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This is actually something I’ve been wanting to post about since it happened last week. Some of you are friends with me on Facebook and saw my April Fool’s prank where my friend Vigor and I pretended to be in a relationship. This is a comment left on my later post revealing the joke.
I’ve been refraining from writing about Andrew Fung of the Fung Brothers on a personal level since he and David DO do good stuff for the community through their videos and service in the San Gabriel Valley area (albeit with objectifying and sexist vieos). However, let this be a lesson to all you internet-savvy people: If your humor or entertainment act infringes on my personal life, it is fair game for public shaming.
Here in Tumblr we’ve talked about the problems within the Asian American community when it comes to dating. Specifically interracial dating. This is a prime example of a bitter Asian guy lashing out because of who I involve myself with and because I didn’t accept his advances. We see this in a lot of YouTube videos where male entertainers will complain about “the white man taking all our women” and attack women of color for “worshipping the white man”. We see this at UCLA where someone vandalized the Vietnamese Student Association’s office accusing Asian women of being sluts, whores, etc for liking white guys. I’ve personally been on the receiving end of guys talking about how Asian women “belong to them” and are their “~*territory*~”. Way to uphold heteronormative patriarchal systems, assholes.
I’ll be honest: I haven’t dated an Asian guy. But that’s related to countless factors that are in play, none of which are Andrew Fung’s business.
Sorry bro, just because I don’t like you doesn’t mean I don’t like Asian guys.
by Janani
My tension with the term ‘person of color’ begins in high school. It begins at a stay-away anti-oppression camp in Jefferson City, Missouri. I was grouped with 50 other young people around my age, most of us just starting to put words to our lived experiences: race, class, gender, sex. It feels quaint now, because I can’t remember the last time I went through a day without saying ‘colonization’ or ‘White supremacy’. But back then, these were unfamiliar terms that rolled awkwardly in my throat, brought up the salty-fresh reminder of identity and woundedness.
When we began a particular fishbowl activity where we divided into ‘people of color’ and ‘White people’, the three Asian kids, including me, joined the White folks’ group. This sounds ridiculous now, but it was what made sense at the time. Most of the camp attendees were from St. Louis, which has stark Black/White segregation. Missouri was a slave state, and St. Louis’s urban/suburban race and class structuring still hugely reflects that history. My understanding of racial privilege and oppression was shaped exactly by the immense antiblackness in my communities. When the discussion on racism began, however, all of us Asian kids broke down and cried. It was clear to us that we didn’t have White privilege, but ‘people of color’ didn’t fit either when the only other context we had for it was a group of our Black peers using it as a solidarity term.
The facilitator of the POC group held my hands, held my eyes with hers and asked me if I would consider joining the people of color group. I spent the rest of camp, and much of my young activist life, dancing under the term POC, and in a sense forgetting about that original tension. I want to return to that moment of racial ambivalence, and why it happened.
That moment was unsettling precisely because even if Black and Asian kids had a common experience of being racialized, we didn’t have a common racialized experience. Being a Desi kid in St. Louis is not like being a Black kid in St. Louis (or anywhere else). Even if we live in the same neighborhoods, Black people in the US largely have their ancestry in formerly enslaved peoples, and most South Asian folks are immigrants or immigrants’ children. My people were colonized and faced all the associated violence of colonization, but their original struggle happened in South Asia. And you can argue that my parents and I immigrated to the US because of the economic systems of the time, but we were not brought here as slaves, and this is not land that was taken from us forcefully. We are not White people, but we are also settlers. This land does not carry our enslavement or our original colonial struggle.
Black cultural theorist Frank Wilderson’s Red, White, and Black argues that early US America was constructed in a racial triangle of Settler/Savage/Slave. White people, White men really, claimed this land and because they were able to use Black bodies for slave labor, they were able to launch a genocide on Indigenous peoples. That is, the dehumanization and exploitation of Black people scaffolded the erasure of Native peoples. This was the racial order set in place in the early formation of the US as a White supremacist state.
This model leaves a whole lot of us out, of course. API folks, Latinos, Middle Eastern folks, and many more of us don’t fit into that racial triangle. We’re not White, and we bring our own histories of colonization. Many of us were colonized by the US itself, and White people have supremacy over all of us in various and different ways. But the fact is our land and resources were not stolen from us in this space and our ancestors were not broughthere as slaves (with some important exceptions).
That place-based specificity is what the term ‘person of color’ doesn’t deal with adequately. As an identifier, ‘person of color’ can be slippery for a lot of politicized, non-Black, non-indigenous, non-White people in the US, for 2 reasons:
1) US/Western imperialism is so widespread that it even imposes its ways of doing racism on the rest of the world, and on people of color. For example, my family is upper caste, and that caste position is partly what enabled our immigration to the US. It also means that we’re lighter-skinned South Asians (read: closer to Aryan British colonizers). Using the term ‘POC’ as my identifier rather than ‘South Asian’ or ‘Desi’ means I never unpack these non-Western racial systems that are also at play.
2) Many of our communities have benefited variously from racism. South Asian communities I’ve been involved in use antiblack racism as one strategy of assimilation. Because as White people have established, the easiest way to shore up your racial supremacy is to be antiblack, displayed in everything from microaggressions to employment discrimination to violence. We know that people of color can be racist towards each other. What I’m saying is that many of us also reap systematic advantages from the racist attitudes and structures that are held by our entire communities.
How do we, as politicized people of color, acknowledge the very limits of the term ‘people of color’ and the way it can mask our actual racial situations? For example, why do we keep using the phrase ‘communities of color’ as targets of police and state violence when we primarily mean Black and Latino folks? What races are we trying to contain in the word ‘brown’? Why are we afraid to point to the specificities of racism? Do we think it will divide us? Do we think we are really not capable of understanding and working from the different ways we experience racism?
As long as the vocabularies of our struggle derive from the homogenizing actions of White supremacy, we will be that much farther from racial liberation.
Still, it’s helpful to understand ‘POC’ is still a useful term. Quoting Loretta Ross of the Sistersong Women of Color Reproductive Justice Collective in her interview with Racialicious, ‘woman of color’ emerged from a Black feminist platform at a National Women’s Conference in Houston in the 1970s.
So they actually formed a group called Black Women’s Agenda to come [sic] to Houston with a Black women’s plan of action that they wanted the delegates to vote to substitute for the “Minority Women’s Plank that was in the proposed plan of action.
Well, a funny thing happened in Houston: when they took the Black Women’s Agenda to Houston, then all the rest of the “minority” women of color wanted to be included in the “Black Women’s Agenda.” Okay? Well, [the Black women] agreed…but you could no longer call it the “Black Women’s Agenda.” And it was in those negotiations in Houston [that] the term “women of color” was created. Okay? And they didn’t see it as a biological designation—you’re born Asian, you’re born Black, you’re born African American, whatever—but it is a solidarity definition, a commitment to work in collaboration with other oppressed women of color who have been “minoritized.”
Identifying as a person of color in solidarity with other people of color says ‘hey, my people have been oppressed by White people, maybe in a different time and space than your people, but we can work in solidarity.’ The identification needs to carry some degree of humility, and a deeper commitment to allyship . The POC umbrella is not an excuse to disavow the ways we benefit from various racial structures and sit idly by as our communities reap advantages from racism towards other people of color.
Black-Asian solidarity in the US, for instance, is hard to find and it will continue to be difficult to build if we continue to use the uncritical ‘POC’ label. Rather, we can use ‘POC’ as a way of reflecting on our different racial histories and building coalitions in our struggles and their difference. POC is a term for building solidarity between movements, not a movement in itself. That distinction is important.
I’ll leave you with Audre Lorde:
‘It is not our differences that divide us. It is our inability to recognize, accept, and celebrate those differences.’ —Audre Lorde, Our Dead Behind Us: Poems
REQUIRED READING FOR LIFE/What I’m Reading Right Now
Black Power, Yellow Power, and the Making of Revolutionary Identities - Rychetta Watkins
A Companion to Asian American Studies - Kent A. Ono
East Main Street: Asian American Popular Culture - Shilpa Davé, LeiLani Nishime, and Tasha G. Oren
Koreans in the Hood: Conflict with African Americans - Kwang Chung Kim
Relationships Among Asian American Women - Jean Lau Chin
War Against the Panthers - Huey P. Newton
Asian American Political Action - James S. Lai
Rethinking the Asian American Movement - Daryl J. Maeda
Yellow - Frank Wu
Doesn’t Michael Hung, author of a recent CNN opinion piece on “Asian-American Men Can Be Sexy Too” (h/t fascinasions) see a contradiction here?
While celebrating his liberation from the ethnic box that defined him and that he rightly loathed (e.g. “I was castrated by the Chinese Exclusion Acts…consistently cast as a socially deficient, sexless jester”), in the same breath he proclaims and commemorates that liberation with this climactic (as it were, ahem) passage:
I found another piece of myself one night, when I was 28 years old, seated beside a young woman on the polished hardwood floor of her apartment. I grasped in one hand a tangle of her sandy blond hair. My other hand rested upon her cream colored throat, my fingers gently pressed on her jugular so that I could feel her quickened pulse.
All he sees of his paramour—and more tellingly, all he chooses to display of her, to us—is “a tangle of sandy blond hair” and her “cream colored throat” in his grasp; all that we need to know of her and him and their encounter is that this metonymic clutch of blond hair has breathily affirmed to Hung that he, indeed, is a lover.
For someone who claims to not want to be seen through the prism of a pre-determined a/sexual ethnic identity—he’s quite blithely imposing it on others. The politics and polemics of this essay might warrant just a tad bit more self-awareness, yes?
That sex/race conundrum, here and everywhere: always 5 steps forward, 10 steps back.
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[Inspired by my Amplify associate, Karachi, and her post on Blackface, Slurs and Appropriation]
Written and compiled by Hannah Le
Yellow Face isn’t just the mere inauthenticity and a failure of aesthetics of white people dressing up, wearing make up, trying to be Asian, and/or playing the roles of Asians. No, it’s definitely more insidious and problematic than that. It is systematic racism and discrimination, refusing to hire Asians or forcing them to play as villains, or when they receive a major role, it is typically a stereotypical one (i.e., martial arts, ‘wise man’, ‘dragon lady’, etc). It simulates a crude idea of what ‘Asians’ look like, all the while perpetuating terrible stereotypes, controlling what it means to be Asian whether it’s in person, on the stage, or on screen.
Orientalism: It’s a dichotomy created by the ‘West,’ it builds a view of the ‘East’ along with many elements of this culture that becomes obscured and exotic. Making a whole group of people seen as something monolithic, creating an erasure of actual identities.
I’m not even going to try to bother with getting too in-depth about the obvious cultural appropriation, ethnocentrism, and orientalism (not too much at least). I’m not going to go into Yellow Face on stage, in whitewashing (too much), in Europe, nor will I take the time to go through political caricatures of Asians throughout history. [Not that it’s less important or there’s a lack of evidence.] These following examples and history checks should do enough for now in getting my point across. (Please find a friend in Google if you really want to educate yourself though! Thank you!)
So, why did Yellowface occur? Was there a shortage of Asian people to play these Asian roles during the times this practice was most rampant (19th and 20th century)?
Meet Sessue Hayakawa (Born 1889-Death 1973), the first Asian American leading actor. He was one of the highest paid actors of his time. His talents were definitely recognized by Paramount Pictures and was even considered a sex icon. But despite all of this, he still met discrimination and racism everywhere he went. He was always forced to either play “the exotic villain” or “the exotic lover.” He waited for his turn to be casted as a hero of color, but it never came.
This is Anna May Wong (1905-1961). During the 1920s-1930s, Anna was given many different roles as a contracted Paramount Pictures actress, but they were always either as a “dragon lady” or a “butterfly lady.” Despite all of that, she was still a household name and was considered a fashion icon.
She was the top contender for the leading role of O-Lan, a Chinese heroine for the movie The Good Earth (1937) by MGM, but that role was later given to Luise Rainer (definitely not Asian). MGM went to her and tried to give her another role for a film called Lotus, but it meant that she had to be the villain again, so she turned it down and left for Europe for more opportunities and eventually went back to Paramount Pictures.
Say hello to Philip Ahn (1905-1973). For the film, Anything Goes, Ahn was initially rejected by the director, Lewis Milestone, because—I shit you not, he said this to Philip Ahn—he thought Philip’s “English was too good for the part.” During World War II, Philip Ahn was often forced to play roles of Japanese villains. He even received death threats because people thought he was actually Japanese.
Other Asian actors/actresses: Barbara Jean Wong, Fely Franquelli, Benson Fong, Chester Gan, Honorable Wu, Kam Tong, Keye Luke, Layne Tom Jr., Maurice Liu, Philip Ahn, Richard Loo, Lotus Long, Rudy Robles, Suzanna Kim, Teru Shimada, Willie Fung, Victor Sen Yung, Toshia Mori and Wing Foo.
Merle Oberon can also be added to the list, although she was part white/part Asian. She had to lie about her origins and applied whitening make up to pass as fully white. Other Asian actors and actresses: Jack Soo, Pat Morita, Mako, Bruce Lee, Lucy Liu, Margaret Cho, B.D. Wong, Amy Hill, Jennie Kwan, Masi Oka, James Lee, Ming Na, Daniel Dae Kim, Sendhil Ramamurthy, Charlyne Yi, Miyoshi Umeki, Shin Koyamada, John Cho, Brenda Song, and George Takei. Click on this link to see a hundred more.
After going through the list, ask yourself why the majority of the actors and actresses here are either in some martial arts movies or some other stereotypical crap?
TL;DR this section: There definitely wasn’t a shortage of Asian American actors and actresses. And there still isn’t.
Very Few Examples (of Very Many) of Yellowface in History:
Nil Ashter as General Yen from The Bitter Tea of General Yen (1933)
What Nils Ashter really looked like:
Harold Huber as Ito Takimura in Little Tokyo, USA (1942)
Interestingly enough, everyone who was a “bad guy” in this was portrayed as Japanese. Even more interesting, this was around the same time Japanese Internment Camps were happening.
What Harold Huber really looked like:
Katharine Hepburn as Jade Tan in in Dragon Seed (1944)
Katharine Hepburn just a few years after Dragon Seed:
Jennifer Jones as Dr. Han Suyin in Love is a Many Splendored-Thing (1955)
Another interesting concept found in this movie. “BEING WITH ASIAN WOMEN IS SO HOT AND EXOTIC. LET’S FETISHIZE THE SHIT OUT OF THEM.” Yup.
What Jennifer Jones actually looks like:
John Wayne as Genghis Khan in The Conqueror (1956)
John Wayne, y’all:
Mickey Rooney as Mr. Yunioshi in Breakfast at Tiffany’s (1961)
Mickey Rooney at that time:
Joel Grey as Chiun (Kung Fu Master, everyone—on the left) in Remo Williams (1985)
What Joel Grey really looked like:
Other cases I haven’t really taken the time to cover: Charlie Chan Series (Actors who played as Charlie Chan from 1931-1981: Warner Oland, Sidney Toler, Roland Winters, Peter Ustinov) Fu Manchu, Madame Butterfly, The Teahouse of the August Moon, Shanghai Express, The Manchurian Candidate, Sayonara, Mr. Moto Series, 7 Faces of Dr. Lao, Short Circuit (1986 & 1988), The Party, Gunga Din, Broken Blossoms, The Year of Living Dangerously, etc.
I mean, I guess you could say, “But those movies were decades ago!”
Alex Borstein as Ms. Swan.
Nicholas Cage as Fu Manchu (2007)
(Other actors who played the role of Fu Manchu starting from the 1920s up ‘til now: H. Agar Lyons, Warner Oland, Boris Karloff, Harry Brannon, Christopher Lee, and Peter Sellers)
Christopher Walken as Feng (2007)
Rob Schneider as Asian Minister in I Now Pronounce You Chuck and Larry (2007)
M. Night’s The Last Airbender (2010)
Well, the show was based on Asian and Inuit culture. But just look at the casting. The three protagonists are all light skinned while Zuko (played by Dev Patel in the movie) is dark skinned, and by default in this movie, the bad guy. Someone please just remake this movie. Please.
British Actor, Jim Sturgess, (rocking bad eye prosthetics) playing as a Korean in Cloud Atlas (2012)
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“Things Asians Hate,” by Eliot Chang.
This is terrible AND WONDERFUL.
And funny. Just watch.
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