an undocumented, uh, Filipina maid, right? But something happened during the initial table read, so they end up casting Elodie Yung, who's, uh, French Cambodian. So they changed the character a little bit, but when you look at the setting, it's set in Los Angeles. It's really a Filipino family. And my argument when I look at popular media and colorism is that oftentimes in popular media when they're trying to introduce Filipino, Filipinx characters, it's done through the mixed race body. It's done through a mixed race person, right? So for those of you who may be familiar with Shannon Sossamon, she's mixed race. She's a mixed race Filipina, but she's very white-passing, and it's usually mixed race white-passing or mixed race white-pleasing, what I call white-pleasing, uh, Filipinos that popular culture suddenly becomes interested in us, right?   [00:16:45] And that's what we see in a show like The Cleaning Lady. In the next few months, I think Jo Koy, uh, is going to have a movie called, um, I think it's called Easter Sunday. And again, Jo Koy, very Filipino, right? It, it's ingrained in his comedy. But what makes, what allows his fame to happen in the United States is that he's very white-passing and white-pleasing, very different from someone like a Rex Navarette, whose career is much longer, right, than someone like a Jo Koy, right? So there's definitely colorism at play, right? But when we're looking at the intimate spaces, the way colorism plays out in the Filipinx community, it's the lighter skinned Filipino discriminating against the darker skinned Filipino. In the Asian American community, it's the Chinese person discriminating against the, the Cambodian person, right? So there, there's these different levels of, of colorism at play. Colorism, um… It's important to know that colorism is the discriminatory system that makes anti-Black and anti-Indigenous racism exist. It actually maintains anti-Black and anti-Indigenous racism. And the reason why this is important is, one, when we look at anti-Black racism, and you, you're hearing this a lot, you know, um, either in academic circles or even in, uh, sort of, um, more popular conversations. I feel that it's important to talk about anti-Black racism in conjunction with anti-Indigenous racism because they happen hand in hand. And when we look at the founding of the United States, for example, the founding of this country happens through the genocide of Indigenous peoples as well as the enslavement of African peoples. So they're not separate. They come together. And so when we're looking at colorism, the system of colorism, right? Colorism is what, is what allows anti-Black and anti-Indigenous racism to exist Um, what makes, um… And, and, and we see this through the different, uh, colonial periods of the Philippines. There's something very distinct about colorism in the Filipinx community, and it really has to do with our, um, our, our colonial history.   [00:19:25] And so on the worksheet, there's just a very sort of like quick and dirty kind of list of like these three major periods of colonization in the Philippines. What I really wanna ta- uh, point to is the role of the Chinese throughout these historical periods in the Philippines. Because, um, typically when you talk about colorism, uh, colorism is most prevalent in, um, the African American community and the Black diaspora. But there's something very distinct about Filipinx colorism, and it's that our notion of lightness is defined by Eurocentric standards of beauty, right? And this is because of Spanish colonization. But it's also defined by Chinese standards of beauty or East Asian standards of beauty, and this is because of the positioning of the Chinese throughout these colonial periods. Because the Chinese, um, historically were the, um, were the merchant class, they were often elevated above indigenous Filipinos, right? And so that's why today in the Philippines when you see people who are in power and you look at the mixed race or mestizo, you know, uh, the mixed race people who are in power in the Philippines, they're often, uh, mixed race Chinese, right? And that's because of the, the legacy and the presence of Chinese in the Philippines. And so it's, um, it's, it's the history of the Chinese in the Philippines, th- these notions of Chinese lightness that really make colorism in the Philippines and among Filipinx very distinct. Uh, it's a very distinct conversation.   [00:21:14] Um, uh, I wanted to pause and say if you have any questions or if I'm going too quickly, feel free to, you know, put this in the chat, and I will try to address it, um, as I go along. Um, in– At the beginning of the talk, I asked how many of you were told, “Don't stay out in the sun.” And for those of you who said that you were told this, by show of hands, how many of you heard this in the context of family? How many of you were told this in the context of friends or any other intimate, uh, setting? ‘Cause oftentimes these messages are circulated among the family. And so When w- uh, and again, like colorism, you know, relative to racism, colorism has a very… There is this intimate aspect because oftentimes how we understand our own value and our own self-worth has to do with the messages that are articulated in the family, right? So, uh, one of the interviews that I had conducted, uh, was this, with this woman who when I conducted the interview, this was in the Philippines, and she worked in the entertainment industry in the Philippines. And she, um She, uh, had talked about how her lola would address her and her cousins. So the woman I interviewed, very light skin, light eyes, light hair, and that's why she's an entertainer in the Philippines.   [00:22:47] She's a model, and at the time she was hosting a television show. And she said that growing up, her lola always called her Miss Universe, right? And it was because of the way that she looked. Her lola would call her cousin, who was, um, like Spanish mestiza, sh- so, uh, this person who I called Tyler, Tyler was Miss Universe. Her cousin was Miss Philippines 'cause she was mestiza, and then Tyler's sister was Miss Cebu. So here, you know, like… And this is very blatant, and I'm not saying that all families are like this, but here you have this very explicit example of, a lola articulating the differences between these three young girls. Queen of the universe, queen of the Philippines, queen of the province. And in her interview, Tyler had said, “Yeah, it was very clear that Lola had her favorites, and it was in the way that she designated you in this spectrum of, like, these sort of beauty queen titles,” right? In another interview that I had, uh, conducted there, and this was an interview here in, um, the United States, uh, I- in the research I called her Milen. Milen talked about how whenever there was a dance or prom or something like that, there was this whole process of, you know, her and her brothers having to go to Lola's house so that Lola could see, you know, what everyone was wearing and that there could be pictures. But what was very clear was, um, Milen's youngest brother was clear…   [00:24:29] You know, her words were, “He was clearly not a favorite,” and this was largely because he was darker. He was often omitted from the photos. Um, Lola didn't really care about what he was wearing and things like that. She always put attention to Milen, who was very light-skinned, uh, and her two brothers who are also very light-skinned. So there's a very central role in which the family plays in how we understand, um, colorism and how we understand personal value And so as I was, uh, exploring this, uh, in sociology there's a term called the beauty cue, and the beauty cue is a system of classification. It's a societal system of classification that classifies women from lightest to dark to, you know, from most valuable to least valuable. And so what I did using this theory that Margaret Hunter had wr- uh, she wrote about, I added to this conversation by talking about the intimate beauty cue, because the beauty cue itself is about a societal, uh, a societal structure, but the intimate beauty cue is how we understand our value, how our notions of beauty are created in the most intimate spaces.   [00:25:47] And the reason why this is important to look at is because I think each and every one of us can, um, we can look at the TV and we can look at societal messages and say, “Yes, that's how society understands beauty, but that's not me because I'm my own person.” But in the intimate space among family and friends, when you're getting the messages that you're not beautiful or you're not valuable and it's coming from an unconditional love space such as the family, therein lies the problem and why colorism is such an intimate issue, because these are messages that are articulated by people, usually by people that you love or by people that you're closest to.   [00:26:35] There is a gendered aspect to colorism. Women in families are often seen as being more responsible for, um, you know, for beauty or engaging in beauty practices over men. However, men do… You know, like, there is some pressure for men Uh, when we look at colorism in popular media, again, in the US sphere, the few chances we get to see Filipinos or Filipinx in popular media, they are oftentimes light-skinned, mixed-race people, such as, and again, the example of, um, The Cleaning Lady. We have the example of Jo Koy and his future projects. It's not until we get into the independent sphere that we can see more variation. But when major institutions such as, uh, a Fox network or Netflix is trying to introduce a public to the Filipinx community, they're gonna go with what they feel is safe, and it's usually someone who's light-skinned, someone who is white passing, someone who's white pleasing, right? You know, there is something about, uh, the way in which popular media uses the mixed-race person or the mixed-race body. When you look at skin-lightening advertisements, oftentimes it's a mixed-race person that is being used to model such products. Uh, this is over t- I think it's over 10 years ago now. Um, there is a company in the Philippines called Glutamax, and when they launched their line, they used a mixed-race, um, Black Filipina model named Jinkee Oda.   [00:28:27] And what they did was they showed the sort of before and after, and one of the taglines in the advertisement in Tagalog, it said, “You could be white like me,” because it showed this progression of her being dark-skinned and then being light-skinned. And again, like, here for this particular, um, product, you're seeing the usage of, um, you know, that, that progression. It harks to very old, uh, beauty advertisements that, um, sold products specifically to Black women, um, you know, especially skin-lightening products to Black women. So there's, there's a way in which the mixed-race person is often used to sell beauty, to sell product, to sell, to sell us our notions of, um, lightness Having said that, I'm not trying to demonize the mixed race person. I, you know, I, I don't think it's fair to, um, I do not think it's fair to, for example, um, boycott Jo- Jo Koy because he's so fair, right?   [00:29:35] Or, um, yes, I love that comment, how we lift up Olivia Rodrigo, but our love for her or Saweetie is very, is, it's fairly limited. Exactly. You know, um, you know, like, I, I don't want to attack the person, but if you're light, you cannot… You, you have to recognize the amount of privilege that you have, right? Um, and then when we're looking at skin lightening products, again, like this is a global, um, this is a, you know, a multi-billion dollar global industry. Um, in 2018 it was valued at 8.3 billion. 2022, those numbers have gone, have gone up. Um, and as of late there has been a lot of talk about, uh, skin lightening products for various reasons. Globally it's because that market is so high, but here in the United States this has become an issue because skin lightening products and the usage and sale of skin lightening products has actually reached our policies.   [00:30:41] So for example, uh, the CARES Act. Um, because of the work of… Excuse me Because of the work of Ilhan Omar in the CARES Act, what, um, what was able to happen was the enforcement of the usage of a particular ingredient called hydroquinone. So this ingredient, uh, it's a derivative of mercury, which is very harmful to the skin. Um, this is a very popular ingredient that is used by a lot of, uh, skincare professionals. Now there's an enforcement about how you can buy or have access to this particular, uh, ingredient. So skin-lightening products and the, the conversation about skin-lightening products has been a huge issue as of late. Um, I wanna end with two thoughts, and it's this. I want you to, to reflect, and I know this was a lot of me talking. I want you to reflect on the way in which we articulate ideas of colorism on a daily basis. I want you to think about, you know, just, uh, a few weeks ago, for those of you who may have gathered with family, what are the ways in which you've heard these, you know, certain ideas about colorism articulated? It's often, “Oh, this, uh, this person is so beautiful.” Sometimes there's a comparison of children. Sometimes when you're greeted by the people you love, there's comments about, oh, how dark or light you've gotten. Um, included in the conversations about colorism is body size, how much weight you have or have not lost. You know, um, the, this is all part of the c- colorism conversation. There's a daily… There's a way in which we articulate ideas of colorism on a daily basis. I want you to reflect on, um, the beauty practices that we engage in, you know? If we… You know, like, if I dye my hair blonde or if I wear, you know, green contacts, what is my reason behind it?   [00:32:50] Is it because I want to engage in a sense of play? Or is it because I'm trying to escape a part of my identity, right? These are, these are important questions for us to ask because these are the daily, everyday ways that we, um, sort of, we contribute to these ideas of colorism. Um, and that, um, I believe is connected to the everyday practice of anti-racism, right? Um, you know, it's important to understand that, like, there's no end because, you know, with respect to colorism, this is a systemic issue. And so what we have to do is tackle it piece by piece. Sometimes it's about the practices that we engage in, uh, individually, but it's also about the way in which we engage with the people around us. With respect to colorism, because it's so intimate, right, it's about having the hard conversations, um, with the people that we love the most, right? Our friends and family    [00:33:55] Dr. Robyn Rodriguez: Thank you so much. Thank you so much, Dr. Randilia. You know, I actually have a, a question. I'm wondering, Jo-Ann, do you feel, especially with increasingly more, um, kind of mixed race, uh, especially kind of Black and Filipinx, um, figures, um, you know, uh, in popular culture, is your sense that there is a shifting around colorism, um, or not?   [00:34:28] Dr. Joanne Rondilla: I think that there's small shifts, right? So I think of, uh, for… And I'm looking at the com- the comment, the Magandang Morenx, and then also, you know, we, we do have like, um, you know, the, the Black and Filipinx sort of mixed race entertainers like her and Saweetie. Um, also, uh, there's some no- notable athletes that are Black and, um, Filipinx. Like, I think of, I think of their popularity as moments as opposed to actual, like, movements, right? And the reason being is because white supremacy is so prevalent, it's going to take so much to dismantle that system, right? The magnitude of, of white supremacy is, is beyond anything that we can, you know, like, we can quantify, right? And so, um, I, you know, like, so I, I think of, uh, I, I think of something like the Magandang Morenx movement, I think that they're important. I, I think of them more as moments because… And it's not because, uh, they're not powerful. It's because white supremacy is just so prevalent, right? Um, and so, and I, I don't mean to be the pessimist in, in that, you know.   [00:35:50] Um, I think the way that we, the way we move forward is to do the heart and soul work, right? To do the anti-racist work, to recognize the ways in which, um, we contribute to anti-Black and anti-Indigenous racism, but to make the conscious decision that this is gonna, like, I, I'm going to work towards eradicating it e- while knowing that eradication may not happen in your lifetime. And I'd hate to be the pessimist. It's not gonna happen in our lifetimes. But our jobs right now is to plant the seeds towards that vision, right? It's to plant the seeds to make these moments the actual movement, to make it so overwhelming to white supremist systems that white supremist systems have no choice but to go away. But it takes so much, um, so much seed planting. Um-    [00:36:49] Dr. Robyn Rodriguez: So Joanna, it looks like there's two questions that are sort of interrelated, and both, I think you probably saw them, um, kind of connect with concretely, you know, some ideas around or strategies around addressing, um, both colorism and anti-Blackness in the intimate space of the family or among friends, et cetera.   [00:37:10] Dr. Joanne Rondilla: Okay. Think that is an excellent, uh, question and something that I have grappled with and, you know, is very close to my heart. The first thing I'll say is there's no easy way to bring this up with family and friends, right? Especially, you know, um, in our families, especially in our respective families. Um, how… I mean, you know your moms and dads, you know your lolas. You, you know them, and you know they're hella stubborn, right? Like… And so the advice that I have is this: It's impossible to change someone's mind. What you can do is model certain behavior, right? What you can do is model certain language, right? And that alone will speak volumes- Yeah because you are not gonna change, you know, maybe you're not gonna change, like, your lolo or lola's mind. But the people around you are listening. And so here, here's an example, right? Um- W- uh, for me, e- especially in, like, having these conversations with my mom, because she's very much the driving force, uh, for a lot of the research that I do, you know, um, I know my mom, and I know that if I make her feel like crap, like if I make her feel stupid or if I make her feel like, um, what she's saying is old and antiquated, I, I know that I'm not gonna get through to her.   [00:38:36] So what I had to do with my mom was event- was create a love language of understanding, right? Because by creating a love language of understanding the ways in which, like, some of her comments have hurt me, when I started to actually honestly articulate my pain, it's not that my mom let go of some of these ideas, but she started to create an understanding of the impact of her words. And what that did was it changed the way she would… Like, she wouldn't say the things she would say. She wouldn't tell me how dark I was. She wouldn't make comments about, like, me being fat or whatever, right? Because she understood, she understood the impact of that. And as I started to, to realize, like, okay, we may not come to an agreement, but there's a love language that we can speak to, that's how I started seeing changes in, in the way that we interact, right?   [00:39:33] Um, and so you can't change someone's ideas, but what you can do is plant seeds and sort of, and really stand your ground in terms of how you feel about certain ideas, right? But you have to do that in a love language 'cause Filipinos, the language we speak is love, right? So that, I, I think that's, that's what's important. It- You have to understand that you may not change someone's mind, but you're also making it so that the people around are listening. ‘Cause I see the way that, like, my niece, you know, my nieces and nephews, they had just… They have such a better way of dealing with my mom when she would say terrible racist things, right? They had a better way of communicating with her and articulating their, their frustration and their anger, and it would change. It may not have always changed my mother's ideas, but it definitely changed her behavior, and it changed her consciousness, and I think that that's all we can really do, um, is develop that love language.   [00:40:39] Dr. Robyn Rodriguez: And if I may, if, uh, if I can just also add, you know, I, I, I think what you said is absolutely spot on and really resonates, um, Joanne. And, and I would add also, I think that there's something, um, really important about how these broader social movements can also-    [00:40:55] Dr. Joanne Rondilla: Mm-hmm …    [00:40:56] Dr. Robyn Rodriguez: become so important. I mean, so just in my own family, you know, my eldest was, uh, biracial, Black Filipino. And, um, of course, having a biracial, uh, grandson didn't necessarily mean that my mother could also grapple with her own deep anti-Blackness. Um, and it was always a struggle. And, and I agree with Joanne. Sometimes, you know, it is really understanding the particularities of the, of your own dynamic with, with specific intimates in your circle and understanding that certain kinds of lo-lov-love languages open up possibilities for conversation whi- whereas other approaches close off. But I do have to say, you know My mother, you know, is going to be 79. It really took, it took all the movements that happened- Mm-hmm … in response to the George Floyd murder, it took all of the movements around anti-Asian hate for my mother for the very first time, and this is some- You know, I'm her daughter. I've been teaching around race and talking about race. I, you know, I, I produced a biracial grandson for her, right? Um, and it– we could never have real frank conversations about white supremacy, could not really touch it, you know? There was a way that my mother didn't want to, to name white supremacy as something that actually shaped her life. And, you know, those are really com- there may be complicated reasons for that, but being able to name that was always really, really hard. Talking about anti-Blackness was hard. But all of those movements did something for her, and it shifted things in ways that I thought w-were going to be impossible at, by the time- Yeah you know, in her period of life. And not only did she– was she able to have some real kind of honest conversations, but she actually became a kind of advocate, and then used her own platforms to start conversations about white supremacy, um, and kind of race in our community. So I guess that's to say that it's not entirely hopeless, you know?   [00:42:57] I think- Yeah … it is true change can be slow. It can be incremental. It comes in these gentle kinds of ways, um, over time that require a lot of love and patience. And couple that with, I think, also kind of these movements that are also equally invi- uh, important to grow, um, that together that you can see change is, is really absolutely possible. Um, so, you know, just to kind of share that. But it, it is. You know, it's so hard 'cause even within a family where there are biracial, uh, family members, right? It– that isn't itself even going to necessarily change even when they have, right, a loved one, um, that ought to be- Yeah … challenging that for them.   [00:43:44] Dr. Joanne Rondilla: Yeah, absolutely. And I think, too, um, you know, another thing that helped me, especially, you know, like with my mom… So when I did the research, I did spend some time in the Philippines, and my mom came with me, right? So seeing my mom's very light-skinned, um, you know, uh, Filipina navigate the Philippines. And so I just wanna say for the record, I know I look really light, and it's because we're in COVID, and your girl has not had some sun, okay? Like just, just so that… ‘Cause I'm looking at them like, “God, yeah,” like I know I look light. I swear, you know, I'll show you pictures. But, you know, um, I, I didn't– At the time when my mom came with me to the Philippines, I did not realize how important it was for me to observe her in the Philippines because I was able to get these glimpses of my mom before she was a mom, right? And I was able to understand, like, okay, like… So one of the sort of things that I learned was, like, all these hurtful things that, like, my mom would say to me about the way that I look and what have you, I learned that part of the reason why she leaned in so hard to, with me is because when we would travel, you know, like go around to, like, malls or whatever in the Philippines, people would always tell her, “Oh my gosh,” like, “your daughter looks just like you.”   [00:45:09] And, like, if my mom were sitting next to me, and you can see this in, like, uh, photos with the two of us, like she's very vanilla, and next to her I look like burnt caramel. And I think that there was something about the embodiment of my body size, 'cause I'm big, you know, and, and my, my darker skin tone. It's almost like I was the physical embodiment of everything that she had feared and everything that she was told you should not. And for her, it was confronting, like, I gave birth to this, to this person who's everything that I, you know, that I was told was wrong, right? And so I think I, I… You know, like just watching her navigate, I began to understand, like, the context in which she was raised. I, I started to understand the messaging that she, uh, was, was given. Because when I finished the dissertation, I, I felt like I finished the dissertation at a place where I could actually forgive my mother for all the things that she would say about me. I c- I could forgive her for, like, the comments that she would make because all those things that she imposed onto me was a product of her own pain, and I was able to have something that she did not have, which is a sense of healing. ‘Cause until her very last breath, she was so trapped by these notions of beauty. She was so trapped by needing to be beautiful because this was the constant messaging that she was given, right? And so What we can offer, you know, and the way that we, um, the way that we engage in our sense of healing, especially with the people that we love, really comes down to I know that when my mom left the world, I planted all the seeds that I needed to plant in her, right? I know… Sorry. I know that I have this healing, something that she could not have. I know that her grandchildren don't have to suffer the pain that she did. So I think understanding our family, right? Understanding, like, um, you know, uh, the people, our family and friends, understanding them in that respect, putting into context the reason why they do the painful things we do, choosing how w- choosing the way in which we heal from the things that they did to us, that's all we can really do, right? And all of this, I think, and I'd hate to sound so cheesy but all of this is encased in, like, this deep, profound sense of the love that we have for ourselves, the love that we have for each other. In the midst of confronting immense colonial legacies that time and time again tell us that we are not worth it, right? If we can find that light, and if we can find that value, and if we can share that value with the people around us, that's all we can really do.    [00:48:20] Dr. Robyn Rodriguez: Joanne.   [00:48:25] Thank you.    [00:48:26] Dr. Joanne Rondilla: Sorry about that.    [00:48:27] Dr. Robyn Rodriguez: You don't have to apologize. I think that's one thing about this space, Bulosan's space, the School for Liberating Education, is we all do this out of deep, deep, deep love, right? That that's the whole purpose- Yeah … of being able to host, um, share s- to create space like this, to share space like this. Um, we all know, um, people like you, me, uh, those of us who chose this path into academia, we didn't do this because we wanted to produce knowledge for an institution that wasn't built for and by us.    [00:49:00] Dr. Joanne Rondilla: Mm-hmm.    [00:49:00] Dr. Robyn Rodriguez: But it was precisely to produce knowledge that could heal and liberate our people. Yeah. And so, you know, so appropriate for you to feel all of those feelings, and that's why it was so important to have you here, because this is such, uh, for so many of us, a deeply, deeply hurtful kind of… We s- we struggle with this, and I think what I-    [00:49:25] Dr. Joanne Rondilla: Mm-hmm …    [00:49:26] Dr. Robyn Rodriguez: What's so valuable, what you bring to the table is it's so much more complicated than the colorism. There are all of the ways in which colorism intersects with class, intersects with body. I, I mean, you know, even the whole notion of, like, the magandang morenx. I mean, you know, that there are even these fine distinctions that exist in the Philippines about the morena mestiza. You know? Like, that was, like, the, the way that I would get, like, weirdly, like, sideways complimented. Like, “Oh, she's a morena mestiza, though,” you know? Mm-hmm. What does that mean? But, you know, our bodies, um, are subject to such scrutiny within at least that context, and even in this context, right? We're constantly dealing with… We're actually dealing with multiple contexts, right? Contexts, Filipinx folks in the diaspora, where our bodies are subject to examination and evaluation- Mm-hmm … every single day, and we subjected ourselves also, our bodies to- Yeah … these valuations all the time. And, you know, um, and we do this work because we're trying to find, you know, a way out, right?   [00:50:29] A way, um, to heal all those, um, bits of hurt and brokenness and, you know- I mean, thank you so much, uh, Joanne, for not just sharing your amazing research, but also your heart with us. And I think I can m- I can feel that, um, people came away with, uh, from today with just that much more, um, just healing. And, you know, that's the point. That is why we do what we do here. Yeah. Um, uh, that's why we created, uh, the Balosan Center and, um, why I launched the School for Liberating Education. Um, this is the whole, this is the reason why we do this. And so I, with that, I do wanna thank everybody for joining us, um, and, you know, really invite everyone to continue to follow, uh, the work, um, that we're doing at the Balosan Center, what we're doing at the School for Liberating Education.   [00:51:27] The next major thing actually is next week. So my next book is coming out, um, on Asian American activism. Uh, it's actually really cool to talk about coming full circle, Jo-Ann, because basically this is a collab between our professor, our old professor, um, when we were undergrads at UC Santa Barbara, Diane Fujino and I, um, ended up collaborating on a couple things, and this is the latest collab, which is a anthology on Asian American activism. And one of the things I'm doing is launching a mini course, um, on Asian American activism, uh, that's based on the book, but also stuff I've done, um, on activism. So next week, I guess on Thursday, we're officially launching, um, the, the new, uh, the registration for the new course. And so we're launching it with this conversation I have with, um, Art Nagin Concordia, who is the godfather of ethnic studies in the K through 12 system, basically the ninong of ethnic studies in K through 12. Uh, was one of the key authors for the ethnic studies model curriculum and does m- uh, ethnic studies work at Santa Barbara, actually, also with Diane. So anyway, um, that's coming up next week. But do keep following, um, you know, the, the work that we're doing. This is, uh, you know, such important work, um, supporting our scholars and our artists, our community historians. And again, thank you so much, Jo-Ann. Yeah, no. I really think we have our real, real conversation. ‘Cause one of the projects I always wanted to do is, uh –    [00:53:09] Dr. Joanne Rondilla: Yes.    [00:53:09] Dr. Robyn Rodriguez: No, thank you … a podcast that gets real, real, like real, real. Yes. Like, let's really talk about-    [00:53:13] Dr. Joanne Rondilla: Just so you know, you're- … those    [00:53:14] Dr. Robyn Rodriguez: real stories …    [00:53:15] Dr. Joanne Rondilla: you're looking at, like, 25 years- of friendship, so I know lots of, uh, Robyn's secrets. I have lots of pictures 'cause I- Yeah. Oh, my God … was very good at documenting these things.    [00:53:24] Dr. Robyn Rodriguez: You, you did that photo shoot of my… I think you did a before and after of my ja- my, my, my eyebrows.    [00:53:30] Dr. Joanne Rondilla: I have a photo of you, like, in a, in a, like, a face mask.    [00:53:34] Dr. Robyn Rodriguez: Yes. Yes, yes. You can- So- If, if, if I look this good coming on 50- … it's because Joanne taught me about makeup and skincare regimens.    [00:53:46] Dr. Joanne Rondilla: Well, I'm gonna, I'm gonna launch a course on my skincare regimen.    [00:53:51] Dr. Robyn Rodriguez: Oh my God.    [00:53:54] Dr. Joanne Rondilla: Skincare after your 30s, right?    [00:53:57] Dr. Robyn Rodriguez: No, seriously, I'm about to launch, I'm not, I'm not even joking. I'm totally launching a whole, uh, journey to 50, so y'all can come because I, I'm, I'm, I'm going. I'm getting there. As of next, or the week after next, it's T minus 365 days to 50. So join in the fun. Anyway, Joanne, it's so great to see you. I wish I could give you a big hug. Uh,   [00:54:21] Dr. Joanne Rondilla: well, we'll see each other soon hopefully.   [00:54:23] Dr. Robyn Rodriguez: I can't wait to, like, really break bread with you because- Yes … you know, I always know I eat well when I'm with you. Like, I r- I will still- I still dream about the ice cream, that homemade ice cream you make. Like, nothing compares ever again to the ice cream that I consumed that you make. So thanks again. Thanks everyone.    [00:54:43] Dr. Joanne Rondilla: Thank you so much everybody. Hope to see you. Thank you.    [00:54:58] Miko Lee: Please check out our website, kpfa.org/program/apexexpress to find out more about our show and our guests tonight. We thank 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 produced by Ayame Keane-Lee, Anuj Vaidya, Cheryl Truong, Isabel Li, Jalena Keane-Lee, Miko Lee, Miata Tan, Preti Mangala-Shekar and Swati Rayasam. Tonight's show was produced by me Miko Lee, and edited by Ayame Keane-Lee. Have a great night.   The post APEX Express – 8.27.26. Dr. Robynn's Spitting Fire on Colorism appeared first on KPFA.

In this episode Qiological celebrates its ninth anniversary. For nine years new conversations on East Asian medicine and methods have appeared in your podcast feed each Tuesday morningAnita Chopra, our guest from episode 429, joins us again not just to discuss face reading, but to give us a demonstration of how she uses severeal of the basic maps that chart the face.We're also joined by Angela Hunt, the winner of our drawing to appear on this episode and receive a face reading.Listen in for a conversation that touches on mentorship, practice building, being authentically who we are clinical work, a bit of Qiological's backstory, and reflections on the journey that has brought the podcast to its ninth anniversary.

Send us Fan MailWe have guests Dr. Jacques MoraMarco and Dr. Yun Kim on the podcast talking about their book: Walking Your Way to Vitality. Dr. MoraMarco is a fourth-generation lineage holder of Sun Tai Chi, a pioneer in East Asian medicine in California, and Dean Emeritus of Emperor's College of Traditional East Asian Medicine. Dr. Yun Kim is a fifth-generation student of Sun Tai Chi and founder of Emperor's Wellness. Together they share their practical approach to walking, breath work, Tai Chi principles and Qigong, mindfulness, healthy aging and nervous-system wellbeing. In this episode, we cover:• The difference between Tai Chi and Qigong• Three Tai Chi animal walks for balance and healthy aging• The Vitality Walk and its simple mudra and breathing pattern• How mindfulness and counting can quiet a busy mind• The Immunity Walk and nervous system regulation• How backward walking may strengthen the legs and support the kneesI loved this episode and have been incorporating what I have been learning in my morning routine and have been loving it! Check out their book below: https://www.walkingyourwaytovitality.comFind Jess below!Website: Simply Jess Skincare SIMPLY JESS SKINCARE:Each and every product is naturally derived, highly concentrated and most importantly, super performing! Every product was born out of a need to have a truly pure product that met my high standards for efficacy. Subscribe to Our Newsletter! You can take 20% off Your Order of our all natural skincare line with code: PODCAST Shop Now! Favorite Supplements for Health and Fat loss: Click HERE  My favorites are the Power Greens, Digestive Enzymes and Brain Power Favorite Mouth and Face Tape- Use Code JESSICAITURZAETA15 for 15% off Click Here Mushroom Coffee-15% off with Code: SIMPLYJESSSKINCARE15 Click HereEmail Us! jess@learningtoglow.comFollow us! Instagram Tik Tok

東亞文化圈 Dōng Yǎ wén huà quān - East Asian cultural sphere根深蒂固 gēn shēn dì gù - deeply rooted; firmly entrenched觀念 guān niàn - concept; belief; mindset重男輕女 zhòng nán qīng nǚ - preference for sons over daughters; gender bias favoring males輕視 qīng shì - to look down on; to undervalue來源 lái yuán - origin; source以農業為主 yǐ nóng yè wéi zhǔ - to be primarily based on agriculture大量 dà liàng - a large amount; a great quantity體力 tǐ lì - physical strength; stamina勞動 láo dòng - labor; physical work男性 nán xìng - male; man體力 tǐ lì - physical strength; stamina具有 jù yǒu - to possess; to have天然 tiān rán - natural; innate優勢 yōu shì - advantage; strength核心 hé xīn - core; central經濟支柱 jīng jì zhī zhù - economic pillar; financial backbone儒家思想 Rú jiā sī xiǎng - Confucian thought; Confucianism孔子 Kǒng Zǐ - Confucius不孝有三，無後為大 bú xiào yǒu sān, wú hòu wéi dà - “Among the greatest forms of unfilial conduct, having no descendants is the worst.”孝順 xiào shùn - filial; respectful and dutiful to one's parents農耕 nóng gēng - farming; agricultural cultivation族譜 zú pǔ - family genealogy; ancestral record繼承 jì chéng - to inherit; to succeed to祖先牌位 zǔ xiān pái wèi - ancestral tablet社會輿論壓力 shè huì yú lùn yā lì - social pressure from public opinion出嫁 chū jià - for a woman to get married生育 shēng yù - childbirth; reproduction歸…所有 guī … suǒ yǒu - to belong to; to be owned by原生家庭 yuán shēng jiā tíng - family of origin養 yǎng - to raise; to bring up嫁出去的女兒，潑出去的水 jià chū qù de nǚ ér, pō chū qù de shuǐ - “A married daughter is like water that has been poured away” (traditional saying implying she no longer belongs to her birth family)資源 zī yuán - resources舅舅 jiù jiu - maternal uncle把…送走 bǎ … sòng zǒu - to send … away; to give … away財產 cái chǎn - property; assets; inheritance翻轉 fān zhuǎn - to reverse; to transform女兒奴 nǚ ér nú - a parent (usually a father) who dotes on his daughter現象 xiàn xiàng - phenomenon貼心 tiē xīn - thoughtful; caring; considerate民法 mín fǎ - civil law; civil code修正 xiū zhèng - to revise; to amend同等 tóng děng - equal; equivalent財產繼承權 cái chǎn jì chéng quán - inheritance rights; right to inherit property姓 xìng - family name; surname雙方約定 shuāng fāng yuē dìng - mutual agreement by both parties社經地位 shè jīng dì wèi - socioeconomic status職場 zhí chǎng - workplace; professional environment政界 zhèng jiè - political circles; political arena

United States correspondent Todd Zwillich spoke to Lisa Owen about Donald Trump talking up his relationship with North Korea's Kim Jong Un, seven years on from their last meeting. Yesterday the US president vowed to cut back joint military drills with South Korea, criticising the East Asian ally for a lack of participation in the Iran war. The move is seen as an attempt to reheat diplomatic relations with North Korea - but it's raised several questions and concerns for the region.

The Aesthetics of Risk in Franco-East Asian Literatures (Cambridge UP, 2026) is the first book that examines the concept of risk in non-anglophone world literature. Focusing on how risk is produced and reshaped by literary aesthetics, Li argues that risk is a creative rather than negative force in world literature. Instead of disaster narratives, Li approaches risk from the fresh perspective of ludic aesthetics, or playful, gamelike, illusionistic and experimental literary strategies. Comparatively analysing an original selection of texts by modern and contemporary French-Francophone and East Asian writers, each chapter focuses on a particular genre such as the novel, life-writing, poetry, and image-texts. The reimagination of risk in literature is revealed to be closely related to different forms of play such as structured games, masquerade, poetic and intermedial experimentation. Franco-East Asian literatures help us rethink risk in linguistically diverse and cross-cultural contexts, providing a new paradigm for comparative criticism and world literature. Guest Xiaofan Amy Li is Associate Professor in Comparative Cultural Studies at University College London and holds a PhD in French from Queens' College, Cambridge. Her research spans comparisons and exchanges from the 20th-21st centuries between France, China, and East Asia broadly speaking. Her first monograph Comparative Encounters between Artaud, Michaux and the Zhuangzi (Legenda, 2015) re-reads two avant-garde French writers and the imaginative classical Chinese text Zhuangzi through their intertextual, poetic, and conceptual dialogues. Besides her two monographs, she has published extensively on Surrealism, poetry, and literary translation. She is a member of the AILC/ICLA (International Comparative Literature Association) Research Committee on Literary Theory. Host Gina Stamm is Associate Professor of French at The University of Alabama, with research concentrated on the environmental humanities and speculative literatures of the 20th and 21st centuries, from Surrealism to contemporary science fiction and feminist utopias, in Metropolitan France and the francophone Caribbean, with a book manuscript underreview on posthumanist ecological engagement in the surrealist movement. 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

The Aesthetics of Risk in Franco-East Asian Literatures (Cambridge UP, 2026) is the first book that examines the concept of risk in non-anglophone world literature. Focusing on how risk is produced and reshaped by literary aesthetics, Li argues that risk is a creative rather than negative force in world literature. Instead of disaster narratives, Li approaches risk from the fresh perspective of ludic aesthetics, or playful, gamelike, illusionistic and experimental literary strategies. Comparatively analysing an original selection of texts by modern and contemporary French-Francophone and East Asian writers, each chapter focuses on a particular genre such as the novel, life-writing, poetry, and image-texts. The reimagination of risk in literature is revealed to be closely related to different forms of play such as structured games, masquerade, poetic and intermedial experimentation. Franco-East Asian literatures help us rethink risk in linguistically diverse and cross-cultural contexts, providing a new paradigm for comparative criticism and world literature. Guest Xiaofan Amy Li is Associate Professor in Comparative Cultural Studies at University College London and holds a PhD in French from Queens' College, Cambridge. Her research spans comparisons and exchanges from the 20th-21st centuries between France, China, and East Asia broadly speaking. Her first monograph Comparative Encounters between Artaud, Michaux and the Zhuangzi (Legenda, 2015) re-reads two avant-garde French writers and the imaginative classical Chinese text Zhuangzi through their intertextual, poetic, and conceptual dialogues. Besides her two monographs, she has published extensively on Surrealism, poetry, and literary translation. She is a member of the AILC/ICLA (International Comparative Literature Association) Research Committee on Literary Theory. Host Gina Stamm is Associate Professor of French at The University of Alabama, with research concentrated on the environmental humanities and speculative literatures of the 20th and 21st centuries, from Surrealism to contemporary science fiction and feminist utopias, in Metropolitan France and the francophone Caribbean, with a book manuscript underreview on posthumanist ecological engagement in the surrealist movement. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

The Aesthetics of Risk in Franco-East Asian Literatures (Cambridge UP, 2026) is the first book that examines the concept of risk in non-anglophone world literature. Focusing on how risk is produced and reshaped by literary aesthetics, Li argues that risk is a creative rather than negative force in world literature. Instead of disaster narratives, Li approaches risk from the fresh perspective of ludic aesthetics, or playful, gamelike, illusionistic and experimental literary strategies. Comparatively analysing an original selection of texts by modern and contemporary French-Francophone and East Asian writers, each chapter focuses on a particular genre such as the novel, life-writing, poetry, and image-texts. The reimagination of risk in literature is revealed to be closely related to different forms of play such as structured games, masquerade, poetic and intermedial experimentation. Franco-East Asian literatures help us rethink risk in linguistically diverse and cross-cultural contexts, providing a new paradigm for comparative criticism and world literature. Guest Xiaofan Amy Li is Associate Professor in Comparative Cultural Studies at University College London and holds a PhD in French from Queens' College, Cambridge. Her research spans comparisons and exchanges from the 20th-21st centuries between France, China, and East Asia broadly speaking. Her first monograph Comparative Encounters between Artaud, Michaux and the Zhuangzi (Legenda, 2015) re-reads two avant-garde French writers and the imaginative classical Chinese text Zhuangzi through their intertextual, poetic, and conceptual dialogues. Besides her two monographs, she has published extensively on Surrealism, poetry, and literary translation. She is a member of the AILC/ICLA (International Comparative Literature Association) Research Committee on Literary Theory. Host Gina Stamm is Associate Professor of French at The University of Alabama, with research concentrated on the environmental humanities and speculative literatures of the 20th and 21st centuries, from Surrealism to contemporary science fiction and feminist utopias, in Metropolitan France and the francophone Caribbean, with a book manuscript underreview on posthumanist ecological engagement in the surrealist movement. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

The Aesthetics of Risk in Franco-East Asian Literatures (Cambridge UP, 2026) is the first book that examines the concept of risk in non-anglophone world literature. Focusing on how risk is produced and reshaped by literary aesthetics, Li argues that risk is a creative rather than negative force in world literature. Instead of disaster narratives, Li approaches risk from the fresh perspective of ludic aesthetics, or playful, gamelike, illusionistic and experimental literary strategies. Comparatively analysing an original selection of texts by modern and contemporary French-Francophone and East Asian writers, each chapter focuses on a particular genre such as the novel, life-writing, poetry, and image-texts. The reimagination of risk in literature is revealed to be closely related to different forms of play such as structured games, masquerade, poetic and intermedial experimentation. Franco-East Asian literatures help us rethink risk in linguistically diverse and cross-cultural contexts, providing a new paradigm for comparative criticism and world literature. Guest Xiaofan Amy Li is Associate Professor in Comparative Cultural Studies at University College London and holds a PhD in French from Queens' College, Cambridge. Her research spans comparisons and exchanges from the 20th-21st centuries between France, China, and East Asia broadly speaking. Her first monograph Comparative Encounters between Artaud, Michaux and the Zhuangzi (Legenda, 2015) re-reads two avant-garde French writers and the imaginative classical Chinese text Zhuangzi through their intertextual, poetic, and conceptual dialogues. Besides her two monographs, she has published extensively on Surrealism, poetry, and literary translation. She is a member of the AILC/ICLA (International Comparative Literature Association) Research Committee on Literary Theory. Host Gina Stamm is Associate Professor of French at The University of Alabama, with research concentrated on the environmental humanities and speculative literatures of the 20th and 21st centuries, from Surrealism to contemporary science fiction and feminist utopias, in Metropolitan France and the francophone Caribbean, with a book manuscript underreview on posthumanist ecological engagement in the surrealist movement. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/french-studies

The Aesthetics of Risk in Franco-East Asian Literatures (Cambridge UP, 2026) is the first book that examines the concept of risk in non-anglophone world literature. Focusing on how risk is produced and reshaped by literary aesthetics, Li argues that risk is a creative rather than negative force in world literature. Instead of disaster narratives, Li approaches risk from the fresh perspective of ludic aesthetics, or playful, gamelike, illusionistic and experimental literary strategies. Comparatively analysing an original selection of texts by modern and contemporary French-Francophone and East Asian writers, each chapter focuses on a particular genre such as the novel, life-writing, poetry, and image-texts. The reimagination of risk in literature is revealed to be closely related to different forms of play such as structured games, masquerade, poetic and intermedial experimentation. Franco-East Asian literatures help us rethink risk in linguistically diverse and cross-cultural contexts, providing a new paradigm for comparative criticism and world literature. Guest Xiaofan Amy Li is Associate Professor in Comparative Cultural Studies at University College London and holds a PhD in French from Queens' College, Cambridge. Her research spans comparisons and exchanges from the 20th-21st centuries between France, China, and East Asia broadly speaking. Her first monograph Comparative Encounters between Artaud, Michaux and the Zhuangzi (Legenda, 2015) re-reads two avant-garde French writers and the imaginative classical Chinese text Zhuangzi through their intertextual, poetic, and conceptual dialogues. Besides her two monographs, she has published extensively on Surrealism, poetry, and literary translation. She is a member of the AILC/ICLA (International Comparative Literature Association) Research Committee on Literary Theory. Host Gina Stamm is Associate Professor of French at The University of Alabama, with research concentrated on the environmental humanities and speculative literatures of the 20th and 21st centuries, from Surrealism to contemporary science fiction and feminist utopias, in Metropolitan France and the francophone Caribbean, with a book manuscript underreview on posthumanist ecological engagement in the surrealist movement.

Walking may be one of the simplest things we do, but what if changing how we walk could improve our energy, balance, focus, and overall sense of well-being? Ginny sits down with Dr. Jacques MoraMarco and Dr. Yun Kim, authors of Walking Your Way to Vitality, to explore the powerful intersection of walking, breathwork, mindfulness, Tai Chi, and ancient East Asian medicine. They unpack the idea of “vitality”—physical, psychological, and spiritual well-being—and explain why prevention, rather than waiting until something goes wrong, is at the heart of their approach to health. From walking backward to improve balance and body awareness to synchronizing your breath with your steps, this conversation is packed with simple practices that can change an ordinary daily walk. Dr. MoraMarco and Dr. Kim explain several walking styles from the book, including mindfulness walks, Tai Chi-inspired animal walks, and circle walking, while discussing the importance of balance as we age and the surprising power of bringing our full attention to movement. Even counting your steps, noticing your feet hitting the ground, or repeating a simple phrase while walking can help pull the mind away from worry and back into the present moment. Best of all, none of this requires expensive equipment, a gym membership, or an elaborate exercise program. The message is remarkably accessible: start where you are, move more, breathe intentionally, and allow walking to become something greater than simply getting from one place to another. The doctors also explore acupuncture, stress, the body's fight-or-flight response, and why practices like walking, time in nature, community, and mindfulness can help us slow down and reconnect with ourselves. It's an encouraging reminder that one of the most powerful tools for a healthier, more vibrant life may already be right beneath our feet. Get their book here. A huge thank you to our sponsors! Check them out below:  My Green Mattress: Visit www.mygreenmattress.com  and save 15% on your order during their Labor Day Sale. Plus, use code 1000hours for an additional $10 off your cart total when you purchase any mattress. BetterHelp: Visit  www.BetterHelp.com/1000HOURS  today to get 10% off your first month. Quince - Visit www.quince.com/outside and get free shipping and 365 day returns IXL Learning - Head to www.ixl.com/1000hours to get an exclusive 20% savings on your membership Whisker - Take care of your cats while taking an additional $50 off bundles with code 1000HOURS when you shop www.whisker.com/1000HOURS  Muzzle Sleep Tape - Go to MuzzleSleep.com and use code 1000HOURS for 10% off.  Zenni Optical- Go to www.zenni.com/podcast  and use code PODCAST15 for 15% off your first order, plus free shipping on all U.S. orders over $65. Active Skin Repair - Don't forget to put this in your first aid kit! Visit ActiveSkinRepair.com and use the code 1000HOURS to save 20% on all Active Skin Repair products. KT by Knix - Go to www.KnixTeen.com , and use code 1000HOURS for 15 percent off. Learn more about your ad choices. Visit megaphone.fm/adchoices

Bright on Buddhism - Feed Drop - Nihonshi, A Japanese History Podcast - The Assassination of Abe ShinzōJoin me as I drop an episode of my forthcoming 2nd podcast, Nihonshi, a Japanese History Podcast. On this show, we will be discussing topics in Japanese history and diving deep into their circumstances, their context, and their significance. We will talk about who the major players were, what their agendas were, and why they did what they did. Hopefully, by the end of each episode, you will have a better understanding and appreciation of Japanese history, but also East Asian history in general. I hope you enjoy. _________________________________If you like our show and would like to support us, we encourage you to give your money or resources to a worthy cause. We can get through this. Our strongest weapon is solidarity. Stay strong and help where you can. Thank you.Do you have a question about Buddhism that you'd like us to discuss? Let us know by emailing us at Bright.On.Buddhism@gmail.com.Credits:Nick Bright: Script, Cover Art, Music, Voice of Hearer, Co-HostProven Paradox: Editing, mixing and mastering, social media, Voice of Hermit, Co-Host

How do we bridge the gap between Eastern and Western medicine and create a holistic approach to patient care in order to get the best possible fertility results? Today on Fertility Forward, we welcome the founder of NYC Acupuncture + Wellness, Dr. Ting Wu, to discuss her integrative East Asian medicine approach to women's health, fertility, and reproductive wellness. Tuning in, you'll hear all about how research and perception of East Asian medicine have changed over the last decade, her unique approach to HPA (Hypothalamic-Pituitary-Adrenal) axis and how it helps with fertility issues, and more! We delve into how Dr. Wu is working to bridge the gap between Eastern and Western medicine within her patient care and the power of collaboration, before discussing the importance of listening to your own body above anything else when it comes to your health. Our guest even challenges us to do an internal audit of our lives. Finally, and as always, we all talk about what we are grateful for today. Thanks for listening!  

Dr. Richard Gold and award-winning composer Yuval Ron are the President and Executive Producer and Artistic Director, respectively, of Metta Mindfulness Music, a healing music label dedicated to creating intentional music for health, mindfulness, meditation, and wellbeing. Dr. Richard Gold is a licensed acupuncturist, psychologist, educator, author, and one of the founders of Pacific College of Oriental Medicine. Yuval Ron is an award-winning composer, author, and musician whose work explores the intersections of music, spirituality, neuroscience, and healing. Together, they bring decades of experience exploring the relationship between sound, healing, and human wellbeing. In this conversation, we explore their fascinating project The Secret Songs of Plants, which transforms the bioelectrical activity of living plants into musical information. Yuval shares the creative process behind turning these plant-generated signals into fully developed musical compositions, while Richard offers his perspective from the worlds of East Asian medicine, psychology, and healing traditions. We also explore the relationship between plants, sound, listening, and intention, the intersection of scientific observation and human experience, and the possibility of deepening our relationship with the natural world through sound. We discuss Metta Mindfulness Music's broader work creating intentional music for meditation, wellness, and brain health, as well as their vision for the future of The Secret Songs of Plants through performance and education. Join us as we explore plant music, sound healing, deep listening, and the fascinating question of what might happen when we begin to listen more closely to the living world around us. Learn more about The Secret Songs of Plants and Metta Mindfulness Music: http://www.mettamindfulnessmusic.com/ Learn more about Yuval Ron: http://www.yuvalronmusic.com/ Natalie Brown, host of Sounds Heal Podcast, founder of Sounds Heal Studio, Sound Healing Academy Lead Teacher for North America: http://www.soundshealstudio.com/ http://www.facebook.com/soundshealstudio http://www.instagram.com/nataliebrownsoundsheal http://www.youtube.com/soundshealstudio Email: soundshealstudio@gmail.com Music by Natalie Brown, Hope & Heart: http://www.youtube.com/watch?v=hZPx6zJX6yA

Creativity through the lens of an author and illustrator"Being a creative person, you can just do whatever you want."I'm Regina, a Taiwanese American author and illustrator specializing in contemporary Chinese gongbi-style painting, an ancient form of brush painting that depicts narrative subjects in colorful high detail. Using traditional ink and wash techniques in digital painting, my illustrations deliver classic subjects through a modern lens.I did not go to art school! Born and raised in Texas, I've always enjoyed the creative arts, but I didn't learn traditional Chinese painting until after I moved with my young family to Taiwan in my mid-thirties. Holding management degrees from Washington University in St. Louis and Cornell University, I've worked in marketing technology and information systems for the travel and tourism industry. Now, I create stories that celebrate East Asian folklore and philosophy in an accessible way.My most notable creations are the characters from The Oxherd Boy, an inspirational webcomic that started on Instagram. A young boy, his family ox, and a rabbit living in his garden convey the three core schools of Classical Chinese thought: Taoism, Buddhism, and Confucianism. The collection of these inspirational pieces called THE OXHERD BOY: Parables of Love, Compassion, and Community released as a bestseller in 2024, and was followed in 2025 by an award-winning original story for children called Big Enough. Its companion book Little Helper, which expands on the themes and message of community, comes out in May 5, 2026.I'm currently working on The Tao of Nature, an illustrated collection of meditations sharing examples of Taoism found in the natural world.I'm happy to live in Rhode Island with my husband, kids, and our rescue, Yuki.https://reginalinke.com/https://www.hachettebookgroup.com/titles/regina-linke/little-helper/9780316531252/?lens=little-brown-books-for-young-readershttps://www.instagram.com/reginalinkeart/https://www.amazon.com/Little-Helper-Regina-Linke/dp/0316531251/ref=sr_1_1?crid=BIG0S5LGH86Z&dib=eyJ2IjoiMSJ9.StdbX6LzRDwysizeKRnaicEFd1iO9FRyTxknbwF7KBwuWWUve1--byqyGluwDPSHZQ6Og5bbopJVAt7nBQEMY3midUZk3kMGWIJmhkaaWXDqIVGRIqmxod3tFkZpke6eHZGx2OHPQBsf7xOMBA1CeQm2dPafZ7bn4ODkUluJQnH07_VkwSsU0boGG92i0iGJVPwcnFXktKzqfFmHglHiOUvqjwcZXVfJOkEE6ZQDbSs.ronwEfZ7Y_a-A6_K6_K6ud3WIWO6CQ039gQsG1efabU&dib_tag=se&keywords=linke+little+helper&qid=1780427700&sprefix=linke+littl%2Caps%2C974&sr=8-1Send us Fan Mail

******Support the channel******Patreon: https://www.patreon.com/thedissenterPayPal: paypal.me/thedissenterPayPal Subscription 1 Dollar: https://tinyurl.com/yb3acuuyPayPal Subscription 3 Dollars: https://tinyurl.com/ybn6bg9lPayPal Subscription 5 Dollars: https://tinyurl.com/ycmr9gpzPayPal Subscription 10 Dollars: https://tinyurl.com/y9r3fc9mPayPal Subscription 20 Dollars: https://tinyurl.com/y95uvkao ******Follow me on******Website: https://www.thedissenter.net/The Dissenter Goodreads list: https://shorturl.at/7BMoBFacebook: https://www.facebook.com/thedissenteryt/Twitter: https://x.com/TheDissenterYT This show is sponsored by Enlites, Learning & Development done differently. Check the website here: http://enlites.com/ Dr. Christopher Kavanagh is an Associate Professor in the College of Contemporary Psychology at Rikkyo University and a researcher in cognitive anthropology at the Institute of Cognitive & Evolutionary Anthropology (ICEA) at the University of Oxford. His research interests include East Asian religions, ritual behavior, and the bonding effects of shared dysphoria. Dr. Matthew Browne is Professor of Psychology at Central Queensland University. He is a research professor working primarily on psychological and health aspects of gambling. His main expertise is in research methods and statistics, and so he often acts as a consulting statistician assisting other researchers and students.They are the hosts of the Decoding the Gurus podcast. In this episode, we talk about Decoding the urus. We discuss issues with the skeptical and the rationalist communities. We explore the “gurometer”, and what makes someone a guru. We talk about people who have personal grievances with academia. We discuss how certain gurus promote alternative healthcare, diets, and supplements. We talk about the heterodox movement and what it gets wrong. Finally, we discuss the delusions of people like Gary Stevenson and Cristiano Ronaldo.--A HUGE THANK YOU TO MY PATRONS/SUPPORTERS: PER HELGE LARSEN, BERNARDO SEIXAS, ADAM KESSEL, MATTHEW WHITINGBIRD, ARNAUD WOLFF, TIM HOLLOSY, HENRIK AHLENIUS, ROBERT WINDHAGER, RUI INACIO, ZOOP, MARCO NEVES, COLIN HOLBROOK, PHIL KAVANAGH, SAMUEL ANDREEFF, FRANCIS FORDE, TIAGO NUNES, FERGAL CUSSEN, HAL HERZOG, NUNO MACHADO, JONATHAN LEIBRANT, JOÃO LINHARES, STANTON T, SAMUEL CORREA, ERIK HAINES, MARK SMITH, JOÃO EIRA, TOM HUMMEL, SARDUS FRANCE, DAVID SLOAN WILSON, YACILA DEZA-ARAUJO, ROMAIN ROCH, YANICK PUNTER, CHARLOTTE BLEASE, NICOLE BARBARO, PAWEL OSTASZEWSKI, NELLEKE BAK, GUY MADISON, GARY G HELLMANN, SAIMA AFZAL, ADRIAN JAEGGI, JOÃO BARBOSA, JULIAN PRICE, HEDIN BRØNNER, FRANCA BORTOLOTTI, URSULA LITZCKE, SCOTT, ZACHARY FISH, TIM DUFFY, SUNNY SMITH, JON WISMAN, WILLIAM BUCKNER, LUKE GLOWACKI, GEORGIOS THEOPHANOUS, CHRIS WILLIAMSON, PETER WOLOSZYN, DAVID WILLIAMS, DIOGO COSTA, ALEX CHAU, CORALIE CHEVALLIER, BANGALORE ATHEISTS, LARRY D. LEE JR., DAN SPERBER, ROBERT GRESSIS, JEFF MCMAHAN, JAKE ZUEHL, MARK CAMPBELL, TOMAS DAUBNER, LUKE NISSEN, KIMBERLY JOHNSON, JESSICA NOWICKI, LINDA BRANDIN, VALENTIN STEINMANN, ALEXANDER HUBBARD, BR, JONAS HERTNER, URSULA GOODENOUGH, DAVID PINSOF, SEAN NELSON, MIKE LAVIGNE, JOS KNECHT, LUCY, MANVIR SINGH, PETRA WEIMANN, CAROLA FEEST, MAURO JÚNIOR, TONY BARRETT, NIKOLAI VISHNEVSKY, STEVEN GANGESTAD, TED FARRIS, HUGO B., JORDAN MANSFIELD, CHARLOTTE ALLEN, DAVID TONNER, PATRICK DALTON-HOLMES, NICK KRASNEY, RACHEL ZAK, DENNIS XAVIER, CHINMAYA BHAT, RHYS, ALEX MACLEOD, HAIDAR, JULIEN PORCHER, ROBERT SUNDSTRÖM, JON STEWART, JAMES DORLING, AND JULIEN PORCHER!A SPECIAL THANKS TO MY PRODUCERS, YZAR WEHBE, JIM FRANK, ŁUKASZ STAFINIAK, TOM VANEGDOM, BERNARD HUGUENEY, CURTIS DIXON, THOMAS TRUMBLE, KATHRINE AND PATRICK TOBIN, JONCARLO MONTENEGRO, NICK GOLDEN, CHRISTINE GLASS, IGOR NIKIFOROVSKI, PER KRAULIS, ADAM HUNT, AND JOÃO BARBOSA!AND TO MY EXECUTIVE PRODUCERS, MATTHEW LAVENDER,SERGIU CODREANU, AND GREGORY HASTINGS!

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. For this episode of “Obbligato,” a show dedicated to AAPI classical musicians, composers, and scholars, host Isabel Li interviews Indian American composer Reena Esmail, who blends Hindustani musical themes with western classical compositional styles. Music in this episode: – This Love Between Us “Prayers for Unity”: II. [Sikhism] – Lacrimosa (from Malhaar: a Requiem for Water) – Terra infirma: IV. roaming the ghost forest Transcript Isabel Li: I'm Isabel Li, here for a new edition of “Obbligato,” which explores the AAPI community in the classical music world. Today, we're featuring the Indian American composer Reena Esmail and her unique compositions that blend Hindustani music with Western classical styles and how she writes music about religion, spirituality, and even environmentalism. Welcome, Reena, to Apex Express. Reena Esmail: Hey! It's so great to be here. IL: My first question for you is one that's probably a little bit loaded, but how do you identify and what's your story? RE: I don't know, it's interesting because I work in many different situations, and I think I always identify as the thing that isn't whatever the dominant situation is that I work in. Right? So it's like when I'm in America, I identify as an Indian American. When I'm in India, I identify as an American. When I'm working in Western classical music, I'm the person who knows stuff about Hindustani music. When I'm working in Hindustani music, I'm the person who knows stuff about Western music. So really. Actually, I think of identity not as a fixed thing, but as how you, um, delineate yourself, how you're unique in the situation you're in. You know, it's interesting because especially in the case of Asian Americans, Asia is such a broad thing, right? There are so many more East Asians in Western classical music than there are South Asians. Certainly in my generation. You know, I was surrounded by Chinese, Korean, some Japanese people who were always, you know, playing the piano when I was playing the piano. And, um, there really was not many other Indian people. And, you know, I'll, I'll actually say that even within India, um, you know, if you look at me in America, I'm just Indian. If you look at me in India, I have a very unusual lineage, which is that my dad is from the region of Gujarat and his family is Muslim. My mom is from the region of Goa and her family is Catholic. And so because of that, when I was expressing interest in music, My mom was the one who had more of kind of a musical knowledge in her family, even though there's no professional musicians in her family. So because Goa was colonized by Portugal, there is this element of Western classical music in Goan culture. And so because of that, my mom was like, oh, let's give her guitar lessons, let's give her piano lessons. And so that's how I landed up in Western classical music as opposed to doing Indian classical music. Um, so yeah, I kind of went through the Western classical scene. I was very interested in being a pianist. And, you know, I'm glad that I'm glad I'm a failed pianist in all honesty, because I see what my colleagues who are real, you know, professional pianists have to go through. And I just don't think I have what it takes to do that. It's really an intense job. Um, but when I was in high school, um, one of my theory teachers kind of said, hey, you know, you might be a composer. It seems like you think like a composer thinks, why don't you try composing and why don't you try writing things down? and one thing led to another. And basically a year and a half to two years after studying, I got one of a very few spots in the undergrad program in composition at Juilliard. And that was a point where my parents kind of said, okay, you know, we don't know a lot about the music world, but it seems like if she got into Juilliard, she's probably like somewhat good at this. Maybe we should kind of see how this goes. And, you know, from there on, I pursued composition. IL: And when and why did you start to study Indian classical music, which is a big element in your compositions now? RE: Yeah, absolutely. So I think it's interesting because in every generation, I've seen so much change in how the diaspora views itself. And certainly when I was growing up, you know, I know this is hard to believe, but there were not if you were an Indian going to school, you were kind of the only one. If you were an Indian music, you were kind of the only one. So there was this element where when I went to Juilliard, um, there were I to my knowledge, two Indians in the entire school, me and an actress who had actually come from Calcutta. And so people were trying to, you know, make conversation with me and they'd be like, well, you know, do you do stuff with Indian classical music? And I would just be like, no, I'm trying so hard to even write music for orchestra and, you know, string quartet and all the things that my peers are trying to do. Like, is that not enough? Because I'm Indian, I also have to be doing all this other stuff. And so I resisted it for a long time because I was just trying so hard to do one thing well. But then, you know, I think what, what made me kind of unique is that, you know, I stood out, I was Indian and then, you know, when I was young, that felt really cool. The older I got, the more I thought, well, you know, I know I'm from this culture that has incredible music and I know it when I hear it, I know nothing about it, and maybe I should actually pursue it. And so I really separately kind of started meeting Indian musicians who lived in New York, and I would just ask them questions, and I got to know them. And I realized that while we didn't share a type of music, we did share a culture and we did share a love of music because it is interesting that the culture of Indian classical music is actually quite similar to the culture of Western classical music. You know, you study with a teacher over a really long period of time. You're practicing for hours a day. The kind of personality that would love Western classical music would also love Indian classical music. And so I just made friends with some of these Indian classical musicians. And of course, being a composer, I thought, why don't I put them in my music? You know, how do I do that? And so it was really just curiosity that led me down that path. And for many years, that path was very separate. Because again, I know it's very hard to believe now, but there was a time where people really did not want these cultures to be combined, and people just really looked down on cultures that were not, you know, the dominant Western European classical culture. And so I kept them really separate. And even when I started combining them, people were like, oh, that's sweet. She does stuff with Indian music, you know? And it was really not taken seriously. It's only really in the last decade that people have been embracing other musical cultures. And I mean, how glad I am that that's happening. But it was very, very hard fought and very separate at first. IL: And on that note, how do you navigate the unique challenges of composing with both these cultures in mind, but also being situated in the United States, where people come from all different backgrounds? And how do you as a composer approach that in this context? RE: I mean, I think it's interesting because first of all, I am musically bilingual now, so I can. I went to India, I studied Indian classical music. Seriously. I still work with Indian classical musicians very closely. And so, you know, I can be working on a piece that has Indian classical musicians in it, and I can turn to them and immediately speak in their language and their musical language. And then I can turn to the Western musicians and speak in their musical language. So every single piece I write, especially the ones that involve Indian classical musicians. There is a way through those pieces, both through the Western lens and through the Indian lens. And so I think I'm working in a position where I actually do know how to speak both those languages. And when you do speak both those languages, you know, just the way that if you speak any two, you know, verbal languages, you would know that there are sounds that are cognates. And so you're like, oh, I say the sound. So maybe and it means one thing in one culture and one thing in another culture. But you know that that sound is the same. And so with musical language, you can actually use those musical cognates to connect across cultures by saying, just listen for this thing. And when you listen for this thing, interpret it through the lens of your own culture. So that's certainly how I work. But, you know, I mean, again, I want to say that's not the only way to work. I don't think that you have to be, you know, I mean, again, there's probably most people who are listening to this probably have one musical culture and then maybe they know much less about the other musical culture. That is also fine. You know, you don't need to be an expert in order to want to explore and, and love a thing that's just, you know, where I am because it's the, the center of my musical practice. IL: Well, let's hear a selection from Reena Esmail's oratorio, “This Love Between Us.” This is the second movement titled Sikhism. David Hill conducts Juilliard415 with the Yale Schola Cantorum. [MUSIC: This Love Between Us “Prayers for Unity”: II. Sikhism] IL: That was Sikhism, the second movement from the oratorio This Love Between Us by Reena Esmail, who is here in conversation with me today on KPFA for APEX Express. Something that I really found interesting in especially your work — and I'm sure this has been asked many times, but This Love Between Us: Prayers for Unity. This oratorio that you wrote, beautiful work where you use words from the seven major religions of India. And each movement of the choral work is also named after a different religion. In what ways did you adhere to or challenge norms of spiritual music? Because religion is so religion and music are so deeply tied together. How did you challenge those norms or how did you express those norms when you wrote this work? RE: You know, I think it's interesting because my own spiritual background is very kind of multi spiritual multi-faith. But like I said, my, my father is, is my father's side of the family is Muslim. My mom's side of the family is Catholic. My husband is Hindu. All of them grew up in a very singular practice in each of their religions. But for me, I grew up, you know, around my mom and my dad and then, you know, my husband later. And just there's a part of me that takes in the essence of each of these spiritual traditions. And, you know, I'm trying to kind of find what feels true to me in each of those places. And so to me, you know, this love between us is, is a place where I'm trying to essentially say, yes, we express things differently through whatever cultural, uh, history, that language or that that religion emerged through. And yet we're all trying to get at that same numinous thing. And, you know, I mean, I'm not saying, oh, all religions are the same. Definitely not. You know, there's, there's many different ways to practice things. And, you know, your unique way into your spirituality is your own. And that's, that's amazing. But also, we all kind of our cultures form religions for a certain reason, and it's because we want to try to understand things that are beyond ourselves. And so that's essentially what the piece is saying. So I know I'm sure there are purists who are like, you shouldn't be combining these things, but, you know, there's always going to be purists who do that and there's a role for that. But that's not really my role. So, I mean, I picked the pieces and I picked the religion specifically because of the numbers of people who practice that religion currently within India. And so it is like the largest, um, populations, you know, like Hinduism, Islam, Buddhism, all, all of those things. And then there's one little tiny religion, Zoroastrianism. And while they are not, there's not many of them within India. They are the ones who are practicing Western classical music in India. So people like Zubin Mehta and all, they are Parsis that are Zoroastrians. So I thought, you know, it's important to include them too, because it's a piece that involves a lot of Western classical musicians. IL: I'm wondering now, as a composer who's working with music of different languages and religions and origins and also evoking a lot of these spiritual truths that are pretty universal in nature. What is your view on the function of music? There's the platitude that music is a universal language. Do you how to what extent do you agree with that? RE: You know, yeah, it's hard to, to, um, to think of music as a universal language. But I think sometimes we, how can I say this? It's such a broad question. When we are working in a form that isn't completely narrative, it gives us a little more chance to get at things that don't have to follow logically after one another. They're just feelings that we're able to feel. And I like working even when there are words, you know, there are certainly words in all of these, these, uh, pieces in this love between us. But I feel like sometimes we just feel something within us. And, you know, I experience this a lot when I have a piece performed, people will come up to me and say like, oh, this made me feel like this. And then the next person will come up to me and say, oh, this made me feel exactly the opposite thing. And I, I really love that we can have those experiences. And, you know, recently it's been really interesting because people have been asking these questions like interviewers, you know, before performances will be like, well, what do you want the audience to feel? And I'm like, oh, I don't want to answer that question. I want you to feel whatever you feel. There's nothing right to feel. And often, I mean, I'm not the one to ask. I'm so close to the music because when I'm listening, I'm thinking like, okay, was that C sharp in tune? Okay, you know, that's what I'm feeling. And I certainly don't want them to feel that. So I don't know. I think it's, it's just exciting to see how when we get out of these, what we should do this and this is the right thing to do. And this is the only way to do it. Um, how do we behave? And there are so few spaces left where if we don't say exactly the right words at the right time to the right people, you know, if we don't have exactly the right opinions that everyone around us has, We are so condemned and music might be one of the last places that we're allowed to feel whatever's inside of us. IL: Mhm. That's really interesting to think about. I think art in general is very beautiful because it allows people to interpret it in many different ways. I think for your music, you really draw on cultural specificity in terms of Hindustani music. What advice would you give to other young composers or also maybe artists of different mediums in creating that balance between specificity and universality? RE: Yeah, I think the thing is that the way into a deep practice is specificity. You know, I know people have asked me like, oh, you've done stuff with Indian music. Are you going to do stuff with other music? And I'm like, gosh, there's still so much to explore. I could have like three lifetimes and still not explore everything I want to explore just in the relationship between Indian and Western classical music. I mean, goodness knows I have four degrees in Western classical music, and I still am barely scratching the surface of it. Right. So I kind of feel like specificity is important because it allows you to access depth. And yet, you know, when you are specific about a certain thing, um, like for instance, like a scholar who only speaks Italian, I mean, they're going to know more than someone who maybe speaks five words of each language, right? So they can transfer over at a higher level and make more sophisticated points and understand the world with a more universal lens if they've gone really deep on one thing. So I would say, you know, to young composers, to young musicians, pick one practice and know it really, really well and deeply become go as far as you possibly can and then, you know, try to see if you can find relations between your primary practice and a different practice. Um, and I mean, some people, you know, I know in this generation that's coming up, that's like in their teens and twenties, there are South Asian, uh, kids who are here whose parents have come from India that are learning Indian and Western classical music side by side. And I think that's great. I mean, that's awesome. But I would also say make sure you don't just learn halfway. Both of those things, you know, if you're going to learn them, if at least with one thing, try to go as absolutely far as you can. IL: Let's hear another example of Reena Esmail's bilingual musicality with her work, Malhaar: A Requiem for Water, which was recorded fairly recently. The vocalist is Graycen Gardner with the choir conducted by Amy Fogerson. [MUSIC: Lacrimosa (from Malhaar: a Requiem for Water)] IL: Composer Reena Esmail used Indian classical instruments in that work, titled Malhaar: A Requiem for water. The vocalist was Graycen Gardner, with the choir conducted by Amy Fogerson. Percussionist was Rohit Panchakshari. I'm Isabel Li in conversation with composer Reena Esmail on this edition of Apex Express here on KPFA 94.1 FM. So when you integrate Hindustani classical Hindustani music, Indian classical music and those instruments into your scores, did you happen to did you have to develop a way to translate the notation of those notes in Western classical music notation, or vice versa? RE: Yeah, it it begs the greater question of what is notation for? Right? Because notation is essentially a way for Western musicians who read notation to look at a thing and be able to associate sounds with that thing. And so when I'm notating for Western classical musicians, I'm saying, okay, what is a cellist typically seeing and what are they doing based on what they're seeing? And then how can I take that language that they know really well that they play in Bach suites, that they play in Elgar, Cello Concerto, whatever it is, how can I take that language and just move it, you know, a couple degrees outward so that they're able to express different things, right? And so it's very much a psychological thing. You know, it's not a science the way that we think of it as and we learn it as this, oh, you know, eighths and sixteenths, and they divide this way. There's a lot you can do just to make someone feel a certain way with notation. On the other hand, if I'm writing for a sitar or tabla, the question is what? What is the role of the notation? Because the role of the notation for tabla player who has only Hindustani training and doesn't read music. It's certainly not for the tabla player that I'm doing the notation. Usually what I'll do is sit down with the tabla player in a, you know, more Hindustani style and say, hey, this is what I want. I want you to have like six overtones of teental. It should be at this tempo, blah, blah, blah. And they're like, oh, got it. I see what you want me to do. Right? And so all you need to figure out is the alignment points with the Western classical musicians. And so then the notation I put in the score is not really for them. It's for a conductor, for the Western musicians to be able to understand what they are doing and to be able to cue them in and help them kind of be in dialogue to one another. So it's interesting because, I mean, these days now I'm finding that there are tabla players who are both Indian and Western classical trained, and they want a part, but parts are not a thing. When I first wrote This Love Between Us, there were no parts for the tabla and sitar player. I actually had a cue sheet that I would actually point to as they were going, so that they knew, you know, what the different cues were because a part, you know, counting rests and stuff is not going to help them at all. So I think it's mostly trying to understand how is someone perceiving something and how can you give them the information they need in the most seamless way possible so that you can express what you want to express? IL: I love how technical that entire rundown was. I also wanted to talk a bit about your work, Terra Infirma, which is pretty recent. I had the honor of attending the premiere of Terra Infirma, a harp concerto that you composed based on your experiences with the Los Angeles fires in January of 2025. Um, it was such a wonderful work. I personally really loved hearing how you musically depicted the progression of a wildfire from despair to hope. It's also not the first environment based piece that you've written. YYou've written, for example, Earth Speaks in 2015. How do you approach composing works that are so rooted in environmentalism? And of course, have, have the undertones of speaking to the larger climate crisis at hand? RE: The thing that is interesting is, you know, someone was asking me about that piece, you know, you, you're, they're asking like, how do you kind of deal with activism in your work? And I was saying like, you know, I don't really think of myself as an activist because I think these issues are so fundamental to all of us, right? It's like you turn on your tap and you're just afraid that there's only going to be so long before water stops coming up. That's not, um, it doesn't feel like activism. It just feels like, you know, fear and it feels like we're tapping into these human emotions where people are so worried about what's going to happen. We don't really know what to do. And I think, you know, with anything, most people who have fear about things, you're going to just clam up if you feel that it's too, um, too much to deal with. And it is I mean, the environmental crisis is so huge that I think most people are just clamming up. And I guess, you know, what is our role as musicians? I think it's maybe to have some moments where we're not just like on our phones, seeing pictures of things burn down and freaking out where we can actually take some time to just reflect and be with one another. Because if we're going to solve this, it's going to be together and we need to come to some kind of like calm understanding of what is happening. And so a lot of my pieces are not accusatory. They're not, you know, pointing a finger. They're not supposed to rile people up. They're supposed to actually depict that experience of what it feels like to really sit with a hard thing for a long time and come to terms with it and then figure out how to move forward. And that's certainly the case with Terra Infirma and certainly the case with my Requiem. Certainly the case with curiosity, like you were saying, it's from Earth Speaks, which is many years ago. And that piece actually talks about the, the Pasadena institution's. It was actually for an organization called Pasadena Master Chorale. They commissioned the work many years ago. And what's so funny is I now live in Pasadena. I live in Altadena, up in the hills. So it's I wasn't living here at the time, but it is, you know, a place where many scientific institutions like the U.S. Geological Survey, you know, JPL, Caltech, all these places that are really exploring the environment in important ways are based. And so the piece kind of honors that and honors how we can interact positively with our environment. We can get data, we can find ways to do things that are, I mean, beyond my understanding, you'd have to ask a scientist, but but I just love that that we're in this place that sees the environment as something to understand more deeply instead of something that's just going to turn on us at a certain point. IL: Certainly. And I'm really curious, because Terra Infirma is also a work that was paired with multimedia animation and performance. Was there anything in your compositional process that differed when you're collaborating across these different mediums? RE: Yeah. So it's interesting because so the, there was, there were projections that were happening. And also in addition to that, it was a harp concerto, but a harp concerto where the harpist was also playing percussion. And so there were some elements that were so different than what would be typically like if harpist was like, I want a concerto. You would just be like, okay, you know, she sits there, she plays these notes. They're in that one position. That's all fine. Um, there was so much more, you're right with this piece than with, um, with my normal pieces. Um, and to me it's both, how can I say this? There's, there's such a different way I have to think about it, but I think that way starts with collaboration. So Yolanda Kondonassis, the incredible harp player, and Camilla Tassi, who was the production designer. These are people I know well and I've had multiyear relationships with. And so when you're thinking about how to build something, you're totally aware of what their work is like. I knew kind of the not even what Camilla's projections were going to look like, but the way that they interact with things. We've done projects together before. And so I pretty much had the sense of how she was going to respond. And I knew what she needed to know in order for her to do her work and make things kind of match up with one another. And then also with Yolanda, a lot of the stuff I put in that was like harp and percussion together. It wasn't something that I was making her do, right? It were things that we came up with together. We've spent so long workshopping things in percussion studios in, um, you know, we've met in all these different cities and we're basically like banging things against a harp and doing, you know, just so much experimentation. So for every technique you see in the concerto, you, um, you basically there's like ten things that we didn't do that didn't put in. So you're really only seeing the best of all the kind of crazy stuff that we tried. So I do think the thing is that when you're trying to invent something new and you're trying to invent new styles and new techniques, I mean, you can think of anything, but you're trying to find the things that A practically work and B allow the performers and the artists to really express themselves. So I found that I was actually choreographing the piece before I was composing it, um, that I had to figure out, okay, where are these percussion setups going to be? What are the instruments that I want? Okay. Are these chimes going to be like over her head? Or is she going to have to reach really far to get them? Are they going to be near the low end of the harp? Things like that that seem so practical. But the difference between having to reach out far and slowly versus having to like, quickly swat something near your ear, right? It makes a different choreography. And so I thought that way first. And then I kind of put the notes and rhythms and melodies and stuff in. IL: Let's now hear a selection from Reena Esmail's Terra Infirma. This is the fourth movement titled “Roaming the Ghost Forest.” Yolanda Kondonassis is the harpist with the Interlochen Center for the Arts Orchestra. [MUSIC: Terra infirma: IV. roaming the ghost forest] IL: The harpist was Yolanda Kondonassis with the Interlochen Center for the Arts Orchestra, playing the fourth movement of Terra Infirma by composer Reena Esmail. I'm Isabel Leigh, and in this episode of Apex Express, I'm joined by Reena Esmail, the composer, in conversation about her music and her approach to making art. Something else that I really was fascinated with on your on your Instagram account. You actually made a post a while back that I found to be very powerful. It's pinned as the letter to the young artists' immigrant parents. It's such an empathetic message that I also really relate to as a daughter of immigrants in the arts. And you kind of argue that these children's pursuit of the arts is a tribute to their parents immigrant struggles. Um, what motivated you to write this letter? RE: You know, I'm so glad you asked about that because so much has changed since I wrote that letter in a really good way. You know, first of all, I will say that when I wrote that letter, if you weren't a child of, you know, like Asian immigrant parents, you. And actually, I think this is true for most immigrant parents who, you know, have kind of given up everything to move to America so that their kids can explore all these opportunities they wouldn't get in their country of origin. When I first wrote this letter, it was really just, I felt like I was saying something really new. And now I think what's really interesting is that we have both parents who understand this and, um, kind of almost this parody way of seeing what Asian parents are like. Right. For me, one thing that I, that just makes my heart sing is the comedy of Zarna Garg. I don't know if you know who she is, but she is like an Indian American comic and she plays this role of being like this very typical Indian parent. And I will say, my parents weren't really like this because again, they were two different religions and married one another. So they were already quite open minded. But like 99% of Indian parents and even my parents, sometimes they have this thing of like, well, ‘why are you going into this?' Like you should make money, you should do this stuff. And I feel like, um, since Zarna's comedy came into the world, it's such an easy way to just point a finger at that and say, hey, this is what we're really dealing with as Indian immigrants. And, you know, we all just laugh at it. And I find that, you know, sometimes my friends who are just, you know, white Americans who have been in this family has been in this country for many generations. They don't get it. But like anyone who's a child of immigrant is like, oh yes, I completely understand what she's saying. So we have that. And I think that's really healthy and awesome. And she's very talented. Um, and on the other hand, I found that when I was first going into music and I mean, I, you know, when I was 18 and I was going to go to Juilliard, my parents were certainly supportive and curious and wanted me to do whatever they thought I might be good at enough to make a living and didn't want to optimize for, oh, you need to earn the most money or you need to, etc. but most other Indians around us were like, oh my God, she's so smart. Why is she like wasting her life doing music? You know, that was kind of the dominant narrative. And so I had to become very good at explaining why. And imagine my complete disbelief when I would go to conservatory and meet people whose parents had encouraged them to do music. I was like, what is happening? Like, we're like, there'd be four siblings and all of them would be in the arts. And I was like, oh wait, you're not the black sheep of your family. Like, I mean, half of my family, I don't think really knows what I do still even. Right? And so to me, it was so important to provide some kind of context. And like you said, it's like to, to come to this country and be an immigrant and to come with a lot of skills, but to have to just work in silence for so many years with no congratulation, with no one just constantly propping you up. That is what being an artist is. And you know, it's only maybe the past 10 years of my career that I've even been visible to people. Before that, it was just me doing my thing and like, no one cared about it. It was not not glamorous at all. And for me, that's what built the kind of strength in me to be able to sustain the career that I have now. And so I think if it had been a little too easy, I don't know that I would be able to handle, um, the, what I have now. So I think what's great though is that the Indian parents of kids who are teenagers and in their twenties nowadays are not coming to me being like, oh my God, what do I do with this kid who wants to be a musician? I've failed as a parent. Which again, for those of you who are not Asian, this is totally a true thing out there. They will come to me and say, hey, look, my, my child doesn't wants to be a musician. I want to help them. I can't tell like, are they good at this? Where should they be? Can you help me understand things? And that is really what my parents did. And I will, you know, kind of go further to say — PBS did a special on me a number of years ago, and I insisted on putting my parents in this special because I wanted people to see what it looked like to have really encouraging Indian parents who, again, they weren't going in blind. They were. They would go to my teachers and be like, well, I mean, is she good? Can she do this? We don't know what these answers are. Can you help us understand? And they really relied on the right people to be able to help me get to places that they couldn't get, but they also weren't just immediately dismissive of it. And that's what allowed me to kind of have a massive advantage, because I didn't have to also go back to school and do a medical degree. Or like most of my my peers of my age actually did. So I wanted to put them on that special to actually show that that is possible. And I'm seeing more and more that it is. There are many more parents like that now. And oh my goodness, I love every one of them. IL: That's wonderful. When you look back at your compositional career and how everything has changed since then, how do you think your work has evolved? RE: Oh, so you mean like since I began being a composer? IL: Yeah. Or maybe in the past ten years, even. RE: Yeah. It's interesting because I think one of the big inflection points in my work was when I did my Fulbright in India. So before that, I really didn't know very much about Indian classical music. And then the year before that, I really started to get deeper and started to integrate my Indian and Western classical world with one another. And then, you know, I from 2011 to 2012, I went to India and what was so different was actually seeing the music in its culture and actually getting to participate as an Indian in India, studying Indian classical music. Right. Because there's no filter. You're not going through a Western filter. You're just there in this culture. And I know that many of my Indian teachers, they kind of had this attitude of like, look, we don't know what kind of music you were doing before, but we're so glad you're here and studying your own music. And this is great. And so there wasn't this sense of having to go through another culture to get to their, their music. And to me, that really changed things because I don't see myself as writing music. That's one through the conduit of the other. I just see it as two streams that are equally incredible and equally independent, and they just meet each other in these interesting places. IL: And looking ahead into the future, is there an ensemble or an artist who you haven't worked with before that you'd love to work with? Ooh. It's interesting because, like, almost everyone who comes to mind is not a musician. Um, I've worked with so many. I mean, truly, I've been so lucky to work with musicians like Gil and Orli Shaham. Yolanda Kondonassis. I'm writing a piece for Hilary Hahn and Matthias Goerne right now. It's I mean, just like literally anyone who I could ever ask to work with, I have. I don't know. I mean, to me, it's like, gosh, someone like Misty Copeland would be amazing. Like, you know, there are so many actors like the world of Indian/South Asians in comedy and in drama and stuff like that is just incredible. People like Mindy Kaling who have done incredible things to me, people like that are just going outside of just music would be fascinating to me. IL: Absolutely. And I will put a link to your website, as well as the links to the music that will also be aired on this in this episode on KPFA.org, so our listeners can learn more about you and your wonderful work. Well, Reena, thank you so much for your time and thank you for talking to me today. RE: Absolutely. The post APEX Express – 8.06.26 – Obbligato – In Conversation with Composer Reena Esmail appeared first on KPFA.

A version of this essay was published by firstpost.com at https://www.firstpost.com/opinion/from-chanakya-to-ai-india-needs-its-own-management-model-14038647.html/ampIf you interpret the term ‘management' broadly, that is, to include not only the day to day running of companies, but also the bigger picture of governance, leadership, strategy, geoeconomics, and even civilizational survival, the clear answer is that there indeed is a unique Indian style of management.Whether it has been uniquely successful in the past is an open question, and given the ravages of invasion, one may be tempted to say it hasn't been; similarly whether, or how, it is appropriate for today's and tomorrow's needs is another good question.But it is useful to identify what may in fact be the factors underlying such a style of management, and there are likely three reasons: civilizational, cultural, and practical.CivilizationalThe first is perhaps the idea of Bharatiya exceptionalism: that is to say that Bharat exemplifies a singular civilizational thread that goes back to the ancient four-fold Hindu idea of purusharthas: dharma, artha, kama, and moksha. It is a holistic approach, perhaps most evident in the Bhagavad Gita, with its emphasis on ethical leadership and nishkama karma.It is certainly influenced by the topography and geography of the land, Jambudvipa, which has natural boundaries marking its extremities: Bharat, the land between the mountains and the sea.The climate and the rivers and the vegetation reflect a reality of natural abundance: what Rajiv Malhotra referred to when he spoke of the ‘religions of the forest' versus ‘the religions of the desert'. Bharat, in general, had a tropical cornucopia of food, and perhaps that was reflected early in a certain tolerance for not only for other humans, but also for all life.It is notable that among all the lands that were populated early, Bharat was the one that retained its megafauna the best. All other human settlements saw the rapid extinction of large animals. Sustainability, a key mantra these days, was built into the Bharatiya outlook all along.This same generosity was seen in trade patterns in the Indian Ocean as well: from 5,000 years ago, Bharatiya sailors executed cross-oceanic voyages, eastward during the southwest monsoon and vice versa during the northeast monsoon. The trade benefited everybody, as valuable goods were exchanged, in an illustration of the theory of comparative advantage.The infrastructure for trade was brilliantly executed: not only the building of ocean-going ships that plied the Spice Route, and the ability to defend them from pirates, but also the subtler aspects: the “multi-protocol switch” that allowed trading guilds along the peninsular coasts to facilitate trade between say, Romans, and say, Chinese, who had different languages and currencies. Bharatiya traders smoothed the transactions.Furthermore, the venture capital and banking services for the trading guilds were provided by Hindu temples.Pax Indica was benign; for instance, 1,001 years ago Rajendra Chola dispatched a large fleet to open up the Straits of Malacca for trade when the Srivijaya Empire interfered with it. The contrast with the current standoff in the Straits of Hormuz is salutary. Yes, it is necessary to ensure freedom of navigation, and the commons, with deadly force if need be.There was a very real notion of the ‘common good'. For instance, perhaps the greatest intellectual contribution of Bharat was innovation and the creation of Intellectual Property, and then making it freely available to all: not hoarding it for individual benefit.The model was that scholars and intellectuals were frugal, that the State (king or temple) provided for their basic needs, and in return, they produced masterworks over which they, unlike patenting in the western sense, did not claim any rights.Thus you have intellectual giants such as Brahmagupta with his invention of the zero, Panini with his context-free grammar, Madhava with his infinite series for trigonometric functions, and much later Ramanujan who wrote down his extraordinary theorems for all, and JC Bose whose seminal wireless communication discoveries he refused to patent, on principle. In fact, one could argue that the entire idea of “open-source” is a Bharatiya invention.The natural resources of the Indian subcontinent along with the industriousness of its residents allowed for the creation of tremendous wealth; but in the “Guns vs Butter” dichotomy in economics, Bharat neglected to build the guns; which meant that often invaders with guns were able to capture the butter.Management theory suggests that there are only three sustainable business strategies for long-term viability: 1) customer intimacy, 2) cost leadership, 3) innovation. Bharat historically chose innovation, and its native genius may result in the flowering of an intellectual revolution as the effects of impoverishment by conquest begin to recede.CulturalIt is interesting to note that Bharatiyas are different from both Occidentals, (e.g. the Anglosphere) and Orientals (e.g. East Asians) culturally. The stereotypes (with good reason) is that Occidentals are highly individualistic and that Orientals are highly group-oriented. Bharatiyas fall somewhere in between, being fairly individualistic, and gregarious, yet only moderately group-oriented.This has implications for governance. A highly individualistic society needs powerful laws that control individuals, including their tendencies for mischief. Thus, for example, the US is a highly regulated society, and their police are quite capable of unleashing deadly force. A highly group oriented society like Japan has norms that mean children clean after themselves in schools, and that discipline carries over into adulthood as well.Bharatiyas are neither; the net result is that there is a distinction between public spaces and private spaces. While people may keep their homes spotlessly clean, they have no problem littering anywhere or throwing trash just over their walls onto the public street. They also have no problem breaking traffic rules. “The tragedy of the commons” is rife.There is also the cultural memory of shortages and deprivation. Since people have grown up in a shortage economy, there is a tendency to hoard, cut corners, to pay bribes, to find any way of getting a slight advantage over others. Thus the unnecessary pushiness on roads, the inability to queue up anywhere, and especially the unwillingness to let people exit a lift before you enter.This applies to groups as well, as is seen in the “race to the bottom” in the case of the backward, the most backward, and the extremely backward designations intended for government largesse.There is also the unfortunate feeling that a contract is just a mere annoyance, not something that is to be followed to the letter. Punctuality is a small indicator of this: Bharatiyas on average feel justified in being late and casually making excuses. In contrast, both Anglosphere people and many East Asians (especially the Japanese) are punctual, and they can be trusted to deliver absolutely whatever they promise, whenever they promise.Interestingly, Chinese, like Bharatiyas, do not have integrity in terms of keeping promises, which is a problem in doing business with both. In Bharat, there is also extreme reluctance to deliver bad news until the very last minute, for instance the day before something is due to be delivered. This can be very difficult for partners to deal with.Perhaps all this makes Bharat a low-trust society. As a result of all this, doing business in Bharat takes twice as long, and managers need to have contingency plans, and to do intrusive ongoing audits to ensure that things are on time.But there are inspiring counter-examples of community action and high trust. One is the re-greening of the Aravallis with the support of the Tarun Bharat Sangh and Rajendra Singh: a few villages built simple check dams based on traditional knowledge, bringing back an extinct river.PracticalIn addition to the refined heights of the civilizational perspective, Bharat also excelled in the theories of tactical management and even realpolitik. Even though there is a tendency in certain circles to lionize Machiavelli, von Clausewitz and Sun Tzu, it is likely that Chanakya outdid all of them in the single-minded pursuit of strategy and governance, and he wrote his masterwork a millennium before them.Chanakya's ideas of statecraft are notable for their cold realism. He focuses on the creation of leverage and thus power for the sovereign. Speaking of leverage, or competitive advantage, we have seen how China has turned its control of the rare earths supply chain into a weapon; similarly the US has its technology (the recent denial of Anthropic Mythos to all foreigners) as well as its control of the SWIFT network of financial transactions. These can be coercive.Another of Chanakya's supremely rational assumptions is that your neighbor is likely to be your enemy, if not today, maybe tomorrow, simply because of proximity and the resulting irritants. Thus it becomes useful to make common cause with their neighbor.Taking this one step further, you arrive at the Mandala theory of statecraft: a series of concentric circles (for convenience of depiction), where you cultivate your neighbor's neighbors, and also the Far Emperor or udasina (indifferent power), a player outside the immediate neighborhood, but powerful, and who can have a significant impact on your local power politics. Clearly Indian foreign policy has looked upon the US as a Far Emperor; similarly Indian firms may look upon Big Tech companies as Far Emperors in their local struggles.Chanakya does not shy away from the harsh realities of power politics. Matsya nyaya, where big fish eat little fish, is a crystal-clear exposition of the idea that might is right: which we see in contemporary affairs, both business and international relations, on a daily basis. In addition, he recognized that information is the key to advantage (as Big Tech demonstrates today), and as such, he made it a priority to collect data, including through a network of spies. This leads to intrigue, infiltration, and the creation of internal dissent among the enemy.Chanakya's four classic stages of competition are notable: sama, dana, bheda and danda. Of these, possibly the one that is most widely practised today is bheda,the exploitation of internal fault lines within the enemy. With the “million mutinies” in India, such as farmer protests, CAA riots, and the recent ‘cockroach' riots, it is clear that there are “toolkits” in play. There is much information warfare, as seen in relentless bot attacks on Bharatiyas on social media.In modern management terms, India should learn from the successful business models of the G2 powers. The US as a nation, and its big firms, typically use overwhelming force (financial, technological or military, as the case may be) to overwhelm their foes. The metaphor is American football: massive force is a major factor, though tactical misdirection is also widespread.China uses a different tactic. It goes for cost leadership by using state-guided industrial policy to build massive over-capacity in selected areas; with fierce internal competition, this leads to plummeting costs. Then by flooding export markets with cheap products, they are able to destroy local players in those markets. A case in point right now is the explosion in cheap generativeAI Large Language Models (LLMs) that are undercutting US firms such as Anthropic and OpenAI.Thus both powers are using their standard operating procedures in generativeAI: US firms are pouring in hundreds of billions of dollars in an effort to corner the market; Chinese firms (and the state) are collapsing the prices in the market.What should India's business model look like in this context? Instead of going head-on against these large economies, India should find ways to thrive around them: for example, look for ‘white spaces' that are not in their gunsights. But these open areas will change rapidly: an example is IT services, which was an opportunity for 20+ years, but not any more.In generativeAI, a sound Bharatiya play might be to avoid over-investment in foundational models, use (Chinese) open-source models and modify them, for example with multi-lingual capabilities; invest in other areas of the stack such as in vertical applications, for instance in agriculture, or medicine, or governance, or jurisprudence. Bharat can use ‘distillation' techniques to reduce the need for data, and also create Small Language Models (SLMs) in narrow domains, e.g. in Indic Knowledge Systems.There is also the salutary example of the operating system, which is arguably the most important piece of software on any machine, because it controls the entire functioning of the system. But Unix, possibly the most capable operating system ever, was open-sourced as Linux, and is freely available and ubiquitous. On the other hand, Microsoft realized its OS, Windows, was a tremendous distribution channel for third-party applications, and has made its trillions based on it. This is what Anthropic, OpenAI et al are betting on.Will the future of LLMs be Unix/Linux (open source) or Windows? Nobody knows at the moment, and therefore it may be best to avoid that battle, and focus on other layers of the stack, such as applications (higher layers) or hardware and GCCs (lower layers).Nimbleness and innovation are key when you are dancing with elephants. Direct confrontation is a bad idea, as in the metaphor of the tree and the cane from the Mahabharata's Santi Parva, where Bhishma comments on the dialogue between the Ocean and Ganga. He suggests that as canes bend to the river, but trees do not, it is best to yield tactically to superior force.Bharat therefore has to evolve a business model of its own that is sustainable in the long run, and based on its own capabilities. At the moment, a good test case is generativeAI. Another is aerospace, where as soon as ISRO began to offer niche markets to the private sector, there has been a virtual explosion in startups doing interesting things.ConclusionTradition and ancient texts give Bharat a set of management practices and principles that may have within them the basis for a unique business model that can outperform the competition, which at the moment consists of American-style private capitalism and Chinese-style state-controlled enterprises.2300 words, 4 August 2026 This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit rajeevsrinivasan.substack.com/subscribe

The Roundtable Panel: a daily open discussion of issues in the news and beyond. Today's panelists are Joseph Palamountain Jr. Chair in Government at Skidmore College Beau Breslin, Associate Professor of Music at Vassar College. He studies music in American politics; sound studies; East Asian art music; and music in the African diaspora Justin Patch, and Diplomat in Residence at Bard College. She retired from the U.S. Foreign Service in 2025 after over 30 years in public service. Her last post was ambassador to the SE Asian country, Timor-Leste Donna Welton.

Here in Louisiana, intergenerational cooking is a way of life. Who doesn't treasure their great grandmother's gumbo recipe or still use their mom's roasting pan? This week, we talk with two women of East Asian heritage whose families and cultures share that motherly love expressed through food. Local-girl-made-good, Chef Nini Nguyen, grew up among the large Vietnamese population in New Orleans and shot to national prominence on "Top Chef." Nini joins us to talk about her rise to fame, her family, and her publication, "Đặc Biệt: An Extra Special Vietnamese Cookbook," which was named cookbook of the year by NPR. Then, we hear from Sarah Ahn, the social media manager for America's Test Kitchen and creator of Ahnest Kitchen, the website on which she recounts stories of her life and those of her Korean immigrant parents. Sarah's also the author of, "Umma: A Korean Mom's Kitchen Wisdom and 100 Family Recipes." She tells us about her bestselling cookbook, which is also part family memoir and part cultural history. For more of all things Louisiana Eats, be sure to visit us at PoppyTooker.com.

Here in Louisiana, intergenerational cooking is a way of life. Who doesn't treasure their great grandmother's gumbo recipe or still use their mom's roasting pan? This week, we talk with two women of East Asian heritage whose families and cultures share that motherly love expressed through food. Local-girl-made-good, Chef Nini Nguyen, grew up among the large Vietnamese population in New Orleans and shot to national prominence on "Top Chef." Nini joins us to talk about her rise to fame, her family, and her publication, "Đặc Biệt: An Extra Special Vietnamese Cookbook," which was named cookbook of the year by NPR. Then, we hear from Sarah Ahn, the social media manager for America's Test Kitchen and creator of Ahnest Kitchen, the website on which she recounts stories of her life and those of her Korean immigrant parents. Sarah's also the author of, "Umma: A Korean Mom's Kitchen Wisdom and 100 Family Recipes." She tells us about her bestselling cookbook, which is also part family memoir and part cultural history. For more of all things Louisiana Eats, be sure to visit us at PoppyTooker.com.

The doctors and I discuss their recently released book, "Walking Your Way To Vitality, Integrating, Walking, Breathwork and Mindfulness Into Your Daily Exercise." Drawing from decades of experience in traditional East Asian medicine, ai, Chi, Acupuncture, Meditation and Mindful Movement practices. The doctors present a unique approach to walking that integrates breathwork , mindfulness , tai chi , yoga and Chinese martial arts inspired walking techniques into everyday exercise.

This is the Art Life Faith Podcast, and I’m your host, Roger Lowther. I’m excited to announce to you that we just released a new book, Consolations of a Christian by Japanese writer Kanzo Uchimura. Written in 1893, it has never before been translated into English, which is surprising because this is the book that made Uchimura famous, instantly becoming a bestseller and launching his career as a writer. Here’s some backstory for this book. In 1890, the Emperor of Japan issued an Imperial Rescript on Education. Kanzo Uchimura was at that time a teacher in one of the top schools in the country, but he did not bow deeply enough to the Emperor’s signature on the document, for as a Christian, he saw this as a kind of idolatry. However, his fellow faculty members saw this as a huge sign of disrespect, and the press saw it as an act of treason. His name and face were plastered on newspapers across the country. He was fired from his job. His friends distanced themselves from him. He fell into deep poverty. And from all the stress, he got really, really sick, even to the point of death. While his wife was caring for him, she too got very sick, and then she died. This was especially crushing because they were newlyweds, having been married little more than a year. Uchimura hit rock bottom in his life, but rather than giving up, he cried out to God in ink, brush, and paper, capturing the minds and hearts of so many with his uniquely Japanese understanding of the Bible. And his book came out during a time when Christian books were mostly just translated Western authors. This book is fascinating for many reasons, but I can tell you from personal experience that I was greatly encouraged working on this project, and so I know it can be a great consolation and comfort to you as well, and anyone going through a difficult time in their life. Let me say a quick word about the translator. Chris Born is a longtime friend of our Grace City Church community here in Tokyo. First, he came for a year to work on his doctoral thesis on Uchimura, and during that time he and his family poured into the church community, helping with many of the ministries. Then he returned to the States, where he’s the Associate Professor of Japanese and Asian Studies at Belmont University in Nashville, Tennessee. But he recently came back to Japan for post-doctoral research and to write a number of books including this one. Again, he and his family poured into the community, and even his oldest daughter worked with us as an intern, giving piano concerts, leading worship with her playing and singing, and helping out in so many ways. They go back to America this month, and we’re very sorry to see them go. They will be missed. Let me also say a word about the cover designer, created by the immensely talented Emma Grace von Fange, one of the interns who worked with us this summer. She did such a beautiful job getting inspiration from the text and making it appealing while also giving a sense of what we find inside. It’s a very attractive cover and really a work of art. I’m so grateful for her hard work on this project. Recently we had the launch day, and one of the church members threw a dinner party for the event. So I took a few minutes to sit down with a translator just before the party to invite all of you into the celebration. Here’s our conversation. Roger So today is the launch day of Consolations of a Christian by Kanzo Uchimura, translated by Christopher Born, who is sitting right next to me. Thank you so much for being with us tonight. Chris Thanks for having me, Roger. This is awesome. Roger Yeah, so we are meeting in a friend’s home downtown Tokyo. We’re going to have a launch party tonight. Some of us are already here preparing the food, and others are going to be arriving soon. You’re probably going to hear some doorbell ringing… Chris So pull up a chair and hang out with us. Roger I’m just so thankful that it’s finally out in the world as of today, July 13, 2026. Chris Wow. Unbelievable. Roger A lot of time has gone into this, hasn’t it? Chris Yes, from your own kind encouragement for me to follow through and get it done from about 10 years ago when I started it to bringing it to completion just now. It’s been quite a journey, but exciting to be part of it and also be working so closely with an amazing team. Really, you assembled a wonderful cover designer, and you’ve done so much of the editing. Roger She was great. Chris She was fantastic, and you put it together so quickly. I mean, you really have a lot of talent behind this project. You just made it pop and shine. I’m grateful. Roger I really like that about putting out books. It’s not just about the writer writing solo in a solitary room somewhere, but there are a lot of people who are part of the whole project and are excited for it when it comes out. Chris That’s right. It’s a big production team. Roger Yeah. So, how did you get into this project? Why did you translate this book? Chris So that’s a great story for me. I’ve been studying Uchimura since about 2009. When I was working at a seminary, and I was able to take courses while I was working there as like staff. I took a course called Christianity in East Asia because that was always interesting to me. And when I did my master’s in East Asian studies, we covered some tangential aspects about Christianity in the Meiji period and how it influenced social movements, how there was a big missions movement that helped grow women’s education and the YMCA, things like that, but we never focused on Japanese Christian thinkers. So this course was the first time I was exposed to an actual Japanese Christian thinker who not only originated a number of writings but also had his own theological perceptions from a Japanese perspective that he wanted to add to sort of global Christianity. And he really thought that if Japan learned about Jesus and became more Christian, it would be a light to the world. So I thought that was an interesting entryway. Roger Okay, so using Western years, when are we talking about? Chris Uchimura lived from 1861 to 1930. He became a Christian around 1873 when he went off to Sapporo Agricultural College, which is now University of Hokkaido, one of the larger state schools. And when he became a Christian, he realized monotheism was the answer to a lot of his problems because he had such a strong religiosity as a kid and would bow to every shrine and every temple. And as he got older as a student, he really still held on to those beliefs. But when monotheism was presented to him, he really didn’t want to become a Christian. He was sort of pressured into it, but he went along with it primarily because he said, well, there’s only one God I need to worship, then I don’t need to worry about all the other gods. So that I thought was interesting because Japanese are famously known for having 8 million gods or something like that. Roger Okay, so for those who don’t know their Japanese history, this is like the very beginnings of Protestant church planting in Japan. Chris Yes. Roger So he’s one of the first of modern Christians. Chris That’s right. Christianity was banned from about 1609 to 1872. In the interim, in 1859, there was some missions activity but it was kind of underground. Uchimura was a part of the early generation of the different bands. There’s the Sapporo Band and the Yokohama Band and the Kumamoto Band in Kyushu. So these were sort of early Christian groupings. Uchimura was from up north. But yeah, he was active in the 1890s when he came back to Japan. He had studied abroad in America in the 1880s and sort of grew. He was always good at English, but he went to, Amherst College and then went off to Hartford Seminary before realizing— Roger Near Boston. Chris Near Boston, yes. Northeast. In the book, you’ll see a lot of references to northeastern literature and sort of abolitionist thinkers. He loved them. Roger Yeah, actually that was fun for me because I grew up near Boston, so a lot of the things he’s mentioning only people in Boston know. Like Mount Monadnock, a mountain I climbed with my dad. Chris Does it look like Fuji? Roger Well, it stands on its own and it is kind of conical, but it’s really short. It’s not a very tall mountain at all. It’s more like a tall hill. Chris There you go. So even better comparison to how much more grandeur Fuji has, which he keeps referring to. But yeah, he loved the northeast. In his other book that was written in English called How I Became a Christian, or Diary of a Japanese Convert, he talks about his experiences in the northeast. Roger How can you explain why Uchimura is important? Why should we care? That was a long time ago. Chris As one of Japan's earliest modern Christians—I mean, his collected works are 40 volumes. He was an important thinker for the time period. Not only did he write in a Christian vernacular of the time, he attracted a number of future authors who would become aware of Christianity, at least in terms of their own understanding of the world. Even if they didn’t become Christians, they embraced a partially Christian worldview or romantic worldview. So from a literary perspective, which is what my main focus of my academic work was on how he’s an important literary figure, but I knew that he was an important Christian figure. And for Japanese theologians in general, anybody who’s going to seminary knows who Uchimura is and has read him. Now, the reason this book is important is everyone suffers, right? Everyone has a hard time. We get sick. Our wives get sick. People die. People we love are gone in an instant. We don’t know what tomorrow is going to look like. We can lose our job. We can get canceled because of the things we say and do. Even if we’re speaking the truth, we get punished for it. Roger Mm-hmm. Chris Uchimura suffered for telling the truth as he saw it, and he was willing to take that on and be that lightning rod in a society that was quickly becoming anti-Western and anti-Christian. And especially in the mid-1880s when he was still in America, there was a big turn toward emperor worship and connecting the state to religion in a very strong way, and in the 1890s when the Imperial Rescript on Education came out and later the 1891 Constitution, they really pointed to the emperor as the Confucian father of the nation that everyone must worship and obey. And Uchimura’s like, “Look, I respect the emperor as much as the next guy. He is my sovereign, but I’m not going to bow down and worship him in that way.” And as a result, that made him become persona non grata. That turned him into an anti-patriot to like the worst of the worst, the most disloyal of the disloyal, and of course in a Confucian samurai heritage worldview, that’s terrible. Disloyalty is the worst thing, right? So Uchimura suffered as a result of his own public intellectual beliefs, and then as a result, he lost everything, and part of losing everything meant he had to reinvent himself, and so he became an author as part of that process. Roger One of my favorite parts of the book is in the afterword where he’s talking about when he was writing the book and an American missionary, came in and said, so Mr. Uchimura, what are you working on? And he’s like, well, I’m writing this book. And he’s like, oh, what are you translating? He’s like, no, I’m not translating. I’m writing it, my own words. And the missionary was, was surprised and like, how can you be doing that? I mean, because Christianity came from the West, what right do you have as a Japanese to write? That was the attitude of the time. Chris Yeah, it was a very culturally bound enterprise, reproducing Western culture, civilizing the world, so to speak. And many Westerners didn’t think Japan was civilized. They had no idea how civilized it was. Roger Yeah. And you were explaining to me earlier how he was trying to figure out what it means to be Japanese and be Christian because there wasn’t— Chris It’s an identity issue. Roger There wasn’t any literature at that time. They were only looking at translated Western literature. And so he was kind of delving into this to try to figure it out, right? Chris That’s right. When he did become a Christian, the amount of stuff they had at Hokkaido University or Sapporo Agricultural College was so small. The amount of things they had to work with were so small. They were just some tracts, a few— they had a Western Bible, they had some parts of the Bible translated that was still in process, and they had things from many different denominations, so they didn’t know what was what and which one to ally with. And he became a Christian through the Methodists, but in Sapporo you had a Methodist church and an Episcopal church, and he wanted to work with both, and sort of create an independent Japanese church in Sapporo, but there was really no way to do that. They had to make it up themselves. And when the Western missionaries who they borrowed money from got wind of this, they were like, “You have to give us all our money back because you’re not part of us anymore.” So they scrimped and saved and did everything they could to pay it back. So there is this sense that independence, Japanese theology from a Japanese perspective became his life’s work. Roger So Uchimura is part of the birth of the church in Japan. So to me, as a missionary here, it’s especiallyinteresting. This is the first time ever that this book is in English. Chris That’s right. Roger I mean, it was published in 1893. Chris Yes. Roger And it’s incredibly important to missionaries today, and yet there’s never been an English version. And you translated it from classical Japanese. Chris That’s right. Roger So it’s really difficult Japanese. Chris It’s really difficult. It’s a long process of learning to be able to parse all that out. There is a modern translation now, but the original I thought was best to go from and take it from Uchimura’s own words. Roger It uses a lot of characters that aren’t used anymore. You showed me your manuscript, which is a work of art, by the way, all your notes around all of his, all the earlier published version, but like, I don’t even know what to call that. I mean, just various characters that are… Chris Yeah, kyujitai. Most Japanese don’t read it. I was talking to some students earlier today at a campus here, just kind of explaining that this book’s coming out and what it’s about, and I think maybe one or two knew who Uchimura was, and they knew about this fukeijiken or this incident of disloyalty to the emperor, or lesè-majesté as they call it, but they said they’d never read him, and when I mentioned it’s all written in this kind of really classical style Japanese, they’re like, “Yeah, we don’t really read that.” Yeah, I imagine not. He’s still unknown, so we can also help people understand that you can get a modern Japanese translation too, but I think Americans especially who want to know more about Japan at that time and about sort of authentic Japanese Christians and just from the perspective of a very sensitive soul who loves God and is searching for answers to his pain. Roger Right, that’s what I love about this book. He’s not afraid to basically be cry out to God, Why are you allowing these things things? And trying to search for the answers as a Japanese person, not trying to look for pat answers, but asking in his context, really what’s going on, how can I apply to it? And it’s just so interesting? Chris Right? Because one of the most important questions any human being will ever ask is, who is Jesus Christ and why does he matter? Roger Right. Chris And Uchimura knew who he was and why he mattered, but in the midst of this sort of dark doldrums of the soul why Jesus really mattered wasn’t just a nice, you know, it’ll all be okay someday, and just being a Christian makes everything all right. No, it’s like, Lord, you are my God, and I’m imploring you to give me an answer and give me strength and understanding to get through this situation. Roger Okay, so now you touched on this briefly. It’s called Consolations of a Christian. Why is this book important to people who may have little interest in Japan? Chris Sure, well, it certainly is full of what we call classical allusions to both Japanese literature, nature, history, and culture that are written for a Japanese audience. So he wasn’t writing it for us. So as a foreigner looking in on that, we can get a glimpse on the conversation which Uchimura is having with his own people about Christianity. Roger And with himself. Chris And of course with himself, and with God, and all the other little demonic voices that are harassing him. Roger You know, one of the things I thought was really interesting about the book, you’ve mentioned to me in conversation just how there’s a number of places where he lists scripture verses, but he doesn’t print it out. Chris That’s right. Roger And you said it was your idea that perhaps it was because he was wanting people to open the Bible for the first time. Most of the people who read this book were not Christians. Chris That’s right. Roger Because he wanted people who didn’t know anything about Christianity, very few did at that time, to read this and become interested in the God of the Bible. And he really makes that clear at the end of the book, right? Especially on the last two pages. “We looked at different answers throughout this book, but it’s clear the Bible is going to offer these answers that you really are searching for. God has those answers. Don’t stop until you find those answers.” That kind of thing. Chris That’s right. All of his literature points back to that. He doesn’t waver on that one bit. And in fact, he devoted his life to becoming a journalist for a while. He wrote for the Yorozu Choho for about 5 years, which was kind of like a New York Post or a LA Times kind of magazine, a little bit sensationalist but very political. He was the English language editor of that for a number of years until he decided to quit that and start his own work, which was called Seisho no Kenkyu (the Study of the Bible). And it was a magazine that he put out, which was all his own reading, parsing, interpreting the Bible and applying it to daily life. Roger To the general public, right? Not only to churches or Christians, but to everybody? Chris A lot of people were reading this even if they weren’t Christian. They were curious. Consolations of a Christian was a bestseller. And then as a result, he became hired as a journalist, then those copies of Yorozu Joho were also circulating, and then Seishun no Kinkyu as well. So, he really did use the words that he wrote as a way of reaching people in an evangelical way and pushing them to look at the Bible. That’s what all his life was about. Roger Well, this book was very meaningful for me. The fact that he, in the lowest point in his life, that he would turn to writing, crying to God, and trying to bring the nation along with him to cry out to God. He didn’t fall into despair, but he gave that anguish to God. Chris Yes. Roger And that's just such an important message for all of humanity. Chris Yes. Roger You know, anywhere in the world, we all suffer. Chris That’s right. Roger And the fact that he writes a whole book addressing that and trying to help us turn to God through that is so important. Chris Yeah, because the Bible says God draws near to those who are suffering, and we suffer with Christ. But Christ was there with him in that suffering. In that moment, he knew it, but he had to put that anguish towards and use it for something. And that’s what’s really cool. He never wasted the experiences he had. He says it’s not my autobiography, but it’s a record of an authentic person who’s trying to struggle with being Christian. I think that’s gorgeous. Roger So I hope many of you who are listening to this will download this book, either buy the paperback, buy the hardcover, buy the ebook, go get the Kindle. It’s such a blessing that you’ve done this. Thank you so much. Chris Thank you so much for working with me and giving me the opportunity. Roger Yeah, so I guess we better get this party started. Chris Let’s enjoy this gathering around this table in many ways similar to what Uchimura would have done. Roger All right, so thank you for talking with us now. Chris Thank you. Thanks so much. Roger You’ve been listening to the Art Life Faith Podcast. You can pick up a copy of Consolations of a Christian by Kanzo Uchimura wherever you buy your books online. As we say in Japan, “Ja, mata ne!” We’ll see you next time. BUY “CONSOLATIONS OF A CHRISTIAN”

He wasn't an English knight, but actually a Roman soldier, and the dragon didn't appear until centuries later in the medieval period. So what is the origin of the Saint George and the Dragon myth? And why do so many countries - from England to Ethiopia - adopt him as their patron?To sort the fact from the fiction, Dan is joined by Jasmine Elmer, mythologist and author of 'Slay: Ancient legends of female slayers and the hidden mythology of dragons'. They explore the history of dragons from the chaos monsters of ancient Mesopotamia and Egypt to the serpents of Greek mythology, Christian saints' lives and East Asian folklore, as well as the stories of other little-known dragon slayers through history.Produced by Mariana Des Forges and edited by Dougal PatmoreWe need your help! Let us know what you want from Dan Snow's History Hit by filling in our anonymous survey here: https://forms.gle/PvgayWLkWGjYT4St6Dan Snow's History Hit is now available on YouTube! Check it out at: https://www.youtube.com/@DSHHPodcastSign up to History Hit for hundreds of hours of original documentaries, with a new release every week and ad-free podcasts. Sign up at https://www.historyhit.com/subscribe.You can also email the podcast directly at ds.hh@historyhit.com. Hosted on Acast. See acast.com/privacy for more information.

What would happen if your daily walk became a practice for energy, balance, breath, and a clearer mind? In this episode of The MOVEMENT Movement, Steven Sashen speaks with Dr. Jacques MoraMarco, Co-Founder of the International Sun Tai Chi Association, and Dr. Yun Kim, Founder of Emperor's Wellness, who share the movement principles behind their book, Walking Your Way to Vitality. They introduce six walking practices that integrate natural movement with breathwork, mindful awareness, Tai Chi, Qigong, balance training, and traditional walking techniques. Together, they explain how to start with simple, accessible practices and build a regular walking routine that feels more focused, energizing, and enjoyable.  Key Takeaways: → Walking can become more intentional when you add breath, posture, awareness, and attention to your body's movement. → The widely cited 10,000-step target was a marketing concept, so a sustainable daily movement goal matters more than chasing a single universal number. → Mindful walking invites you to shift your attention away from past regrets and future worries and toward your breath, feet, and surroundings. → Mindfulness is not about forcing thoughts to disappear; it is about gently bringing attention back to the present when the mind wanders. → Tai Chi-inspired animal walks can offer accessible ways to improve balance, weight shifting, posture, and fall-prevention skills. Dr. Jacques MoraMarco, a doctor of traditional East Asian medicine, has been a licensed acupuncturist since 1977 and took the first acupuncture licensing examination in California. He apprenticed with See Han Kim, a renowned teacher of traditional East Asian medicine who trained in a monastic setting. He completed his postgraduate work at the École d'Acupuncture in Paris. From 1994 to 2004, he studied Sun tai chi with Sun Shurong in Beijing, China, and is a fourth-generation lineage holder of Sun tai chi. He is a cofounder of the International Sun Tai Chi Association. Dr. MoraMarco is dean emeritus at the former Emperor's College of Traditional East Asian   Dr. Yun Kim is the founder of Emperor's Wellness, a traditional East Asian medicine doctor, a fifth-generation Sun tai chi lineage student, and a mindful meditation practitioner for the past twenty years. A licensed acupuncturist in California, she completed her doctoral clinical rotation at the VA Greater Los Angeles Health System's PTSD clinic and maintains an acupuncture practice in Los Angeles. She earned her Doctor of Education from the University of Southern California's Rossier School of Education. Connect With Dr. MoraMarco and Dr. Kim:Website: https://www.suntaichi.com/ https://www.emperors.edu/  Facebook: https://www.facebook.com/EmperorsCollege X: https://www.facebook.com/EmperorsCollege Connect with Steven:Xero Shoes: https://xeroshoes.com/  Join the MOVEMENT Movement: https://jointhemovementmovement.com/  X: https://x.com/XeroShoes  Instagram: https://www.instagram.com/xeroshoes/  Facebook: https://www.facebook.com/xeroshoes 

This week on Sinica, in a special episode recorded at the Davos On Air booth at the World Economic Forum's Annual Meeting of the New Champions in Dalian, I sat down with Angela Huyue Zhang, professor of law at USC's Gould School of Law and author of High Wire: How China Regulates Big Tech and Governs Its Economy, and S. Alex Yang, professor of management science and operations at London Business School. Angela and Alex — who are also married, and who arrived at this collaboration from opposite ends of the academy — have developed what I think is one of the most useful new mental models for understanding China's political economy: the platform state. Their argument is that we should think of the Chinese state less as a central planner or owner and more as a platform company like NVIDIA or Apple, one that builds architecture, sets standards, and governs an ecosystem within which fiercely competitive private firms fight it out. Value accrues at the system level rather than as firm profit, and the payoff may decide who wins the race to put AI to work across an entire economy.5:37 – Three puzzles the framework is built to solve: profitless dominance in solar, EVs, and batteries; why the "grabbing hand" hasn't strangled Chinese innovation; and how China is attempting both zero-to-one invention and one-to-hundred scaling at once7:57 – The platform state thesis: why the Chinese government behaves like a platform company, how nurturing an ecosystem of private firms solves the information deficit that cripples command-and-control, and why over-entry, involution, and consolidation are a repeated pattern — from EVs to the 140-plus humanoid robot companies operating today16:13 – The aha moment: how a paper on the legal infrastructure of physical AI became the platform state idea over the Zhang-Yang dinner table, and whether this is a new species of political economy or the East Asian developmental state in new clothes20:44 – State conditions: why state capacity and domestic scale are the two preconditions for the model, and why an ambitious Vietnam — which has the top-down capacity — may still find the Chinese playbook impossible to replicate23:39 – Profitless dominance by design: harvesting versus extracting, the Uber analogy, overshooting as a control-theory strategy for nudging sectors, and how the anti-involution campaign and the 60-day supplier payment mandate show the state moderating the very competition it engineered30:33 – Organized chaos: from the bike-sharing graveyards of the O2O wars to today's disciplined market, the exit of more than 400 EV makers since 2018, and why the survivors of China's "Premier League" of competition are now turning profitable32:59 – The 3Gs playbook: growing markets by solving the cold-start problem, from Liuzhou's EV test drives to Beijing's green license plates, and how subsidy is only one lever among many38:36 – Governing the ecosystem like Apple runs its App Store: why Beijing regulates generative AI with a light touch but physical AI is a different species entirely, law as the sixth layer of the AI stack, why robotaxis scale faster in China than in the U.S., and the state-convened standard-setting that's driving down humanoid robot costs46:54 – Two flywheels: the familiar data-and-cost flywheel and the deeper state capacity flywheel, and how the National AI Fund's small but voting stake in DeepSeek aligns a complementor with the domestic stack — tilting the ecosystem toward Chinese chips53:28 – Guarding the moat: automotive data rules and Tesla's stalled FSD ambitions, the unwound Manus sale, China's own small yard and high fence, and the closing provocation — that America could build the smartest frontier models and still lose the diffusion race to "artificial good-enough intelligence." Plus: the case for coopetition, and what policymakers should (and shouldn't) borrow from the platform stateLinks from the episodeAngela's paper on law as the sixth layer of China's AI stack:The Sixth Layer: The Legal Infrastructure for Physical Artificial Intelligence in China (SSRN)Three Project Syndicate op-eds on the platform state idea:The Rise of the Chinese Platform State by S. Alex Yang & Angela Huyue ZhangAre Government Stakes the Key to AI Sovereignty? by Angela Huyue ZhangOvercapacity Is China's Biggest AI Advantage by Angela Huyue ZhangTwo Management Science papers on commercial platforms:Crowd-Judging on Two-Sided Platforms: An Analysis of In-Group BiasImproving Dispute Resolution in Two-Sided Platforms: The Case of Review BlackmailSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Roundtable Panel: a daily open discussion of issues in the news and beyond. Today's panelists are Stephen Haff, an educator who teaches drama and humanities at Poughkeepsie Day School in Poughkeepsie; Anna Markowitz, executive director of Communities for Local Power and a former White House Advance Lead; Justin Patch, an associate professor of music at Vassar College, who studies music in American politics; sound studies; East Asian art music; and music in the African diaspora; and Dr. Karin Reidl, a professor of Government at Dutchess Community College and president of the World Affairs Council of the Mid-Hudson Valley.

We return for Part 2 of our coverage of “Professor” Jiang, the internet's favourite new geopolitical prophet, secondary-school sage, and proud owner of an ever-expanding box of educational props. Having already treated us to multiple maps, chess pieces, and a sealed metal case of predictions, Jiang is back with more predictions, more props, and even higher-level insights.This time, we get the dramatic unveiling of a fresh batch of forecasts, including the forthcoming U.S. civil war, AI surveillance states, a grand bargain with China, the Greater Israel project, and the coming East Asian conflict. During all of this, we pause to consider Jiang's status as a Beijing-based geopolitical commentator who manages to be just critical enough of Chinese surveillance to sound daring, but yet is most reliably focused on predictions of imminent Western collapse, American hubris, and the doom of the U.S. empire.But the real journey begins when Jiang sets the geopolitics aside and invites us into Plato's Allegorical Cave, updating it for the modern era by linking it to Korean television melodramas. Out come ominous black blocks, stacked into a metaphorical tower of global control: the military-industrial complex, the financiers, the World Bank, the WTO, the media, Hollywood, schools, universities, and culture itself. What started as “predictive history” devolves into an Alex Jones-style conspiratorial rant about international financiers, globalist bankers, controlled media, and brave alternative truth-tellers seeing through the mainstream lies.The alternative media occupies a Schrödinger-like position in Jiang's system: corrupted and controlled when it suits his narrative but also brave and rebellious when it is giving a platform to people like Jiang. Stephen Bartlett, meanwhile, fulfils his podcasting duty as a perfectly crafted avatar of the Diary of a CEO audience: curious, credulous and very receptive to the message that the system is rigged, the shadows are fake, and you, dear listener, are one of the brave truth-seekers with the courage to listen and look behind the curtain.Finally, we also reach Cosmic Jiang. The bankers are at war with the tech bros. Reality is consciousness. Matter is vibration. We are all fragments of God returning to Source. Hermetic philosophy explains Plato. Kabbalah explains the Middle East. Israel is trying to force the hand of God. The world will end; paradise will return. It turns out all of that geopolitical analysis was actually just a sideshow...So join us for the conclusion of Professor Jiang: a masterclass in massive domino-based reasoning, geopolitical dressing on bog-standard conspiracy theory, and the enduring appeal of intellectual junk food.SourcesDiary of a CEO: Professor Jiang: World War 3 Is About To Begin, Let Me Explain!Mehdi Hasan vs. “Professor” JiangProfessor Jiang talking about the Nephilim and Other Such Stuff: The World Is a Prison – The Secret Meaning of God And Creation | Prof. Jiang XueqinProfessor Jiang promoting creationism and denying evolutionThe National Security Strategy of the United States Document

In this episode, I sit down with Dr. Jacques MoraMarco and Dr. Yoon Kim, experts in Traditional East Asian Medicine, Tai Chi, mindfulness, and acupuncture, to explore the surprising power of walking as a tool for longevity, vitality, balance, and mental well-being. We discuss mindful walking practices, breathing techniques, Tai Chi-inspired animal walks, fall prevention, posture, and how even a few intentional minutes of walking each day can improve both physical and cognitive health. Whether you're looking to reduce stress, improve mobility, support healthy aging, or simply become more present, this conversation offers practical tools you can start using today.Dr. Yoon Kim is a doctor of Traditional East Asian Medicine, licensed acupuncturist, educator, and fifth-generation Sun Tai Chi lineage holder. Raised in a family deeply rooted in East Asian medicine, she is the founder of Emperor's Wellness and has practiced mindfulness meditation for more than 20 years, studying with renowned teachers including Thich Nhat Hanh. Dr. Kim earned her Doctor of Education from the University of Southern California and combines acupuncture, Tai Chi, and mindfulness in her work with patients.Dr. Jacques MoraMarco is a doctor of Traditional East Asian Medicine, licensed acupuncturist, and fourth-generation Sun Tai Chi lineage holder with nearly 50 years of clinical experience. A pioneer in the field, he took California's first acupuncture licensing exam in 1977 and has trained extensively in traditional Korean medicine, acupuncture, and Tai Chi. He is co-founder of the International Sun Tai Chi Association and has served in leadership and teaching roles at Emperor's College of Traditional East Asian Medicine.Links mentioned during this episode:Walking Your Way to Vitality Book: https://amzn.to/4c7q863Free Initial Consultation with Dr. Megan: https://p.bttr.to/3a9lfYkLyons' Share Instagram: www.instagram.com/thelyonsshareJoin Megan's newsletter: www.thelyonsshare.org/newsletter

The Roundtable Panel: a daily open discussion of issues in the news and beyond. Today's panelists are Semi-retired, Editor at large/columnist/editorial writer, Times Union Jay Jochnowitz, Associate Professor of Music at Vassar College. He studies music in American politics; sound studies; East Asian art music; and music in the African diaspora Justin Patch, Former Times Union Associate Editor Mike Spain, and Associate Professor in the department of sociology at Vassar College. Her research is on health, wellness, and medical knowledge Catherine Tan

Humans have five senses, but for most of us, sight dominates. That's why vision problems are so distressing. Have you been dealing with difficulties with your eyes? During this broadcast episode, our guest expert is ready to answer your questions about vision problems. At The People's Pharmacy, we strive to bring you up to date, rigorously researched insights and conversations about health, medicine, wellness and health policies and health systems. While these conversations intend to offer insight and perspective, the content is provided solely for informational and educational purposes. Please consult your healthcare provider before making any changes to your medical care or treatment. How You Can Listen You could listen through your local public radio station or get the live stream at 7 am EST on Saturday, June 20, 2026, through your computer or smart phone (wunc.org).  Here is a link so you can find which stations carry our broadcast. If you can't listen to the broadcast, you may wish to hear the podcast later. You can subscribe through your favorite podcast provider, download the mp3 using the link at the bottom of the page, or listen to the stream on this post starting on June 22, 2026. On this episode, we will be taking calls from listeners. You can ask your question ahead of time by emailing radio@PeoplesPharmacy.com. Or call 888-472-3366 directly between 7 and 8 am EDT on Saturday, June 20, 2026. Are More People Nearsighted? Myopia, the technical term for nearsightedness, is increasing at a rapid rate. Globally, 23 percent of the world’s population had myopia in 2000. By 2020, that rate had risen to 34 percent. Some experts estimate that it could reach 50 percent by 2050. Rates among children and adolescents are even higher in some places, reaching 70 percent among East Asians and an alarming 86 percent among Singaporean Chinese youth 15 and under (British Journal of Ophthalmology, July 2016).  Why are so many people, including young people, myopic? Are there implications beyond a need for corrective lenses (glasses or contacts)? Can we reverse this trend by limiting screen time or encouraging more time outdoors? Are there treatments that can help children and adolescents improve their vision? Which Vision Specialist Should You See? Eyes are complicated, and caring for vision problems has become increasingly specialized and technically sophisticated. As a result, ophthalmologists (eye doctors) now often treat just one part of the eye, such as the retina or the cornea. Some surgeons specialize in removing cataracts. Others, like Dr. Sharon Fekrat, are expert in retinal surgery. There are also pediatric ophthalmologists who treat children. In addition, some people need to consult a neuro-ophthalmologist or someone who specializes in inherited retinal degenerations, uveitis or ocular oncology. How can you determine which type of eye doctor you should see to address your particular problem most effectively? What Is in a Complete Eye Examination? Dr. Fekrat will describe the elements of a complete eye examination. Why is each one included? What further steps are needed if trouble is detected? This will give you an idea of how vision problems are assessed and where to turn for treatment. Managing Dry Eyes One of the most common complaints is dry eyes. This condition is uncomfortable as well as common, affecting up to half of adults in the US. What are the causes? Are there treatments? People often use eye drops to alleviate the discomfort. Which ones work best? What can a person do if they have severe dry eye problems and are referred to a dry eye specialist with an appointment months in advance? Is it dangerous to postpone dry eye care? What to Do About Blepharitis When the problem is more the eyelid than the eye itself, doctors call it blepharitis. One typical symptom is crust on the lids, which may feel itchy or scratchy. Some people find that applying warm compresses morning and evening is helpful. Others need medication. You may have seen ads for Xdemvy, which is aimed at reducing the population of Demodex mites living in the follicles of the eyelashes. Mites are not the only problem, however. Sometimes bacterial infections are the underlying cause of blepharitis. Rosacea and seborrheic dermatitis that affect skin elsewhere on the face may also show up with the same symptoms.  Topical ivermectin cream has been used off-label on the eyelid margins and may help reduce Demodex mites, but it is not an FDA-approved eye treatment and should only be used under an eye clinician's direction because it is not intended for instillation into the eye. How Will the Doctor Diagnose Glaucoma? Glaucoma is generally understood as a condition in which pressure inside the eye rises and damages the optic nerve. This disease can lead to vision loss. That's why intraocular pressure measurement should always be part of the eye exam. But this simple diagnostic technique alone may be incomplete. We'll ask Dr. Fekrat about additional approaches that might pick up normal-pressure glaucoma. How is it treated? Age-Related Macular Degeneration Deserves Treatment Another of the vision problems that can cause serious impairment is age-related macular degeneration. In this disorder, the central part of the retina, the macula, loses its ability to focus. Patients may notice that the central part of the vision is blurry, and it may be harder to see under low light conditions. Ophthalmologists now have a range of medications to inject to slow the progression of macular degeneration. Dr. Fekrat can describe the difference between “dry” and “wet” macular degeneration and the drugs used to treat them. What Other Vision Problems Are Troubling You? This is a chance to ask questions and get answers about vision problems from an expert. You can send email to radio@PeoplesPharmacy.com or call in your questions to 888-472-3366 between 7 and 8 am EDT on Saturday, June 20, 2026. This Week’s Guest Sharon Fekrat, MD, is a retina surgeon at the Duke Eye Center of the Duke Health Integrated Practice and vice chair of faculty affairs and the Robert Machemer MD Distinguished Professor of Ophthalmology at the Duke University School of Medicine. She is associate chief of staff at the Durham VA Healthcare System and past interim chief of surgery there. She is Director of Duke iMIND Research Group and Chief Editor of the book All About Your Eyes as well as the Digital Journal of Case Reports of Ophthalmology. Dr. Fekrat is past President of the NC Society of Eye Physicians and Surgeons. The People's Pharmacy is reader supported. When you buy through links in this post, we may earn a small affiliate commission (at no cost to you). Sharon Fekrat, MD, FASRS, Duke Eye Center Listen to the Podcast The podcast of this program will be available Monday, June 22, 2026, after broadcast on June 20. You can stream the show from this site and download the podcast for free. Download the mp3, or listen to the podcast on Apple Podcasts or Spotify.

We tend to think of the acupuncture profession as something fixed and stable, but the reality is that it is always in motion. The practice of East Asian medicine in North America has been shaped by decades of effort—by practitioners, educators, regulators, and advocates working to create a place for this medicine in the American healthcare system.In this conversation with Valerie Hobbs, we take a historical look at how the profession bootstrapped itself into being. Along with how the creation of educational standards, accreditation, certification, and professional organizations, helped to give the profession the form it has today..We also discuss some of the tensions shaping the present moment. Questions about educational requirements, student debt, declining enrollment, professional identity, integration into mainstream healthcare, and the uncertain future of acupuncture education. This conversation is an invitation to consider the forces shaping our profession and to consider how we might respond. Beneath the challenges is a recurring theme: the future of this medicine will not be determined by any single institution or idea, but by our willingness to listen, engage thoughtfully, and find ways of working toward our shared goals.

Investor and writer Jayant Bhandari offers a pessimistic assessment of current global geopolitics and the decline of Western civilization. Bhandari argues that the world is entering a period of extreme chaos characterized by persistent conflicts in Iran and Ukraine, as well as rising global inflation. He provides a particularly harsh critique of India, describing it as a dysfunctional and corrupt state that is currently de-industrializing despite international propaganda to the contrary. A central theme of the discussion is the impact of mass migration, which Bhandari claims is importing a “third-world mentality” that threatens the demographic and cultural stability of the West. In contrast, he praises East Asian nations like China and Japan for maintaining social homogeneity and suggests they represent the most stable future for investment. Ultimately, Bhandari warns individuals to diversify their assets and residencies to survive increasing state surveillance and societal decay. Watch on BitChute / Brighteon / Rumble / Substack / YouTube *Support Geopolitics & Empire! Become a Member https://geopoliticsandempire.substack.com Donate https://geopoliticsandempire.com/donations Consult https://geopoliticsandempire.com/consultation **Listen Ad-Free for $4.99 a Month or $49.99 a Year! Apple Subscriptions https://podcasts.apple.com/us/podcast/geopolitics-empire/id1003465597 Supercast https://geopoliticsandempire.supercast.com ***Visit Our Affiliates & Sponsors! Above Phone https://abovephone.com/?above=geopolitics American Gold Exchange https://www.amergold.com/geopolitics Escape The Technocracy (15% off w/ GEOPOLITICS!) https://escapethetechnocracy.com/geopolitics Expat Money (FREE “Plan B” Report!) https://expatmoney.com/geopolitics PassVult https://passvult.com Sociatates Civis https://societates-civis.com StartMail https://www.startmail.com/partner/?ref=ngu4nzr Wise Wolf Gold https://www.wolfpack.gold/?ref=geopolitics Websites Jayant Bhandari Website https://jayantbhandari.com X https://x.com/JayantBhandari5 About Jayant Bhandari Jayant Bhandari is an investor, writer, and speaker who travels extensively in search of investment opportunities, particularly in natural resources and junior mining. He advises institutional investors and is known for combining field-based investing with a broader interest in economics, culture, politics, and the institutional foundations of civilization. He served as a director of Gold Canyon, a publicly listed Canadian company, until its merger with another entity. Earlier, he worked for six years with U.S. Global Investors in San Antonio, Texas, and for one year with Casey Research. Immediately after completing his MBA, he established the Indian subsidiary operations of a British company and a German-Swiss company. Before that, he worked with his father in the family's printing press—an experience that gave him a practical education in business that no formal training could match. Jayant writes on investing, economics, politics, culture, and moral philosophy. His work has appeared in Liberty, the Mises Institute, Casey Research, Acting Man, International Man, Mining Journal, Zero Hedge, Lew Rockwell, Fraser Institute, Le Québécois Libre, Mauldin Economics, Northern Miner, Mining Markets, American Renaissance, and Counter-Currents. He is currently working on a book about the civilizational roots of Third World dysfunction and why societies without deeper moral and cultural transformation decay toward pre-colonial forms. He is also the founder of Capitalism & Morality, an annual seminar in Vancouver focused on the moral and cultural foundations without which capitalism and freedom cannot endure. Jayant holds an MBA from Manchester Business School in the UK and a Bachelor of Engineering from SGSITS in India. *Podcast intro music used with permission is from the song “The Queens Jig” by the fantastic “Musicke & Mirth” from their album “Music for Two Lyra Viols”: http://musicke-mirth.de/en/recordings.html (available on iTunes or Amazon)