PAN-ASIAN PACIFIC ISLANDER PERSPECTIVES
THE PAN-API ZINE
Calligraphy: Tai Ji Qi Gong in Motion, a workshop presented by
Pearl Weng Liang Huang
Pearl Weng Liang Huang gave a special intensive workshop, "Calligraphy: Tai Ji Qi Gong in Motion," on March 30, 2013, as part of the Humboldt State University Pan-Asian Pacific Islander Perspectives festival, March 25-30, 2013, hosted by the Asian Pacific Islander American Student Union (A.P.A.S.A.).
Pearl lives in Taos, New Mexico and offers classes and workshops in her studio, Ru Yi. For more information: www.ruyistudio.com and see the article on the Zine section of this website.
Pearl Weng Liang Huang was born in China, and trained in Chinese calligraphy, music and the arts. Her life long practice of brush calligraphy as Tai Ji/Qi Gong moving meditation is the tradition of her family's Living Tao Tai Ji form, and the teachings of her elder brother, Tai Ji Master, Chungliang Al Huang.
Many of the original forms and spiritual meanings of the powerful images of Chinese written language have sustained throughout the ages. Learning to create the symbols of the Chinese language through brush calligraphy is not only an aesthetic expression; it is also a way of life. It can express beauty, emotion, and primordial life force. Practicing Chinese calligraphy is a meditation for us to harmonize with nature and the Dao.
Ntxhais Muaj Txuj Hmong Dance Troupe
The Ntxhais Muaj Txuj Hmong Dance troupe is made up of students from Eureka High School and College of the Redwoods. They performed this piece during a full presentation by the HSU Hmong American Association (HAA) about Hmong culture and history.
The HAA hosted the presentation and performance on March 27, 2013 as part of the HSU Pan-Asian Pacific Islander Perspectives festival,
Hula at Humboldt
As part of the Pan-Asian Pacific Islander Perspectives festival, the Makahiki celebration on March 29, 2013 featured many beautiful and inspiring performances. Enjoy these two hula performances and the reflections by the respective dancers on the pieces.
Sunshine Warren, dancing Ho'onanea (Auwana), describes why. "A simple translation would relate the word ho'onanea to relaxation. In the case of this song it implies the relaxation of the soul when you are truly happy in love. So happy, in fact, that you are floating like a bird on a moonlit night. It is a passionate message from one lover to another. Hula is important to me because it gives life to beautiful Hawaiian poetry like Ho'onanea. It is a way for me to connect with the roots of my culture. These songs and dances are our history being passed down through the generations from our ancestors. Every dance is a blessing and a way to share our knowledge with others."
Marylyn Paik-Nicely describes La'ie I Ka Wai (Auwana), "This song is so beautiful. It talks about this magical place called pali'uli. It's always so great to think about going to a magical place. I've been dancing since I was three, and I danced all through high school. I love it because the mele, the music, and the stories, they all tell with the words and how that corresponds with our hands. Dancing hula especially here connects me back to Hawaii."
Makahiki:
A Celebration of Peace Through Play
Submitted by Hanakekua Joao
The Makahiki event will be showcasing the act of reaping what you have sown as a community and is celebrated in honor of the god of peace, Lono, in addition to a season of harvest and relaxation. We will be demonstrating, educating, and of course, playing a variety of games that were practiced in Hawaii, then and now.
The Makahiki season is a four-month period of the year, beginning with the first sighting of the makali`i (the constellation Pleiades) in late October or early November on the horizon. As the year’s harvest was gathered, tribute in the form of goods and produce were given to the chiefs from November through December. Various rites of purification and celebration in December and Janurary closed the observance of the makahiki season.
Lono-i-ka-makahiki (Lono), the god of agriculture and fertility was honored during the makahiki festival held annually. He was invoked to ensure peace and productivity and is the indigenous mana (internal strength) of the `aina, and is identified with the stable ongoing interest of the Hawaiian planters. The seasonal rituals to Lono and Ku (god of war and power) each year represent the many changes or transformations of political/social power between the maka`ainana and various usurpers, the ruling chiefs.
Friday, March 29 4-6 pm
HSU Goodwin Forum
NON STOP BHANGRA!
A non-stop dance party of genre-busting elixir of North Indian Bhangra music & dance, mixed with reggae, hip-hop, & electronica!
http://nonstopbhangra.ning.com/
Imagine a scene from a Bollywood movie smack in the middle of a thumping nightclub-swirling colors, the rhythm of pounding feet, & the relentless energy of brilliant beats - that's NON STOP BHANGRA and DHOLRHYTHMS DANCE COMPANY!
Highlighting the ancestral roots of Punjabi dance while pushing boundaries with contemporary influences, their events feature music by DJ Jimmy Love, mashed up with dance lessons and performances with Dholrhythms Dance Company, an organization dedicated to promoting the artistic and cultural heritage of India through the beautiful Bhangra and Giddha folk dances of Punjab, India.
Non Stop Bhangra was founded in 2004 when Dholrhythms founders Vicki Virk and Suman Raj teamed up with DJ Jimmy Love with the goal of bringing Bhangra to a wider audience. The first Non Stop Bhangra was hosted to celebrate the one-year anniversary of Dholrhythms by providing a dance space for students of Dholrhythms Bhangra classes. Since then, NSB has made this traditional style a serious dance floor craze in San Francisco, drawing the most diverse crowds to join in the frenzy. NSB is a destination, creating sold out nights and write-ups as one of the best dance floor nights in San Francisco.
Non Stop Dance Party!
Thursday, March 28
7:30-9:30PM FREE!
HSU Jolly Giant Commons
(non-HSU student 18+ years)
BONUS DANCE WORKSHOP! with Dohlrhythms Dance Company
Friday, March 29
10AM-12PM FREE!
HSU Kinesiology Dance Studio
Room 202A
Cultural Exchange Through Communication, Misunderstanding, & Open-Mindedness
by Tienyu Tai
Luckily enough my professors showed immense amount of patience and support with me. They didn’t treat me any differently due to my ethnicity, and it helped me to improve further and adapt the culture better.
The collaboration with students of different ethnic groups also opened up my point of view to other cultures. Jeff O’Connor introduced me to Latin Dances; Dr. Eugene Novotney brought Trinidadian Pan Music and Samba to my life; and Dr. Paul Blank had many conversations with me regarding Arabic language and cultures. I have learned to appreciate, understand, and respect different cultural values at HSU. In my point of view lack of ethnicity didn’t erase the chance to learn, have innovative thinking, and be open-minded.
In summer 1999, I began my journey as a transferred student at Humboldt State University. Moving up north from Southern California after leaving my home country – Taiwan, in 1996, it was the first time living on my own and having the freedom to try new things. I was very excited about the opportunity to be surrounded by green redwood forests and the Pacific.
It was demanding in terms of work load, but the language barrier was an even greater issue. Professors had mentioned about my “Chinese Accent” in the writing, peers had noted the areas for me to make efforts on, and I had many trembling moments doing half an hour presentations. All of these experiences didn’t shatter my belief in myself or turn me away from criticisms. Instead, I asked myself to adapt, because I have to adapt to this culture in order to success and I had to work along with my peers and professors.
As of 2013, I have returned to Taiwan for more than three years. In Taiwan, a 14-year foreign life definitely generated interests among old and new friends alike. I have talked about the salsa dancing, steelpan music, cultural festival, beautiful beach, evergreen forests, hippies, friends and great professors. I have talked about my life as well as my travels. However, I didn’t get much feedback. In Taiwan, impression of a foreign country is usually gotten from TV shows.
Sometimes lack of diversity and variety make me think of Arcata (almost as much as the beautiful natural scenery and relaxing life do). Even though HSU is small and lacks ethnicity, some of its people have cultural knowledge to offer and others are willing to learn. It is something lacking here, and I, along with some others, are making efforts to change.
What does being "Polynesian" mean in Humboldt County?
Alina Randall, Evelyn Tupua, and Melissa reflect on their personal perspectives
Even though I prefer Samoan, Polynesian is not necessarily a bad term for people of the South Pacific.
The reason I am addressing this movement is to point out that Polynesian can be a catch-all phrase, but not in a demeaning way. I am not condoning calling every person of South Pacific decent to be called Polynesian, but for people to be mindful of the person they are speaking with. Get to know the people you are speaking with and if they prefer to be referenced as a specific ethnicity, or if they are accepting of the catch-all terms. - ALINA
Polynesian is a catch-all phrase for South Pacific Island folks. There are very different cultures and peoples that fall under the term Polynesian. Samoan is one of the cultures that fall within the Polynesian label.
Humboldt County would not be the forefront county as a hub for Polynesian communities. I have only been in Humboldt County for eight to nine months, but for the first 7 months I was not able to connect with a Samoan, let alone Polynesian community in Humboldt County. Thanks to the Asian-Pacific-Islander festival at HSU, hosted by A.P.A.S.A., I was given the chance to connect with a Samoan woman in the area, which then opened my network through people she was connected with. Initially coming to this county I was well aware it would not be as diverse as my home-city in the Bay Area, but never did I imagine not seeing one person I could connect with on a cultural standpoint.
I feel a sense of pride when people use the term Polynesian or Pacific Islander for the simple fact that we are a minority, but well respected in any community. I don't mind it at all, and I do prefer to be labeled as being Samoan because I am proud young woman.
I've lived in Humboldt County for over 8 years and do wish we had a Polynesian market, or restaurant with authentic foods. It would be nice to have a Polynesian community board to talk about events and services that we can provide for those who live in the area.
Although the Poly community is a minority in Humboldt County, it is my job as a Samoan to reach out to others and let them know what our culture is all about. I am an advocate of the Polynesian community, whether I know it or not, and I will not shy away from letting everyone know that I am proud to be a Samoan woman. I am strong, intelligent, and can stand on my own two feet with my family at my side and God above all. - EVELYN
Being Polynesian to me means to be open minded, care free and loving towards any culture. Being raised by two full blooded Hawaiians I was taught to be a hard worker, put family first, and learn how to rise above any challenge.
Being Polynesian in Humboldt County is special because you are an ambassador to your culture. You not only represent yourself, your family, but you represent all cultures of Polynesia. It is extremely important to maintain your sense of culture because you can't forget where you come from, your roots. - MELISSA
Thursday, March 28, HSU UC Quad, Noon (if rain, Goodwin Forum)
Learn Samoan Siva dance with Alina Randall!
A Siva Samoa is a traditional Samoan dance from American Samoa. The dance was originally performed by high chiefs, but today is performed by the Chiefs' families. Performing a Siva is honorable as it retains the dancers grace, culture, and respect for high chiefs and the Samoan culture. Siva's are usually performed at weddings, baptisms, and funerals, but chiefs can ultimately decide if and when his family will perform a Siva. An example could be if another high chief's family visits, the host high chief may ask his family to perform a Siva to welcome the visitors.
Unique Ladies - Modernizing Hmong Dancing
"Nkauj Hmoob Teej Tub," translated in English it means "Unique Ladies." Salina Vang, a high school student, is one of four women in this Hmong dance troupe, performing a unique mix of modern and traditional dancing, signaling the new generation. The troupe was started by their teacher, Ia Yang, who wanted to teach her family members Hmong dancing.
According to Salina, there really is really no definition what “Hmong dancing” is, because Hmong dancing grew out of the influences of the time periods that the Hmong were experiencing, often during times of war and colonization. Dancing was a way to entertain their own community during celebrations.
Salina and her dancers choreograph their own pieces, often to match the meaning of the song, interpreting the words into the dance moves. That means that often these are modern songs and modern moves, not what people might consider “traditional.”
However, Salina feels that no matter what other influences they bring into their dancing, it is still Hmong dancing. They are modernizing it, bringing in hip-hop influences, with more jumping around. It’s just evolving.
Wednesday, March 27, 4 pm, HSU Goodwin Forum
The Unique Ladies with the HSU Hmong American Association and the College of the Redwoods and Eureka High School Hmong Clubs present an evening of Hmong Culture
Craig Kurumada - From Irish to Israeli, Bulgarian to bhangra...
I am a third- and fourth-generation Asian-American. My mother's family comes from Taishan in Guangdong province, and my father's family comes from Fukushima prefecture in Japan.
I grew up learning traditional Obon dancing from the Japanese community in his hometown of Salt Lake City. I became an avid folk dancer, musician and singer and perform at international dance and music festivals for thirty years. As a folk dancer today, who has studied many forms of dance from Irish to Israeli, Bulgarian to bhangra, I compare how I learned those dances with the dances I grew up with.
Obon dancing is a part of a mid-summer tradition celebrated in Japan and Japanese communities throughout the world. It has origins in a Buddhist legend, but the dances are mostly secular and deal with activities such as working and fishing, or containing themes relating to nature or regional traditions.
Bai Nian is a Taiwanese New Year's Dance. It is symbolic of conveying good wishes to friends and neighbors and hanging good luck banners.
The Taiwanese dance and others like it, I learned from Fang Chich Chen at a dance camp. Although Bai Nian is clearly a Chinese dance, much of her repertoire taught aboriginal dances from Taiwan, showing influence with dance styles from the Philippines and Polynesia.
Tuesday, March 26, noon,
HSU UC Quad (if rain, Goodwin Forum)
Learn Taiwanese "Bai Nian" and Japanese "Bon Odori no Uta (Bon Dance) and "1+1 Ondo" dances with Craig Kurumada
I remember when I was 8 or 9 years old, my mother telling me that I have to learn to dance. When I asked why, she said matter-of-factly, "It's a social grace. Like learning table manners. You have to know how to do it." She was talking about social dancing, but I took it to mean any kind of dancing. I have been drawn to traditional dance and music since I was very young. I've been dancing all my life and I don't see myself stopping.
Craig Kurumada is the staff advisor for HSU's Asian Pacific Island American Student Alliance (APASA) and was named HSU's Advisor of the Year for 2011-12. He has two bachelor's degrees in Linguistics and German from his alma mater, the University of Utah. He is one of the support staff (ASC) for HSU's Departments of Mathematics and Computer Science. He also advises the Juggling Society and the Firefly fan club, HSU Browncoats.
Holi Festival of Colors
India is a country full of diversity. Within India, there are many different cultures, ethnic groups, religions and languages. Holi is a time that people come together and celebrate. It is celebrated at the beginning of spring because it is a time of rejuvenation and new beginnings.
Asad Haider, an HSU Crticial Race, Gender and Sexuality senior, is bringing Holi to HSU for the Pan-API festival!
Asad's goal for bringing the festival to HSU is to experience a unique cultural tradition and recognize the diversity of our student population.
Thursday, March 28, 4 pm, HSU MultiCultural Center Parking Lot
Rain or shine! Lots of music, sweets, dancing and throwing of powered dye and water. Come wearing a white clothes you don't mind getting dye on.
Despite our different ethnic, linguistic, cultural or religious backgrounds, the Pan-API festival is a way to come together to celebrate our shared Asian heritage and the diversity within our community.
It is a time for us to not only share what makes our traditions unique, but also to invite the Humboldt coummunity to learn about our mixed heritages and make cross-cultural connections.
Sexuality Across Asia
Art installations by Asad Haider in collaboration with the Eric Rofes Queer Resource Center
In my experience, typically when starting a discussion on queer individuals in Asian spaces, there is this notion that anything outside of the heteronormative sexual binary is a product of the west. I am hoping to create pieces that showcase the presence of queer individuals in a precolonized context in order to educate people on the existence of said individuals.
It is important to address this topic in order to remember that history is written by people. What ever is recorded usually has some ethnocentrism and prejudice involved. Also, even if there is a presence of queer individuals, we do not necessarily know how they were perceived and treated. With all that said, it is still important to honor their existence and recognize history is not so black and white. As individuals that come from countries that have suffered from colonialism, I feel it is important to reflect on our history and look into our own prejudice and phobias that may have been manufactured by colonialist.
Asad's art all week in the
HSU Library Lobby.
Betty Chinn - Turning Hatred Into Hope: A Survivor of the Cultural Revolution
There was no way Betty Chinn could know when she was born in the Kaipan province of China, that being born to a very modern, wealthy and Westernized family, would put her at odds and in the path of the cultural revolution. Her parents had Western educations, both were medical doctors, and her mother strongly Christian, and a U.S. citizen, having been born in the U.S. and moved back to China to be married. Because of these factors, her family was placed squarely in opposition to the government rule, and were targeted by the communists.
At 7 years old, Betty’s family was torn apart. Her father fled to Hong Kong, which angered the government, landing her mother in jail. Betty and her brothers were forced to live on the street, and ended up in labor camps. In actuality, Betty liked the labor camp because there was food and water; however, because she was not physically strong to work, she was thrown out of the camp and back onto the streets.
As a teenager, Betty was finally able to leave China to San Francisco, which proved to be very frightening place for her, because of her fear of Chinese people. Life was lonely and frustrating for Betty, as she spent so much time alone, as she could not go to school because she couldn't speak English, and she was very uncomfortable around people, carrying fears with her from her past.
For more information on Betty’s work and to make a donation to her causes, visit her website: http://bettychinn.org/Betty.htm.
As an adult, Betty found she was living with a lot of anger in her life that she had not been aware of. She channeled this energy working with homeless people who needed help.
Betty pushes herself every day because she wants to give people hope, because of her background and the suffering she experienced as a child. She speaks up to help those who have lost hope like she did.
Because of her commitment, Betty has been able to garner an outpouring of support from all strata of the community, and was the recipient of the 2008 Minerva Award and the CA 1st Assembly District 2010 Woman of the Year.
Thursday, March 26, 5 pm, HSU Science B 133
Betty Chinn - Key Note Speaker
Reception following hosted by the Humboldt County Chinese School & catering donated by Ms. M's Catering
Taoist Philosophy: Wu Wei & Activism
By Ankush Ganapathy
Lao Tzu is widely considered as one of the earliest anarchist philosophers. His deeply spiritual anarchism taught that the only law which should govern humankind is that of the natural universe. With quotes such as, “Let go of fixed plans and concepts, and the world will govern itself” (Tao Te Ching: Verse 57), it is clear that Lao Tzu advocated a society free of state control.
Lao Tzu is widely considered as one of the earliest anarchist philosophers. His deeply spiritual anarchism taught that the only law which should govern humankind is that of the natural universe. With quotes such as, “Let go of fixed plans and concepts, and the world will govern itself” (Tao Te Ching: Verse 57), it is clear that Lao Tzu advocated a society free of state control.
However, many social/political activists hesitate to sponsor Lao Tzu and Taoism’s ideas in general, mainly due to the teaching of Wu Wei, or action through non-action. How could such an oppressive and unequal world be cured by passiveness, when history has shown us that it takes great and tireless action to improve the conditions suffered by our society? Those who spend countless time and energy toward social activism seemingly could never advocate non-action as a solution to the world’s problems.
I believe that the philosophy of Wu Wei has been grossly misunderstood and misrepresented. In my opinion, Wu Wei does not suggest that, in the midst of a disparate society plagued by privilege and oppression, one should remain passive and let the “magical powers of Nature” take care of all of our problems.
It is my belief, that Wu Wei implies that, from the starting point of civilization, from the point in society before any state or institution has been established, the leaders of a community need not control and repress its members in order to maintain stability within that society.
Calligraphy by Pearl Weng-Liang Huang
Since the human civilizations which have been institutionalized on our planet obviously have not and do not follow this belief, it is up to certain “enlightened” individuals to work endlessly to bring our society back to a point in which we can live peacefully and freely in harmony with Nature.
This means that these people must actively fight against the repressive and inharmonious social order to be able to elevate our culture to a state in which Wu Wei can be practiced by the human race, uncontested by the worldly oppressions of racism, sexism, heterosexism, ableism, capitalism, colonialism, imperialism, and so on.
Therefore, I believe Wuwei cannot accurately be portrayed as “Action Through Non-Action”, but rather, as “Non-Action Through Action”.
Ru Yi : As the Heart-Mind Wishes (added February 5, 2013)
As explained by Pearl Weng-Liang Huang, "Ru Yi," a Chinese phrase meaning, "As the heart-mind wishes," shares the name of an ancient object shaped like a short scepter. It is made of precious materials decorated with gem stones. It is placed in the setting of Mani, one of the Seven Jewels shedding a brilliant light on all surrounding objects. The ancient Chinese used it for pointing the way and for protection. It is often given as a gift to for wellness and prosperity of the recipient.
Ru Yi Studio, in Taos, New Mexico, is the creative space for Pearl Wen-Liang Huang, teacher of Chinese language and calligraphy, Tai Ji, and Qi Gong, performing artist, language consultant and translator.
Special 1-day workshop by guest artist, Pearl Weng-Liang Huang:
Chinese Calligraphy – Tai Ji and Qi Gong In Motion
Saturday, March 30, 10 am - 3:30 pm
D Street Neighborhood Center, Arcata
Pearl will introduce the concept and method of working with brush and ink as a form of moving meditation, integrating the practice of Chinese calligraphy with Tai Ji and Qi Gong.
Sponsored by All Under Heaven, contact All Under Heaven at 825-7760 to register.
$50 if enroll by March 15
$65 drop-in day of workshop
$5 discount for students with ID
Pearl Weng Liang Huang was born in China, and trained in Chinese calligraphy, music and the arts. Her life long practice of brush calligraphy as Tai Ji/Qi Gong moving meditation is the tradition of her family’s Living Tao Tai Ji form, and the teachings of her elder brother, Tai Ji Master, Chungliang Al Huang.
Pearl describes her teaching philosophy like this: It is my goal to introduce and share my heritage of Chinese traditional practices, which are powerful alternative tools for people to learn to help them maintain positive health and manage stress in today’s modern world.
Additionally, through sharing of culture and how we can use these tools in our daily lives, participants can also gain and benefit from a greater awareness of how we interact together culturally and improve this understanding and appreciation at an individual level as well as at a community level.”
Chinese Folktale Storytelling:
Meet Pearl for an evening of sharing & reading of folk stories from her childhood in Chinese & English
Friday, March 29, 6 pm
Free and open to the public
HSU Goodwin Forum, Arcata
We have a voice, but is it heard?
Written and performed by the members of HSU Asian Pacific Islander American Student Alliance in 2009 at Poetry Is Not a Luxury
(Please note: Some verses in PDF version attached contain profanity)
(Together)
We have a voice, but is it heard?
45 million km2
4 billion people
37 countries
In 1885 and 1906 we were twice forcefully
removed from Humboldt County
Some think we're all the same
Martial art,
Chopstick-wielding
Dog-eating
Bad-driving
Rice-loving
Straight-A
CHINKS!!!
We have a voice but is it heard?
“Saturday School” - Chinese School right here in Humboldt County
An article submitted by Alison Hong-Novotney
When I first heard about the Humboldt County Chinese School (HCCS) and their Saturday Chinese classes, I had to smile as it brought back my personal memories of going to what my family called “Saturday school.” Yet our Saturday school is a world away and another era from HCCS Saturday classes!
Times have changed as seen with the HCCS. It is very inspiring to learn about the this Chinese school growing out of the desire for Humboldt County families who have adopted Chinese children to build a supportive community for their children. The bravery and creativity that these families and teachers have shown to build and maintain this Saturday school has taken incredible persistence, love, and commitment.
Silk Road Junction 101
https://sites.google.com/site/silkroadjunction101/
An article submitted by Alison Hong-Novotney
A local Fortuna gal back from her other lives through her travels in India, Japan, and Hawaii, Sarah McClimon is one half of the performance group, Silk Road Junction 101. She and her husband, Tinku Rahman Abdur, originally from Bangladesh, have come “home,” to Humboldt County. Together, they are a musical collaboration performing traditional music, Rahman playing South Asian tabla drum, and Sarah playing Japanese koto and flute...
As a musical team, and as a family, Sarah and Rahman’s experiences have been extremely diverse. They have been in the positions of being expatriot academics in their different foreign homes, each of different nationalities, in yet a third country. Now they are here in Humboldt again, as a mixed couple, bringing up their son, and again, working to maintain ties to his (and their) cultural identity to the different aspects of his ancestral roots, Japanese, Bengali, and North American.