Podcasts about pacific islanders

  In honor of AANHPI Heritage Month and Mental Health Awareness Month, join us for an inspiring conversation with Dr. Noel Ramirez, Founder & Director of Mango Tree Counseling & Consulting, an AAPI mental health resource center in Philadelphia.  This episode delves into the unspoken realities of intergenerational trauma, racial microaggressions and macroaggressions, exploring the complex relationship between work, identity, and self-worth for Asian Americans, Native Hawaiians, and Pacific Islanders.  Dr. Ramirez shares powerful insights on how cultural narratives around labor and gratitude impact mental health, the struggle to find language for self-care and boundaries in Asian languages, and the vital importance of witnessing and validating shared experiences.  Discover pathways to belonging, resilience, and finding harmony in a world that often questions our "enoughness." Key topics covered: Navigating racial microaggressions, betrayal trauma, and toxic workplace dynamics for AANHPI individuals and communities. Dissecting the "good enough to work, but not good enough to cultivate" narrative for Asian Americans. Understanding compulsive behaviors rooted in societal expectations and "toxic indebtedness" within AANHPI communities. Examining the absence of self-care and boundary language in some Asian cultures and its impact on well-being. Recognizing the critical impact of racial violence and the power of community healing for Asian Americans. Challenging the "not Asian enough" or "not American enough" identity struggle and cultivating wholeness. Addressing mental health disparities and the vital need for culturally sensitive mental healthcare. Connect with us: Learn more about Noel at https://mangotreecc.com/, via email at noel at mangotreecc.com, or Instagram @mangotree.counseling. Follow Samorn on LinkedIn at https://www.linkedin.com/in/samornselim/. Get a copy of Samorn's book, “Belonging: Self Love Lessons From A Workaholic Depressed Insomniac Lawyer” at https://tinyurl.com/2dk5hr2f.  Get weekly career tips by signing up for our advice column at www.careerunicorns.com. Schedule a free 30-minute build your dream career consult by sending a message at www.careerunicorns.com.

Our extended interview with Kama and Mahea on the importance of hula, preserving Pacific island history, how they talk story through their dance and advice for mainlanders visiting the islands. Watch the Heritage Month video from the TWU Local 555 Civil & Human Rights Committee here.Website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.twu555.org⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Youtube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TWU Local 555⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TwuLocal555⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@TWULocal555⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠X/Twitter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@TwuLocal555

In this episode, we kick off Asian American and PacificIslander Heritage Month with a Health Promotion Practice Paper of the Year. Phuc To, Julia Huynh, Dr. Judy Tzu-Chun Wu, Dr. Thuy Vo Dang, Cevadne Lee, and Dr. Sora Tanjasiri discuss where their Photovoice project has taken them. They previously explored their paper in Season 2, Episode 12 before receiving this recognition, and this time they reflect back on wonderful stories of mentorship, growth, permanence, and hope. They remind us of the importance of interdisciplinary work and archiving stories. Check out other ⁠Sarah Mazelis Paper of the Year Award Winners⁠ and ⁠HPP's special collection⁠ of recently published papers, poetry, and podcast episodes ddressing health promotion that centers Asian, Asian American, and Pacific Islander communities and authors. This episode references the article titled "Through Our Eyes, Hear Our Stories: A Virtual Photovoice Project to Document and Archive Asian American and Pacific Islander Community Experiences During COVID-19" by Phuc Duy Nhu To, MA,Julia Huynh, MA, Judy Tzu-Chun Wu, PhD, Thuy Vo Dang, PhD, MA, Cevadne Lee, MPH, and Sora Park Tanjasiri, DrPh, MPH.

Carmela Prudencio works at Pacific Arts Movement or Pac Arts, which highlights Asian American and Pacific Islander stories through media arts.

Episode 69 When COVID Hit Hardest: Pacific Islander Voices Reveal Hidden Healthcare Truths On this episode host Raj Sundar & guest Joseph Seia explore the deep-rooted structural inequities that have shaped health outcomes for Pacific Islander communities, especially during the COVID-19 pandemic. Together, they unpack how colonialism, racism, erasure, and the lack of culturally appropriate healthcare have contributed to disproportionate impacts, and they highlight the vital role of community-led solutions and culturally safe spaces in healing. They discuss the limitations of the cultural competency model, the importance of recognizing power dynamics, and the essential need for physicians and healthcare systems to center trust, relationship-building, and self-determination for marginalized communities. Find all of our network podcasts on your favorite podcast platforms and be sure to subscribe and like us. Learn more at www.healthcarenowradio.com/listen/

In honor of Asian American and Pacific Islander Heritage Month, we bring you an episode from Inheriting Season One. Inheriting is a show about Asian American and Pacific Islander families, which explores how one event in history can ripple through generations. Bảo Trương’s parents both fled Vietnam in 1975 following the war. His father Thuận was a pilot for the South Vietnamese Air Force and left the day before the Fall of Saigon, evacuating almost 100 people to Thailand on a plane. Thuận has now been settled in the U.S. for decades, but he still writes songs mourning the Vietnam of his childhood – a country that, to him, no longer exists because it is still under a communist government. On the flipside, his son Bảo wants to live in the Vietnam of today, a yearning his father doesn’t understand. In this episode, the father and son sit down for a frank conversation about the country they both long for, in different ways. Grow your business–no matter what stage you’re in. Sign up for a one-dollar-per-month trial period at SHOPIFY.COM/paradise Visit www.preppi.com/LAist to receive a FREE Preppi Emergency Kit (with any purchase over $100) and be prepared for the next wildfire, earthquake or emergency! Support for this podcast is made possible by Gordon and Dona Crawford, who believe that quality journalism makes Los Angeles a better place to live.Support LAist Today: https://LAist.com/join

Welcome to the Paint The Medical Picture Podcast, created and hosted by Sonal Patel, CPMA, CPC, CMC, ICD-10-CM.Thanks to all of you for making this a Top 15 Podcast for 4 Years: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://blog.feedspot.com/medical_billing_and_coding_podcasts/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Sonal's 15th Season starts up and Episode 3 features a Newsworthy spotlight on May as Asian American & Pacific Islander Heritage Month.Sonal's Trusty Tip and compliance recommendations focus on behavioral health modifiers.Spark inspires us all to reflect on hopes and aspirations based on the inspirational words of Vera Wang.Asian American & Pacific Islander Heritage Month for May 2025:Website: ⁠⁠⁠⁠https://asianpacificheritage.gov/About.html⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Paint The Medical Picture Podcast now on:Spotify: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://open.spotify.com/show/6hcJAHHrqNLo9UmKtqRP3X⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://podcasts.apple.com/us/podcast/paint-the-medical-picture-podcast/id153044217⁠7⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Amazon Music: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://music.amazon.com/podcasts/bc6146d7-3d30-4b73-ae7f-d77d6046fe6a/paint-the-medical-picture-podcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Find Paint The Medical Picture Podcast on YouTube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/channel/UCzNUxmYdIU_U8I5hP91Kk7A⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Find Sonal on LinkedIn:⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.linkedin.com/in/sonapate/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠And checkout the website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://paintthemedicalpicturepodcast.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠If you'd like to be a sponsor of the Paint The Medical Picture Podcast series, please contact Sonal directly for pricing: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠PaintTheMedicalPicturePodcast@gmail.com⁠⁠⁠⁠

Asian Americans and Pacific Islanders may have different opinions about cutting federal funding for DEI programs in higher education. AP correspondent Donna Warder as the results of a new poll.

In honor of Mental Health Awareness Month, we bring you an episode from Inheriting Season One. Inheriting is a show about Asian American and Pacific Islander families, which explores how one event in history can ripple through generations. Leialani Wihongi-Santos is CHamoru and was raised on the island of Guam with a distorted view of history. She was taught that the United States "saved” her island from occupation by Imperial Japan. As she’s gotten older, Leialani has learned that framing is not entirely true. In some ways, the U.S. military took advantage of the island and the people who live there, sometimes destroying culture and customs that had survived centuries of colonization. Leialani is now determined to understand more of this history from a CHamoru perspective, so she can preserve and teach it to others. In this episode, she turns to her grandpa, Joseph Aflleje-Santos, for answers. Stay connected with us! E-mail us at inheriting@laiststudios.com to share your questions, feelings, and even your story.

In May we pay tribute to the generations of Asian and Pacific Islanders who have enriched America's history and are instrumental in its future success. This caregiver spotlight episode echoes all of these sentiments. Meet Paurvi Bhatt, a dedicated family caregiver, care advocate, and second-generation Indian American with deep personal and professional caregiving experience. Raised in a family of caregivers, Paurvi spent nearly 30 years balancing her career as a ‘working daughter' while managing caregiving responsibilities. In this episode of the Happy Healthy Caregiver podcast, we explore critical gaps in the U.S. care economy, particularly for first- and second-generation immigrants, including challenges with language, care plans, and services. We also discuss the concept of “shadow resumes” and how the skills we develop as family caregivers not only support our loved ones but also enhance our professional lives. Paurvi shares how she built a strong care team as an only adult child, the resources that helped her navigate caregiving, and the impactful work being done by the Rosalynn Carter Institute for Caregivers. Plus, we get a glimpse into what she would do if she had unlimited time for herself! Show notes with product and resource links: https://bit.ly/HHCPod204 Receive the podcast in your email here: http://bit.ly/2G4qvBv Order a copy of Elizabeth's book Just for You: a Daily Self Care Journal: http://bit.ly/HHCjournal For podcast sponsorship opportunities contact Elizabeth: https://happyhealthycaregiver.com/contact-us/ The Happy Healthy Caregiver podcast is part of the Whole Care Network. Rate and Review the podcast: https://bit.ly/HHCPODREVIEW

The FDA has started the process of taking prescription fluoride drops and tablets for kids off the market. The move comes as HHS Secretary Robert F. Kennedy Jr. has fought to remove fluoride from drinking water. CBS News medical contributor Dr. Celine Gounder explains. During Sean "Diddy" Combs' trial on Tuesday, Cassie Ventura, his longtime girlfriend, took the stand to testify, detailing years of abuse. Combs has pleaded not guilty to a range of charges. Warning, the details in this story are disturbing. For the first time, Kim Kardashian confronted the men accused of robbing her in 2016. In court, she recounted the trauma of the night she was held at gunpoint in a luxury hotel. With help from viral figure skater Elladj Baldé, "CBS Mornings" anchor Adriana Diaz steps into the rink to pursue a lifelong dream, proving it's never too late to learn something new.After a seven-year break from ice dancing, Olympians Maia and Alex Shibutani are back and sharing stories of Asian American and Pacific Islander pioneers in their latest book, "Incredible." The schedules for all 32 NFL teams will be released Wednesday, but "CBS Mornings" is exclusively revealing a marquee Thanksgiving matchup. Bill Cowher, an analyst for "The NFL Today" on CBS, breaks down the game and contenders for this upcoming season.KISS legend Gene Simmons shares how his mother's strength as a single immigrant parent shaped his life and how the band created some of its biggest rock anthems. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

In honor of Asian American and Pacific Islander Heritage Month, we bring you an episode from Inheriting Season One. Inheriting is a show about Asian American and Pacific Islander families, which explores how one event in history can ripple through generations. Growing up in Long Beach, California, Victoria Uce was surrounded by a loving and supportive family, while her dad, Bo, lost his parents at a young age in Cambodia under the Khmer Rouge. Victoria only ever knew the basics of this story. Mainly, that her dad was forced to join the country’s mobile youth brigade and take part in the state-sponsored violence that tore Cambodia apart. In this episode, Victoria talks to her father about how he turned away from a life of violence to live a life of compassion and gave her the kind of safety in childhood that he never had. Grow your business–no matter what stage you’re in. Sign up for a one-dollar-per-month trial period at SHOPIFY.COM/paradise Visit www.preppi.com/LAist to receive a FREE Preppi Emergency Kit (with any purchase over $100) and be prepared for the next wildfire, earthquake or emergency! Support for this podcast is made possible by Gordon and Dona Crawford, who believe that quality journalism makes Los Angeles a better place to live.Support LAist Today: https://LAist.com/join

May is Asian American and Pacific Islander or AAPI Heritage Month. In celebration of this, Issues and Ideas invited MT Vallarta, pronouns they, them, theirs, a poet and Assistant Professor of Ethnic Studies at CalPoly, to be in conversation with William Nuʻutupu Giles, pronouns he/they, who is a poet, Samoan writer, and arts educator. Giles was in San Luis Obispo on May 7th, 8th, and 9th to do poetry readings and workshops at Cal Poly and in the city. Vallarta and Giles speak about their writing process and the importance of having a community. Then, for her segment Wine Country, wine journalist and editor Mira Honeycutt talks to Paso Robles winemakers Molly Lonborg, senior winemaker at Booker Wines, and Nancy Ulloa, winemaker and owner of Uyua Cellars, about the challenges they faced starting out in a male-dominated industry, their mentorship initiatives, and the importance of asking for help. And, we conclude our episode with Working Lunch, hosted by Jim Dantona, CEO for the San Luis Obispo Chamber of Commerce. He speaks with Bill Borgsmiller, CEO of ACI Jet, about the latter's journey in establishing his company at just 22 years old and why he decided to base his aviation business in San Luis Obispo.

In honor of Asian American and Pacific Islander Heritage Month, we bring you an episode from Inheriting Season One. Inheriting is a show about Asian American and Pacific Islander families, which explores how one event in history can ripple through generations. In part two of Carol Kwang Park’s story, we follow Carol’s journey to connect more deeply with her family – and introduce the family-led conversations that are central to Inheriting. Decades after the 1992 LA Uprising, Carol finally learns what her mom experienced during the riots and how she made it back home. It allows for a better understanding of her mother, as well as her family’s journey leading up to the Uprising – which she never had as a child. For the first time, Carol also talks to her brother, Albert Park, about what it was like to work at the gas station as kids, especially around the time of the Uprising. Content Warning: This episode contains racial slurs and discusses police brutality. If you want to learn more about any of the historical moments we talk about on our show, visit our website: LAist.com/Inheriting

In honor of Asian American and Pacific Islander Heritage Month, we bring you an episode from Inheriting Season One. Inheriting is a show about Asian American and Pacific Islander families, which explores how one event in history can ripple through generations. Carol Kwang Park was 12 years old, working as a cashier at her family's gas station in Compton, California, when the 1992 L.A. Uprising forever changed her life. Her mom was at the gas station that day and Carol was unsure if she'd even make it home. At the time, she didn't understand why tensions came to a head in Los Angeles, following the acquittal of the officers who beat Rodney King. She also never understood why her mother insisted on keeping the business going, especially after the Uprising. As an adult, a personal crisis prompts Carol to finally start processing that event and her place in history. Content Warning: This episode contains racial slurs and discusses police brutality. If you want to learn more about any of the historical moments we talk about on our show, visit our website: LAist.com/Inheriting

In honor of Mental Health Awareness Month, we bring you an episode from Inheriting Season One. Inheriting is a show about Asian American and Pacific Islander families, which explores how one event in history can ripple through generations. Leah Bash is an avid runner, a dog mom, a wife – and there’s a part of her family’s history she can’t stop thinking about. The fact that both sides of her family were incarcerated alongside 125,000 other Japanese Americans during World War II. Her father and his six siblings spent more than three years behind barbed wire at isolated camps in Manzanar, California and Crystal City, Texas. After Leah learns about her father’s struggles with panic attacks and is herself diagnosed with bipolar disorder, she starts to wonder: could those experiences at camp during World War II have far-reaching consequences a generation later?

An event for Hoosiers to learn and celebrate Asian American and Pacific Islander cultures returns this weekend. The Trump administration terminates a federal grant funding teacher bonuses and literacy coaches in Perry Township Schools.  More babies are being admitted to neonatal intensive care units across the country. The ACLU of Indiana is suing Governor Mike Braun over changes to Indiana University's Board of Trustees. Want to go deeper on the stories you hear on WFYI News Now? Visit wfyi.org/news and follow us on social media to get comprehensive analysis and local news daily. Subscribe to WFYI News Now wherever you get your podcasts. WFYI News Now is produced by Drew Daudelin, Zach Bundy and Abriana Herron, with support from News Director Sarah Neal-Estes.

This year marks 60 years since the Immigration and Nationality Act of 1965 legislation changed who could come to America.Now, local leaders gathered in Indianapolis to celebrate its impact, especially on Indiana's growing Asian American and Pacific Islander population.Before 1965, immigration from Asia was almost entirely banned, but during the civil rights era, the new Act replaced a quota system and opened the door for families to build their lives in Indiana.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

A community market boasts that it's bringing Hoosiers together to celebrate Asian American Pacific Islander Heritage Month through culture, creativity and connection.Dozens gathered Sunday at The Stutz building in downtown Indianapolis for the launch of the AANHPI Community Market, aimed at uplifting Asian American, Native Hawaiian and Pacific Islander voices with a safe space to shop, share and build community.Six Asian-owned businesses and six sponsors, two of them Asian-owned, helped bring the event to life.With a shared vision for a more inclusive Indiana, organizers say this is just the beginning.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In May we pay tribute to the generations of Asian and Pacific Islanders who have enriched America's history and are instrumental in its future success. This caregiver spotlight episode echoes all of these sentiments. Meet Paurvi Bhatt, a dedicated family caregiver, care advocate, and second-generation Indian American with deep personal and professional caregiving experience. Raised in a family of caregivers, Paurvi spent nearly 30 years balancing her career as a ‘working daughter' while managing caregiving responsibilities. In this episode of the Happy Healthy Caregiver podcast, we explore critical gaps in the U.S. care economy, particularly for first- and second-generation immigrants, including challenges with language, care plans, and services. We also discuss the concept of “shadow resumes” and how the skills we develop as family caregivers not only support our loved ones but also enhance our professional lives. Paurvi shares how she built a strong care team as an only adult child, the resources that helped her navigate caregiving, and the impactful work being done by the Rosalynn Carter Institute for Caregivers. Plus, we get a glimpse into what she would do if she had unlimited time for herself! Show notes with product and resource links: https://bit.ly/HHCPod204 Receive the podcast in your email here: http://bit.ly/2G4qvBv Order a copy of Elizabeth's book Just for You: a Daily Self Care Journal: http://bit.ly/HHCjournal For podcast sponsorship opportunities contact Elizabeth: https://happyhealthycaregiver.com/contact-us/ The Happy Healthy Caregiver podcast is part of the Whole Care Network. Rate and Review the podcast: https://bit.ly/HHCPODREVIEW

May is a time to recognize the rich history, culture and contributions of the Asian American and Pacific Islander community.Thursday was the start Asian American and Pacific Islander Heritage Month.Dr. Albert Chen is not only a successful entrepreneur, he's also a community builder. “You just have a determination and passion, and don't be afraid to fail. During that period of 20 to 30 years, I probably failed several times. Fail just to get back up,” he told News 8.Chen founded Carmel-based Telamon Corp., a provider of solutions for telecommunications networks, in 1985. At the time, Asian American leadership in Indiana's corporate space was rare. That's something he set out to change by just giving entrepreneurship a try.Chen also founded Indiana's Asian American Alliance Inc. in 1999. Since then, he's seen the Asian population grow, especially in suburban neighborhoods like Carmel. “You don't see any leadership for Asian Americans, so I thought there should be an organization that trains Asian American's how to be a leader in this community.”The nonprofit alliance offers leadership development programs and events designed to develop those skills, promote cultural heritage, and build a more cohesive community. He's excited to see how the organization grows in the future and hopes to expand on volunteer services. “Train the younger generation to have the ambition to become a leader, particularly in public service.”Nowadays, Chen is focused on the future. He has written a book hoping to inspire young Asian American leaders to build their own foundations. “I want them to become financially independent, and maybe this is a good route to become an entrepreneur, and establish your long-term reward.”See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Karen Kelly and Keira Quinn from the Children’s Museum of Atlanta discuss the museum’s programming for Asian American and Pacific Islander Heritage Month. Plus, travel expert and PBS host Rick Steves joins us for our series, “ATL Up and Away.”See omnystudio.com/listener for privacy information.

Pride Connection presents a Flashback, celebratory discussion about Asian American/Pacific Islander (AAPI) Heritage Month. **Content warning: gun violence, hate crimes/violence against AAPI, racism, xenophobia, homophobia, ableism, other topics that may be sensitive to some listeners ** May is Asian American Pacific Islander Heritage month! This week on Pride Connection, please join Saejh Chung (moderator,) Minh Ha, Miso Kwak, Tyanne Wilmath, and Anthony Corona for a conversation exploring AAPI history, personal stories of the intersectionality of identifying as AAPI and having a disability, mental health, sexualization and fetishization of AAPI women, defining heritage, and how the pandemic has shaped their lives and the greater AAPI community at large today. Additionally, the roundtable discussion also examined the Covid 19 Hate Crimes Act (H.R. 1843) and thoughts on how this legislation will affect the AAPI community. The hour-long segment concludes with our guests answering how they will celebrate AAPI heritage month. Resources are listed below. Resources Stop AAPI Hate: https://stopaapihate.org/ National Asian American Pacific Islander Mental Health Association: https://www.naapimha.org/ Asian Americans (on PBS): Asian Americans Minor Feelings by Cathy Park Hong (Available on Bookshare and BARD) Pachinko by Minjin Lee (Available on Bookshare and BARD) H.R. 1843: Covid 19 Hate Crimes Act: https://www.govtrack.us/congress/bills/117/hr1843 Try Guys Anti-Asian Hate documentary: https://www.youtube.com/watch?v=14WUuya94QE Misogyny Against Asian Women - The TryPod Ep. 102: https://www.youtube.com/watch?v=VMd3S3BOarU

Send us a textDr. Almitra Berry explores the critical importance of recognizing and integrating Asian American, Native Hawaiian, and Pacific Islander heritage in K-12 education. She challenges stereotypes, advocates for authentic representation, and provides practical strategies for educators to create inclusive classrooms that honor the rich diversity within AANHPI communities. Learn how to transform curriculum, foster empathy, and empower students from all backgrounds.Subscribe to our Patreon channel for exclusive content! Just go to patreon.com/3EPodcast. Thanks!Support the showJoin our community. Go to bit.ly/3EPSubs and sign up for our bi-weekly newsletter and exclusive content.

IMAGE CREDIT: Peciul, CC BY-SA 4.0 , via Wikimedia Commons LINKS: Vatican bio of Cardinal Oscar CANTONI: https://press.vatican.va/content/salastampa/en/documentation/cardinali_biografie/cardinali_bio_cantoni_o.html      Oscar CANTONI on FIU's Cardinals Database (by Salvador Miranda): https://cardinals.fiu.edu/bios2022.htm#Cantoni    Cardinal Oscar CANTONI on Gcatholic.org: https://gcatholic.org/p/4928                      Cardinal Oscar CANTONI on Catholic-Hierarchy.org: https://www.catholic-hierarchy.org/bishop/bcantoni.html Diocese of Como on Gcatholic.org: https://gcatholic.org/dioceses/diocese/como0.htm?tab=info         Diocese of Como on Catholic-Hierarchy.org: https://www.catholic-hierarchy.org/diocese/dcomi.html   2022 Aleteia.org profile of Cardinal-elect Cantoni and the Diocese of Como: https://aleteia.org/2022/08/27/cardinal-cantoni-an-italian-in-red-for-a-martyred-diocese/  Telegraph.co.uk 2024 reporting on Fr. Martinelli case: https://www.telegraph.co.uk/news/2024/01/24/priest-jailed-abuse-altar-boy-popes-choirboys/ Catholic News Agency reporting on the 2021 Fr. Martinelli trial: https://www.catholicnewsagency.com/news/246626/vatican-abuse-trial-witnesses-say-allegations-about-youth-seminary-were-ignored National Catholic Reporter 2024 reporting on Fr. Martinelli case: https://www.ncronline.org/vatican/vatican-news/vatican-appeals-court-finds-priest-guilty-corrupting-minor  Reuters 2024 reporting on Fr. Martinelli case: https://www.reuters.com/world/europe/vatican-convicts-priest-accused-abuse-papal-altar-boys-school-2024-01-23/   Thank you for listening, and thank my family and friends for putting up with the time investment and for helping me out as needed.  As always, feel free to email the show at Popeularhistory@gmail.com  If you would like to financially support Popeular history, go to www.patreon.com/Popeular. If you don't have any money to spare but still want to give back, pray and tell others– prayers and listeners are worth more than gold!   TRANSCRIPT Welcome to Popeular History, a library of Catholic knowledge and insights.   Check out the show notes for sources, further reading, and a transcript.   Please note that this episode includes discussion of sexual crimes and allegations, and may not be appropriate for all audiences.   Today we're discussing another current Cardinal o f the Catholic Church, one of the 120 or so people who will choose the next Pope when the time comes..   Oscar CANTONI was born on September 1, 1950, in Lenno, a small town in the Como Province of the Lombardy Region of northern Italy.   We've had several Italian Cardinals before- nine, to be exact, and we've even had another Cardinal from Lombardy–Cardinal Pierbattista Pizzaballa, and I count myself blessed every time I have the chance to say the name of Cardinal Pierbattista Pizzaballa.   In any event, Oscar had the most surprising educational history out of all the Cardinals so far: while by all accounts he did well at school, and he's actually published several books, *and* he's taught in various capacities for decades, he doesn't have any academic degrees.   Nevertheless, in 1975 he was ordained as a priest for the Diocese of Como. From 1985 to 1999 he was actively involved in promoting vocations, becoming director of the Vocational Diocesan Center in 1986. From 1990 to 2005, Father Cantoni served as a Spiritual Director at the diocesan seminary.    One more unique project came along in 2000, when he re-founded the Ordo Virginum in the Diocese, the Ordo Virginum being an association of consecrated virgins that had fallen into obscurity until it was restored by the Second Vatican Council.   From 2003 to 2005, Father Cantoni was episcopal vicar for the clergy of Como, and it's time that I admit that for a while I thought each Diocese could only have one Episcopal Vicar but I have since come to understand that while each Episcopal Vicar has their own distinct mandate, there can nevertheless be several, if that's what the Bishop wants.   In 2005, the trusty old white phone rang, and it was Pope Saint John Paul II, looking to make Father Cantoni Bishop of Crema.   Now, you don't say no to JPII, or at least Father Cantoni didn't, and so on March 5th, he was consecrated by his former ordinary, the Bishop of Como, and, well, his other former ordinary, the Bishop Emeritus of Como. The third spot was filled by the Italian Nuncio, a fairly standard arrangement. The previous Bishop of Crema had died in office a few months before, if you're wondering what he was up to.   In 2016, Bishop Cantoni was transferred to the Diocese of Como, where he had grown up and served as a priest. In 2017, he ordained Gabriele Martinelli, despite having received some reports of sexual misconduct connected to Matinelli over the years, which Bishop Cantoni later said he had dismissed as quote “transitory homosexual tendency linked to adolescence”.   Both the future Father Martinelli and his alleged victim, identified as “L.G.” were teenagers at the time, with Martinelli being about a year older.    The alleged sexual relationship took place over several years in a pre-seminary that was actually on Vatican grounds, tasked with supplying altar servers for Saint Peter's Basilica. The pre-seminary was sponsored by the Diocese of Como, hence Bishop Cantoni's connection.   In 2021, Father Martinelli, who has consistently denied everything, was cleared due to a combination of his youth at the time and insufficient evidence, and it was after that ruling that Pope Francis elevated Bishop Cantoni to the Cardinalate, which we'll circle back to.   The Martinelli case has a coda, because under Vatican Law the prosecution can appeal cases and earlier this year, that's 2024, Father Martinelli was found guilty of corrupting a minor, that is, L.G., the same accuser as in the 2021 trial.   In September 2020, one of Bishop Cantoni's priests, Father Robero Malgesini, was murdered by a homeless person he was caring for. The event was widely covered in the press and prompted Pope Francis to praise God for quote “the martyrdom of this witness of charity toward the poorest”.   It should be noted that by all accounts Father Malgesini knew the risks associated with serving the outcasts, who often suffer mental illness. It should also be noted that in 2019, he was fined by local police for feeding people living under the portico of a former church, which, allow me to say, as the only official public policy position of Popeular History, **** such fines.   In 2022, in a somewhat surprising move, Pope Francis elevated Bishop Cantoni to the college of Cardinals and added him to the Dicastery for Bishops. I say somewhat sur prising because Como hasn't been headed by a Cardinal since 1694, so it's surprising in that sense, but people knew to expect surprises from Pope Francis by that point, it being his 8th consistory and all, so it  would have been surprising if there had been no surprises on the list. Still, it's fair to ask, why Como?   This is always a matter of speculation, because Popes are absolute monarchs and are never expected to give reasons for choosing one possible Cardinal over another. But my guess is the safest one for any analysis: it's a combination of factors. The fluffiest is one I've seen elsewhere, namely leaning into the crimson of the martyrs worn by the Cardinals and seeking to honor a Diocese that had seen more martyrdom in the last generation than most in Italy, not just Father Malgesini, but also Bl. Sr. Maria Laura Mainetti, who was murdered by three teenage girls in a satanic ritual in 2000, dying while asking God to forgive her murderers, certainly a death more on the classic end of the martyrdom spectrum.   I think it's likely the Martinelli case also played a role, certainly in the form of delaying Bishop Cantoni's elevation, but also, well, hear me out here.   Pope Francis *really* likes to reach out to the marginalized. Like, it's a whole thing for him, and he has absolutely used his cardinatial appointments to do just that–Cardinal Cantoni was sandwiched between a Pacific Islander and an African American in the 2022 consistory. I'm by no means confident in this assessment, but I don't think the fact that Cardinal Cantoni had been recently facing criticism for his handling o f Father Martinelli's case hurt his standings in Pope Francis' assessment. Especially fresh off Martinelli's initial acquittal, Pope Francis may have seen in Bishop Cantoni another marginalized individual.    One way or another, Cardinal Oscar CANTONI is eligible to participate in future conclaves until he turns 80 in 2030.   Today's episode is part of Cardinal Numbers. Stay tuned to see if today's Cardinal gets selected for a deeper dive in the next round! Thank you for listening; God bless you all!

In this heartwarming episode, we explore the power of children's literature in bridging cultural understanding through conversations with two incredible Asian American authors, Ha Dinh and Yobe Qiu. Ha Dinh takes us on a personal journey with her touching picture book, "The Jade Bracelet," which delves into the complex emotions of a young immigrant navigating cultural identity. Drawing from her own experiences of coming to America at seven years old, Ha shares how a simple jade bracelet from her mother became a powerful symbol of heritage and belonging. Her story resonates with anyone who has ever felt caught between two worlds, offering children a nuanced look at cultural pride and self-acceptance. Meanwhile, Yobe Qiu brings excitement with her groundbreaking book "Asian Adventures A to Z," a comprehensive exploration of Asian cultures that goes far beyond the typical representations. By featuring countries like Cambodia, Mongolia, and Laos, Yobe aims to showcase the incredible diversity within the Asian community and challenge narrow stereotypes. Both authors highlight the critical importance of representation in children's literature. They discuss how books can be powerful tools for understanding, empathy, and connection. Their passionate conversation touches on themes of immigration, cultural pride, and the beautiful complexity of identity in America. The episode is particularly timely, coinciding with Asian American Heritage Month, and offers listeners a chance to learn, grow, and celebrate the rich tapestry of experiences that make up the American story. Whether you're a parent looking to expand your child's worldview, an educator seeking diverse resources, or simply someone who loves powerful storytelling, this episode of Reading with Your Kids offers something special for everyone. Tune in and discover how books can open hearts, minds, and create bridges between cultures! Click here to visit our website – www.ReadingWithYourKids.com Follow Us On Social Media Facebook - https://www.facebook.com/readingwithyourkids Instagram - https://www.instagram.com/readingwithyourkids/ X - https://x.com/jedliemagic LinkedIn - https://www.linkedin.com/company/reading-with-your-kids-podcast/ Please consider leaving a review of this episode and the podcast on whatever app you are listening on, it really helps!

Iam Tongi is a musician from the island of O'ahu. He came bursting on the scene in 2023 winning season 21 of American Idol becoming the first person from Hawai'i, the first Pacific Islander, and the first non-country genre singer in three years, to win. Since his time on American Idol, Iam has accumulated over 3 million followers collectively on social media, 70+ million streams on all platforms, has sold out shows in LA, NY, DC and Hawai'i, and most recently just released his new song “Sunshine” which is a song basking in positivity and feel-good warmth pairing a swaying backbeat with smooth vocals and sandy saxophone, the 20-year-old phenom sets a scene of inner beauty to match his Hawaiian home. In this episode we talk about growing up in Kahuku, getting into music, moving away to Washington, his relationship with his dad, his journey on American Idol, his weight loss journey, his current projects, and so much more. Enjoy!Filmed at: https://www.shangrilahawaii.org/Find Iam here: https://www.instagram.com/wtongi/Buy our merch on:Official website: https://keepitaloha.com/Support us on:Patreon: https://www.patreon.com/kamakadiasFollow us on:Instagram: https://www.instagram.com/keepitalohapod/Facebook: https://www.facebook.com/keepitalohapodTikTok: https://www.tiktok.com/@keepitalohapod

Overview: We explore the deep-rooted structural inequities that have shaped health outcomes for Pacific Islander communities, especially during the COVID-19 pandemic. Together, we unpack how colonialism, racism, erasure, and the lack of culturally appropriate healthcare have contributed to disproportionate impacts, and we highlight the vital role of community-led solutions and culturally safe spaces in healing. We discuss the limitations of the cultural competency model, the importance of recognizing power dynamics, and the essential need for physicians and healthcare systems to center trust, relationship-building, and self-determination for marginalized communities. Key Topics: Colonialism and Pacific Islander Identity Carceral System's Impact on Public Health Health Equity and COVID-19 Inequities Pacific Islanders Facing Bias Stereotypes Understanding Implicit Bias and Ignorance Amplifying Voices for Cultural Safety Cultural Hubs for Community Care Current Partnership w/ Joseph: Oceania Northwest Next Step: Visit our website, ⁠Healthcare for Humans⁠, and join our community to enjoy exclusive benefits at ⁠https://www.healthcareforhumans.org/support/⁠ Support Our Mission: Non-clinicians, explore exclusive content and contribute to our collective journey. Be an Active Participant: Go beyond listening. Shape our narrative by co-creating episodes with us. Be part of our community by visiting⁠ https://www.healthcareforhumans.org/support/⁠. Follow us on Instagram ⁠@healthcareforhumanspodcast

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

Emi Chutaro, Executive Director of the Pacific Island Health Officers Association, explains what she hopes others gain from Pacific Islander Heritage Month; Paul Bonta, Director of Government Relations for the Safe States Alliance, tells us about his organization's most recent advocacy day; and a new ASTHO blog article highlights recent Congressional hearings focused on key challenges facing older adults. PIHOA Web Page National Archives Web Page: Asian American, Native Hawaiian, and Pacific Islander Heritage Month Safe States Alliance Web Page ASTHO Blog Article: Hearings Spotlight Inflation, Opioids, and Other Challenges Facing Older Adults ASTHO Web Page: State and Territorial Administrative Readiness (STAR) Center  

This weeks guest is Janice Bailon, who joins us from New York City. Born in Panorama City, California, and growing up in Ventura County, Janice embraces her California background. Janice feels California awarded her some of her greatest passions. She still cultivates these passions and hobbies: Forgotten classic cinema, movies, and musicals, especially from the 1970s and earlier, local seasonal produce and food history. One of Janice's most beloved personal and professional passions is Agave and the relationship between Mexico and the Philippines. Bailon proudly calls herself an “agave nerd” believing that if you think you know everything and are an expert of agave you really don't know anything. Professionally, Janice has been recognized as a leader in the hospitality industry with articles published in Forbes, Punch and other media outlets as well as a Tales of the Cocktail Best New Bar Nomination in 2022 for her work at San Francisco's For the Record. Janice also served as former President for the SF Chapter of the United States Bartender's Guild supporting members through the pandemic. In 2025 she was named as one of the Imbibe 75's and her program at Leyenda was the only New York Bar nominated for Outstanding Bar Program by the James Beard Foundation. Janice dedicates her efforts to shape a better world through her brainchild, Hospitality of Asians & Pacific Islanders (HAPI), a nonprofit organization established in 2022. Nestled in the unceded Ohlone territory, known today as the San Francisco Bay Area, HAPI's mission is to elevate the voices and stories of the Asian and Pacific Islander community within the hospitality industry. They strive to normalize the success and thriving of API individuals in the industry through a plethora of initiatives, including events to boost visibility and promote the community, a forthcoming mentorship program, and the dissemination of career development opportunities and resources. @mytinydancer fueledbyagave.co @hapi.community A big thank you to Jean-Marc Dykes of Imbiblia for setting up our new website theindustrypodcast.club. Imbiblia is a cocktail app for bartenders, restaurants and drink nerds and built by a bartender with more than a decade of experience behind the bar. Several of the features includes the ability to create your own Imbiblia Recipe Cards with the Imbiblia Cocktail Builder, rapidly select ingredients, garnishes, methods and workshop recipes with a unique visual format, search by taste using flavor profiles unique to Imbiblia, share recipes publicly plus many more……Imbiblia - check it out! Looking for a Bartending Service? Or a private bartender to run your next corporate or personal event? Need help crafting a bar program for your restaurant? Contact Alchemist Alie for all your bartending needs: @alchemist.alie Contact the host Kypp Saunders by email at kypp@babylonsisters.ca for products from Elora Distilling, Malivoire Winery and Terroir Wine Imports. Links kypp@babylonsisters.com @sugarrunbar @the_industry_podcast email us: info@theindustrypodcast.club

"History 102" with WhatifAltHist's Rudyard Lynch and Erik Torenberg: Read the notes at at podcastnotes.org. Don't forget to subscribe for free to our newsletter, the top 10 ideas of the week, every Monday --------- In this episode of History 102, 'WhatIfAltHist' creator Rudyard Lynch and co-host Austin Padgett examine Native American genetic origins and cultural complexity, challenging popular narratives of "noble savages." They discuss surprising genetic links to Pacific Islanders and ancient Europeans, the sophisticated warfare and political structures of tribes like the Iroquois and Cherokee, and how European contact transformed indigenous societies through disease, technology, and shifting power dynamics. --

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. The post APEX Express – April 24, 2025 appeared first on KPFA.

In this episode of History 102, 'WhatIfAltHist' creator Rudyard Lynch and co-host Austin Padgett examine Native American genetic origins and cultural complexity, challenging popular narratives of "noble savages." They discuss surprising genetic links to Pacific Islanders and ancient Europeans, the sophisticated warfare and political structures of tribes like the Iroquois and Cherokee, and how European contact transformed indigenous societies through disease, technology, and shifting power dynamics. --

May is Asian American, Native Hawaiian, and Pacific Islander Heritage Month, dedicated to celebrating the achievements and contributions of Asians, Native Hawaiians, and Pacific Islanders of the United States. Originating after U.S. Congress action in 1997, this commemoration serves to highlight the vastness of the Asian, Native Hawaiian, and Pacific Islander communities, which spans more than 30 countries where over 100 different languages are spoken, and where the experiences are equally as varied. During the month of May and integrated into the curriculum throughout the school year, we celebrate our AANHPI community intentionally and honor their gifts, cultures, diverse histories, and continued contributions to the Hillsboro School District and our nation. In our schools and classrooms, we take time to explore the rich history and culture of people who are AANHPI. We continue to teach, learn and unlearn, reflect on and even condemn the violence and hatred that has been directed at the AANHPI community. We work to rebuild our classroom communities as we elevate the stories, contributions, and experiences of the AANHPI communities with love, empathy, and inclusivity. Thank you to our Asian American, Native Hawaiian, and Pacific Islander Hillsboro School District students, staff, families, and community members who continue to join us in the efforts to build and sustain a culture of belonging. We admire you and we're incredibly thankful for your talents, advocacy, and brilliance. Our featured students are members of Hilhi's first-ever Rocket League Esports Club! Rocket League is an online sport-based video game in which teams compete against others all across the U.S. for points and prizes. On Saturday, April 12, they competed in the Bruin Rocket League Invitational hosted at George Fox University. The tournament featured four top teams: Ridgefield, North Eugene, Wilsonville, and our very own Spartans. With Wilsonville and Hilhi widely regarded as the two best teams in the state, the stage was set for an intense showdown. The competition began with a group stage (best-of-three format), where the Spartans earned the #2 seed heading into bracket play, dropping only one match in a close 1-2 loss to Wilsonville. In bracket play, the Spartans came out strong, cruising through the semifinals to earn a highly anticipated rematch with Wilsonville in the finals. This time, Hilhi came prepared. The Spartans set the tone early, winning the first match—and they never looked back. With dominant teamwork, sharp communication, and clutch plays, Hilhi swept Wilsonville 4-0 in a best-of-seven series to claim the championship title. This win solidifies that the Hillsboro Spartans are officially the #1 High School Rocket League team in the state. Congratulations and way to go, Spartan Esports team! You make us Proud to be HSD!Hot News is produced and emailed to HSD families and staff each week school is in session. Please add the address to your “safe sender” list to make sure you always receive the latest issue. Please also bookmark our district website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠hsd.k12.or.us⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ to stay informed about what's happening in our district and schools.

On April 14, Governor Tina Kotek held a press conference to reaffirm her commitment to protecting students from discrimination based on race, national origin, or immigration status in Oregon schools.The point of the announcement was to focus on the implied future threat from President Trump, but discrimination is already occurring in Portland.For the past decade, the Portland Public School district has been providing extra funding to schools in part on the basis of race (2024-2025 Proposed Budget – Volume 2, pp. 4-5). Students who are Black, Hispanic, Native American, or Pacific Islander are automatically characterized as “historically underserved,” which means the schools they attend receive more money. This is true even if their parents are rich and the students themselves are high achievers.For the current school year, the elementary school receiving the most generous funding is Rosa Parks, with $17,891 per student. The school with the least amount of funding is Richmond, at $7,649.At the high school level, Jefferson receives $15,812 per student, while Grant gets $8,109.It's not clear why Portland school parents have been tolerating this for so long. ORS 659.850 prohibits discrimination on the basis of race, color, or national origin in any public school, and PPS funding is clearly discriminatory.The Governor should stop grandstanding about President Trump, start enforcing civil rights laws in Portland, and put an end to race-based school funding.

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. Important Links [URGENT] ICE Is targeting Nepali-speaking Bhutanese Americans: Learn more Asian Refugees United: Website  |  Instagram Hamro Katha: When the Lotus Blooms:  Instagram  | Spotify |  Youtube Minjoona Music instagram | spotify Transcript: Cheryl Truong: Hey everyone. You're tuned into APEX Express at 94.1 KPFA, 89.3 KPFB Berkeley, 88.1 KFCF Fresno, and online at kpfa.org. This is your host, Cheryl, here. Before we dive into today's episode, I want to start with some important context. This conversation was recorded a few months ago before the recent and deeply distressing wave of ice [00:01:00] enforcement targeting the Nepali speaking Bhutanese community. Since March 26, over 20 Nepali Bhutanese refugees have been deported. Many without legal representation and some moved between detention centers so quickly that they couldn't even contact their family or attorneys. The fear, disruption and trauma that is being inflicted is real and ongoing and raises serious concerns about due process. This is part of a larger ICE operation that is already detained over 60 Bhutanese Americans. This is a rapidly unfolding crisis, and the numbers continue to shift as more people are detained and more impacted families come forward to share their stories. Asian Refugees united is calling for justice, demanding an end to these deportations and immediate protections for their communities. For the latest data and development, or to learn more and take action, please visit Asian Refugees United's website. It will be linked in our show notes.  Now onto today's show. I had the joy and privilege of sitting down with the youth podcast team behind Hamro Katha: When the Lotus Blooms, [00:02:00] a show created by young leaders from Asian refugees United. Asian Refugees united or ARU is a grassroots art and healing leadership center led by and for Asian refugees. We'll hear more about their powerful work later on in the show. One of their programs, the Camp for Emerging Leaders, brings together refugee youth to build community, explore their histories, and grow into their leadership. That's where this podcast team first came together, and they'll of course share more about that as well. They've created something really special and I'm so excited for you all to hear from them. So let's get started. Do you all mind just going around and introducing yourselves? Nawal Rai: Yeah, for sure. Hello, everyone. I'm Nawal Rai. My pronouns are he, him, and I currently live in the East Coast in New Jersey. I'm currently a student studying environmental and urban studies. And right now I currently volunteer and do some work with Asian Refugees United here in the Harrisburg area, and I'm also from the Nepali speaking Bhutanese Refugee community.   Manju Gurung: Hi everyone, I am [00:03:00] Manju Gurung My pronouns are she and hers. I also live and work here in Harrisburg. I work full time as a home care manager but I also do some work with AARU, Asian Refugee United. So glad to be here.  Susmita Tamang: Hi everyone. My name is Susmita Tamang. I am a sophomore majoring in chemistry and I'm from Harrisburg. I interned over the summer at Asian Refugees United and that's how I'm connected. I learned a lot of new skills and got to meet new people. Today we're here mostly to talk about our podcast, Hamro Katha: When the Lotus Blooms, which is under Asian Refugees United.  Sarada Tamang: Hi, everyone. My name is Sarada Tamang. My pronouns are she and her. I currently live in Charlottesville, Virginia, and I'm a student taking classes to enter the Diagnostic Medical Sonography program. And first met my podcast team members through Asian Refugee United's Camp for [00:04:00] Emerging Leadership Program.  Cheryl Truong: Awesome. And our listeners out there, I'm sure you're wondering, what is Asian Refugees United? Nawal, do you want to give us a little introduction on what ARU is about? .  Nawal Rai: Yeah, of course. Again, Cheryl, thank you for having us tonight. Asian Refugees United was born in 2016 in the Bay Area. There was a big influx of Nepali speaking Bhutanese refugees after the third resettlement started for our community.  We had a bunch of community members that resided in Bay Area. And when you look at Bay Area, Bay Area is very diverse. And when you look at the history of Bay Area, there's a lot of social movement and activism that has happened throughout the history. And that kind of gave birth to this organization to unite refugees from different parts of Asia. We as Asian Refugees United here in Harrisburg currently work specifically with Nepali speaking Bhutanese community here since a lot of our population has now moved here. Asian Refugee United started with the focus on connecting our stories with the land that we now [00:05:00] live on and also acknowledging the stolen land that we stand on and also focusing on healing our communities and highlighting the stories of many refugees communities that are often overlooked by the medias and different political agenda. It was a way to find solidarity across communities and also how do we heal. And with that, we use art as a tool to heal and through storytelling where we come together to write stories and perform that stories in front of audience and community members. So we do various different work through Asian Refugees United. Our podcast hamro Katha When the Lotus Bloom is also under Asian Refugees United. So you can tell, there's different things that happens with our org. Cheryl Truong: Thank you so much for sharing all of that. It's so clear how much storytelling and healing are at the heart of ARU work. And one of the ways that it really shows I think that really shows up is through one of ARU's community building projects. Camp for emerging leaders, which brings together refugee youth from all [00:06:00] over and it's actually where this amazing podcast team first met. Can you all share what that space was like for you? What do you remember feeling or learning during that time?  Susmita Tamang: I can go ahead. By the way, I think the first time we all met each other was way before CAMP for Emerging Leaders, but that's when our idea grew. But Camp for Emerging Leaders is a program that Asian Refugees United organized. It was for the Bhutanese Nepali speaking youth in Harrisburg area, but then it also branched to basically across the states, whoever was available because we met virtually, on Zoom every week or so, and we talked about what it means to have our identity as Bhutanese Nepali, our journey from Nepal to America, we talked about our experiences, acceptance, and then ways of connecting to each other. Anything else that you guys want to mention?  Nawal Rai: Yeah. And with the leadership camp, we also focus on different factors that is focused on our, community health and wellness [00:07:00] and also, identity, belonging and um, education. Manju Gurung: Yeah. We had three groups within camp called wellness, education, and identity and belonging, and then. Under identity and belonging there was also storytelling who did more of art and performance, but we divided into those three groups and we created activities to share with each other when we met in person in August.  That was Camp for Emerging Leaders. We got to learn new skills, such as working with each other, being compassionate towards each other, open minded. Yeah,, it was great.   Cheryl Truong: Oh, whoa. I didn't know that camp was mostly virtual apart from that last in-person session, but that makes a lot of sense now, how Sarada could join from Virginia. Nawal from New Jersey. That's so cool. It really shows just how spread out the Nepali Bhutanese refugee community is and how something like camp can bring folks together across distance, and it makes me think about what that means to feel connected. Do you feel like camp was the first [00:08:00] space where you got to meet other people from your community in that kind of way? Or have you felt that sense of community where you're from, even before camp?  Sarada Tamang: When I first moved to America, within a few years, in the city that I live in right now, we had a bigger population of Bhutanese Nepali people compared to now. Back then we did have a strong community to the point where we would host Losar programs which, can someone explain what that is? Susmita Tamang: Oh yeah, Losar means New Year in Nepali but also in our ethnic language. So in Tamang as well as Gurung and maybe other languages in Nepal. It's somewhat like the Chinese Lunar New Year because it's connected to the, lunar calendar. I'm actually also from Charlottesville. We used to live in the same neighborhood, Sarada and me. And back then, we did have a large community, but then people started moving to Ohio, Harrisburg, and then those areas became more of the [00:09:00] hub for Bhutanese Nepali people. And so, now, I do have some family there, Sarada lives there, some of my cousins live there, but compared to 2011, it's very, very low in terms of population, so they don't really have large events compared to Harrisburg.  Cheryl Truong: What was that like for all of you growing up in such conservative states as refugees? I,  Manju Gurung: Yeah, I can share one. So I moved to Concord, New Hampshire back in 2012 from Nepal. And, even back then when we were talking about communities, we did have a lot of Bhutanese refugees living there by the time that my family moved and settled there.  Unfortunately, one of the incidents that happened to my family was some sort of like… Hate crime? It's like,  Nawal Rai: definitely racial, racial racial hatred.  Sarada Tamang: We just received this in a very hateful letter saying, go back to your country. You don't belong here. All of that. We don't really know exactly what we did to make that [00:10:00] person very upset about us being there. So that was one thing that I had to deal with as a young teenage girl who had just moved into a new city, new country with my family and who barely spoke English back then as well. So that was a very difficult experience to go through. But, with that incident, what came was our community showed up, not just the Bhutanese community back then, but other communities that were from different part of the world, basically, you know. They really showed up and let us know that we were in the right place. We're welcome. And there's no space for hate for anybody. That was really nice. After joining ARU and storytelling group, I was actually able to share that story through performance alongside Nawal, which definitely helped me heal some of those traumas that I had to experience back then. So, yeah, very grateful.  Susmita Tamang: Their performance was amazing. They did it in person during the ARU camp In person [00:11:00] summit. We also had people from our community, like uncles and community leaders there and they were all moved by her performance. Surada and I, we were crying. It was so good. So I'm really glad that one day you were able to share your story. As well as everyone else who performed. Manju Gurung: No, we had cried a lot. I think Nawal knows how many times I cried when we were practicing and rehearsing before. Because we started a couple months before we were meeting up in August for the Emerging Leaders camp session.  I remember being in this room and just sharing my stories and not being able to share all of it because I was just crying and I had to let that emotion out. So I think that really helped me get over that traumatic past. I think that I was holding it on for so long. So that's something. I was very grateful for the storytelling group that, you know, that ARU has created. Nawal Rai: Yeah, the talking circle is part of the process of our storytelling and identity and belonging, so we try to focus on sharing each other's [00:12:00] story and trying to create that space to be vulnerable. And I think that's the work that we're also trying to do with our podcast that is kind of extending toward our community and not just us youth and highlighting a lot of personal stories and our community stories. Cheryl Truong: Thank you for sharing that. I love what you said that in telling our stories, especially when it carries themes of pain, it doesn't just help the audience understand and relate, but it also helps you process and heal too.  We are going to take a quick music break, don't go anywhere  Cheryl Truong: More on the power of storytelling when we return. Next up, you're listening to a track called “Juniper” by Minjoona, a project led by Korean American musician, Jackson Wright. This track features Ari Statler on bass, josh Qiyan on drums, and Ryan Fu producing. Juniper is the lead single from Minjoona's newest release, the Juniper EP, a five track p roject rooted in indie rock, 60 throwback vibes, and lyric forward storytelling. You can follow Minjoona on Instagram [00:13:00] at @minjoonamusic or find them on Spotify to keep up with upcoming releases. We'll drop the links in our show notes. Enjoy the track and we'll be right back. [00:14:00] [00:15:00] [00:16:00] [00:17:00] [00:18:00]  Welcome back. You're tuning in to Apex Express at 94.1 KPFA 89.3 KPFB, 88.1 KFCF Fresno, and online@kpfa.org. Before the break, we were talking about the power of personal storytelling and how sharing our own experiences, especially around identity, can be both healing and powerful. Now I want to dig into how that turned into Hamro Katha: when the Lotus Blooms, what inspired you all to start a podcast? Susmita Tamang: So within our Identity and Belonging group, we divided again to different groups. One was podcast, one was an identity wheel activity we had to do in front of everyone in the summit. So that was when the idea initiated, but then, after we were done with our summit we talked again [00:19:00] altogether. Sarada brought up the idea of podcast because her inspiration drew from the Moth podcast. Sarada Tamang: Yeah. Thank you for filling it in. I was in the subdivision of the podcast from Identity and Belonging, and I thought, we should do something. And I was really moved by the Moth podcast, which I was first introduced to in freshman year of high school. I thought maybe this would be a great way for each person in our community to share their individual stories and experiences so that, you know, it's out there for people to hear and in a way it's preserved because of lack of media coverage in our history,  Susmita Tamang: I agree. Bhutanese Nepali people, not a lot of people even know who we are. And usually when people are like, Oh, where are you from? We say Nepal, but we never explain or go into depth. We're actually not really from Nepal, but at the same time we are. Our parents were born in Bhutan, but then they fled, and therefore, blah, blah, blah. There's not a lot of coverage, so that was definitely one of the main ideas that all of us agreed on. [00:20:00] We want to speak about our issues, about our history, our story, so that people know that we do exist, and acknowledge, us. Cheryl Truong: That's such a great point on the lack of representation and coverage. Sarada, I would love to know more about the Moth and what that is for our listeners out there who don't know what the Moth is.  The moth is where they have stories from thousands of people and it's recorded live. You can hear the audience's reaction to the storyteller as they talk about their journey or talk about a core memory. The stories, they don't have to be serious all the time. Sometimes they're just a funny moment from your life or a little snippet of a journey from your life. I, wanted to incorporate that into our podcast. And one of our team members suggested that maybe we should also have a conversational type of podcast that we all listen to nowadays where we cover important topics in our community that are often overlooked. I hope that, from talking about these issues [00:21:00] as a community, we can grow and connect with each other.  Thank you so much for sharing that. I also wanna take a moment to talk about the history that shaped so many of these stories. For folks who may not know, can you, can one of you share a little bit about the history of the Nepali Bhutanese refugee community?  Nawal Rai: Yeah. We were forced to leave our country, basically stripping our citizenship overnight by the Bhutanese government, and obviously it was not overnight, but it was a progress through putting in policies like one people, one nation act which kind enforced one language, one religion, one cultural costume, one way of practicing and worshipping. That became an issue. A lot of Nepali speaking community, a majority who are Hindu, started to resist toward that policies. Then the people were started to labeled as terrorists and anti nationalist. And so a lot of those caused for us to leave. Some families were given notice to leave by certain dates. And if you're not, then you're either going to be evicted or your house are burned [00:22:00] down or you're forced through violence. Some folks left because of scared of this violence from the government, but also some people after seeing those violence that was perpetuated against the people that resisted. Right. So that kind of became mass migration toward Nepal and that's where we ended up. Some people stayed in India, got stuck in India and in between borders with Bhutan and India and then more than 100, 000 people then resettled in the Seven Refugees Camp in Eastern Nepal.  Cheryl Truong: Yeah. This is a really dark and painful history one that often doesn't get told and, and it really pushes back against that popular narrative of Bhutan being the quote unquote happiest country in the world. You all have touched on how important storytelling is not just for healing, but also for connecting with others and building understanding. So I'm curious when you're all recording, when the Lotus blooms. Who do you imagine listening? Who is the audience you have in mind when you share these stories?  Manju Gurung: I think it is for everybody from our [00:23:00] community or the elders who have not been able to share their stories and struggles that they had to go through. And for our parents people our age and younger than us, the next generation. Anybody who wants to share their stories. It doesn't have to be only about their struggles, if they have something funny or happy stories or anything that they want to write and share, we have created the space for them to use and amplify their voices so we can inspire more people or at least their stories can kind of let others know that, Oh, there are people who have gone through similar stuff like I have, or they have, so yes, it's. I would say it's for everybody.  Susmita Tamang: Yeah, I would say our primary audience is definitely our own community. But also outside of our community, people who support us or don't know about us so that again, our main message that our stories are heard and we are acknowledged. Our identity is Shown and talked about. I think that's also [00:24:00] definitely our target.  Cheryl Truong: And your podcast name is Hamro Kata, When the Lotus Blooms. I totally butchered that. Now, could you tell me the symbolism? What, where does this name come from? Susmita Tamang: We actually made a post on Instagram about our name– when the lotus blooms is our username. We couldn't fit the whole entire podcast name because it was too long. So, yeah, please follow us. Hamro Katha, by the way, means our story in Nepali. That's the direct translation. Our name signifies the perseverance of the Bhutanese Nepali refugees. The lotus. I think many know, it's a symbol of how a lotus prospers from muddy waters. Despite our adverse origins, we continue to flourish by learning and sharing our experiences, trying to inspire others along the way.  Cheryl Truong: What are the kind of stories that you're able [00:25:00] to hear from your elders? Are they open to sharing?  Nawal Rai: Yeah, that's a really good question. And are they open to sharing? I think our community is pretty open to sharing those stories. And I think that also comes from not having anyone to listen for them before, right? At least my grandparents are always like ask me questions. I grew up listening to a lot of the stories from Bhutan and of growing up in Bhutan and the impact of migration. So I have had a lot of those conversations with my grandparents, so they always, at least my grandpa, he can be really buggy with our family because some of our family members doesn't ask him questions like that. Not everyone is interested in the political and the social world like I am in the family. So he's always upset that our uncles or our family members is not asking him enough questions. So from my understanding, there's that part of them that wants to share their stories, because of their struggles that has never been really spoken on and I feel they have never been able to share those stories with anyone. I see that in my family coming out in the structural where he started to be upset with us you know, you guys are [00:26:00] not even trying to learn anything about our stories and blah, blah, blah. And I was like, I got you, grandpa.   Susmita Tamang: Without even asking my dad usually when there's a family gathering of any sort, they're always talking about how their life was back in Bhutan. So from their anecdotes and narratives, I'm always able to listen to what happened. I think usually most of the people I've asked about how their life was in Bhutan, or if they have anything they'd like to share, they're always open to sharing and talking more about it.  Sarada Tamang: I was a big yapper growing up when I was small, especially. So I would be like, grandma, where are you from? Oh, what is, what was that? What was this? And so, I would hear a lot of stories from her and I would also hear a lot of stories about Bhutan and even life in camp from my mom and my relatives when they're reminiscing about old times. I heard the quote when your grandparents pass away, it's like a whole library crashes down or something along the lines of [00:27:00] that. Ever since I heard that I was like, oh my goodness I need to know everything that my grandma has been through. Every time we talk on the phone i'm always asking her about Her life and her journey. Cheryl Truong: Wow. This is actually so different from my experience growing up. Like I remember growing up super ashamed. I would tell my parents don't speak Vietnamese. I don't want everyone to hear it I wanted to fit in.  Susmita Tamang: I did experience what you just talked about, trying to assimilate with the American society because early on when we first immigrated here, being in this space where everyone is Very different from you and more of like you're the one who's different from everyone else. You just wanted to hide or how do you say fall into their group so that you're not singled out as a refugee. I did have that crisis where I was ashamed of myself It was only till high school [00:28:00] When I accepted, I am Bhutanese Nepali, I am a refugee, and I'm proud of that, and that's actually when I started asking questions. So, I wasn't always very curious, but then later on learned more about myself, and that's when things actually started going. Was it like that for you guys?  Nawal Rai: Yeah, Cheryl, I was gonna say, you are definitely not alone. I think we've all been through that phase of running away from our community and everything, and we're trying to reach for that whiteness and the validation of white people. And I think even in the structural way. In college, as a freshman, and after Covid and after George Floyd, that's when those were the moments that really looking into politics and like also looking at the systematic racism and how it has embedded in us in our consciousness and the way that we go on about life. Those moments and those phase of life has definitely made me start the process of decolonization and really explore who am I? And those [00:29:00] curiosities became strong. I found ARU at a perfect moment in life and I'm still exploring and I'm still learning. ARU gave me the space and that people and that community. I'd never seen an organization like ARU in our community that really focuses on healing and talking about social and political issues that is impacting people, and not just about about it, but also how do we take action and getting our communities involved in those conversations. Obviously, we're not where we want to be and I think it's a constant everyday process and work that we're constantly trying to do and trying to build and give something back to the movement and to our people.  Cheryl Truong: Yes. Healing is such a powerful part of this work and of course everyone in this room knows that healing and storytelling is really political too, especially as racialized people. So I wanna ask, what radicalized you? Was there a moment in experience or a story that made you start to see the world differently or made you wanna speak out and organize?  Sarada Tamang: [00:30:00] For me, it was seeing other Bhutanese Nepali youth on social media embracing our culture. And I realized, wow, the clothes that we wear, the language that we speak, it's actually really beautiful. And That's when I started digging more into my culture and trying to understand why I was the way I was growing up. And so, yeah, I think seeing my community, but in different states through social media was definitely a way that moved me, pushed me to accept my culture.  After I was able to get over my insecurities or the desire to fit into certain categories in high school, I was like, Well, I had always been dancing ever since I was small and I enjoyed it even more as I grew up and I would perform if I could at school during our talent [00:31:00] show or diversity program and a lot of people complimented me and they were like, wow, you dance so well. Sarada Tamang: And when people are like, how many languages do you speak? And I say two, they're like, what? I can only speak English. And then after that, I was like, you know what? Yeah, I should embrace this because I love everything about our culture, especially the dance part of it. Cheryl Truong: And how did you get into dancing? Was that something you did with your family?  Sarada Tamang: Growing up, I would see my sister practicing with her friends. And that heavily influenced me because I was like, wow, they were so good at dancing. I want to be just like my sister. And so, I continued practicing and improved. Susmita Tamang: I actually have a story about that.  When we were very young, like when we were around eight years old. I'm pretty sure It was our first performance together, but we did dance in front of, what was it? Wasn't it, Kerelama Arubakotoma? Monks Arubakotoma?  Sarada Tamang: Oh yeah, it was [00:32:00] at a Buddhist temple.  Susmita Tamang: Yeah, and we got five dollars as our, I don't know why we got five dollars, but there was an envelope and I opened it and it was money. I was like, oh my god, maybe I could do this for life, you know? But no, no, no. And we actually performed another time too, it was during Losar, a New Year's event. This was in middle school. That was really fun. And I think that was the last time where our community actually got together. Because afterwards, Charlottesville, it became dry. But I have a lot of good memories of dancing with Sarada.  Cheryl Truong: Wow, five dollars. When you're young, five dollars is a lot. Do y'all do the red envelopes, too?  Susmita Tamang: We don't do red envelopes, but we do get money during our holidays, Dashain and Tihar.  From our last October and November GoHolidays, Dashain and Tihar. DR, I made around 800 and I saved that up and I paid my tuition with it.  So I'm always happy when it's around, you know, holiday season. [00:33:00]  Nawal Rai: Also, in our system, the man doesn't get the money.  Yeah, our family often just gives money to a woman in our family Because they often see our women often gets married and lives with husbands, right? And I think there's that respect of showing more appreciation towards that, at least that's what I heard going on, and I was  like, that's kind of cool. I  Susmita Tamang: In my family, they do get money, but obviously lesser than the girls, but for Tihar is when the guys, if they have siblings or cousins, they get gifts, and in return, the girls get money.  Manju Gurung: But  then about that too, guys, I think for in Hindu religion, there is a one goddess who kind of represents wealth and money and all of that. So people who celebrate, our practice Hinduism at least at my household, we practice both Buddhism and Hindu, like holidays and all of those. So, since there is a goddess who people actually pray for wealth and all of that, I think one of the reasons why a [00:34:00] lot of times women in households get a little bit of extra attention and money as a blessing, so. Susmita Tamang: Yeah, it's a bonus point, I guess.  The gender dynamic, I feel in Bhutanese Nepali community is like in most South Asian immigrants community, where the male kind of dominates the household and The females are the ones who are supposed to stay home, do the majority of the housework, look after the kids. So it's very traditional roles, but having come to America, I think those ideas of it being super dichotomous has been lowered because we know what it is. Susmita Tamang: Individualism is.. People are able to kind of work towards that, whether you're a male or a female or any other genders. So I think being in an American society has definitely influenced now our idea of those dynamics. It's much more [00:35:00] free. But there are definitely, communities within our community that still hold on to the older ideals. Yeah.  Nawal Rai: Yeah, like I would say in terms of a lot of gender roles, I will say like our communities pretty progressive and again, I also don't want to under undermine a lot of the violence that happens against women in our community, right? There's still that imbalance in power in different households, right? But I think when I do, look at our community as a whole, I will say like majority of it's like a more progressive learning, I would say in terms of a lot of issues as well. And if we're looking at men and women, I will say our women in our community are a little bit more progressive than men, I would say. And I think that also plays a big dynamic in our community and how women plays a role in society, even at my household, was very much of a on and off of the power dynamic with my mom and dad. I feel like there was a lot of things I knew that my mom [00:36:00] was and like, even my from my grandparents to see what's this, the oldest, daughter in law, she was, her opinion was always needed there and without her presence or without her saying, no family decision could be made. And that was respected by our grandparents and that was implemented in this. But there, I know there are also my friend's family, right, where there is that dynamic of really, uh, oppressive kind of dynamic.  Manju Gurung: I think within my family to what I've seen growing up between my parents when it comes to gender roles and all that. I think we'll just speaking from experience. I think I've had. This is not me like talking bad about my father or anything. He's a great father and husband and brother son all all, He's an amazing man. But I've had in past two, three years I've had conversations with him where he would say Oh, women should learn to cook. He would heavily focus on those words, which didn't really Sit right with me as I grew older and learned from [00:37:00] experience and around the world. And the thing is, his message was not really entirely wrong. Not just to make women be all prepared for their marriage and stuff, but he was just saying in a way as a concerned father would be like, in case if you , get married off and then go to your in laws homes, we don't want to hear your in laws making you feel bad about not knowing how to cook, clean, all of that, you know.  I always argued with him by saying I don't need to be perfect before I get married or, because I think it's a life skill that a man and women should know. The way that My parents have raised me. I would question them and be like, well, have you taught your son how to cook and clean. It's not only my responsibility to cook and clean and provide. I think after that conversation that I've had with him over and over again, he does kind of pause before he speaks to me about those things because he knows since I'm the oldest one from my home. He knows that, it's going to backfire on him. And so it's a lovely conversation to have with parents and I think even with grandparents too, about gender roles and [00:38:00] dynamics and what we are expecting of women specifically in our communities.  Susmita Tamang: By the way, what I love about what Manjutimi just said is that I feel like our generation is the one who's kind of asking them so that they're aware of what they're actually saying. And a lot of our parents are like that. But then I also realize. It's because their parents were like that and then their parents, grandparents were like that. So it's a lot of these things are passed down and I feel like we're here to break that and say, hey, stop, pause. That's not it. And then actually explain why it shouldn't be like that. Nawal Rai: Yeah, and I want to add a little bit because a lot of our listeners are going to be people who grew up in America, most likely, right? And I think I want to, and why I said that, our community is a little progressive is because I compared our community to a general conservative man of the West. And I feel like a lot [00:39:00] of those views about women and what you just mentioned about like your dad About your dad saying that right? It's not coming from like a woman should do this It is something that culturally passed down to that that's what they're used to and what's Susmita said you know, I think we are the ones To break that. And I feel like when break into those conversation, I feel like a lot of the elders often are pretty open to at least listening in my instances and I know it's not the same for everyone. Again, like the talk, speaking from my experience and with a lot of elders, I have been able to break that crack doing those conversation and I feel like they have been open to welcoming those different views and listening and I've been able to do that in my family, quite a bit. So I think that's something that, yeah, we can do.   Cheryl Truong: Yeah, that's so real. Challenging those cultural norms, especially when they've been passed down for generations, isn't easy. It takes a lot of care and courage, and you're all doing that through your stories, and I think that really shows in your first episode! So for all of our listeners out there, the first episode of [00:40:00] Ro Kata, when the Lotus Blooms is available using the links in the show notes. How was your experience recording your first episode?  Susmita Tamang: It was so nerve wracking at first because we wanted to keep it conversational, like we're just talking with our friends, but at the same time people are going to be watching this, so it's like, do we talk to the audience? How do we still retain our natural tone? It was a lot of just talking to ourselves, hey, it's gonna be okay. We can edit this out later, you know? But it was such a fun experience because everybody was on it. They had the same emotions as I did. But as we were talking about each topic, it kind of just naturally flowed. We had so much to say. Seems like all of us are big yappers so it was nice. What about you guys?  Manju Gurung: Yeah, well, definitely, we had to restart so many times just because everybody was so nervous. When we knew that it was recording, I think it really made all of us a little bit nervous, yeah. Sarada Tamang: [00:41:00] definitely a learning experience. This was a trial and error kind of, but I think overall we did great. I think as the more we do this, the more comfortable we'll get. During this process, we're doing our best to improve as we go and we've also been receiving a lot of feedback and we will definitely incorporate them on our following episodes. I  Nawal Rai: yeah, I wasn't on the podcast, but I did the editing. I think it was, it was a really good experience and I watched them while I was editing. I think overall for the first time, no one has ever done a podcast in our group, this was all like new, something new for all of us. And Yeah, putting that in mind, I think it was a very successful. I would say it was a successful first episode and, even for the edit, while I was editing too, there was a lot of things that I was learning as I was editing and there was a lot of things That are also group were incorporating that we were helping each other to produce that. So I wasn't the only editing. My groups were sharing their ideas and how we can really make that product look the way that it came out, you know? It was a lot of teamwork and [00:42:00] learned to take criticism, then how do we implement that in practice?  I think especially being virtual, it's difficult to do all the things. , it's a process. So we're trying to do a different recording in a different method next time and try, if that would make our screen much clearer or just play around with us. It's as we go, I think it's going to be an experience.  Cheryl Truong: Thanks for sharing your reflections with me, everyone. I'm glad to hear that it was overall a good experience. Well, we are at time, but before we close, I want to ask you all one last question. If you could go back and tell your younger self something, something you know now, after being part of this podcast, this community, this journey, what would you tell yourself?  Susmita Tamang: I think for me, it would be, don't try too hard to fit in, because my whole entire elementary to middle to early high school year, it was always trying to do these activities that like trying to get into musicals, and ballet, I did so many, I mean, these were actually really good opportunities, but [00:43:00] it was so that I looked like my peers, my interests and hobbies were the same as theirs, so that they took me in, kind of. They were fun though, I did get into musicals, it was fun, but that was definitely my time where I tried my hardest to be in that group. But I guess I would tell myself, don't try too hard to fit in because you will find your people. Just be yourself and that will help you move on through life.   Manju Gurung: For me, I think I would tell my younger self to be brave. I'm still telling myself to be a little bit brave and be confident. And I think that's a work in progress, but yeah Be a little brave and don't be afraid to share your voice. And I think that's something that I have struggled with, being confident in my own voice. And, thankfully enough at this age and day that I have ARU and this amazing team that we have. So that has allowed me to share my voice and not be scared.  Sarada Tamang: For me, advice I would give to [00:44:00] my younger self. Is that I would tell her to don't be afraid to speak and initiate a conversation because I feel like because I did that. Now I'm more afraid to speak to people. And embrace your culture. Nawal Rai: Yeah, for me, I would say. You didn't have to be a parent. I feel like, that's a sound depressing. I feel like I'm saying that because I feel like I had a lot of little siblings. And a lot of the time. My parent didn't force me to be, but being the oldest, I tried to put that habit of being an adult and being a parent figure. Now I'm 23 and living alone, trying to figure life out, and I'm like, I am still a child and I don't know how to be an adult. I feel like I didn't get time to be a child back then, because I was trying to be an adult so much, now I'm like, okay, I want to be a child now, so , I'm trying to figure out how do I also be a child and also [00:45:00] figure this world out, and I think that's the phase I am in life right now, trying to figure that out.  Cheryl Truong: Well, I'm so excited to see more of y'all. Thank you all so much for coming on the show for our listeners out there. Can you remind me one more time, how can we listen and tune into your podcast and how can we stay updated on all things?  Susmita Tamang: So majority of the things we're going to be posting is going to be on our Instagram, whenthelotusmoons, that is our username. And then we have a YouTube account, Spotify, as well as TikTok, where we're going to be posting more of our materials. So if you guys go there, you can check us out.  Nawal Rai: I think the best way to stay connected would be following on Instagram. That's where I feel like we'll post a lot of the things that will be , updated, and I think a lot of the announcement will come there.  Cheryl Truong: Thank you all so much for sharing your stories, your honesty, and your hearts with us today. Once again, this is the incredible team behind Asian refugees United's new podcast. It's really clear that Hamro [00:46:00] Katha isn't just a podcast. It is a space for healing, for truth telling, and for imagining something better. To our listeners. If you wanna learn more about Asian Refugees United and the work that these incredible youth leaders are doing, please check out Asian Refugees United's website.  It's currently linked in the show notes. And as always, thank you for tuning in to Apex Express. We'll catch you next time.  Cheryl Truong (she/they): Apex express is produced by Miko Lee, Paige Chung, Jalena Keane-Lee, Preeti Mangala Shekar. [00:47:00] Shekar, Anuj Vaidya, Kiki Rivera, Swati Rayasam, Nate Tan, Hien Nguyen, Nikki Chan, and Cheryl Truong   Cheryl Truong: Tonight's show was produced by me, cheryl. Thanks to the team at KPFA for all of their support. And thank you for listening! [00:48:00] [00:49:00] [00:50:00] [00:51:00] [00:52:00] [00:53:00] [00:54:00] [00:55:00] [00:56:00] [00:57:00] [00:58:00]  The post APEX Express – April 17, 2025 – When the Lotus Blooms appeared first on KPFA.

Today on KPFA Radio's Women's Magazine Lisa Dettmer  talks to three Queer farmers of color, Oriana Bolden, Loa Niumeitolu and Kellee Matsushita-Tseng about how we can create alternative spaces to sustain us during this newest round of fascism.  While  Trump is orchestrating a neoliberal collapse  and we weather  the constant barrage of attacks on our lives we need to create alternative communities rooted in the land.   But our capitalist  industrial model of growing and consuming food is contributing to both climate change and social inequity and unfortunately large agro industrial farming is not that  different than plantation farming. industrial capitalism is undermining our ability to build sustainable food systems for all.  98% of Farm Land is controlled by white people and  many  argue that alternative economies—including alternative food networks—continue to benefit middle class white folks, while further marginalizing communities of color and low-income folks.  So today I am going to talk to 3 Queer farmers who are  creating  farms and gardens farming for BIPOC and low income and Queer people which is so important to  creating a truly just movement for food sovereignty and  is so important right now to help create alternative communities that can sustain us when we can not count on government grants or financial support reminding us that  we will need to create   independent grassroots movements rooted in the land  where we can be sustained with food and well being and   where we can create our  own systems for  mutual aid and an alternative non extractive non exploitive economic and eco system.  Today we talk  to 3 farmers who are doing that.   Oriana Bolden  is a Black, queer, filmmaking farmer located in Grass Valley, CA, where Oriana  stewards medicinal herbs, edible flowers and long-celebrated, but “forgotten” herbs, spices and indigenous foods that are local and ecologically and culturally important.  And we talk to Loa Niumeitolu, who  is a Tongan poet, community organizer, educator and urban farmer. She is the director of Planting Oceania, a Pacific Islander collective that plants their ancestral foods and medicine for self determination and to heal from the destructions of colonization.. planting Oceania plants on the unceded territories of Lisjan and Raymatush tribes.”    And lastly we talk to Kellee Matsushita-Tseng who  is a yonsei, 4th generation queer japanese-chinese american, living and farming on unceded territory of the  Uypi-tribe   in Santa Cruz. Kellee joined the Food, What?! team in 2023 with over a decade of both farming and education experience, with special love for connecting people to seed stewardship. In addition to their work with youth at Food What?!, Kellee works to build seed sovereignty movements as a means of cultivating community power and organizes with a collective of AAPI farmers and organizers across the country, called Second Generation Seeds, which preserves, improves, and breeds crops significant to communities of the Asian diaspora.  Kellee is also a founding member of Bitter Cotyledons, a collective of queer and trans asian Americans that cultivates creative resilience through ancestral foodways and community. The post Queers of Color Farmers appeared first on KPFA.

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. The post APEX Express – April 10, 2025 appeared first on KPFA.

This week's episode of Sistas, Let's Talk is a repeat of the show broadcast on 11th April 2024More than ninety-five per cent of the popular music made in the last decade was produced by men.That's according to a 2022 study from the USC Annenberg Inclusion Initiative in the United States. So where are all of the talented women in the music industry? What does it take to break through and gain recognition, not to mention earn a living as a woman in the music industry? Especially in the Pacific where it's already so hard to gain global recognition. Sistas Let's Talk examines the ways that the gender imbalance in the music industry is being addressed.

In this episode of the Y Health Podcast, Dr. Cougar Hall welcomes back one of BYU Public Health's most dynamic voices, Dr. Lori Spruance, to share insights from her recent Fulbright Fellowship in Australia, her groundbreaking work on nutrition policy, and her run for public office. Dr. Spruance dives into what it was like living in Rockhampton, the beef capital of Australia, complete with kangaroos on campus, sunburns from extreme UV levels, and a front-row seat to the unique cultural and geographic landscape of the country. Beyond the adventure, she breaks down her Fulbright research on dietary greenhouse gas emissions, explaining how our food choices—especially meat consumption—impact the environment, and how Australia compares to the U.S. in terms of school nutrition policy. The conversation shifts to the U.S., where Dr. Spruance shares updates on her latest research: A study examining carbon footprints in children's diets and how healthier meals can be more sustainable.A groundbreaking look at Pacific Islander families' perceptions of school meals, revealing key insights for improving participation and cultural sensitivity.An evaluation of Utah's alternative breakfast models, shedding light on how policy changes play out on the ground.She and Dr. Hall also discuss the importance of federally funded school meal programs, how school nutrition affects academic success, and why careful messaging matters—especially for children who rely on school meals daily. In the final segment, Dr. Spruance reflects on her experience running as an independent candidate for the Utah State Senate, sharing candid thoughts on navigating politics while staying true to BYU's politically neutral standards. She offers encouragement to anyone interested in public service and public health policy, emphasizing that change starts with showing up. From advice for parents and students to small steps you can take to make your diet more climate-friendly, this episode is packed with practical tips, personal stories, and powerful research—all grounded in Dr. Spruance's deep commitment to public health, equity, and community engagement. Tune in for an inspiring episode that blends global perspective, local policy, and personal action. Recorded, Edited & Produced by Christy Gonzalez, Harper Xinyu Zhang, Kailey Hopkins, and Tanya Gale

Your zip code can be a stronger predictor of your health than your genetic code. In this episode, I dive into the complex issue of obesity in minority communities, especially during National Minority Health Month. I explore the reasons why obesity rates are disproportionately high among Black, Hispanic, Native American, and Pacific Islander populations, including food deserts, economic hardship, cultural eating habits, healthcare mistrust, and lack of safe spaces for physical activity. I also share personal stories and real-world examples to highlight these systemic barriers, and I offer practical, culturally relevant solutions from modifying traditional recipes and choosing budget-friendly healthy alternatives, to finding community support and advocating for better access to healthcare and nutritious food.  Tune in to this episode to uncover the real reasons behind obesity in minority communities—and discover practical steps you can take to spark lasting change.   Episode Highlights: Obesity disparities in minority communities Impact of food deserts and limited access to fresh produce Economic and time constraints affecting nutrition choices Cultural eating patterns and recipe modification tips Mistrust in healthcare and language barriers Lack of safe spaces for physical activity Practical strategies for healthier eating and lifestyle changes Importance of community support and advocacy for health equity Connect with Dr. Alicia Shelly: Website | drshellymd.com Facebook | www.facebook.com/drshellymd Instagram | @drshellymd Linked In | www.linkedin.com/in/drshellymd Twitter | @drshellymd About Dr. Alicia Shelly Dr. Alicia Shelly was raised in Atlanta, GA. She received her Doctorate of Medicine from Case Western Reserve University School of Medicine in Cleveland, OH.  Dr. Shelly has been practicing Primary Care and Obesity medicine since 2014.  In 2017, she became a Diplomat of the American Board of Obesity Medicine. She is the lead physician at the Wellstar Medical Center Douglasville. She started a weekly podcast & Youtube channel entitled Back on Track: Achieving Healthy Weight loss,  where she discusses how to get on track and stay on track with your weight loss journey. She has spoken for numerous local and national organizations, including the Obesity Medicine Association, and the Georgia Chapter of the American Society of Metabolic and Bariatric Surgeons. She has been featured on CNN, Fox 5 News, Bruce St. James Radio show, Upscale magazine, and Shape.com. She was named an honoree of the 2021 Atlanta Business Chronicle's 40 under 40 award. She also is a collaborating author for the, “Made for More: Physician Entrepreneurs who Live Life and Practice Medicine on their own terms''.   Resources: FREE! Discover the 5 Reasons Your Weight-Loss Journey Has Gotten Derailed (And How To Get Back On Track!)

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. Tonight on APEX Express join host Miko Lee as she talks with Asian American theatre artists with works coming up soon. Miko talks with Sunhui Chang and Joan Osato about their world premiere at the Magic Theatre. She speaks with Ethnotech's Nancy Wang and Robert Kikuchi-Yngojo and finally we hear from playwright Jiehae Park on the world premiere of the Aves at Berkeley Rep. Though we may be immersed in a complicated, challenging and very disturbing world, as Grace Lee Boggs said, “A people exercising their creativity in the face of devastation is one of the greatest contributions to humankind.”     Our Guests discussed: April 2-20, 2025 Magic Theatre The Boiling, a tale of american nihilism tickets, wheelchair accessible Joan Osato SFFILM Cedar Road Iyagi Grant Applications:  sffilm.org/artist-development Ethnohtec May 22 Ethnohtec https://sfpl.org/events/2025/05/22/panel-strong-bamboo-3-part-1 Strong Like Bamboo SF Library Koret Auditorium Free https://sfpl.org/events/2025/05/25/performance-strong-bamboo-3-part-2   Coming Up Next Transcript   Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the Apex Express.   Ayame Keane-Lee: [00:00:34] Tonight on APEX Express join host Miko Lee as she talks with Asian American theatre artists with works coming up soon. Miko talks with Sunhui Chang and Joan Osato about their world premiere of the boiling at the Magic Theatre. She speaks with Eth-Noh-Tec's Nancy Wang and Robert Kikuchi-Yngojo and finally we hear from playwright Jiehae Park on the world premiere of the aves at Berkeley Rep. Though we may be immersed in a complicated, challenging and very disturbing world, as Grace Lee Boggs said, “A people exercising their creativity in the face of devastation is one of the greatest contributions to humankind.” So join us on APEX Express as we join some creative conversations.   Miko Lee: [00:01:17] Tonight on Apex Express, we have the collaborators behind Magic Theater and Campo Santo's, world Premier of the boiling: a tale of American nihilism. Welcome playwright Sunhui Chang and video artist Joan Osato.    Joan Osato: [00:01:30] Thank you for having us on, Miko.    Miko Lee: [00:01:33] Yes. First I'm gonna start for each of you with a personal question, which is an adaptation from the amazing Chinaka Hodges. And my question for each of you, and let's start with Joan first, is who are your people and what legacy do you carry with you?    Joan Osato: [00:01:49] I consider myself a child of immigrants in this country. My lineage Japanese, Japanese American by way of Hawai'i a lot of my lineage is carried by that diaspora, but also by my history at Youth Speaks for a couple of decades. And so I consider that my family also and Camp Santo.    Miko Lee: [00:02:12] Yay. Love that. And then Joan, what legacy do you carry with you?   Joan Osato: [00:02:17] A legacy of resilience and I know how to farm. I like to think of myself as a gardener and a great farmer. so that's the legacy I carry with me.    Miko Lee: [00:02:29] Thank you so much, Joan. Sunhui, what about you? Who are your people and what legacy do you carry with you?    Sunhui Chang: [00:02:36] Well, I'm part of the diaspora, the Korean American diaspora that happened in the seventies. My family immigrated to the island of Guam in 1976, as part of developing the island of Guam. As, you know, the Korean diaspora at that time in the seventies, we were kind of shipped around the world a little bit, for our labor. There's a huge Korean population of workers that also went to West Germany and other places, Guam is not as well known, but it was definitely part of that. So in 76, our family landed on the island of Guam.    Miko Lee: [00:03:11] Wow, that's so interesting. And then what about what legacy you carry with you?    Sunhui Chang: [00:03:16] I think my legacy I have to say is that definitely of the immigrant working class, you know, as with a Korean diaspora, there's some things of, like the East Coast Koreans, as you may know, have a different history of being much more educated whereas kind of the west coast and the Korean diaspora during the seventies towards islands like Guam, we were much more working class. So that is my legacy. I have working class roots that, I never seem to be able to get away from and I don't want to.   Joan Osato: [00:03:47] Shoot. That's the same for me too, my working class roots.   Miko Lee: [00:03:51] So it sounds like you two have some commonalities there and that seem to have flowed over into the creation of this play. Sunhui can you talk about an overview of this brand New World premier, the boiling.    Sunhui Chang: [00:04:05] Simply put, it's a story of a tracker and a tracer, a government team that was formed to track and trace down carriers of the virus called the Boiling. and it actually. starts out as a chase, but what we really dig into is more about, identity, home, what it means to be, what is home and what it means to be, at home, and also, about redemption, you know, through our lives, you know? So it's multi-layered, so it's hard to kind of explain in a log line. but it's a chase story that kind of delves into the characters.    Miko Lee: [00:04:40] And I understand this was inspired by a real news story. Can you tell us about that real news story?    Sunhui Chang: [00:04:46] Oh, yeah. the genesis of this we have to kind of go back to the beginning of the pandemic back to December, 2019. I had just finished a gallery installation in San Francisco and then at the end of that I flew back to Seattle. Now at that period of time, there was this talk that there's this virus that's in China. That might affect us, we're not quite certain, but it could be something that could lead to a global pandemic, but we didn't quite know at that time. But then when I landed in Seattle, March 17th, 2020 was the date that Governor j Insley shut down the state of Washington. So that is a big take 'cause, As you know, we all hunkered down at that point. And then in one of the hunkering down is of course, I was watching the news and one of the news story, happened to come across where they were talking about a Econo Lodge motel that the state of Washington had purchased to turn into a quarantine motel, a voluntary quarantine motel where people who, felt that they were infected could check themselves in, to be evaluated. So the story goes that two people had actually checked into this motel totally voluntarily, but one of them the morning after. And this is captured, with a surveillance video. We actually see this one person walking out of their room at the motel. We see them walk across the street to a gas station with a market. Now the surveillance actually then switches over to the gas station surveillance, which shows him walking to the gas mart, walking inside, making a purchase, and then actually walking out. And then we see another footage of the surveillance that's going from the outside surveillance of the store. We actually see him, walk towards the bus stop, get on a bus. And then just the bus leaves and that is it. And the news story ends with that. They had no idea where this person drifted off to. and for me it just, it had this weird, eerie fascination that just grabbed me. and remember at that time, Seattle was such a hotbed for Covid. It was where the nursing home happened, where so many of the elderly had passed on, and we didn't even wanna secondhand touch a surface, so there was a real heightened sense of alarm that was happening. So seeing this story of this potential infected person just drifting off. And then what made it eerie was that I wanted to see what followed up. So for days after I kept watching the news, what is the follow up? What happened? It was never brought on again. Never. Another mention I. and for me that actually made it even more eerie. So it really sat with me, to the point where I had to actually just write down the first words of my, the first line of my story, the boiling. And the first line was, “Carrier X stepped out of the tightness of his room and breathed deeply the soft drizzle of the Pacific Northwest to cool his body from the growing fever.” So those were the first words that I wrote. and then it was just kind of off to the races 'cause the way I write Miko is that I'm very much organic. I kind of set a story and then I become a vessel of the story. I don't come to the story with agendas or anything of that nature. After the first sentence, it just kind of took a life of its own. So that's it.    Miko Lee: [00:08:18] That is amazing. I did not hear that story. and the real news story. That is wild. That would've sat with me too. Joan, had you heard of that story before being brought onto this project?    Joan Osato: [00:08:29] Well, when we did a reading during the pandemic. I did hear parts of that story, but I think it's also a story that a lot of us can relate to, because like here in the Bay Area, of course, we also experienced severe lockdown. Whereas in other parts of the country, I think that the type of lockdown, although being, you know, trying to be really safe for people also induces this sense of isolation and paranoia. And so wanting to get information about who's getting affected and like, where's it happening? I think that was all like kind of a mini obsession of like. Everyone who experienced the pandemic, you know what I mean?    Miko Lee: [00:09:10] How do you think that pandemic has had an impact on theater and on audiences?    Joan Osato: [00:09:16] Well on the most basic levels, you know, like what theaters are grappling with, just in terms of coming out of and recovering from pandemic, I think everybody understands that, you know, theater in general is struggling because of the changes that happened in terms of, Perhaps what people place importance on the isolation that we went through, the kind of, paranoia about being in groups of people and in space and in community together. And so, that affects, you know, theaters and you can, you can see that since the pandemic some have closed. But I also think that, the effects are also that, groups like The Magic or Campo Santo during the Pandemic, we never stopped working and we just figured out innovative ways to, you know, support artists, do radio plays, do, amalgamations of like filming. And so a lot of us became like very, very adept at different types of media that are theatrically based, like Sunhui's play, but that we had to carry out, like online or, you know, through other types of media.    Sunhui Chang: [00:10:30] I just wanted to add on that is that, the pandemic, you know, there there was definitely things that really affected us as humans in such a negative way, but what I also found admiring was, with Joan and Camp Santo and the artists and trying to find creative ways of, still letting, having an outlet. it really was that the story of the boiling would not have taken place if artists such as Joan and Camp Santo. If they didn't, if they weren't able to pivot and make these kind of online transitions at the moment, such as doing readings and such, cause that's how the story was first brought about. So, in many ways it was hard. But also I do appreciate these artists who have been able to kind of keep going and didn't shut down and kept letting the creative creativity somehow flow. I so appreciated that.    Joan Osato: [00:11:20] Yeah, it was definitely a beautiful thing. And then, you know, Miko, throughout the pandemic, you know, we would have like online viewings of our archives or we would sit with audience members, who were joining us and basically hang out for like three, four hours online. So trying to create the space not only to kind of generate support for artists who are. Completely outta work, but also to, just connect us even though we were. You know, obviously under these conditions where we couldn't see each other in person and it wouldn't have been advisable for us to even try to gather, you know, because, I consider us, you know, in-inside of our community extremely vulnerable. So, you know, just grappling with that tension, was really hard.    Miko Lee: [00:12:09] Yeah. And I kind of hear both of you saying that in those really tough times, there was this push to get more creative, to find more ways of reaching people and, and to look at ways that we can, um, innovate given that, and I'm wondering, given our current political climate where things are changing every hour now. I mean, the first Trump administration, it was kind of every week and now it feels like every hour a new kind of devastating thing is happening. I'm wondering how you both think theater can be used as a tool for social change.    Sunhui Chang: [00:12:41] For me Theater and, and really the arts, what I do love about it, is this really, and I kind of touch upon it with the story and such, and it really hit me during, COVID, during the pandemic, is that it's really for me, what it does is listening.  I know as artists, we love telling our story. We love telling what we see, our interpretations and things like that. but I think what I have really come about with the arts is the fact that I like the other side of it is the listening part, for me with my collaborators, that I have to listen. You know, it's not about just me talking, but just listening. So for me, the theater aspect of it and the art aspect of it is that I hope that, as we go through these tough times, what it really has us doing is listening to each other more. One of the things that I really feel in that way and appreciative of listening is the fact that without listeners, there's no storytelling. Listening is really the foundation of our humanity. You know, I mean, just talking really gets us nowhere. What really makes us move forward collectively is listening.   Joan Osato: [00:13:50] Mm, Sunhui heard that. Yes, I heard that. [laughs] As far as theater and kind of responding to the moment. I think, you know, the type of theater that we embody is always speaking to politics is always speaking to, you know, the culture of the moment and especially it's speaking, because a lot of Campo and the Magic's work is like based inside of, theater companies that live, work, breathe, are about by and for the communities, like in the Bay Area right. So there's just no way of separating the kind of politics from what happens like inside of these plays. For the boiling in particular though, I think there's a lot of stuff that, that people can think about and here inside the play that will resonate with them. One, we're, we're talking about a hypothetical, but it's not really a hypothetical situation about a pandemic, a very, harmful, very urgent, current conditions. You know, when there's no CDC to have, get your information from when there's no public health that's functioning in this country, we can, we can see what happened during the last pandemic and just make that comparison and draw those comparisons, you know, what would happen in the next one. Right. also that, you know, to me and Sunhui, you can totally. speak to this, but to me, Carrier X, the person that represents is this kind of violence and nihilism that exists inside of the, you know, the current, you know, psyche or administration right at this moment. this real like. It's definitely violent to the point of not caring whether people live or die and so I, you know, I think that's very striking about the play and it happening right now as premiering it right now, because I think people can draw a lot of parallels between. Like this personality, this complete disorder that seems to be going on, like not only in American politic, but amongst the large population in America itself. You know what I mean? That kind of disregard.    Miko Lee: [00:16:18] Joan, that is so interesting. I wonder if you both can talk a little bit more about Patient X as this kind of figure of narcissism and selfishness that we're seeing that's happening in our broader politics right now.   Sunhui Chang: [00:16:31] Yeah, Carrier X, he does, you know, he does kind of represent this nihilism of American nihilism, which to me it's really historical and cultural. we could go all the way back to the nihilism of manifest destiny, feeling like we have something to do that it was even, maybe. God's order, you know, a higher order that was given to us. And we have to take on this task and finish the task at no matter what cost, right? By any means necessary in a way. and that nihilism for me, I. historical, but when I see it currently that happens now, is that I see nihilism in the fact that people want to cut off Medicaid, Medicare, these social programs that are not just help people actually are crucial and it's really, it's a survival. So for me, when I see that kind of disregard, yes, it's not this overt violent nihilism, but I do find it to be so nihilistic in the damage that it does to all of us, you know? And I do find That this nihilistic violence, there's two flip side to it. The people who are directly affected, and harmed by it, but also the people who carry it are out, who carry out these acts of nihilism they do get damaged as well. So for me, so yeah, the nihilism, it's taken on a different life, but. It's a part of America and it seems to continuously carry forward through our days.    Miko Lee: [00:18:00] And Sunhui with the intentional characters, the lead being Korean American adoptee, and, the detective being a black woman, and then carrier X being white. Share with me a little bit about the racial element and your intention behind making those characters of those, ethnic backgrounds.    Sunhui Chang: [00:18:20] You know, there was no intention, as I said, I just write very organically. So there was never this thought of, oh, here's the three characters. One's gonna be a Korean adoptee, one's gonna be a black homicide detective, and another's gonna be a white carrier. It was never that I. It's hard for me to explain the process, but those were the characters that just kind of naturally came out. for me, it just felt fitting to it. So, I don't have agendas as I write, as I said, so there was none of that. It was just for me, as a vessel of the story, as a story was coming out, it was just. Oh yeah, this character is this, this character is that, and this one is this. so no intention. But, once those things came alive, then the story kind of, evolves around what's, organically happening. So yeah, there wasn't intent, but at the end of it all, of course, I go, oh, I see what has come about and how the story is so, In hindsight now going, oh yeah, I did this. for me, it feels right in the, in the fact that for me, this is America Miko. To me, I, I don't write with an Asian American kind of pen, or, or a brown person pen for me, I actually first and foremost say I'm an American. There's no way around it. and it's simply put too, is that. I am an American. so for me, these characters are just. Natural. And when I know about me being American and knowing about American history, these characters just naturally fit in, you know?    Miko Lee: [00:19:50] Yep. Thank you so much. I've read that you talk about new Americana theater. Mm-hmm. And also Joan, you were talking about how during the pandemic, you know, everybody's learning new techniques, new ways of storytelling, just because everybody was forced to with the lockdown. Sunhui, can you talk more about what you believe New America Theater is all about?    Sunhui Chang: [00:20:12] For me, the reason why I kind of see it as new Americana theater, first off, 'cause it's, it's American, the stories that come out of me is very American. you know, and I recognize it. And for me, I, it is, this is part of the American fabric, so that's why it's called Americana. And for me, I say it's new. 'cause what's new is the perspective that it's coming out from. perspective, which brings on different characters, a different storyline, you know, different message. So yeah, that's, that's it for me when I refer to it as New America in the theater. It's just that, that it's, it's an American tale that now we've been able to incorporate new voices into.   Miko Lee: [00:20:54] I noticed there's a really large list of collaborators. Of course the two of you, but then there's a lot of other people as well. Can you talk about that creative process, how you all were able to work together, how you made decisions about, oh, this is the part we're gonna use film, this is the part we're gonna use, movement.   Sunhui Chang: [00:21:11] Like I said, it's very much organic. Our third major collaborator is Ellen Sebastian Chang. she is the director of the show, and when me, Joan and her, we first started delving into it, we did. It was just sitting down and talking a lot. Going through the scripts, the different skill sets that we bring in. And really it was through the dialogue miko and of us talking with each other, but also listening to each other. and that was a big part is that as we started listening to ourselves, we came out with this direction.    Miko Lee: [00:21:47] And what would you both like the audience to walk away with after seeing the boiling?   Joan Osato: [00:21:52] I think, you know, as Sunhui talked about this, ritual of deep listening and so, the play doesn't guide anyone towards some natural conclusion that they should have about, you know, it's, it's not saying you, you must believe this, it's really leaving it up to the viewer, the listener, to draw their own conclusions. And, I think that, that people who come to this will be incredibly moved. I think that they will see a lot of parallels with what we're going through now and what we've gone through. And examine there is a kind of shameful history that we all need to grapple with, whether we own it or not. You know, Sunhui had talked about manifest destiny and that being like one of the founding, you know, kind kinds of principles that this country is founded upon. And there are many, many others That I think the play touches on which give pause and, and give the people who are engaging with this, room to think and reexamine their own actions in the world and how they approach it.   Sunhui Chang: [00:23:02] I'll just mention as an aside, you know, some of the things that we're looking at is. Our disconnect from the natural world and how that has impacted the natural world. Right.  I think Joan is spot on in, in that about, yeah, first and foremost, I do find this so important once again to say about listening. I do. I, that is the big thing that I would love is that for us to, if we really wanna truly have dialogues, and especially with people who we disagree with, and there is a lot of disagreement in this world right now. and for me, yeah, to, Get us back to a place where we could really listen to each other and not be in such a place where all we wanted to do is kind of say what we have to say. It's almost this thing of, oh, you know, the other has to listen, the other has to listen. And I really would like it that it becomes kind of more inward that we all say, Hey, it is time for me to listen. And then of course just the fact that when, as we listen to each other, what I do find and what I hope that others find as well, is that we're much more connected and we have so many things that tie us together than separate.   Miko Lee: [00:24:19] Well, thank both of you so much for joining us on Apex Express. Is there anything else you wanna add?   Sunhui Chang: [00:24:24] Just one thing, Miko, one of the elements of this play, is this natural world with birding and I would love to just, one of the big inspiration is that it's just a quote from Emily Dickinson and the quote is, “hope is the thing with feathers.” For me, I would love for people to kind of sit with that and think about that and what that means for us as human beings in relationship to the natural world, you know, and the importance of that.   Miko Lee: [00:24:52] Oh, that's such a beautiful visual image. Thank you so much for sharing that. I appreciate both of you for sharing your time with me.    Joan Osato: [00:24:59] Thank you, Miko.    Sunhui Chang: [00:25:00] Thank you Miko    Miko Lee: [00:25:01] The Boiling is a brand new play, and it's a story of a Korean American adoptee Brian, who's a virologist from the Midwest, and a former homicide Detective v, a black woman who lives in the Pacific Northwest, and they're partnered to do this trace and track from north to south. They're following David, a white nihilistic carrier of a feverish virus called the Boiling. This world Premier Show opens to the magic theater and runs from April 2nd through April 20th. You can get more information about this show, including links to buy tickets at our show notes on kpfa.org/programs/apexexpress.   Ayame Keane-Lee: [00:25:42] Next we'll listen to an excerpt from The Camp, the first opera on the Japanese American Concentration camps during World War II. The camp premiered from February 22nd to March 2nd, 2025 at the JACCC Aratani Theater in Los Angeles. Composed by Daniel Kessner, who combines modern classical with Japanese instruments, A libretto by Lionelle Hamanaka, directed by Diana Wyenn, with Associate Director John Miyasaki, 11 singers and a 22 piece orchestra conducted by Steve Hofer. The incidents in The Camp Opera were drawn from different camps where over 126,000 Japanese Americans were imprisoned to see the many Japanese American groups that supported this project, including JANM, DENSHO and Raf Shimpo see the camp opera.com and if you know a place where The Camp can be performed near you, please contact the campopera.com/support.    MUSIC   Miko Lee: [00:27:53] Welcome to Apex Express. I'm so glad to have Eth-Noh-Tec once again, we get Robert Kikuchi-Yngojo and Nancy Wang.   Nancy Wang: [00:28:03] Yay. Yes. Hi. Hello. So glad to be here with you Miko.   Miko Lee: [00:28:07] We have been friends and colleagues for, it feels like a hundred billion years. The times that we're in are so complicated right now. But I just wanna first start with the question I often ask people, which is for each of you to tell me who are your people and what legacy do you carry with you?   Nancy Wang: [00:28:27] Well, I am Chinese American, and I am fifth generation on my mother's side. And. So we go all the way back to 1850 when our family first came on a junk boat and started the fishing industry in the Monterey Bay area.    Robert Kikuchi-Yngojo: [00:28:45] And I am, half Japanese, half Filipino, born in San Francisco, raised in Concord, California, and living in the Bay Area for all my life.   Miko Lee: [00:28:50] And what legacy do you carry with you?    Robert Kikuchi-Yngojo: [00:28:58] Well, I guess the identity I have as an Asian American, Japanese, and Filipino, um, I embrace all of that. The legacy is, as an artist, a performer. I've dedicated my life to creating works that reflect an Asian American consciousness, social, political, cultural. Both traditional works as well as new modern stories and music as well.    Nancy Wang: [00:29:25] And I was also a psychotherapist, so my work in the arts, whether it's dance, which I started out being a dancer and then a playwright, and then storytelling. I always weave in the healing aspect of what we all need to do in our communities. And so I use my art to also bring solace and bring celebration and bring, Depth and and the breadth of who we are as Asian Americans, as human beings, as part of this world, this country, then this city, so that we can celebrate who we are together.   Miko Lee: [00:30:04] Thank you for that. I hear you talking about activism, Asian American history, who we are and healing. I'm wondering if you could give me an update about what you're working on right now.   Nancy Wang: [00:30:14] Well, we have several things in the pipeline. I, for one, just finished writing and has now published Red Altar, which is the story of my ancestors. Three generations are followed in this book, about how they established the fishing industry in the Monterey Bay area. All the ways they had to reinvent themselves as laws were passed against them. The people try to get rid of them. And it's really a story of courage and determination and persistence, ingenuity and obviously success. Because I'm here. So I'm gonna be doing some more readings and that can be found on our webpage. Right. And Robert,    Robert Kikuchi-Yngojo: [00:30:55] I am focusing on archiving our work and after working with Nancy and creating Eth-Noh-Tec for the last 43 plus years, we have developed over 200 stories, and we put them on stage. We've written them, some of them are now being written as a compendium of stories. These are Neo-traditional folk tales and myths from Asia. And, people don't know much of this, but I am also an artist, so I'm creating illustrations that depict these stories. That's one project.   Nancy Wang: [00:31:23] Yeah, that's our next book. but what we're really excited about is our second Strong Like Bamboo, stories of resilience in the era of Asian American hate, but it's really broadened beyond Asian American because this year on May 22nd, will be a gathering of Latino and Asian artists and musicians, storytellers, and activists to just sit around and really share our stories, share our music, share our concerns, and to build bridges with each other because it, we will need to increase, our coalitions during this era. It's gotten worse, so we really need to come together.   Robert Kikuchi-Yngojo: [00:32:08] and we titled it strong like bamboo because of the Asian anecdote about, you know, one bamboo can snap, but together binding many bamboo together we're much stronger. So it's a call out to the community to bring all of our constituents and broaden that so that we are strong, as people of color.    Nancy Wang: [00:32:25] And of course we're gonna have food, which always brings us all together. But also bamboo can bend. Without breaking, so that's on a Thursday, May 22nd. But on May 25th, I have curated four other storytellers to tell their stories of their racist experiences and how they came through it to a healing place.    Robert Kikuchi-Yngojo: [00:32:48] There's a gathering of Asian American storytellers, both from the Chicago area and also from the west coast.    Nancy Wang: [00:32:53] And there'll be a panel so they can ask questions and we can have discussions. But after that, the people in the audience will have the opportunity to break up into small groups of three in which they get to share their own stories, their own concerns, and that's really the whole thing is about inspiring people to come through what they're going through and coming out, on the other side with some hope and healing. Because when we share our stories, we lift that particular burden of, say our story about our racist experience. We lifted off our own shoulders and we get to share it. With someone who's listening with compassion and we don't feel alone anymore. It's really a powerful, powerful way to find community connection, relation, and strength.   Robert Kikuchi-Yngojo: [00:33:45] And we'll have also in both of those events, resources in earlier years, I was an Asian American songwriter and did a lot of songs of not just identity, but of unity. I'm also gonna be singing a theme song called Bamboo, which is part of the title and also, a work by Chris Jim, famous of the Chris and Joe Asian American Duet from years ago. the one song we're still here, though it was written 30, 40 years ago. It's still pertinent to what's going on now, especially declaring that America is a multiracial, multiethnic, texture of society.   Nancy Wang: [00:34:20] and, in 2026 we're gonna bring on, African-American and Euro-American, storytellers also, so that we really have a multicultural representation of all who we are and how we still will need to come together. I hope things will be better by 2026, but who knows?    Miko Lee: [00:34:39] Thank you so much for sharing about how storytelling can really be a tool for social change. Is there anything else you wanna share with our audience?   Nancy Wang: [00:34:47] Yeah. please come to our strong like Bamboo on May 22nd and 25th is gonna be at the San Francisco Public Library Main Library, both are free to the public May 22nd the Thursday at May 22nd, it's gonna be in Hispanic room,    Robert Kikuchi-Yngojo: [00:35:05] and what time?   Nancy Wang: [00:35:06] Six to seven-thirty. And on Sunday it'll be in the presentations, the performances in the panel will be in the Koret auditorium, and then small groups will convene in the Hispanic room, which is right next door, and it's got elevators. So no problem, in getting there. Plus Bart and the bus is, it's easy to get there. And so that's what we wanted so that people could feel welcome.    Robert Kikuchi-Yngojo: [00:35:35] And that second show on Sunday Strong like Bamboo will feature our guest artist storytellers, professional storytellers. One of them being a local Eleanor Clement Glass who's half African American and Filipino, talking about her experiences. And then also, two guest artists from Chicago, one of them being Lillian Ji, who is a Japanese American hapa. Then third is, Archie Jun, who is a Thai American gay comedian storyteller who is a total riot. we are really wanting to blend many of our communities together to hear this talent Yes. And to deal with the topics.    Nancy Wang: [00:36:10] So we would love for the LGBTQ plus community to come out as well and support him and feel proud because all of the stories will, will really showcase our strength and our ability to deal with these things and come out the other side. So we are hoping that in the process of telling our pain, but coming out, on the other side, that it will be an inspiration for everyone to keep going during this difficult, very difficult time.    Miko Lee: [00:36:41] Thank you so much for joining me today.    Nancy Wang: [00:36:44] You're welcome. Thank you   Ayame Keane-Lee: [00:36:46] You are listening to 94.1 KPFA and 89.3 KPFB in Berkeley, 88.1 KFCF in Fresno, and online worldwide at kpfa.org.   Miko Lee: [00:37:05] Welcome Jiehae Park to Apex Express. I am so excited to talk to you about the world premier of the aves opening at Berkeley Repertory Theater, May 2nd through June 8th. Welcome to Apex Express.    Jiehae Park: [00:37:19] Hi, Miko. It's so nice to be here. Thanks for having me.    Miko Lee: [00:37:22] I wanna just first start with a personal question, which is, who are your people and what legacy do you carry with you?   Jiehae Park: [00:37:31] Hmm. I love the phrasing of that question. I was born in Korea and I came to the states when I was three years old with my parents who came to go to graduate school. And my father's family fled the north during the war. And my mother's family had always been in the south. And I definitely think that who they are and where they came from is a big part of who I am and the questions that I think of. And in a lot of ways, not just, racially and culturally, but also in terms of their interests. They're both scientists. This play deals, I hope thoughtfully with questions of identity and consciousness, that I've always been interested in.    Miko Lee: [00:38:18] And what legacy do you feel like you carry with you from them?   Jiehae Park: [00:38:22] Hmm. I mean, I write a lot about immigrants. This play isn't specifically about that, but in a lot of my previous work, I, I have. have written a lot about immigrants and I feel like my parents, you know, they came to this country when they were in their twenties. They didn't speak the language. They came from a generation of folks and at that time in the country where they were really, they had to be a certain way to survive. And I think that, intensity of work ethic, and the things that you also have to give up in order to get to where you think you wanna be, that question is, is part of their legacy to me. It's a, it's a gift and also something that, like a lot of other immigrants, I think I'm always sort of turning over in my mind and, and trying to look at from other angles.    Miko Lee: [00:39:12] Thank you for sharing. I'm wondering if you can talk to us about, first this title of your, world Premier, the aves. Where did this title come from? What is it about?    Jiehae Park: [00:39:23] So the title is the Latin word for Birds. And, the play there's a mystery that sort of unspools early on. So without, without giving too much away we see this old couple on a bench, on a park bench, and they have clearly been together for a long time and they are having a conversation that seems like a very ordinary conversation. And over the course of the first scene, we soon learn that they are discussing, doing something that will have ramifications throughout the rest of the play. And the aves is a word that I loved because of the association with birds. There, there are birds that make an appearance in this play, in both pedestrian and unexpected ways, in mysterious ways, and hopefully humorous ways. and then the connotation also of Ave Maria and this, this feeling of the sacred, which also infuses the play, which has a lot of humor, but also when I was writing it, I was thinking a lot about nature and the passage of time and this feeling of awe that I get when engage with nature. And I think that word also has those connotations for me.    Miko Lee: [00:40:46] And that sounds like a mystery that people need to come to find out more about. Can you tell us what inspired this work?    Jiehae Park: [00:40:54] I used to live on the northside of Central Park in Harlem, and I had this tiny, tiny little window that looked out, onto the north side of the park. And every day I would sit down to write and through my tiny window, I would see the same man sitting on this bench every day. And as the seasons changed and the leaves changed and the light changed, but still every morning there was the consistency of seeing the same person. And I think I I was thinking a lot about the passage of time and of nature shifting And I think subconsciously I was thinking about getting older myself. This was a time before I had children, but I was starting to become aware of my parents aging and generationally My peers, also our parents were aging and, and starting to have, you know, the complications and the beautiful things that can come with that. So I think all of that was a big soup in my subconscious. and I sat down and I wrote the first scene very quickly and then. I didn't know exactly what the rest of the play was gonna be, but I knew structurally that the first scene would be this old couple and that the second scene would be, a slightly different configuration of, of bodies. But that was hard to be so mysterious, um, and that the nex scene would be a different specific configuration of body. So I was thinking about the age of the bodies that you're watching and the story evolved from that. And I guess I should say that the play is set in a moment sort of best after now. So it's not the present, but it's not the distant future. It's certainly not like hard sci-fi by any means, but I think it uses some tools of speculative fiction. To ask questions that hopefully are illuminating about ourselves now.    Miko Lee: [00:42:59] Interesting. Did you ever talk with the man in the park that inspired this piece?   Jiehae Park: [00:43:05] You know, it's so funny. After the first couple of weeks of watching him, I realized he lived in my building and I hadn't noticed him before.    Miko Lee: [00:43:18] Wow. That's amazing.    Jiehae Park: [00:43:20] And I think that that's also something that. I had been thinking a lot about at the time this question of presence and attention, especially in New York, which is a city that is so loud. I mean, I love, I love New York and there's so many things that I love about New York, but it is such a loud city and it is hard to hear yourself think and, and the quality of attention in any. I was gonna say in any city, but in like any moment in our extremely chaotic world, I mean, especially now, that sort of quiet present quality of attention that I think is so beautiful and so rare, and I associate with, I'm not religious, but, but when I was a kid, I was, and this, this quality of, of sacred space, I think I was, I was really curious about that. And at the time, I think I had also that year gone on a silent meditation retreat. so trying to bring that quality of attention to my ordinary life as a urban citizen, I think was also part of the experience of writing the play. But yeah, he lived in my building and I hadn't noticed him before. And so this question of what do we notice and what do we need to shift in ourselves to notice what's in front of us and has been in front of us.    Miko Lee: [00:44:44] I am hearing you talk about a sense of presence and, and time passing. I'm wondering if that is what you want the audience to walk away with or are there other things that you're interested in provoking with this piece?    Jiehae Park: [00:44:57] As an audience member, when I go to any play, I always hope to leave a little bit different than how I entered and. That shift can be really subtle. In fact, for me as an audience member, sometimes it feels more profound when it is subtle. So on, on like at like a really baseline level. We've been having a lot of conversations with the design team about how to create this. Quality of space that feels different from the mundane so that when we enter the space of the theater, so for our body chemistry changes and that we are being asked by the play to lean in and pay attention perhaps in a way that we're not asked to pay attention, in, in the world outside of that room. And to be able to request that of an audience and share that with an audience. Together, I think is such a beautiful thing. And, and one of my favorite things about any collective experience when, when it all feels like we're breathing together. And my hope is that that's something that we can create, at a, like a biochemical level in our bodies, on a sort of more. Intellectual, emotional, philosophical level. I think there are questions that the play is asking about, what makes us, us and memory and the ability of a person and a relationship to change over a long period of time. And over the course of events that. May require forgiveness. those were certainly things that I was thinking about while I was writing it. So there's also that, that more character relational level of questioning that, that I think, will resonate with people, in different ways depending on where they are in their lives. And then I think especially because, you know, there's a lot of conversation about sandwich generation now, like folks, I. Who have dealt with aging themselves or aging parents and, the complexities and possibilities that can create. I think that there's another layer of the play that stirs up some of those questions as well.   Miko Lee: [00:47:04] Speaking of complexities and possibilities, I understand that you studied music and that you're also an actor and then you also write for Marvel's Runaways. Can you share a little bit about how these different elements impact you as a writer, as a creator?    Jiehae Park: [00:47:20] Yeah, so I started as an actor, which I think a lot of people do, mostly because it's the most accessible thing. Like you can audition for a play. You can't sort of audition to write a play. you can just write a play. But that, I think, came later for me. I don't really perform a ton anymore, although I did love it. and then the shift to television happened eight or so years ago. There's a big movement of playwrights moving into television, during peak tv. And they're very different. there is some shared similarity in storytelling instincts and craft. but the mediums are just really different, so I feel like I get very different things from, from all of them. I feel like I learned being a performer for a long time. As an artist, it's just getting to bump up against people who you think are fascinating and learn from them what you like and what you don't like, and who you wanna be and who you don't wanna be. and from tv I think I learned, To not be so precious. It takes a really long time for me to write a play. and I used to think, oh, I have to go into the woods and like be silent for a month and then like a play will emerge. And like sometimes it happens and it, that feels like a blessing when it does. But in TV, because there's so much money at stake and so much time pressure that you know, when something's due, it's just due and you turn it in. And if it's not perfect, you just deal with it and you make it as good as you can. And I think that there's a certain amount of shedding of perfectionism, which has been really healthy for me. but I do. Love the theater for the ability to spend a long period of time contemplating something and, and making it with a group of people who feel inspiring and we're all moving towards the same thing. and I think there's a little bit more space or a lot more space in the theater for things that may feel. mysterious or more open. whereas in television especially these days with the sort of decline of peak TV, there's an expectation of propulsion. Like overt propulsion, if that makes sense. That is not a criticism like, you know, I also love TV. but it is, it's like the pace of it is different and the ask of it is different than the ask of a play and and the baseline thing of just, you're not in the same room with the people experiencing it that is so special in theatre.    Miko Lee: [00:49:45] How do you go about shifting that mindset for that kind of speed of TV that you're describing versus the kind of longer meditative state of creating theater?    Jiehae Park: [00:49:55] Yeah, I mean, I think there's hopefully a two-way exchange. Because I also think that bringing some of those qualities of thoughtfulness and deliberation to the world of TV within the container, within the boundaries of it, can be incredibly useful. And ultimately a lot of the things that delight people, delight people regardless of the format. So that, like, that feeling of inevitable but surprising, like that's something that is of tremendous value in all mediums, right? I think for me personally, when I write a play. I try to make a space in my life that is a little more still. and I have a toddler now, so that's challenging. But in a way, working in television has been really helpful for that because, you know, I don't have five hours in the middle of the day to, you know, be with myself and listen to the trees. I maybe have like 30 minutes, but to try to drop into that as. quickly and without angst, without like working myself up about it. 'cause that's a waste of time. That's been a useful lesson to learn. Whereas working in television can feel a lot less lonely also than playwriting because in a writer's room, most shows in the states are written in the writer's room, there are few exceptions, and you're with a group of people. And so there's a sort of energetic exchange happening there that in a play only happens much, much later when you're in rehearsal and ideally in production. there's a sort of joyful energy and exchange that can happen in a writer's room, both when you're breaking the story and then ultimately when you're in production. And there's like many, many more people involved. And there's the crew and the cast and you know, all of the technical departments and producers. I feel like you mentioned, Code switching earlier. And, humans are so adaptable and I think we automatically sort of shift our brain chemistry and our body chemistry in response to the environment around us. sometimes very consciously, sometimes unconsciously, sometimes both. so I think a certain amount of that is just, okay, these are the given circumstances. And then, you become who you need to be in that space.   Miko Lee: [00:51:54] Thank you for sharing. Okay. I have one last TV question, which is that given that everybody's in this writing room together and you're, there's kind of a speed that's attached to it, do you feel like things get thrown out more quickly and with less kind of emotion attached to it than in theater?    Jiehae Park: [00:52:10] It's possible. I think it depends on the person. So I just worked on season four of the morning show last year. And there is a real need on that show because it deals with the news to be absorbing what's happening in the world and shifting the story based on that. And so that there has to be a sort of lightness around that. So in that kind of environment, absolutely. but I've also been in other rooms where someone got really attached to an idea, and maybe it was clear that that idea wasn't gonna work out, but there was, there was still like something, in it that wanted to be held onto and, and it may be hung on for a long time. And that process. Also could have happened, like that exact parallel process could have happened in a play. And actually in neither of the situation, is that necessarily a bad thing? Like is there something about that idea that maybe is not the idea itself, like the emotional core underneath it or the deep, deep idea underneath it that is useful? That even if the manifestation of the thing doesn't continue, if the manifestation gets thrown out, but like the real thing that was underneath it was important gets folded in in some unexpected way. I don't think it's a bad thing either way. It just is the peculiarities of any particular process.   Miko Lee: [00:53:22] And it sounds like it's about the people too, right?    Jiehae Park: [00:53:25] Yes, definitely. Absolutely. Yeah, yeah. Yeah. And I've certainly been in that book where I'm like, oh, I really think it's like this. It's gotta be this, it's gotta be this. And then, you know, two years later, I look at the draft, I'm like, oh, no, no, no. It, it is definitely not that. Like let me take that entire thing out. and it just was in that particular moment, I wasn't ready for whatever reason to let go of that idea. And that's okay. I am now, and then it moves on.    Miko Lee: [00:53:48] We're circling back to the beginning of the conversation about the aves, which is about presence and being in that moment. And where you are in that moment might be, no, this isn't right. And then years later you say, oh yeah, that wasn't right. Or that was right.   Jiehae Park: [00:54:03] Yeah, exactly, exactly. To listen to yourself is a, you know, I, I am, I've been doing this for a long time now and, that is still something that I feel like I always have to learn, that I think just is a human.   Miko Lee: [00:54:15] Yes. The perennial lesson of Yes, intuition. I'm wondering if you could tell our audience why they should go see the aves.    Jiehae Park: [00:54:24] My hope is that if you are curious about a certain kind of experience and attention in the theater, that you'll accept our invitation to this play, which is an unusual play. I don't think that everyone should see this play, just like, I don't think everyone should see any particular work of art, but if the things that we've been discussing, if the sort of vibe that you're getting from this conversation resonates with you, then the experience of seeing this play with a group of people who are also curious about that kind of experience may be something. That is enjoyable for you and would probably therefore also be enjoyable for that audience to be together with you and for the play to be together with you in that space.    Miko Lee: [00:55:17] Thank you so much for spending time chatting with us. Folks can see the aves at Berkeley rep May 2nd through June 8th. Thank you so much, Jiehae.   Ayame Keane-Lee: [00:55:26] For you Asian American film makers out there: SFFILM announced a new annual filmmaking grant in partnership with Cedar Road. The SFFILM Cedar Road Iyagi Grant is dedicated to fostering bold, original feature film projects that amplify Asian and Asian American perspectives on screen. In Korean, iyagi means “story”—a word that embodies the heart of this grant's mission: to champion storytelling as a powerful bridge connecting people across cultures and perspectives. A link to the grant application will be available in our show notes.    Miko Lee: [00:55:58] Please check out our website, kpfa.org to find out more about our show tonight. We think all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world because your voices are important.    APEX Express is created by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, Aisa Villarosa, Estella Owoimaha-Church, Gabriel Tangloao, Cheryl Truong and Ayame Keane-Lee.  The post APEX Express – 4. 3.25 – Coming Up Next appeared first on KPFA.

At Peninsula Community Rowing Club, Tongan American coach Anthony Heimuli is making an impact in his San Francisco-area rowing community, providing young athletes a deeper understanding of community and self. And with his eyes set firmly on the 2026 Youth Olympics and 2028 Olympic Games, Anthony is working to establish the Pacific Islander Rowing Association to develop high-performance athletes for international competition.  QUICK LOOK 00:00 - Episode Intro 2:16 - Rowing week: On a scale of 1-10, Anthony's was a 9 while prepping two youth for New Zealand Coastal Championships 02:54 - The Huddle: A quick get to know Anthony 03:40 - The Hot Seat Q&A 05:22 - Rowing origin story: A very short-lived football career led to a rowing team tryout 07:55 - Being recruited to – and divorced by – the University of Washington 12:48 - After a 10 year rowing hiatus, coaching middle schoolers was “insane” 17:57 - The Pacific Islander community in San Francisco 20:54 - Working with community partners to introduce Pacific Islander youth to rowing 28:22 - Coaching philosophy: "It's just rowing. Let's have fun!" 31:26 - Working to make the Peninsula Community Rowing Club a recognized member of the Tonga Rowing Association 37:47 - Steady State Network news and notes . To see photos of Anthony, and get links to the people, clubs, and events mentioned in this episode, check out the show notes on our website. . This episode was made possible in part by Breakwater Realty, RowSource, and our Patrons. . Steady State Podcast is written, produced, hosted, and edited by Rachel Freedman and Tara Morgan. Tara provides additional audio engineering and is our sponsor and donor coordinator. Rachel manages the website, social media, and e-newsletter. Our theme music is by Jonas Hipper. . SHOP SSN GEAR: www.steadystatenetwork.com/shop SIGN UP FOR THE SSN NEWSLETTER: www.steadystatenetwork.com/newsletter MAKE A DIFFERENCE: www.steadystatenetwork.com/support  Check out more Steady State Network here:  FB - /SteadyStateNetwork IG - @SteadyStateNetwork FB - /AllieswithOars IG - @AllieswithOars BLUESKY - steadystatenetwork.bsky.social Connect on FB and IG with the hosts: Rachel Freedman - @RowSource Tara Morgan - @CmonBarber

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. Resources: Lavender Phoenix: website | instagram QTViet Cafe: website | instagram Mugworts Queer Cabin: website Underpainting Collective: instagram Aetelier Collective / Suncha: instagram | spotify | show on march 30 in Newark, CA Minjoona Music instagram | spotify Transcript: Cheryl Truong (she/they): Good evening and welcome to tonight's episode of apex express. I'm your host, Cheryl Truong and tonight show is in honor of Trans Day of Visibility, but we're not just here to talk about visibility in that surface level way get sometimes framed as a political strategy. We're here to hold the fullness of trans life, the rage, the fear, the grief, and the joy, the power and the brilliance. Across the nation, a storm of hostility is being unleashed against the LGBTQ plus community.  In 2024 alone, 617 anti-trans bills were introduced. Making it the fifth consecutive record breaking year for legislation targeting trans rights. This year, that number has already climbed to 796 bills. This is horrifying. Yes. But even in the face of all of this, Our trans and queer community have never stopped living have never stopped dreaming. Have never stopped building futures from the margins.   And so I hope tonight as much as it is important to stay rooted and grounded in our political reality that is having very real, very immediate consequences on our trans and queer and gender expansive community. We also want to center trans joy because trans joy is not a distraction.  It is a strategy, a survival skill, and a source of power. So we're gathering in that spirit of resistance, remembrance, and radical joy tonight. And I'm honored to be joined by some incredible guests whose lives and work, reflect that very spirit. First we have Jean and Hải from QTViệt Cafe a creative cultural hub, dedicated to queer trans (QT Viet) liberation through ancestral practices, the arts and intergenerational connection. And we're also joined by eri oura from Lavender Phoenix, also known as LavNix, an organization that builds trans non-binary and queer API power in the bay area. Thank you all so much for being here. To start us off can you all introduce yourselves so that our listeners can connect your voices to names?  Hải Võ: Yeah, thanks Cheryl. Chào mọi người My name is Hải. And I am a member of Asian Refugees United, QTViệt Cafe Collective. And, yeah, thanks so much for having me. Jean Phạm (they/them): Hey, I'm Jean. I use they/them pronouns and I also organize with Hải at QTViệt Cafe Collective. I'm also a part of a newly formed art collective called Under Painting Collective. We're taking over an art school. We teach oil painting and charcoal drawing. Thanks for inviting us to be here, Cheryl.  eri oura (they/them): Hey, thanks Cheryl for having us. I'm eri. I am part of LavNix I am also part of Mugworts, a queer, and trans BIPOC centered cabin out in Greenville. , and I'm excited to be here. Cheryl Truong (she/they): Before we begin, I want to offer a logistical note. For our listeners if you were interested in any of the organizations that were mentioned, and it will be mentioned throughout the show such as Mugwort and Lavender Phoenix, which eri mentioned. Or QTViệt Cafe mentioned by Hải and Jean, and of course the Underpainting collective you could find their socials in the show notes on our website, kpfa.org/programs/apex-express.  Okay. Transition. I want to start with a question that is intentionally spacious. What is on your heart right now as a trans person moving through the world. Hải, do you want to start us off?  Hải Võ: Hmm. Yeah chia buồn That's the phrase that comes up for me. I just share in sadness. Usually that's a phrase to describe when someone passes in the Việt community. The way that I hear about how folks in our community are experiencing job insecurity, housing insecurity, being arrested, detained, deported. My days and my hearts are just broken. My heart has gone in many cycles of heartbreak over my whole life, as a queer person, as a trans, femme person. It isn't to say that this is anything new or that I haven't been in practice to mend my heart. This is just a incredibly heightened time. It's starting to not just hurt my heart, but also I feel it viscerally. It's much more tangible. We're talking about our lives, each other's lives. And so yeah, my heart is breaking.  I feel the frustration and the anger and the more frequent, heightened fear. But to be honest with you, our ancestors have equipped us for this moment. And I think there are reasons why, this moment exists. This is the reason why we started QTViệt Cafe, why Asian Refugees United is here because we know that we're trying to restore our wholeness, not just as trans folks, as queer folks, but just as people from a history of violence, trauma, and displacement. This isn't the first time that all those things have come around. Our ancestors have faced these maybe in different contexts and maybe in our homelands more so. And while I have that frustration and that anger, the frequency is heightened, I feel steadfast and I feel more able to mend my heart and able to hold and mend other people's hearts in this moment because we've been at this for so long. QTViệt  Cafe, we're gonna be celebrating nine years this summer. So I just got chills because I, I think I, um, I have to like, hold myself in comfort for myself right now because, I mean, when I came out, to myself in my teen year or I knew I was queer and trans from a really young age. I could see who I was, but I didn't necessarily feel like it was who I truly was. And so I grew up in a world where I was living different realities or wanting a different reality from actually how I was. I'm getting chills because when I came out, I started coming out to friends and families in my late teens and early twenties, and then ultimately to my parents when I was 23. I didn't know I would be able to live this long. I didn't know I would be able to meet other queer and trans Viet people, other queer and trans folks of color or other queer and trans people in general. Couple that with like a food system that I've been in food for so long, , for almost 15 years. And so, trying to nourish. Queer justice is connected to all other forms of justice. I've been at land and food justice work for a long time. And so, what I was seeing with what was happening to me and our queer and trans kin, the injustices happening in our community, I was seeing also that with cultural injustice in Vietnam to the Vietnamese community here, and then ultimately to the food system here in the US. So it was all connected. I am both surprised and also really proud that I'm still here and the most comfortable and thriving I am in my skin. Healing as a trans and queer person, I can only go so much. I can only heal so much on my own. The healing and the fight for liberation and freedom as queer and trans people happens so much more exponentially when done together. And so, I'm just so proud of us for all the years of connecting with each other, getting to know each other, building friendship, relationships, and fighting for the future that we want. I'll be turning in Viet age, I'll be turning 40 next year. My doctor, when I was young and had type two diabetes said that I'll only live to be 30. And so I've surpassed that. I'm excited for what magic we as queer and trans people continue to make, and what's the fights that we will continue to have and ultimately the unprecedented and insurmountable victories and wins that we'll have as a queer and trans community. 'cause we've been doing that forever and in this moment I wanna organize, I wanna help mend and heal our hearts and our minds so that we can really be able to like galvanize, organize, and create the practices and policies and futures that we actually want in the world, which we've been doing forever. I also think that it's an important time right now to be really clear about what we need, to be really clear about what we want and gather in ways that we may not have gathered before. I see joy and health as part of struggle and freedom in liberation and organizing. And so, I'll check there. eri oura (they/them): That was so beautifully said Hải. Thank you for naming the resilience and the fight that queer and trans folks have had to exude to continue to exist. For me it has also been really difficult to see and witness the struggle that our folks are experiencing right now.  It's really something to kind of trust in the state to hold our identities in a way that I don't think the state ever really knew how to. I was reminded on a group coaching call with other trans folks, that trans folks have lived in the underground for most of time. And that reminder really just made me feel we don't need validation from these entities, you know? That's never what has fulfilled our existence. It's actually our joy. It's actually our healing, our ability to not get bulldozed by waves of hate and transphobia. Queerphobia. It's really important for us to remember that and remind young folks that truth even though there has been this chunk of time, maybe like the last decade or so, where our gender identities get acknowledged by the state, but that's not where our validation comes from. We really need to not depend on these institutions. We take care of us. What I have been witnessing more is mutual aid being used as a way for our people to keep going. Honestly, I have never in my life gotten so many mutual aid requests as I have in the last few months which speaks to the heightened security and safety issues that our folks are experiencing in the queer and trans community. But also it's a sign that people are leaning into being courageous and asking for help, which is not an easy thing to do. It's not easy to ask for the help that we need. I think it's really important for us to remember that we're not alone. There are more than a billion people in this world I think I was also feeling overwhelmed by how much support folks were asking of me and I've had to say some grounded nos. And that kind of broke my heart honestly, to have to say no to a really courageous ask for support. My friend and coworker reminded me that there are so many other people in this world and we need to be able to share the the work of supporting each other to exist. Jean Phạm (they/them): Mm-hmm. Wow, that's beautiful. I'm loathed to go last. the first thing I think about is recently, one of the youth that I had formally worked with reached out and we just had a check-in and it really reminded me of the show Heartstopper, you know, these gay British kids. One of the gay kids, he is like always going to his art teacher about his various issues like, Hmm, I'm gay. Like, what do I do? And the art teacher's just trying to have lunch. And I remember I used to be Charlie, the kid, but now I'm the art teacher trying to have lunch and trying to help this kid deal with crisis. I remember years ago, the first time Trump got elected, I remember the first thing that I was thinking about was ” oh, I, I guess I'll never be able to transition or live my life the way I want or need to.” then I just kind of grieved that and made peace with it. I do wish I could speak to that version of me because I think it's pretty similar to what Hải had shared. Personally, I do feel I am in probably the best form of myself that I've ever been. I'm the wisest I've ever been. I'm doing everything that I want to. I'm learning to heal my inner child. My taste in men has improved dramatically. I learned how to say no. There's a lot of things that have just shifted that I think are net positives, but it's in total, in contrast with the world in which we live ourselves. And I think similar to what folks have shared I think for me, I've just gone more hyperlocal. Right. Given that these institutions, our federal institutions, our state institutions have failed us. It's just truly ripping the mask off. These are things we've known before. The ways in which we are being oppressed, the ways in which people spout hate. The rhetoric being used. It's not new, it's not novel. These are things we've heard over and over again. Like, if I wanted to cosplay as a hater, an alt-right hate, like, it'd be so easy, you know everything they say. There's a sense that the oppression we face is so mundane and it's so ordinary. The student had asked me oh, Jean, I'm so alone right now. What do I do as a young queer person trying to navigate the Trump of it all, and I was like, oh girl, you need to make friends. Like you really need to make friends. 'cause it's really, yeah, like when our institutions fail us, our community really holds us out. It's why I organized with the QTViệts. It's why my art friends, we created Under Painting Collective. It's why we find these pockets of the world that we really want to build and that are nourishing to us, our energy giving, that we wanna invest our time and resources in. And we try to carve out a version of the world that we wanna live in. And I think that's how we ride it out, or that's how we survive. We have to look super local. Yeah, I think that's basically how I'm doing. So I'll, I'll just check there too.  Cheryl Truong (she/they): Thank you all for sharing what's in your heart.  Hải, thank you for bringing up chia buồn, sharing sadness, and for naming our legacies of ancestral resilience. eri, thank you for reminding us that the state and institutions have no say in the validation of our identities as trans and queer people. And for lifting up mutual aid as a beautiful alternative that supports, and I loved how you put this, those courageous asks for help that the state will never be able to provide. And of course for modeling those grounded no's..  And Jean, thank you for your offerings of alt-right cosplay. And for grounding us in that strength of community. And I just want to say. A big, thank you to the art teachers in the middle of having lunch everywhere. I don't know where we would be without you truly. ‘  We are going to take a quick music break, don't go anywhere we'll be right back with more conversation in honor of Trans Day of Visibility when we return. Next up, you're listening to a track called “Juniper” by Minjoona, a project led by Korean American musician, Jackson Wright. This track features Ari Statler on bass, josh Qiyan on drums, and Ryan Fu producing. Juniper is the lead single from Minjoona's newest release, the Juniper EP, a five track p roject rooted in indie rock, 60 throwback vibes, and lyric forward storytelling. You can follow Minjoona on Instagram at @minjoonamusic or find them on Spotify to keep up with upcoming releases. We'll drop the links in our show notes. Enjoy the track and we'll be right back.  And we're back!!. You're listening to APEX express on 94.1 KPFA, 89.3 KPFB in Berkeley. 88.1. KFCF in Fresno and online@kpfa.org. That was “Juniper” by Minjoona.  Huge thanks to Jackson Wright and the whole crew behind that track. Before the break we talked about, what's been sitting on our hearts as queer and trans people moving through the world right now, naming both the grief and also the resilience that we carry. I wanted to stay with that thread and widen the lens a bit because we know that even in the face of violence and erasure, trans resistance is alive and ongoing. So I want to ask, where are you seeing moments of resistance in the trans community?  Whether in movement spaces, small acts of care, or day to day survival.  eri oura (they/them): I am happy to share first. Where I'm seeing resistance, movement building work and also community building. My paid work with LavNix is definitely a space where we center trans justice and do the work of developing leaders with skills to be able to hold the line of our existence. Our existence is resistance. We don't just see our own individual liberation as separate from everyone else's. We are doing the work of advocacy around budget in San Francisco with our Care Not Cops campaign. We're doing the work of lifting up our folks in our stories not just in the current moment, but also by lifting up like our QTAPI histories. QTAPI meaning queer and trans API folks. With Mugwarts, we provide a more accessible, affordable space for queer and trans BIPOC folks to heal. For me that is also part of the resistance, the fight, getting to rest because as we were checking in earlier and talking about how stress really does shorten people's lifespans and quality of life. I think knowing that there's space, there's place, there's land for us to engage with to do that work of healing. The more disconnected we are from that reality that we are connected with the land, it's making it harder for us to be able to feel connected to ourselves, to each other. For me, when I go to the river for a swim or go to the ocean for a dip, that is part of my resistance too. My joy in being in that space is so important. Why would we fight if we had nothing to look forward to? Honestly, if it all just felt so mundane and also like we're always fighting, we would just burn out. When we're burnt out, it makes it hard for us to feel the light of our ancestors, feel the light of the universe that is actually our birthright to connect with. The reality is that this world is very abundant. Scarcity is a manufactured thing that, capitalism, the state is trying to push on us as a way to oppress us, to suppress us, to keep us down. When we tap into abundance, we tap into pleasure, we tap into joy. We tap into ease in this way that allows us to stay connected to each other, to ourselves, to other beings on this planet. Being rooted in abundance is a powerful act of resistance. Jean Phạm (they/them): Yeah. Well said. I try to practice abundance, but I always feel all I know is scarcity. Great reminder. For me, trans justice is so embedded with so many larger movements like you have shared. Trans justice is disability justice. Trans justice is fighting for Palestinian liberation. Trans justice is anti-imperialist because I think ultimately, self-determination in our bodies. To be the way that we are.  I often feel spiritually as trans people, we know who we are so there's a lot of abundance there. There's a lot of wealth there. I would actually argue spiritually cis people have more to gain from trans justice than we do. I always share how trans people in pre-colonial societies were spiritual leaders, shamans, healers in the community. It was mentioned before that a lot of trans people today exist in underground economies or are just not embedded in society. There's no place for trans people in our current world whereas there used to be. I do think that is one of the unstated qualities that we're trying to bring within trans justice. I also will say in any given committee where people are doing actions or organizing or doing mutual aid, I can assure you that there is a, they them, there is a doll, there's a trans gender expansive person, otherwise trans person in those committees, you know, People are moving.  In the topic of trans visibility day, we see the ramifications of that, right? Visibility doesn't always offer us more power or safety. Institutions are realizing this. You see nonprofits, community orgs, they have to scrub every fixture of language around diversity, equity, inclusion, so that they aren't being targeted by the federal government. Visibility isn't really what trans justice is about, right? It has never really protected us. We're fighting for basic things to survive, to work to make sure this stupid gender on our form is right. To walk to the store. In some sense, the way I've lived and expressed my transness, I always feel the un visible parts or the invisibility is where I will always feel more actualized. You know when people, cis people, strangers look at me and they're like, who the hell is she? What is she like? What is that? I'm like, uh, My favorite moments are when people. Like in my old job when I had first moved to the Bay, I got this big sense that I declared to know, oh, I'm trans. And I could see the cogs turn in their head as they're trying to figure out, oh, which way are they trans? And I love that. I love living in the ambiguity. To me, that's always been more emblematic what being trans is to me is kind of just playing with expectations. Making people a bit more uncomfortable and allowing more for more experiences to live. Hải Võ: What's coming to mind, in addition to what you've all shared is, what does it mean for me to be on Turtle Island and in the diaspora? Part of transness and queerness is also understanding who we are and where we come from. In the context of just the nature of why I'm here on Turtle Island in diaspora is because the US was there in Vietnam. I think that means trans justice is actually beyond borders and actually recognizing that the history of our queer and trans people, trans justice means that we're also acknowledging the struggles and liberations of our kin  in the homeland. When I think about trans justice, I can't help but think about the fights against imperialism, colonization, the ways in which essentially trans and queer people in Vietnam have been discriminated, have been bullied, have been essentially because of colonization, imperialism, been wiped out of history. And if it wasn't for a culture that is by word of mouth and people from indigeneity that is questioning who we are and also being like, well, if we are trans and queer then we must have queer and trans ancestors. And we do. And that's been a very healing journey for me. It's been both hard but also very healing to know that queer and trans folks our age, even younger are also experiencing similar things to what we're experiencing here as queer and trans folks in the diaspora. But it also means fighting for indigenous, local, queer and trans ancestral homeland experience also. I was just, we were just hearing about how USAID was paying for essentially medication for our people over there. But now with that gone, it's like, what are people to do? And so it's not even just, not just about trans lives. The defunding of that has also created stop in removal of Agent Orange. We have fields in Vietnam that have like, after that cut, are left to continue to have Agent Orange. Now, with the early monsoon seasons of the year, that water will permeate into millions of lives downstream. And Vietnam is a whole ecosystem of wetlands and water. And so for me, I just think about trans justice as as a Viet, as a Southeast Asian, as an Asian person, as a person who has lineage somewhere, ancestry, somewhere indigeneity somewhere, it means acknowledging the deep historical reparations that colonization, imperialism and modern day capitalism in parts. The last thing I'll share for this one is I think that trans and queer justice is also ecological justice. This is very connected to what you were sharing, Jean. Ecology is essentially the study of home. There's just been too many times in my life where home has been ripped from me. I've had to leave what I thought was home. I've had to feel like I, I needed to be a different thing outside of what my home actually is in my own body and my own mind. How can we create a piece of not just mind, but also piece of body, piece of place, piece of space, piece of an unlived ecology that transness and queerness is the norm. And, I love learning about how nature is so queer and so trans. I mean me saying that and naming that is a hard thing to say. The English terms that we use is a very colonial thing, but the ways in which other animals and plants are in relationship to each other, I'm like, oh, worms having multiple genders, I'm like that. I feel like that. And so like, the worms probably have their own language about what that is. I'm not gonna like, “worms, teach me about who you are” because I'm not trying to appropriate you and I'm just like, this is this cool that nature is already in a state of abundance in itself, like queer abundance in itself. Cheryl Truong (she/they): Ooh.  Thank you all for sharing those powerful reflections on resistance. It's such a reminder that trans resilience doesn't just show up in protests, policy fights, or in singular days like Trans Visibility Day. It lives on in our relationships. And our lineages in the everyday ways we refuse erasure.  As Hải reminded us. It stretches beyond borders and into our motherland, especially as diasporic trans or queer people of color. And it shows up when we play with people's expectations. Like Jean confusing their colleagues assumptions about their gender. It's also in the worms. In our ecologies. It shows up when we fight for Palestinian liberation. When we organize with value aligned groups, like Lavender Phoenix, like QTViệt Cafe it also shows up as Eddy beautifully names in our joy. I love the importance of uplifting that swimming in the ocean is part of resistance. Because rest is resistance. Pleasure is resistance. Our very existence is resistance. So, thanks for grounding us all in that  So we've just spent time talking about how resistance shows up in our trans and queer communities. And I now want to shift us into a conversation about what sustains us, what keeps us going, what brings us back to ourselves and to each other. But before we dive in, we're going to take a quick music break.  Up next. You're going to be hearing from Suncha, an Asian-American Bay area based band dabbling in punk rock, math rock, and groove-based jamming. The group features Ryan Foo on guitar and vocals. Jackson Wright on bass and vocals. And Abhay Malik on drums. You can catch Suncha live this Sunday at Simmer Huang in Newark, California. For more information, check them out on Instagram. @ ateliercollective That is spelled. A T E L I E R collective– link in our show notes. And keep an eye out Suncha's debut album is set to drop in the summer of 2025. Enjoy the music and we'll be right back. Welcome back!  You're listening to APEX express on 94.1 KPFA, 89.3. KPFB in Berkeley, and 88.1 KFCF in Fresno and online at kpfa.org. Big shout out to Suncha for that last track. So much love to this Bay Area Asian American band bringing punk, math, rock and groove into our ears and hearts. You can catch them live this Sunday at Simmer Huang in Newark. More information on Instagram at @ateliercollective, as always link in our show notes.  I'm your host, Cheryl Truong and tonight's show is in honor of Trans Day of Visibility. I'm here in conversation with Jean and Hải from QTViệt Cafe, which is a project of Asian Refugees United. And eri oura from Lavender Phoenix. Before the break we explored where trans resistance is showing up across our communities. Now I want to turn towards what sustains us, what keeps us rooted, nourished and connected as we continue dreaming and building together. So my next question: what kind of trans joy or wisdom has carried you through this past year? Jean Phạm (they/them): I wanna uplift what Hải I had shared at the very beginning. The Vietnamese concept of chia buồn. Sharing sadness. We can survive if we each just take a little piece. The community takes a small morsel of someone's burden and helps lift them up and share it. I really experienced that a couple weeks ago when my maternal grandmother passed away. And I think one of the biggest I feel tragedies is we're all just trying to survive. Purchasing power definitely creates a difference, but the reality is in our terms of just lived experience, we're just one or two paychecks from just full on destitution, you know? so we really rely on each other. When I heard that my grandma passed away, it was really hard for me because one is just going back to family is such a traumatic ordeal, and two, the flights were just logistically expensive. I just commiserated to one of my friends I had to do an overnight train down, which is maybe 10 hours. I mean, it's fine. I've done it many times before. But I think as an act of care and mutual aid, my friends organized behind my back and were able to give me enough so that I could get a flight and not really think about the logistics so much so that I could just focus on being present and also deal with the mental load of being around my family again. To me that was an expression of trans joy in terms of all these relationships I had built, really came through and I wasn't expecting it to, you know. One constant reflection I had was like, when people are grieving, am I just nice to them? Because I was like, I don't think so. Maybe, you know, it's hard to tell. But people really came through. And I think that really lifts me up and really I think about it so often. Being able to share in everyone's sadness. I'll also share within my close group of friends, I have this little scheme or theory called the Screaming Girl Theory. In a given week, only one of us can be the screaming crying girl and everyone has to support her. And then it rotates. In the scheme of things, it's like, oh God, we're all people of color who are all queer, trans or just have a touching point of just being oppressed in some way. If someone's like, oh no, I'm having such a hard time because I'm depressed, I have anxiety, I'm a queer person of color. You know, that type of rhetoric. It's hard in our space 'cause it's like me too. Everyone's going through it. So I think moments where we can share in that and rotate taking care of each other is really what has been keeping me going. And I also think it's nice to care for other people too. That's probably the final realization. People like helping, and giving people opportunities to help. I think it does induce a nice feeling and we may not always be well resourced or have the capacity to, but when we can, when we offer help to people, I think that's something people generally wanna do in service of the community. eri oura (they/them): I love this question because again, I feel like joy is so important right? In our fight for liberation, for Justice as trans folks, gender expansive folks. I mean, honestly, being with other queer and trans folks is such a joy. When we're marching in the streets together, when we're organizing doing the back end work of creating the space for each other to feel safe. And not just safe, but also seen and held. Not only is it joyful, but it's healing. When I think about trans justice, I think about healing justice as a intersection that we hold together. It's inseparable, honestly. I do think that there is a lot of grief, a lot of hurt, a lot of trauma that we have to endure in this world and sometimes we inflicted on each other. But when we can turn that around and really face each other in those hard moments. It makes such a difference in the quality of our relationships. The depth of how much we can access within ourselves. We as trans and queer folks, it doesn't matter what the state is trying to impose on us, trying to erase our existence, they have been doing that forever. They have been trying to eliminate us in this colonial context. It really is the joy that keeps us buoyant, that keeps us connected to the light of the universe that keeps us connected to each other. When other people who don't understand transness see us in our joy, they just see joy and that makes it attractive. That makes it something they wanna be a part of. The fact that we have learned to put words to who we are in the deeper ways that words have evolved into is us really just trying to fit into this context of colonialism, meaning making, all of these things that I think are powerful tools, powerful skills to have. At the root of everything is we know we are a network that supports each other to exist. And being able to put words to that is such a gift. Without the words we communicate with each other in ways we see each other in ways that I don't think people who are stuck in narrow binaries can actually see or feel or understand. For whatever reason that makes them angry. Their anger is just more fuel for us to lean into joy because it's not even about them. We can have conversations, we can try to justify our joy and our existence, but at the end of the day when the sun goes down, we are who we are, and in the light it might be easier to see how magical we are, but in the darkness, I think. We glow in a way that people who are limited in their thinking are not able to. They can't tap into that light. Hải Võ: I used to hide a lot. I used to hide who I was in order to think that I would feel safe. Hide my queerness. Hide my transness. Because there were assumed fears that my parents being conservative Catholic that I would be reprimanded and then, that happened. There was a period of that very tragic dark times. Looking back at that, I think I needed to experience that in order to fully understand how deeply organized systems can be traumatic and be deeply problematic. And also lessons in how do we actually better organize our systems to not perpetuate discrimination, violence and trauma. All that to say, I think that part of trans joy in the last year is instead of being less, getting smaller, being less than, hiding, actually, trans joy is just what you were saying, eri. Actually just being more me. Being more truthful. More honest. I've been on a healing journey with my dad the last year. We've been estranged for five years since my mom passed. I had gone to come to peace with, potentially not talking to my dad for a while. But I think that innately part of being Viet and wanting to reconnect with Vietnam is to try to connect with my dad as a portal or as a throughway to Vietnam. I took both the risk and the opportunity to reconnect with my dad with the hopes that we could heal our relationship. And just as much as I've gone through my own journey on transness and queerness, my dad has also too. There's been a lot of apologies, A lot of me unearthing and upending a lot of my own truths and just being really honest about who I am and being more comfortable and more grounded in what I want to do in my life. My dad has too. As hard as the tensions are, and even if in the moment, our elders, our people, our families might not be voting in the ways that we want them to vote or be against the policies and practices that counter who we are. I think I'm hopeful for just being more honest with myself and getting out of our comfort zones and unease in order to really surface what needs to be said. That's one. Two is, I just love meeting with our queer and trans elders. I think that's been part of our joy. Shout out to Sống Thật, the first queer Viet radio show in San Jose. They literally just were like, we're gonna take community college classes on radio and we want a show. We just wanna share that experience to dismantle a lot of the stereotypes. And so I think a lot of the, the trans joy that I'm experiencing is just we just gotta do it. We just gotta try it. I'm learning with our ancestors. Learning with our elders and just being like, we gotta try, we gotta do and yeah. I'll check there. Mm-hmm.  Cheryl Truong (she/they): And that's the end of our show. If you're. Curious about the incredible work being done at Lavender Phoenix, Asian Refugees United, QTViệt Cafe, Mugworts, and Under Painting Collective, check out the links in show notes and learn more about how these groups are building trans and queer aAPI power, culture and care in our communities. You can access the show notes at kpfa.org/programs/apex-express.  Before we close out, I want to take a moment to uplift a campaign that is very close to my heart. Pardon APSC 4. Some of you listening may already be familiar with this campaign, they've been on our show before. Pardon APSC4 is a demand to Governor Newsom to pardon the APSC 4 which are Borey “Peejay” Ai, Nghiep “Ke” Lam, Chanton Bun, and Maria Legarda. Our beloved family members, the APSC 4 are at risk of deportation. We are asking you our listeners to join us in telling the governor to pardon them now so they can remain home with their families and communities. The APSC 4 are childhood survivors of violence and trauma. They are impacted by bullying, poverty, war, and domestic violence. Like so many others, they were funneled into the criminal legal system as youth. While incarcerated, they became leaders. They completed self-help and educational programs. They mentored others and committed themselves to healing and transformation. Each one of them have earned release through California's parole process and were affirmed for release by both the board of parole hearings and Governor Newsom himself. But instead of being allowed to return home, ICE was contacted and now they face deportation simply because of where they were born. That is what's called double punishment. A racist and unjust system that targets immigrants and refugees after they've already served their time. The APSC 4 are not just individuals. They are community leaders. As part of the Asian Prisoners Support Committee, an organization, which centers formerly incarcerated leadership, Peejay, Ke, Bun, and Maria provide reentry support. They mentor at risk youth and they lead workshops on the school to prison, to deportation pipeline. They are change-makers. They are caregivers. They are parents. They are our community. And despite everything that they've given and everything that they continue to do, they live in an immigration limbo. Under the threat of deportation by a system designed to disappear them. So we are calling on Governor Newsom to stop ICE from deporting the APSC4.  We are calling on Governor Newsom to grant them pardons. To learn more and take action, please visit bit.ly/APSC4.  That is B I T dot L Y slash APSC. You can sign a petition, write a letter and help us keep our people home. Please join us in the fight to keep APSC4 home. Thank you. Apex express is produced by Miko Lee, Paige Chung, Jalena Keane-Lee, Preeti Mangala Shekar. Shekar, Anuj Vaidya, Kiki Rivera, Swati Rayasam, Nate Tan, Hien Nguyen, Nikki Chan, and Cheryl Truong  Cheryl Truong: Tonight's show was produced by me, cheryl. Thanks to the team at KPFA for all of their support. And thank you for listening!  The post APEX Express – March 27, 2025 – Trans Day of Visibility appeared first on KPFA.

In Illinois, March 25, 2025, is designated as Equal Pay Day to highlight ongoing wage disparities, as stated by State Senator Celina Villanueva. Despite the Equal Pay Act of 1963, the pay gap persists, with women earning significantly less than men. Senate Resolution 158 emphasizes the disparities for various groups: Asian American women reach parity on April 7th to bridge the gap, Black women until July 10th, and Native Hawaiian and Pacific Islander women until Aug. 28th. Latinas must work until Oct. 8th, Disabled women until Oct. 23rd, and Native women until Nov. 18th. Moms face a significant pay gap as well, with their Equal Pay Day falling on May 6th, and LGBTQIA+ individuals must work until June 17th. The resolution encourages public awareness and action to address these inequalities. Villanueva stresses the importance of closing the wage gap for economic justice and equity in Illinois.

This month marks the anniversary of the resolution of a landmark student strike at San Francisco State, on March 21, 1969. Patrick Salaver helped organize the protests, demanding the university better reflect and support students of color and admit more non-white students. The protests also led to the creation of the nation's first-ever college of ethnic studies – a template for colleges and universities across the country. Salaver's niece Nicole didn't didn't know about her uncle's activism until she went to San Francisco State in the early 2000s. She was shocked to see his name in one of her textbooks, and now, she wants the world to know his story. Today's show is an excerpt from Inheriting, a podcast from our friends at LAist Studios and the NPR Network. The show, hosted by Emily Kwong, is centered on the stories of Asian American and Pacific Islander families. It explores how one event in history can ripple through generations.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Known to many as Kali, she serves as the Program Navigator for the Regional Pacific Islander Task Force (RPITF). Proudly of Fijian descent and using she/her pronouns, Kali is dedicated to developing culturally relevant programs that connect Pacific Islanders in Alameda County with essential county resources. Her work ensures these programs are accessible, impactful, and tailored to the unique needs of the community.  Beyond her role with RPITF, Kali is a cultural entrepreneur, passionately teaching and preserving the art of Fijian tapa design, known as Masi, through community workshops and education. Her efforts help strengthen cultural identity and keep traditional practices alive for future generations.  Tonight, we're excited to dive into her work, her passion for cultural preservation, and the lasting impact of RPITF's initiatives. You won't want to miss this conversation! 

*Content warning: death, infant loss, pregnancy and birth trauma, medical trauma, medical neglect, racism*Free + Confidential Resources + Safety Tips: somethingwaswrong.com/resources ABC's new show, Familicide: https://www.familicide.net/Melissa Espey-Mueller's North Dallas Doula Associates:Website: https://www.northdallasdoulas.com/ Instagram: https://www.instagram.com/northdallasdoulas/ Moms Advocating For MomsS23 survivors Markeda, Kristen and Amanda have created a nonprofit, Moms Advocating for Moms, in hopes to create a future where maternal well-being is prioritized, disparities are addressed, and every mother has the resources and support she needs to thrive: https://www.momsadvocatingformoms.org/take-actionhttps://linktr.ee/momsadvocatingformoms Please sign the survivors petitions below to improve midwifery education and regulation in Texas:https://www.change.org/p/improve-midwifery-education-and-regulation-in-texas?recruiter=1336781649&recruited_by_id=74bf3b50-fd98-11ee-9e3f-a55a14340b5a&utm_source=share_petition&utm_campaign=share_for_starters_page&utm_medium=copylink Malik's Law https://capitol.texas.gov/BillLookup/History.aspx?LegSess=89R&Bill=HB4553 M.A.M.A. has helped file a Texas bill called Malik's Law, which is intended to implement requirements for midwives in Texas to report birth outcomes in hopes of improving transparency and data collection in the midwifery field in partnership with Senator Claudia Ordaz. *Sources:Best Doulahttps://bestdoulatraining.com/ CAPPAhttps://cappa.net/training-certification/ DONA Internationalhttps://www.dona.org/ Madriellahttps://madriella.org/ ProDoulahttps://www.prodoula.com/ American College of Nurse Midwiveshttps://midwife.org/ American College of Obstetricians and Gynecologists (ACOG)https://www.acog.org/ A Brief History of Midwifery in Americahttps://www.ohsu.edu/womens-health/brief-history-midwifery-america CDC, Maternal Mortality Rates in the United States, 2023https://www.cdc.gov/nchs/data/hestat/maternal-mortality/2023/maternal-mortality-rates-2023.htm CDC, Working Together to Reduce Black Maternal Mortalityhttps://www.cdc.gov/womens-health/features/maternal-mortality.html Geospatial distribution of relative cesarean section rates within the USAhttps://pmc.ncbi.nlm.nih.gov/articles/PMC9284873/ In Mexico, Midwives Offer Care Rooted In Ancestral Traditionhttps://www.pih.org/article/mexico-midwives-offer-care-rooted-ancestral-tradition Insights into the U.S. Maternal Mortality Crisis: An International Comparisonhttps://www.commonwealthfund.org/publications/issue-briefs/2024/jun/insights-us-maternal-mortality-crisis-international-comparison?utm_source=chatgpt.com March of Dimeshttps://www.marchofdimes.org/peristats/about-us Maternal Mortality and Maternity Care in the United States Compared to 10 Other Developed Countrieshttps://www.commonwealthfund.org/publications/issue-briefs/2020/nov/maternal-mortality-maternity-care-us-compared-10-countries National Midwifery Institutehttps://www.nationalmidwiferyinstitute.com/midwifery North American Registry of Midwives (NARM)https://narm.org/ Racism During Pregnancy and Birthing: Experiences from Asian and Pacific Islander, Black, Latina, and Middle Eastern Womenhttps://pmc.ncbi.nlm.nih.gov/articles/PMC9713108/ Texas Department of Licensing and Regulation (TDLR)https://www.tdlr.texas.gov/ US Has Highest Infant, Maternal Mortality Rates Despite the Most Health Care Spendinghttps://www.ajmc.com/view/us-has-highest-infant-maternal-mortality-rates-despite-the-most-health-care-spending What is a freebirth?https://www.pregnancybirthbaby.org.au/what-is-freebirth *SWW S23 Theme Song & Artwork: Thank you so much to Emily Wolfe for covering Glad Rag's original song, U Think U for us this season!Hear more from Emily Wolfe:On SpotifyOn Apple Musichttps://www.emilywolfemusic.com/instagram.com/emilywolfemusicGlad Rags: https://www.gladragsmusic.com/ The S23 cover art is by the Amazing Sara StewartSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

  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. Grace Lee Boggs said, “History is not the past. It is the stories we tell about the past. How we tell these stories – triumphantly or self-critically, metaphysically or dialectally – has a lot to do with whether we cut short or advance our evolution as human beings.” In our current chaotic time, it feels like we are intentionally ignoring history. Our lack of awareness feels like a de-evolution, as our education department is gutting, books are banned, and so many American institutions are at risk, it feels as though a critical analysis of history is being ignored.  On Tonight's APEX Express, Host Miko Lee focuses on Wong Kim Ark and the importance of Birthright Citizenship. She speaks with historian David Lei, Reverend Deb Lee and lawyer/educator Annie Lee and activist Nick Gee. Discussed by Our Guests: What You Can Do To Protect Birthright Citizenship Our history is tied to the legacy of Wong Kim Ark and birthright citizenship, and it will take ongoing advocacy to protect this fundamental right. Here are four ways you can stay involved in the work ahead: Invite a friend to attend an event as part of Chinese for Affirmative Action's weeklong series commemorating Wong Kim Ark. Take action and oppose Trump's executive order banning birthright citizenship. Learn about Wong Kim Ark and Trump's executive order to end birthright citizenship. Sign up to join Stop AAPI Hate's Many Roots, One Home campaign to fight back against Trump's anti-immigrant agenda.   How you can get engaged to protect immigrants: https://www.im4humanintegrity.org/ https://www.bayresistance.org/ Bay Area Immigration: 24 Hour Hotlines San Francisco 415-200-1548 Alameda County 510-241-4011 Santa Clara County 408-290-1144 Marin County 415-991-4545 San Mateo County 203-666-4472   Know Your Rights (in various Asian languages) Thank you to our guests and Chinese for Affirmative Action for the clip from Wong Kim Ark's great grandson Norman Wong   Show Transcript: Wong Kim Ark Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the Apex Express.   Miko Lee: [00:00:35] Grace Lee Boggs said history is not the past. It is the stories we tell about the past, how we tell these stories. Triumphantly or self critically metaphysically or dialectically, has a lot to do with whether we cut short or advance our evolution as human beings. I. Well, in our current chaotic times, it feels like we are intentionally ignoring history. Our lack of awareness feels like a de-evolution. As our education department is gutted and books are banned, and so many of our American institutions are at risks, it feels as though a critical analysis of history is just being intentionally ignored. So welcome to Apex Express. I'm your host, Miko Lee, and tonight we're gonna delve back into a moment of history that is very much relevant in our contemporary world. Tonight's show is about long Kim Ark. There's a famous black and white photo of a Chinese American man. His hair is pulled back with a large forehead on display, wide open eyes with eyebrows slightly raised, looking at the camera with an air of confidence and innocence. He is wearing a simple mandarin collared shirt, one frog button straining at his neck, and then two more near his right shoulder. The date stamp is November 15th, 1894. His name is Wong Kim Ark. Tonight we hear more about his story, why it is important, what birthright citizenship means, and what you could do to get involved. So stay tuned. Welcome, David Lei, former social worker, community activist, lifelong San Franciscan, and amazing community storyteller. Welcome to Apex Express.    David Lei: [00:02:21] Thank you, Miko.    Miko Lee: [00:02:23] Can you first start with a personal question and tell me who are your people and what legacy do you carry with you?    David Lei: [00:02:31] I'm now on the board of Chinese Historical Society of America. Chinese American History is pretty important to me for my identity and the story of Chinese in America is American history, and that's where I'm at now.   Miko Lee: [00:02:50] And what legacy do you carry with you from your ancestors?    David Lei: [00:02:56] To pass on the wisdom they pass to me to future descendants. But I'm here in America, so I know after a few generations, my descendants won't look like me. Most likely they won't speak Chinese. They're going to be Americans. So. The lessons and values and wisdoms, my ancestors passed to me, I'm passing to America.   Miko Lee: [00:03:30] we are talking on this episode about Wong Kim Ark and as a community storyteller, I wonder if you can take me back to that time, take me back to Wong Kim Ark growing up in San Francisco, Chinatown, what was happening in San Francisco, Chinatown at that time    David Lei: [00:03:48] Okay, this is the end of the 19th century and we have the Exclusion Act in 1882 where Chinese were excluded from coming to America with few exceptions like merchants, diplomats, and scholars. So if you're Chinese and you're a laborer you just can't come. And there were concerns about. Going, even if you were here, there's a process for your return, the documents you will need. But even that was iffy. But for Chinese in general, there was birthright citizenship. So if you were born here, you have citizenship and that because of the 14th amendment. So many Chinese thought birthright citizenship was important 'cause you can vote, you have more rights, less chance that you will be deported. So the Chinese, born in America, right at 1895, formed a Chinese American Citizens Alliance. The concept of being a American citizen was in everybody's mind in Chinatown at that time. The Chinese been fighting for this birthright citizenship ever since the Exclusion Act. Before Wong Kim Ark, there was Look Tin Sing in the matter regarding Look Tin Sing was a CA federal Court of Appeal case. Look Tin Sing was born in Mendocino, so he's American born. He assumed he was a citizen. His parents sent him back to China before the Exclusion Act, and when he came back after the Exclusion Act, of course he didn't have the paperwork that were required , but he was born here. So to prove that he was a citizen. He had to have a lawyer and had to have white witness, and it went to the federal Court of Appeal, ninth Circuit, and the Chinese sixth company. The City Hall for Chinatown knew this was important for all Chinese, so gave him a lawyer, Thomas Den, and he won the case. Then in 1888, this happened again with a guy named Hong Yin Ming. He was held and he had to go to the Federal Court of Appeal to win again, then Wong Kim Ark 1895. He was stopped and. This time, the Chinese six company, which is a city hall for Chinatown they really went all out. They hired two of the best lawyers money could buy. The former deputy Attorney General for the United States, one of which was the co-founder of the American Bar Association. So these were very expensive, influential lawyers. And because Wong Kim Ark was a young man under 25, he was a cook, so he was poor, but the community backed him. And went to the Supreme Court and won because it was a Supreme Court case. It took precedent over the two prior cases that only went to the Court of Appeal.    Now you might think, here's a guy who has a Supreme Court case that says he's an American citizen. Well, a few years later in 1901, Wong Kim Ark went to Mexico to Juarez. When he came back to El Paso the immigration stopped him at El Paso and says, no you are just a cook. you're not allowed to come in because we have the 1882 Exclusion Act. Wong Kim Ark Says, I have a Supreme Court case saying I'm a US citizen, and the El Paso newspaper also had an article that very week saying they're holding a US citizen who has a Supreme Court case in his favor saying that he is a US citizen. However, immigration still held him for four months in El Paso. I think just to hassle. To make it difficult. Then by 1910, Wong Kim Ark had a few sons in China that he wants to bring to the us so he arranged for his first son to come to America in 1910. His first son was held at Angel Island. Interrogated did not pass, so they deported his firstborn son. So he says, wow, this is my real son, and he can't even get in. So this is dealing with immigration and the US laws and the racist laws is unending. Just because you win the Supreme Court case, that doesn't mean you're safe as we are seeing now. So it takes the community, takes a lot of effort. It takes money to hire the best lawyers. It takes strategizing. It takes someone to go to jail, habeas corpus case oftentimes to test the laws. And even when you win, it's not forever. It's constantly challenged. So I think that's the message in the community. Chinese community had push back on this and have pushed for Birthright citizenship from the very beginning of the Exclusion Act.    Miko Lee: [00:09:48] Thank you so much for that. David. Can we go back a little bit and explain for our audience what the Six Companies meant to Chinatown?    David Lei: [00:09:57] From the very beginning, there were a lot of laws racist laws that were anti-Chinese, and the Chinese always felt they needed representation. Many of the Chinese did not speak English, did not understand the laws, so they formed the Chinese Six Companies. Officially known as the Chinese Consolidated Benevolent Association. most Chinese come from just the six districts from Guangdong Province. They're like counties. However, in China, each counties most likely will have their own dialect. Unintelligible to the county next to them. They will have their own food ways, their own temples. almost like separate countries. So there were six major counties where the Chinese in America came from. So each county sent representatives to this central organization called the Chinese six companies, and they represented the Chinese in America initially in all of America. Then later on, different states set up their own Chinese Consolidated Benevolent Association, so they would tax their own membership or get their own membership to pay fees. They had in-house lawyers to negotiate with city government, state government, federal government, and they would raise the money. They were the GoFundMe of their days. Almost every month they were hiring lawyers to protect some Chinese, somewhere in America against unfair unjust laws. The Chinese six company was very important to the Chinese in America, and they were the first to really push back on the Chinese exclusion Act between 1882 and 1905. 105,000 Chinese in America after the exclusion Act sued a federal government more than 10,000 times. This is about 10% of the Chinese population in America, sued the federal government. I'm not including state government, counties nor municipalities. This is just the federal government. About 10% of the Chinese here sued and almost 30 of these went to the Federal Supreme Court, and it was the sixth company that organized many of these winning for all Americans and not just the Chinese right. To a public education. Even if you are an immigrant tape versus Hurley in 1885. Then we have the Yick Wo versus Hopkins case that gave equal protection under law for everyone. Now, the 14th Amendment does have this clause equal protection under law, but everybody thought that meant you had to write a law that was equal for everybody. But in the case of Yick Wo versus Hopkins, it was also important that the law is executed and administered equally for everyone. That's the first time where it was made very clear that equal protection under law also means the administration and the execution of the law. So that is the core of American Civil Rights and the Chinese won this case for all Americans. Of course, Wong Kim Ark.    The concept of political asylum, public law 29 was a Chinese case passed by Congress in 1921, and then we have Miranda Act. If you look into the Miranda Act, it was based on a Chinese case, 1924 Ziang Sun Wan versus the US two Chinese were accused of murder in Washington DC They were tortured, denied sleep. Denied food, denied attorneys, so they confessed. But when it came to trial. They said we didn't do it, we confessed 'cause we were tortured and they won in the Supreme Court, but it was a Washington DC case only applicable to federal jurisdictions. So when Miranda came up, the Supreme Court said, well, we decided this in 1924, but now we'll just make it applicable to state, county and municipality. And then of course, as recently as 1974 Chinese for affirmative action helped bring the Lao versus Nichols case. Where now is required to have bilingual education for immigrant students, if there are enough of them to form a class where they can be taught math, science, history in their original language. These and many more. The Chinese brought and won these cases for all Americans, but few people know this and we just don't talk about it.    Miko Lee: [00:15:35] David, thank you so much for dropping all this knowledge on us. I did not know that the Miranda rights comes from Asian Americans. That's powerful. Yes. And so many other cases. I'm wondering, you said that Chinese Americans and the six companies sued, did you say 10,000 times?    David Lei: [00:15:53] We have 10,000 individual cases. In many of these cases, the Chinese six company helped provide a lawyer or a vice.    Miko Lee: [00:16:03] And where did that come from? Where did that impetus, how did utilizing the legal system become so imbued in their organizing process?   David Lei: [00:16:14] Well, because it worked even with the exclusion act, during the exclusion period most Chinese. Got a lawyer to represent them, got in something like 80%. In many of the years, 80% of the Chinese that hire a lawyer to help them with the immigration process were omitted. So the Chinese knew the courts acted differently from politics. The Chinese did not have a vote. So had no power in the executive branch nor the legislative branch. But they knew if they hire good lawyers, they have power in the court. So regardless of whether their fellow Americans like them or not legally the Chinese had certain rights, and they made sure they received those rights. By organizing, hiring the best lawyers, and this was a strategy. suing slowed down after 1905 because the Chinese lost a important case called Ju Toy versus the us. The Supreme Court decided that since the Chinese sue so much, their courts of appeal were tied up with all these cases. So the Supreme Court says from now on, the Supreme Court will give up his rights to oversight on the executive branch when it comes to immigration because the Chinese sue too much. And that's why today the executive branch. Has so much power when it comes to immigration, cause the court gave up the oversight rights in this ju toy versus the US in 1905. So if we go to the history of the law a lot of the legal policies we live in today, were. Pushback and push for by the Chinese, because the Chinese were the first group that were excluded denied these rights. but the Chinese were very organized one of the most organized group and push back. And that's why we have all these laws that the Chinese won.    Miko Lee: [00:18:30] And in your deep knowledge of all this history of these many cases, what do you think about what is happening right now with all the conversations around birthright citizenship? Can you put that into a historical perspective?    David Lei: [00:18:44] So being an American. We always have to be on the guard for our rights. Who would've thought Roe v. Wade would be overturned? So all these things can be challenged. America's attitude change. Civil disobedience, the Chinese are actually, we have on record the largest number of people practicing civil disobedience over a long period of time. In 1892, when the Exclusion Act, Chinese Exclusion Act had to be renewed, they added this. New requirement that every Chinese must carry a certificate of residency with their photo on it. Well, this is like a internal passport. No one had to have this internal passport, but they made the Chinese do it. So the Chinese six company. Says, no, this is not right. Only dogs need to carry a license around to identify. Itself and only criminals needs to register with a state. And we Chinese are not dogs and we're not criminals, so we're not going to do it 'cause no one else needs to do it. So the six company told all the Chinese 105,000 Chinese not to register. 97% refuse to register. In the meantime, the six companies sued the federal government again. Saying the Federal Go government cannot do this. The Chinese lost this case in the Supreme Court and everybody then had to register, but they didn't register until two years later, 1894. So they held. Held out for two years.   Miko Lee: [00:20:31] How many people was that?    David Lei: [00:20:32] About a hundred thousand. 97% of the 105,000 Chinese refused to do this. So if you look at these certificate of residencies that the Chinese were forced to carry. They were supposed to register in 1892. Almost all of them are 1894. Some of them in fact many of them are May, 1894, the last second that you can register before they start deporting you. So the Chinese. Also practiced civil disobedience and the largest incidents, a hundred thousand people for two years.    Miko Lee: [00:21:15] How did they communicate with each other about that?   David Lei: [00:21:18] The Chinese were very well connected through the six companies, their district association, their surname association oftentimes because of. The racism segregation, the Chinese were forced to live in Chinatowns or relied on their own network. To support each other. So there, there's a lot of letter writing and a lot of institutions, and they kept in touch.That network was very powerful. In fact, the network to interpret a law for everybody interpret uh, any rules of business, and. Just how to conduct themselves in America. They have a lot of institutions doing that. We still have them in the 24 square blocks we call Chinatown. We have almost 300 organizations helping the immigrants. Chinese there with language, with how to do your taxes tutoring for their kids. Advice on schools paying their bills and so on. We have surnames associations, we have district associations, we have gills, we have fraternal organizations, and we certainly have a lot of nonprofits. So it's very, very supportive community. And that's always been the case.    Miko Lee: [00:22:42] I'm wondering what you feel like we can learn from those organizers today. A hundred thousand for civil disobedience. And we're often portrayed as the model minority people just follow along. That's a lot of people during that time. And what do you think we can learn today from those folks that organize for civil disobedience and the Chinese Exclusion Act?    David Lei: [00:23:03] It takes a community. One person can't do it. You have to organize. You have to contribute. You have to hire the best lawyers, the very best. In fact, with the Yik Wo versus Hopkins case, the equal protection under law, the Chinese immediately raised 20,000 equivalent to half a million. It takes collective action. It takes money. You just have to support this to keep our rights.    Miko Lee: [00:23:29] And lastly, what would you like our audience to understand about Wong Kim Ark?    David Lei: [00:23:35] Well, Wong Kim Ark, he was just an average person, a working person that the immigration department made life miserable for him. Is very difficult to be an immigrant anytime, but today is even worse. We have to have some empathy. He was the test case, but there were so many others. I mentioned Look Tin Sing, whose adult name is Look Tin Eli. We know a lot about Look Tin Eli and then this other Hong Yin Ming in 1888 before Wong Kim Ark and so generations of generations of immigrants. Have had a hard time with our immigration department. It's just not a friendly thing we do here. And you know, we're all descendants of immigrants unless you're a Native American. Like I mentioned Look Tin Sing, who was the first case that I could find. For birthright citizenship. His mother was Native American, but Native American didn't even get to be citizens until 1924. You know, that's kind of really strange. But that was the case.    Miko Lee: [00:24:50] That's very absurd in our world.    David Lei: [00:24:52] Yes, Chinatown is where it is today because of Look Tin Sing, his adult name, Look Tin Eli. He saved Chinatown after the earthquake. He's the one that organized all the business people to rebuild Chinatown like a fantasy Chinese land Epcot center with all the pagoda roofs, and he's the one that saved Chinatown. Without him and his Native American mother, we would've been moved to Hunter's Point after the earthquake. He later on became president of the China Bank and also president of the China Mayo Steamship Line. So he was an important figure in Chinese American history, but he had to deal with immigration.   Miko Lee: [00:25:39] David Lei, thank you so much for sharing your wisdom with us. I appreciate hearing this story and folks can find out when you are part of a panel discussion for Wong Kim Ark week, right?    David Lei: [00:25:50] Yes.    Miko Lee: [00:25:51] Great. We will be able to see you there. Thank you so much for being on Apex Express. Annie Lee, managing director of Policy at Chinese for affirmative action. Welcome to Apex Express.    Annie Lee: [00:26:01] Thank you so much for having me Miko.    Miko Lee: [00:26:02] I wanna just start with this, a personal question, which is, who are your people and what legacy do you carry with you?    Annie Lee: [00:26:10] I am the daughter of monolingual working class Chinese immigrants. And so I would say my people hail from Southern China and were able to come to the United States where I was born and was allowed to thrive and call this place home. I do this work at Chinese for Affirmative Action on their behalf and for other folks like them.    Miko Lee: [00:26:31] Thanks Annie, Today we're recording on March 17th, and I'm noting this because as we know, things are changing so quickly in this chaotic administration. By the time this airs on Thursday, things might change. So today's March 17th. Can you as both an educator and a lawyer, give me a little bit of update on where birthright citizenship, where does it stand legally right now?    Annie Lee: [00:26:55] As an educator and a lawyer, I wanna situate us in where birthright citizenship lives in the law, which is in the 14th Amendment. So the 14th Amendment has a birthright citizenship clause, which is very clear, and it states that people who were born in the United States, in subject to the laws thereof are United States citizens. The reason. This clause was explicitly added into the 14th Amendment, was because of chattel slavery in the United States and how this country did not recognize the citizenship of enslaved African Americans for generations. And so after the Civil War and the Union winning that war and the ends of slavery . We had to make African Americans citizens, they had to be full citizens in the eye of the law. And that is why we have the 14th Amendment. And that clause of the 14th Amendment was later litigated all the way to the Supreme Court by Wong Kim Ark, who was born in San Francisco, like me, two Chinese immigrant parents. When he left the United States, he went to China to visit his family. He tried to come back. They wouldn't let him in. and he said, I am a citizen because I was born in the United States and this clause in your 14th amendment, our 14th amendment says that I'm a citizen. It went all the way to Supreme Court and the Supreme Court agreed with Wong Kim Ark. Does not matter your parents' citizenship status. Everyone born in the United States is a US citizen, except for a very, very narrow set of exceptions for the kids of foreign diplomats that really is not worth getting into. Everyone is born. Everyone who's born in the United States is a citizen. Okay? So then you all know from Trump's executive order on day one of his second presidency that he is attempting to upends this very consistent piece of law, and he is using these fringe, outlandish legal arguments that we have never heard before and has never merited any discussion because it is just. Facially incorrect based on the law and all of the interpretation of the 14th amendment after that amendment was ratified. So he is using that to try to upend birthright citizenship. There have been a number of lawsuits. Over 10 lawsuits from impacted parties, from states and there have been three federal judges in Maryland, Washington State, and New Hampshire, who have issued nationwide injunctions to stop the executive order from taking effect. That means that despite what Trump says in his executive order. The birthright citizenship clause remains as it is. So any child born today in the United States is still a citizen. The problem we have is that despite what three judges now issuing a nationwide injunction, the Trump's government has now sought assistance from the Supreme Court to consider his request to lift the nationwide pause on his executive order. So the justices, have requested filings from parties by early April, to determine whether or not a nationwide injunction is appropriate. This is extraordinary. This is not the way litigation works in the United States. Usually you let the cases proceed. In the normal process, which goes from a district court to an appeals court, and then eventually to the Supreme Court if it gets appealed all the way up to the Supreme Court. This is very different from the normal course of action and I think very troubling.    Miko Lee: [00:30:36] So can you talk a little bit about that? I know we constantly say in this administration it's unprecedented, but talk about how there's three different states that have actually filed this injunction. , how typical is that for then it or it to then go to the Supreme Court?    Annie Lee: [00:30:53] Just to clarify, it's not three different states. It's judges in three different states. In fact, more than many, many states, 18 more than 18 states. There have been two lawsuits related, brought by states one that California was a part of that had multiple states over 18 states as well as San Francisco and District of Columbia. Then there was another lawsuit brought by another set of states. and so many states are opposed to this, for different reasons. I find their complaints to be very, very compelling. Before I get into the fact that multiple judges have ruled against the Trump administration, I did want to explain that the reason states care about this is because birthright citizenship is not an immigration issue. Birthright citizenship is just a fundamental issue of impacting everyone, and I really want people to understand this. If you are white and born in the United States, you are a birthright citizen. If you are black and born in the United States, you are a birthright citizen. It is a fallacy to believe that birthright citizenship only impacts immigrants. That is not true. I am a mother and I gave birth to my second child last year, so I've been through this process. Every person who gives birth in the United States. You go to the hospital primarily, they talk to you after your child is born about how to get a social security card for your child. All you have to do is have your child's birth certificate. That is how every state in this country processes citizenship and how the federal government processes citizenship. It is through a birth certificate, and that is all you need. So you go to your health department in your city, you get the birth certificate, you tell, then you get your social security card. That is how everyone does it. If you change this process, it will impact every state in this country and it will be very, very cumbersome. Which is why all of these states, attorneys general, are up in arms about changing birthright citizenship. It is just the way we function. That again applies to re regardless of your parents' immigration status. This is an issue that impacts every single American. Now, to your question as to what does it mean if multiple judges in different states, in different federal district courts have all ruled against. Donald Trump, I think it really means that the law is clear. You have judges who ha are Reagan appointees saying that the birthright citizenship clause of the 14th amendment is crystal clear. It has, it is clear in terms of the text. If you are a textualist and you read exactly what the text says, if you believe in the context of, The 14th Amendment. If you look at the judicial history and just how this clause has been interpreted since ratification, like everything is consistent, this is not an area of law that has any gray area. And you see that because different judges in different district courts in Maryland, in Washington, in New Hampshire all have cited against Donald Trump.    Miko Lee: [00:33:54] So what is the intention of going to the Supreme Court?    Annie Lee: [00:33:59] I mean, he is trying to forum shop. He's trying to get a court that he believes will favor his interpretation and that is why the right has spent the last half century stacking federal courts. And that is why Mitch McConnell did not let Barack Obama replace Antonin Scalia. The composition of the Supreme Court is. So, so important, and you can see it at times like this.    Miko Lee: [00:34:28] But so many of the conservatives always talk about being constitutionalists, like really standing for the Constitution. So how do those things line up?   Annie Lee: [00:34:38] Oh, Miko, that's a great question. Indeed, yes, if they were the textualist that they say they are, this is a pretty clear case, but, Law is not as cut and dry as people think it is. It is obviously motivated by politics and that means law is subject to interpretation.   Miko Lee: [00:34:59] Annie, thank you so much for this breakdown. Are there any things that you would ask? Are people that are listening to this, how can they get involved? What can they do?    Annie Lee: [00:35:09] I would recommend folks check out StopAAPIHate. We are having monthly town halls as well as weekly videos to help break down what is happening. There's so much news and misinformation out there but we are trying to explain everything to everyone because these anti-immigration. Policies that are coming out be, this is anti-Asian hate and people should know that. You can also check out resources through Chinese for affirmative action. Our website has local resources for those of you who are in the Bay Area, including the rapid response lines for bay Area counties if you need any services, if you. See ICE. , if you want to know where their ICE is in any particular location, please call your rapid response line and ask them for that verifiable information. Thank you.    Miko Lee: [00:36:00] Thank you so much, Annie Lee for joining us today on Apex.    Ayame Keane-Lee: [00:36:04] You are listening to 94.1 KPFA and 89.3 KPFB in Berkeley, 88.1 KFCF in Fresno, 97.5 K248BR in Santa Cruz, 94.3 K232FZ in Monterey, and online worldwide at kpfa.org.   Miko Lee: [00:36:23] Welcome, Nicholas Gee from Chinese for affirmative action. Welcome to Apex Express.    Nicholas Gee: [00:36:29] Thanks so much, Miko. Glad to be here.    Miko Lee: [00:36:31] I'm so glad that you could join us on the fly. I wanted to first just start by asking you a personal question, which is for you to tell me who you are,, who are your people and what legacy do you carry with you.   Nicholas Gee: [00:36:46] I'll start off by saying Miko, thanks so much for having me. My name is Nicholas Gee and I am a third and or fourth generation Chinese American, born and raised in Houston, Texas. And for me, what that means is, is that my great-great-grandparents and great-grandparents migrated from Southern China, fleeing war and famine and looking for opportunity in the middle of the early, like 19 hundreds. And they wanted to start an opportunity here for future generations like me. My people are my family who migrated here over a hundred years ago. who were settling to start a new life. My people are also the people that I advocate with, the Language Access network of San Francisco, the Immigrant Parent Voting Collaborative, my colleagues at Chinese for affirmative action and stop AAPI hate. I think about my people as the people that I'm advocating with on the ground day to day asking and demanding for change.   Miko Lee: [00:37:41] Thank you. And what legacy do you carry with you?    Nicholas Gee: [00:37:45] I carry the legacy of my elders, particularly my grandparents who immigrated here in around the 1940s or so. And when I think about their legacy, I think a lot about the legacy of immigration, what it means to be here, what it means to belong, and the fight for advocacy and the work that I do today.    Miko Lee: [00:38:05] Thanks so much, Nick, and we're here doing this show all about Wong Kim Ark, and I know Chinese for affirmative action has planned this whole week-long celebration to bring up as we're talking about legacy, the legacy of Wong Kim Ark. Can you talk about how this one week celebration came to be and what folks can expect?    Nicholas Gee: [00:38:26] Yeah. As folks may know we are in the midst of many executive orders that have been in place and one of them being the executive order to end birthright citizenship. And Wong Kim Ark was actually born and raised in San Francisco's Chinatown, particularly on seven. 51 Sacramento Street. In the heart of the community and local partners here in this city, we're really trying to figure out how do we advocate and protect birthright citizenship? How do we bring momentum to tell the story of Wong Kim Ark in a moment when birthright citizenship is, in the process of being removed And so we really wanted to create some momentum around the storytelling, around the legacy of Wong Kim Ark, but also the legal implications and what it means for us to advocate and protect for birthright citizenship. And so I joined a couple of our local partners and particularly our team at Chinese for affirmative action to develop and create the first ever Wong Kim Ark Week. Officially known as born in the USA and the Fight for Citizenship, a week long series of events, specifically to honor the 127th anniversary of the Landmark Supreme Court case, US versus Wong Kim Ark, which affirmed birthright citizenship for all in the United States.    Miko Lee: [00:39:44] What will happen during this week-long celebration?   Nicholas Gee: [00:39:48] We have several scheduled events to raise awareness, mobilize the community, and really to stand up for the rights of all immigrants and their families. One is an incredible book Talk in conversation with author and activist Bianca Boutte. Louie, who recently authored a book called Unassimilable. And she tells a personal narrative and provides a sharp analysis for us to think about race and belonging and solidarity in America, particularly through an Asian American lens. This event is hosted by the Chinese Historical Society of America. Following. We have a live in-person community symposium on Wong Kim Ark legacy and the struggle for citizenship. There'll be a powerful community conversation with legal advocates, storytellers, movement builders, to have a dynamic conversation on the impact of birthright citizenship. Who is Wong Kim Ark? What is his enduring legacy and how people can join us for the ongoing struggle for justice? And you know, we actually have a special guest, Norman Wong, who is the great grandson of Wong Kim Ark. He'll be joining us for this special event. We have a couple of more events. One is a Chinatown History and Art Tour hosted by Chinese Culture Center, this is a small group experience where community members can explore Chinatown's vibrant history, art, and activism, and particularly we'll learn about the legacy of Wong Kim Ark and then lastly, we have a in-person press conference that's happening on Friday, which is we're gonna conclude the whole week of, Wong Kim Ark with a birthright, citizenship resolution and a Wong Kim Ark dedication. And so we'll be celebrating his enduring impact on Birthright citizenship and really these ongoing efforts to protect, our fundamental right. and the San Francisco Public Library is actually hosting an Asian American and Pacific Islander book display at the North Beach campus and they'll be highlighting various books and authors and titles inspired by themes of migration, community, and resilience. So those are our scheduled, events We're welcoming folks to join and folks can register, and check out more information at casf.org/WongKimArk    Miko Lee: [00:42:04] Thanks so much and we will post a link to that in our show notes. I'm wondering how many of those are in Chinese as well as English?    Nicholas Gee: [00:42:13] That is a fantastic question, Miko. We currently have the community symposium on Wong Kim Ark legacy in the struggle for citizenship. This event will have live interpretation in both Mandarin and Cantonese.    Miko Lee: [00:42:46] What would you like folks to walk away with? An understanding of what.    Nicholas Gee: [00:42:30] We really want people to continue to learn about the legacy of birthright citizenship and to become an advocate with us. We also have some information on our website, around what you can do to protect birthright citizenship. As an advocate, we are always thinking about how do we get people involved, to think about civic engagement intentional education and to tie that back to our advocacy. And so we have a couple of ways that we're inviting people to take action with us. One is to invite a friend to consider attending one of our events. If you're based here in the San Francisco Bay area or if you're online, join us for the book Talk with Bianca. , two, we're inviting folks to take action and oppose the executive order to ban birthright citizenship. Chinese for affirmative action has. A call to action where we can actually send a letter to petition , to oppose this executive order to send a message directly to our congressman or woman. and lastly, you know, we're asking people to learn about Wong Kim Ark as a whole, and to learn about the impacts of birthright citizenship. My hope is that folks walk away with more of an understanding of what does it mean here to be an advocate? What does it mean to take action across the community and really to communicate this is what resilience will look like in our community    Miko Lee: [00:43:44] Nick Gee, thank you so much for joining me on Apex Express. It was great to hear how people can get involved in the Wong Kim Ark week and learn more about actions and how they can get involved. We appreciate the work you're doing.    Nicholas Gee: [00:43:56] Thanks so much Miko, and I'm excited to launch this.   Miko Lee: [00:43:58] Welcome, Reverend Deb Lee, executive Director of Interfaith Movement for Human Integrity and part of the Network on Religion and justice. Thank you so much for coming on Apex Express.    Rev. Deb Lee: [00:44:09] Great to be here. Miko.    Miko Lee: [00:44:11] I would love you just personally to tell me who are your people and what legacy do you carry with you?   Rev. Deb Lee: [00:44:17] Wow. Well, my people are people in the Chinese diaspora. My family's been in diaspora for seven generations, from southern China to southeast to Asia. and then eventually to the United States. What I carry with me is just a huge sense of resistance and this idea of like, we can survive anywhere and we take our love and our family and our ancestor we gotta carry it with us. We don't always have land or a place to put it down into the ground, and so we carry those things with us. , that sense of resistance and resilience.    Miko Lee: [00:44:56] Thank you so much. I relate to that so much as a fifth generation Chinese American. To me, it's really that sense of resilience is so deep and powerful, and I'm wondering as a person from the faith community, if you could share about the relevance of Wong Kim Ark and Birthright citizenship.   Rev. Deb Lee: [00:45:12] Yeah, Wong Kim Ark is critical because he was somebody who really fought back against racist laws and really asserted his right to be part of this country, his right to have the Constitution apply to him too. I'm just so grateful for him and so many of the other Chinese Americans who fought back legally and resisted against in that huge wave of period of Chinese exclusion to create some of the really important immigration laws that we have today. I wouldn't be a citizen without birthright citizenship myself. Wong Kim Ark really established that every person who is born on this soil has a right to constitutional protection, has a right to be a citizen. And in fact, the Constitution in the 14th Amendment also applies to let equal treatment for everyone here, everyone who is here. You don't even have to be a citizen for the constitutional rights. And the Fourth Amendment, the fifth Amendment, the first amendment to apply to you. And those things are so under attack right now. It's so important to establish the equality. Of every person and the right for people here in this country to have safety and belonging, that everyone here deserves safety and belonging.    Miko Lee: [00:46:24] Thank you so much for lifting up that activist history. as, a person who was raised in a theological setting at a seminary, I was really raised around this ethos of love as an active tool and a way of fighting for civil rights, fighting for things that we believe in. And I'm wondering if you could talk about how you see that playing out in today. And especially as you know, this Trump regime has had such incredible impacts on immigrants and on so much of our activist history. I'm wondering if you have thoughts on that?    Rev. Deb Lee: [00:47:00] Well, so much of the civil rights history in this country, you know, going back to like the activism of Chinese Americans to establish some of those civil rights. You know, it goes back to this idea of like, who is fully human, who can be fully human, whose humanity will be fully recognized? And so I think that's what's connects back to my faith and connects back to faith values of the sacredness of every person, the full humanity, the full participation, the dignity. And so I think, Wong Kim Ark and the other, like Chinese American activists, they were fighting for like, you know, we don't wanna just be, we're gonna just gonna be laborers. We're not just going to be people who you can, Bring in and kick out whenever you want, but like, we want to be fully human and in this context of this nation state, that means being fully citizens.And so I think that that struggle and that striving to say we want that full humanity to be recognized, that is a fundamental kind of belief for many faith traditions, which, you know, speak to the radical equality of all people and the radical dignity of all people, that can't be taken away, but that has to really be recognized. What's under attack right now is. So much dehumanization, stigmatization of people, you know, based on race, based on class, based on gender, based on what country people were born in, what papers they carry, you know, if they ever had contact, prior contact with the law, like all these things. You know, are immediately being used to disregard someone's humanity. And so I think those of us who come from a faith tradition or who just share that kind of sense of, value and, deep humanism in other people, that's where we have to root ourselves in this time in history and really being, you know, we are going to defend one another's humanity and dignity, at all costs.   Miko Lee: [00:48:55] Thank you for that. I'm wondering if there are other lessons that we can learn from Wong Kim Ark, I mean, the time when he fought back against, this was so early in 1894, as you mentioned, the Chinese exclusion acts and I'm wondering if there are other lessons that we can learn from him in, in our time when we are seeing so many of our rights being eroded.   Rev. Deb Lee: [00:49:17] I think that there's so many ways, that we think about how did people organize then like, you know, it's challenging to organize now, but if you can imagine organizing then, and I'm thinking, you know, when Chinese people were required to carry identification papers and you know, on mass they refused to do that and they. Practice, like a form of civil disobedience. And I think we're at this time now, like the Trump administration's telling anybody here who's unauthorized to come forward and to register well, I think people need to think twice about that. And people are, there are many other things that they're trying to impose on the immigrant community and I think one like lesson is like, how do people survive through a period of exclusion and we are today in a period of exclusion. That really goes back to the mid 1980s, when there was, last, a significant immigration reform that created a pathway to citizenship. Only for about 3 million people. But after that, since that time in the mid 1980s, there has been no other pathways to citizenship, no other forms of amnesty, no other ways for people to fix their status.So in fact, we are already in another 40 year period of exclusion again. And so one of those lessons is how do people survive this period? Like right, and left. They're taking away all the laws and protections that we had in our immigration system. They were very narrow already. Now even those are being eliminated and any form of compassion or discretion or leniency or understanding has been removed. So I think people are in a period of. Survival. How do we survive and get through? And a lot of the work that we're doing on sanctuary right now we have a sanctuary people campaign, a sanctuary congregations campaign is how do we walk alongside immigrants to whom there is no path. There is no right way. there is no opening right now. But walk with them and help support them because right now they're trying to squeeze people so badly that they will self deport. And leave on their own. This is part of a process of mass expulsion but if people really believe that they want to stay and be here, how do we help support people to get through this period of exclusion until there will be another opening? And I believe there will be like our, our history kind of spirals in and out, and sometimes there are these openings and that's something I take from the faith communities. If you look at Chinese American history in this country, the role that faith communities played in walking with the immigrant community and in supporting them, and there's many stories that help people get through that period of exclusion as well.   Miko Lee: [00:51:52] Deb, I'm wondering what you would say to folks. I'm hearing from so many people [say] I can't read the news. It's too overwhelming. I don't wanna get involved. I just have to take care of myself. And so I'm just waiting. And even James Carville, the political opponent, say we gotta play dead for a few years. What are your thoughts on this?    Rev. Deb Lee: [00:52:11] Well, we can't play totally dead. I wish the Democrats wouldn't be playing dead, but I think that a person of faith, we have to stay present we don't really have the option to check out and we actually have to be in tune with the suffering. I think it would be irresponsible for us to. You know, turn a blind eye to the suffering. And I wanna encourage people that actually opportunities to walk with people who are being impacted and suffering can actually be deeply, fulfilling and can help give hope and give meaning. And there are people who are looking for solidarity right now. We are getting a lot of calls every week for someone who just wants them, wants someone to go to their court or go to the ice, check-in with them, and literally just like walk three blocks down there with them and wait for them. To make sure they come out. And if they don't come out to call the rapid response hotline, it doesn't take much. But it's a huge act like this is actually what some of the immigrant communities are asking for, who are millions of people who are under surveillance right now and have to report in. So those small acts of kindness can be deeply rewarding in this. Sea of overwhelming cruelty. And I think we have an obligation to find something that we can do. , find a way, find a person, find someone that we can connect to support and be in solidarity with and think about people in our past. Who have accompanied us or accompanied our people and our people's journey. And when those acts of kindness and those acts of neighbors and acts of friendship have meant so much I know like my family, they still tell those stories of like, this one person, you know, in Ohio who welcome them and said hello. We don't even know their names. Those acts can be etched in people's hearts and souls. And right now people need us.    Miko Lee: [00:53:59] Oh, I love that. I've talked with many survivors of the Japanese American concentration camps, and so many of them talk about the people of conscience, meaning the people that were able to step up and help support them during, before and after that time. Lastly, I'm wondering, you're naming some really specific ways that people can get engaged, and I know you're deeply involved in the sanctuary movement. Can you provide us with ways that people can find out more? More ways to get involved in some of the work that you are doing.    Rev. Deb Lee: [00:54:29] I'll put a plug in for our website. It's www dot I am number four, human integrity.org. So it's, iam4humanintegrity.org. We work with families that are impacted facing deportation, looking for all kinds of ways to get the community to rally around folks and support and we work with faith communities who are thinking about how to become sanctuary congregations and how to be an important resource in your local community. The other organizations, I would say sign up for Bay Resistance. They're organizing a lot of volunteers that we call on all the time we're working with. We're, you know, working with many organizations, the Bay Area, to make sure that a new ice detention facility does not get built. They are looking at the potential site of Dublin. We've worked really hard the last decade to get all the detention centers out of Northern California. We don't want them to open up a new one here.   Miko Lee: [00:55:27] Deb Lee, thank you so much for joining us on Apex Express and folks can actually see Deb on Tuesday night in Wong Kim Ark Week as one of the speakers. Thank you so much for joining us.    Rev. Deb Lee: [00:55:38] Thank you, Miko.    Miko Lee: [00:55:39] Thank you so much for joining us on Apex Express. We're gonna close this episode with words from Norman Wong, the great grandson of Wong Kim Ark.   Norman Wong: [00:55:49] So let's fight back. Threats to birthright citizenship will only divide us, and right now we need to come together to continue the impact of my great grandfather's. This is my family's legacy, and now it's part of yours too. Thank you    Miko Lee: [00:56:11] Please check out our website, kpfa.org to find out more about our show tonight. We think all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world because your voices are important. Apex Express is created by Miko Lee, Jalena Keane-Lee, Preti Mangala-Shekar, Swati Rayasam, Aisa Villarosa, Estella Owoimaha-Church, Gabriel Tanglao, Cheryl Truong and Ayame Keane-Lee.    The post APEX Express – 3.20.25- Wong Kim Ark appeared first on KPFA.