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PYD Spotlight: MAUVSA Advance Conference VIII

Another year, another MAUVSA Conference!

The Mid-Atlantic Union of Vietnamese Student Association (MAUVSA) Conference has been one of our favorite events to attend because it brings together such a large group individuals from all over the country. This year we had a table at the Networking Fair where we met many newcomers to the conference, and with them they brought a fresh take on what they want to see more of in terms of representation and conversations.

This year’s conference took place between February 8-10. With its proximity to the Lunar New Year, we decided to incorporate the red envelopes (lì xì) into our table activity. We had a wishing tree where attendees were encouraged to write down a wish, put it in an envelope, and hang it on the branches.

Our hilarious wishing tree with nearly 50 wishes! (Courtesy: the awesome suppliers at Michaels).

The wish prompt was “What would you like to see/hear more of in the SEA community?” This question applied to anything, from representation to taboo topics to something as simple as expressing more emotions between family members. The enthusiasm and thought with which attendees wrote their wishes was a delight to see. We’ll be tweeting some of these wishes in the following weeks - and throughout the year. These conversations need to be had and we appreciate everyone who participated. Please feel free to continue sending us your wishes through our social media! Let’s put all these wishes, positive thoughts, and ideas into the future.

Awesome people making lunar new year wishes!

Awesome people making lunar new year wishes!

We really enjoyed meeting all old and new people again this year! We want to say thank you for everyone for stopping by our booth and sharing their stories and wishes! Furthermore, we want to give special thanks to the MAUVSA team for everything :)

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tags: MAUVSA, Lunar New Year, Conference
Tuesday 04.02.19
Posted by Jenny Nguyen
 

PYD Spotlight: Carne y Arena

On May 10, 2018 the East Coast PYD members went to Alejandro Iñárittu’s Carne y Arena exhibit. Read about their experience.

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Jenny N: Whenever my parents tell me snippets of their journey from Vietnam to the United States, I listen with respectful disconnect. It's not easy to put yourself into the shoes of a refugee/immigrant, even if the person is related to you.

Alejandro Iñárittu's Carne y Arena (translated Flesh and Sand) changed this for me. The virtual reality (VR) exhibit is on the edge of D.C. in a brick building that has an outside set-up like that of a maze. Inside, the building lobby doesn't give much away. If anything, the sterilized environment feels like a blank slate - like hitting restart on a video game. Everything feels clean and structured.

This could be why the 7-minute VR experience was so startling - not only in subject matter but also because of the contrast, the way we're swaddled in modern comfort only to be thrown into sand and fear.

Without giving much away - this is definitely an exhibit everyone needs to go see - Carne y Arena is a short, VR film about the journey of Central American immigrants. Coming out of it was sobering but also enlightening. I learned so much about the immigrant’s experiences and relationships, fears and dreams that translate across all races. And that only scratched the surface of the many stories we haven’t yet heard.

It's appropriate that PYD visited during Asian American Pacific Islander Heritage month. This topic of refugees and immigrants connects to many of ours and our family's experiences. I hope one day we'll have a Boat Person version of this - because although putting yourself in someone else's shoes isn’t easy, we must take small steps to reach this understanding.


Tammy T: When I first left the Carne y Arena exhibit - covered in sand, dirt, and cuts - and entered the post-experience room surrounded by sofas, coffee, and tea, I immediately searched for my friends’ faces. Without hesitation I said, “We are privileged motherfuckers.”

This exhibit is the first exhibit that made me question many things fundamentally as well as how much I have taken things for granted. The Carne y Arena exhibit is currently being held in Washington D.C and was previously in Los Angeles. This traveling virtual exhibit allows a viewer to experience being an individual crossing the borders from Central America into the United States of America.

For six to seven minutes, I wasn’t exactly living the life of Tammy Tran but neither was I truly in the position of an immigrant or a refugee like I thought I was. Instead, I had an out-of-body moment where the exhibit showed me as who I really was - a bystander. This realization of acknowledging what role I truly played in this virtual world (as well as my current reality) was filled with raw emotions such as sadness, heartbreak, and uselessness. I am a true bystander in all of its physical manifestation regarding the immigration crisis that is currently going on between Central America and the U.S. Therefore, I left feeling quite ashamed of myself.

The exhibit, which took five years for Alejandro Iñárittu to create, did a fantastic job incorporating the viewer into the world that is reanimated by Central American refugees’ stories. He produced an atmosphere that allows the viewer to utilize all of his/her five senses to recognize the hardship of one person leaving home, enduring and escaping from brutality (both human conditions such as border patrols and by nature, such as harsh inclement weather). He also depicts what it is like to enter a diaspora movement of trying to redefine home once more, an ongoing question. To me, the overall exhibit was empowering and heartbreaking at the same time.

It was empowering and heartbreaking because it made me confront my position as an American person, whose parents are also immigrants and refugees. How do I use my voice to be an ally for those who are suffering from the immigration crisis? I now think about this issue a lot since many of my students are DACA recipients. While I have no answers and am still trying to process and understand the issue, I do know that after seeing this exhibit that there is so much more work to be done. Which is why we, PYD, won’t stop doing what we can for our own communities and for our sister communities.

For those who haven’t yet, it is a must-see exhibit. I definitely encourage everyone to see it if they get a chance or at least let other people know about it. Every two weeks, tickets come out on a first-come, first-serve basis. It’s totally worth the wait and the fight. 


*Spoilers ahead. Please read only if you’d like to know the specific details of the exhibit.

Daniel S: The immersion factor of Alejandro G. Iñárritu’s Carne y Arena exhibit struck me the minute I set foot in the old Baptist church it’s currently housed in. The nearly pitch black interior and minimal lighting of the lobby felt to me like a buffer of sorts, helping to disconnect my reality from the one I was about to experience. The tone was ominous and the silence was only broken up by the periodic roar of what sounded like a train rolling by in the room next to me.

Shortly after checking in, I walked through the curtains ahead of me and stopped to read a bilingual set of plaques with words from Iñárritu, stating why he chose to do this exhibit, and that the people I were about to encounter were modeled off the very real immigrants he had collected stories from. After reading his intentions, I moved through the door to the next room; an uncomfortably cold holding area with shoes strewn across the floor and a few steel benches. No one was in the room and the only instructions I received were written on the walls: “Take off your shoes and socks” and “Wait for the alarm before going through the door”.

I removed my footwear and took a seat on the bench. It was then I noticed how worn and dirty the shoes on the floor were, as well as how they varied. Children’s shoes, women’s, men’s. Sandals, boots, ripped-up sneakers. Most looked like they were the only pair of shoes a person ever owned in their life, and it was obvious they were meant to represent as much. The room itself was cold not only in temperature but in personality. The floor was simple concrete, and the hiss from the fluorescent lights was artificially loud. Aside from the shoes and benches, there was only a lone camera pointed in my direction. I was slightly uneasy knowing I was being watched. After what felt like half an hour, the alarm went off and I was glad to be moving through the next door.

It was mostly dark again, but the first thing I noticed was that the concrete was gone, and I was now walking barefoot on sand and gravel. Once my eyes adjusted, I noticed just how vast and empty the room was. There were no lights except for one lone LED panel that ran alongside the far wall, bathing everything in a dim amber glow. Standing in the middle of the room were two people who set me up with the VR headset. I was given very few instructions and within a minute, the experience began.

I “woke up” in the middle of a desert. It was almost completely dark - I imagine sometime in the early morning - and I was only surrounded by the ambiance of the occasional breeze moving through the desert foliage. As I wandered around orienting myself, I noticed mountains far off in the distance. The actual sand and gravel beneath my feet served the purpose of grounding me in Iñárritu’s world. I felt very alone, despite knowing everything I was observing was all contained in a headset just inches from my face.

I eventually heard whispers moving toward me. A group of figures emerged from just outside my field of vision. It was a group of undocumented immigrants being guided through the desert. They were huddled together, and their dragging movements meant they had been trekking for far, far longer than they should have. The two men upfront mentioned how someone had broken their ankle and that they needed to hurry because they were falling behind. Unfortunately, I wasn’t able to pay much more attention to what they were saying as I became distracted by a steadily growing light that appeared in the sky. I realized that it was the floodlight on a helicopter which roared above me as it flew past. As the room I was physically in started to shake, I realized that this was the cause of the train-like vibrations I heard earlier in the lobby. The group of immigrants began to panic as border patrol trucks quickly pulled up, almost out of nowhere. Border patrol officers poured out of the trucks with guns raised and began shouting at the group. Even though I knew this was all a simulated experience, my senses were heightened purely due to the sudden rush of action that was unfolding. The officers quickly rounded up the immigrants before one of them turned a gun on me. No matter where I moved, his gun and commands followed. The scene before me turned to black and faded to a dining table surrounded by immigrants. There was a small boat in the middle with tiny people falling out and dissolving into the table, as if it was water. I could only hear what sounded like a Spanish lullaby being softly sung as the surreal scene faded out again.

Suddenly it was morning. I was in the same place as the night before, but the sun was just now rising. All that was left of the events that took place the night before was a beaten and torn kid’s backpack, some footprints, and tire tracks from the trucks. The calmness of the sunrise felt like a cover-up for the utter despair and fear that the captured people likely experienced.

Once the exhibit ended, I removed the headset and moved on to the next room. The annoyance I felt by the sand and dirt on my feet was quickly followed by extreme guilt - any problem I have is a blessing in comparison to the troubles of those desperate enough to make the dangerous journey here.

I found myself in a long, dark hallway with extremely detailed portrait videos of the immigrants that Iñárritu had interviewed. Each one was staring back at me, with all the pain of their struggles worn on their faces. Their stories appeared on screen in text. One woman worked 20 years at a low-wage labor job just to bring her daughter into America. Another woman feared the father of her son would initiate her child into a gang, so she hired a coyote (smuggler) to get her out of the country. There was even the story of a former border patrol officer who described his experiences in dealing with the immigrants he had come across and how badly traveled they were. How some died of overheating or dehydration. How they all had to be deported, their journeys for nothing.

There was a post-experience room that was quaint and furnished with comfortable couches and chairs. A barista stood behind a bar at the back wall, with coffee, water, and baked goods. I knew the room’s purpose was twofold: to calm people down after a jarring experience, and to showcase just how fortunate we are to be living in this country. I was filled with gratitude. Life is a lottery I won just by being born where I was. The perspective I gained from tasting just a drop of an immigrant’s story was immense. Not only did I more deeply appreciate my own circumstances, but my empathy for immigrants and refugees grew substantially as well. The media paints all undocumented immigrants as criminals, which I already knew was propaganda. But what Iñárritu’s exhibit helped me understand was the severity of the experience. The lengths that these human beings were going through, just to experience the basic necessities that most of us take for granted every day was nothing short of eye opening. The exposure to Iñárritu’s Carne y Arena is something I will never forget.

tags: PYDspotlight, refugees
categories: PYD Spotlight
Tuesday 05.29.18
Posted by Jenny Nguyen
 

PYD Spotlight: MAUVSA Advance Conference 2018

Jenny N: We walked into the Hyatt Regency Crystal City with windblown hair and arms full of workshop materials. MAUVSA VII was held on the lower level – the excitement of which we felt the moment we stepped off the elevator. Friends were reunited, people were meeting for the first time and talks of the upcoming featured speakers – like Kathy Tran – were abuzz in the air.

For the past two years Tammy and I have had a Project Yellow Dress (PYD) table during the networking session. This year, Natalie Doan-Dunn, the event coordinator, asked if we would like to hold a workshop in addition to a networking table. Of course, we were delighted to do so. And this year, we had an additional team member to make our contribution to MAUVSA even more successful: Dan Sanworanart, our multimedia specialist.

Every year Vietnamese Student Association (VSA) students from all along the East Coast universities attend the annual Mid-Atlantic Vietnamese Student Association (MAUVSA) Annual Conference. Side note: It’s not a requirement that the student be of Vietnamese descent, only that you’re open to learning about other cultures. And we certainly saw an interest during our workshop – many attendees were not Southeast Asian American and were eager to share and learn about different experiences.

We titled our workshop Embracing the Southeast Identity because it’s one of the core goals of PYD. We want to start conversations and we want these conversations to cultivate a stronger sense of self.

The workshop started with a quick clip from the short film First Generation by Jeannie Nguyen and Andrew Yuyi Truong. The film depicts situations that many Asian Americans can relate to. With the mood set, we broke out into small groups where each group was assigned a question from our prompt sheet. These were our conversation starters, a way to start sharing, to learn, and to relate.

The question sheet used during our PYD Workshop breakout.

The question sheet used during our PYD Workshop breakout.

I heard so many interesting stories. There were those that I could absolutely relate to. And then, there were those that only reaffirmed how important our mission is.

An attendee shared how her father used to regale her with stories about his time during the Vietnam War, even going so far as to wear his uniform for her. She was in middle school, a time when we generally are not as interested in our histories. When he passed away, she realized just how much she didn’t know about her father’s past. But she’s doing something about it now – she attended our workshop, shared and learned about other similar experiences.

Each of us has so many stories and we rarely share them in the way we want. This workshop was a way for our attendees to do so and we hope they enjoyed it as much as we enjoyed meeting and talking with them.

(At the networking event at MAUVSA VII. l-to-r: Jenny N., Dan S., Tammy T)

(At the networking event at MAUVSA VII. l-to-r: Jenny N., Dan S., Tammy T)

Tammy T: As Jenny mentioned, ever since we started Project Yellow Dress we have always done the networking booth at MAUVSA. In many ways, it is a tradition for us to come every year and connect with old and new faces from the Mid-Atlantic Vietnamese Student Association. It also gives us a chance to display what we have done so far as a team but let people to know that there is a space to share their stories. It's so great to see the new rising generation become interested in connecting with their own heritage, roots, or even learn about other people’s cultures. And, it's a great place to meet other companies, organizations, and platforms related to the Southeast Asian communities. In fact, we met Boat People SOS in a past MAUVSA conference and collaborated on a project with them!

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Every year we try to do something interactive at the networking event. In the past, we created a world diaspora map where people could place pins or draw dots to show the multiple destinations their families have traveled through to get to where they are today. It's so insightful because it gave many attendees a chance to ask questions or to think about how they arrived to where they are today. It also prompted people to consider asking their parents about their life narratives.

This year, we decided to play a game where attendees drew cards from a deck. On each of those cards, we had a key word. The point is to share whatever comes first to their minds when they see the word. Examples of words we chose for this game were: boat people, refugee, home, diaspora, bubble/milk tea, immigration, etc.

We were also excited to pass out our PYD swag: postcards, bookmarks, and most exciting of all, our new pins and stickers! Our pins and stickers do not just have our PYD logo but they also say Child of Refugees or Child of Immigrants. The idea is to raise awareness of the many different narratives and experiences of immigrant and refugee families. These pins were well-received and many mentioned how much these messages resonated with them.

If the pins resonate with you or you know someone who would like them, click on this link.

tags: MAUVSA, Conference, events
categories: PYD Spotlight
Wednesday 04.18.18
Posted by Tammy Tran
 

Tanah Air Kita: Our Earth and Water

Zhui Ning Chang was born and raised in Malaysia but spent her teenage years studying in Singapore. She is currently based in London, where she majors in comparative literature at King’s College London. Her academic focus is in exploring how stories can act as a tool of resistance and reclamation in postcolonial cultures.

While in London, Zhui Ning fell in love with theatre and now seeks to encourage greater inclusion of Asian and more specifically Southeast Asian voices onstage. She wants to connect not only with the generational immigrant experience in the West, but also with those constantly on the move, to discover whether cosmopolitanism is the answer, and to seek out a broader, multifaceted definition of home. She is coming back to writing after a long hiatus.

Zhui Ning enjoys watching musical theatre, cute animal videos, ink wash painting, and fandom. She knows a ridiculous amount of Harry Potter trivia and will always be hungry for rice anywhere in the world.

You can find her on Twitter and Instagram as @witchywonderer.


Some time ago, I was appointed scriptwriter for our annual Malaysian Society performance, MNight. It's a musical made with the aim of allowing Malaysians in my university to pull off a production together, meant to be a reminder of home for our audience.

In the process of planning and writing the script, I came to realise that I don't actually know my country. I love it, unquestionably, but I don't know it.

What does it mean to be Malaysian? I have spent most of my formative years circling the idea, acknowledging the fact without exploring the nuances. In all my years in Singapore, I have always insisted on my Malaysian-ness, but somehow I never quite stopped to think about what that even meant.

The fabric of my country's makeup makes it difficult to define, but it's not impossible. I'm stretched thin across the different cultures I am part of, but this isn't a solo search.

Partially, it's the fact that my country's never quite managed to articulate itself properly. My Malaysian friends will easily name their favourite aspects of our country, but I don't believe we can bring a singular, coherent identity together. Singaporeans go through a standardised system where they emerge with shared ideas and ideals about what their country is and what it represents. It's rather vaguer for me, when our system flip-flops as it fancies and pins nothing down as truth.

It's easy for some people to say: I'm Indian. I'm Chinese. I'm American. I'm French. There's layers and depths and subsets to that too, but the overarching idea of a nation does exist, binds a community together on an international platform.

Sometimes you have to contend with more. To say I am Malaysian is never quite enough, isn’t it? It means, in full: "I'm Malaysian Chinese, but no, I'm not from China, I've never been, I don't identify with China and China most certainly does not identify with me."

What is an ethnic minority? By Malaysian definition, I am part of the three major races in my country, and yet we are a 'minority' and discriminated against the majority Malays. In Singapore, I become part of the majority and receive what has been loosely termed 'Chinese privilege', a playoff on the Western white privilege. In the West, I am too often mistaken for China Chinese. In Britain in particular, I am again part of an ethnic minority, this time with the additional weight of history from a Commonwealth country. In the US, I would be part of a 'model minority', but a minority nonetheless. In China I would be an outsider, never quite enough.

What does ethnic Chinese even mean? You could say we are Han Chinese, but even among Han Chinese there are multiple subcategories - Cantonese, Hokkien, Teochew, Hakka, etc. I am of Hakka descent, and recently I found out that Hakka people were nomads, wandering across the mainland without any real roots. Unlike Hokkien people, who would be from the Fujian province, or Cantonese people, who would usually be from Guangdong, my history traces back to a people who never stay still, who leave no traces.

It is a strange habit of my family that my sister and I were not told stories of my parents' or grandparents' younger days. I can't help but wonder. My grandmother would have been a child at the start of World War II, and she lived through the Japanese Occupation. She saw the triumph of merdeka and the fallout with Singapore. My parents and their siblings were children during the May 13th racial riots. They grew up in the shadow of the Cold War. They were there. And beyond all these historically significant events, there is the kampung life that raised them, a reality of childhood so removed from anything I know.

Look ahead to the bright future, my grandmother used to say. Don't look back at the past, that's over and done with.

But I want to know. I always want to know. I can't say exactly why it's important, but I know that it's important that someone remembers. For someone to tell me and for me to tell others how I got here, the choices other people have made to put me where I am today, where I will make more choices that ripple out in a million different ways. I don't believe in wallowing in the past or reviving old glories, but someone ought to make sure this isn't forgotten.

A lot of what I watch and read in entertainment and education isn't for me. It's removed. It's seen through the lens of Western media, an immigrant filter, a left-wing approach - I'm part of that, and yet not. I haven't seen much that comes from a perspective where I can say, "yes, that's exactly what I was thinking". I find it hard to relate to the way queerness is depicted and celebrated in the West; not that I don't agree with it, but that it doesn't quite resonate the same. This is uncharted territory. These are waters we have to navigate. The only way forward is the one we make ourselves. Black scholars have done much in this regard, but I am not black and my narrative is not theirs.

What does ethnic Chinese mean when you are Southeast Asian and watching the rise of the dragon? China does not claim the diaspora for its own. We do not claim China for our own either, no reminiscences of our homeland even though it is the originator, the cultural motherland. My PRC friends and I share a common culture and language, but I am not of them, and they know they are not of me.

What happens when China's might grows ever stronger? What happens to us, the ethnic Chinese who are and yet can never measure up to the 'real' Chinese of the mainland? There are one billion of them. My country barely numbers a third of that. Will we be sidelined to act as intermediates between China and ASEAN? What kind of role can we play when we claim ourselves fully Malaysian and yet our country does not recognise or value us on an equal level?

What happens to a diaspora that's not really a diaspora? China may be the historical, cultural motherland, but there is no longing to return, no sense of homecoming the way Jews have dreamed of a lost Israel or immigrants in the West think of India or Hong Kong. It is not the homeland. China's presence creeps into our countries, in architecture and economic deals and political influence, and where do the local ethnic Chinese go, when we cannot compete with them?

In the West, black people have a culture of their own, bound by a history of slavery and the pain that echoes down the generations. I think Chinese people don't quite have that yet, or at least, the diaspora does not. Chinese immigrants, whose parents fled west during the long turmoil of the 20th century, have an entirely different experience compared to us, my family and those of most people I know, who trace back at least five generations in Southeast Asia. We sank our roots in the soil here long before the axis of the world spun east. This is our earth and water.

I know the Hamilton movement meant well when they claimed that we are all immigrants, but the truth is: we are not. I am not an immigrant. I was born and raised here and I am as much a part of this country as any other, even if the government does not think so. Even if I don't quite understand what it means to be Malaysian yet. To claim immigrant status is to weaken what we have fought for in this country, to concede that we are pendatang, visitors only, new arrivals, and less.

I don't claim the immigrant experience. I don't claim the experience of the mainland. I am somewhere in between, and I haven't quite figured out what that means yet.

When I speak Hokkien, the way I have learned at my mother's knee, words like tapi, pulut, suka trip out of my mouth. I say these words in the lilting accent of our northern island Penang, whose Hokkien is so different from the coarser southern version in Johor and Singapore. These are Malay words that have sneaked into the language, a mixture of dialects and customs that have found their place here. I can't tell you what the proper Hokkien equivalent of kahwin (marriage) is, how to pronounce it as it's written in proper Chinese (结婚), I only know it as kahwin - its inflection changed, but retaining essentially the same base word as the one in Malay. Our habits and languages have washed over and integrated with each other and become a shared, living thing.

As Benedict Anderson says, what is a nation but a group of people who imagine themselves a community? People have died for this. I have refused, quite ridiculously, citizenship in better countries in favour of holding true to this singular, imagined concept. Wars have been waged over this fiction of geographic borders, of lines drawn on a map. What is it but ink and paper?

The snobby academic in me sniffs and says that nationhood is an arbitrary human concept and not something that lasts, but emotion doesn't care about academic superiority.

It seems so trivial, but it also means something. It matters. It matters to people who have been run out of their homes. It matters to people who made the practical choice and left to make better lives. It matters, even if I still don't have to words to articulate precisely why. Maybe it's propaganda, maybe it's conditioning, but it's sunk its teeth in me and I can't tear it out.

I became aware of it at age twelve, I think. When I first left. It's a fragmentation, a fracturing of self. And you realise that no place or nation can love you back, no matter how much blood and tears you spill in its name. No matter what you burn, it will not burn for you. You are but a drop in the ocean and what does the ocean care about that single drop? It's not capable of love, not like that. That's how the idea of nationhood keeps you in its grip: it makes you fall in love with an ideal that can never return the force of your loyalty, can make no promises to stay and be steadfast.

It's so arbitrary. Just a passport. Just paperwork. The name of a country, one that didn't even exist a hundred years ago.

It's also blood soaked in the soil; poetry and song, weapons and war. It is every Olympic medal and flag raised over exultant faces. It is schoolchildren singing anthems and mouthing oaths. It is strangers gathering at coffee shops to drink and cheer. It is bumping into other people oceans away from the homeland, who speak as you do, who laugh at the same jokes, who ask the same questions. The community of people who imagine this truth are scattered, spiderwebbed across the world.

Perhaps the most bittersweet part is that the potential of our country is stunning. We have the people, the natural resources, the foundations of a history built on the ashes of an empire. And we waste it.

The West still remains under the sway of an enduring Judeo-Christian worldview and Greco-Roman philosophy, and that is unlikely to change anytime soon. For all their efforts at diversity and inclusion, most Americans have no idea what true diversity can look like, when it is not seeped in a narrative of apology and damage control.

In my childhood, I took for granted the balance we enjoy. Public holidays for Chinese New Year, Hari Raya Haji, and Deepavali; mother tongues integrated into school curriculum alongside Malay as the national language and English as our international tool; to be actively taught the history and significance of festivals from different cultures. I'm too used to our multiplicity, too naive in assuming that different cultures can mix and match, and that a compromise can be found in the cacophony.

We could have set a global example as a country with a moderate Islamic government and a multi-ethnic, multilingual society, one that lives tradition and progress apace.

I suppose this is the tragedy of it: corruption, laziness, confusion, a lack of education, censorship, power plays, fear, ignorance, the race card, and sometimes plain stupidity, from all quarters.

We live a reality that has not been fully explored, because there are those who choose dogmatism over a critical evaluation and acceptance of both our triumphs and our flaws. This waffling about our own history has impeded the shaping of a collective memory, and in turn has affected our ability to imagine ourselves a nation. Perhaps it is not for us to imagine a single, fixed, unmoving identity for our countrymen and -women. Perhaps we should embrace our heterogeneity more openly, and define ourselves by the constant shift and flow. That is still a long time coming.

Sometimes I think we have forgotten the worth of our democracy. It's been just over half a century and already we seem to have lost touch with what it means to rule ourselves, rather than let ourselves be ruled from afar. We have forgotten what freedom tastes like.

I see no easy solution here, only years of toiling against an embedded system that refuses to give. It's a fight that will take more vision and moral courage than anyone in the game has, right now. One must dream higher than that. Perhaps in another world I would give myself over to that, but not in this one, not today.

I live all the contradictions and paradoxes of my life. I am living in London but I am not English. I am ethnic Chinese but am not of China. I studied in Singapore without being Singaporean. I hold a Malaysian passport but am not bumiputera. I am none of these things but I am a part of them, as they are a part of me. And this is the identity I have carved out for myself in this postcolonial, post-globalised world: that I am a part of everything but am none of it, at the same time. There is no traditional ideal to live up to, no solidity beneath my feet. I must lay down the bricks one at a time, because there is no other path like mine, and only I can walk it. Home is not a place, a country, a person - it's the memory of something you hope to keep coming back to. It's not only what you make of it, but also what it makes of you.

Happy 60th, Malaysia.

--

Translations:
tanah air kita = our homeland. ‘tanah air’ literally translates to ‘earth and water’.
merdeka = freedom/independence. Malaysia's Independence Day is often referred to as Merdeka Day.
tapi = but/however, derived from the Malay word 'tetapi'
pulut = glutinous rice
suka = like/enjoy, shares the same spelling as the Malay word

tags: guest contributor, zhuiningchang, tanahairkita, diaspora, malaysia
Wednesday 04.04.18
Posted by Julia Ha
 

#fromthearchives: Nguyen Thi Trung Tuyen

Going through these archives, we tend to find letters and photographs written by family members who were left behind in Vietnam and even in refugee camps. They give a micro-history point of view, for example showcasing how family members try to find ways to contact one another through different mail addresses. These documents also give us insight into how political policies affected everyday people, and remind us that even those this letter was dated in 1991, 16 years after the Fall of Saigon, the repercussions of the war still lingered. 

This particular letter, written by Nguyen Thi Trung Tuyen, was written to her older brother. 

Courtesy of BPSOS archives, Washington D.C area // 2016. Note: We have censored the address in the letter for privacy reasons.

Courtesy of BPSOS archives, Washington D.C area // 2016. Note: We have censored the address in the letter for privacy reasons.

Vanh Hai, August 19, 1991
(Vietnam)

Dear elder brother,

Some lines to you as my greetings. Wishing you much healthy and lucky. 

How about your resettlement? The family has not received your letters for a long time. Our family has now encountered many troubles. Our father is imprisoned so far. Please be much cautious, do not send to home address anymore. Communist police arrested Dad more than a month ago and do not release him yet. It is because you are now holding any high position there (in the camp) that they arrested Dad for investigation. How pitiful it was! Dad had illness but has to suffer their tortures. They said that our family has hidden your personal background. The local police does want you will repatriate and if so, they will put you in jail to death. 

Receiving this letter, you should write to aunt Cuc's address, she will send your letters over to us. It is because that your family book and your house were confiscated right after you escaped (1989). Our parents had to set up a shelter connected with your house's sided-roof for living in. And your wife and children were deported to the NEZ NHIEU GIANG two years ago. 

Dad is still in prison and is not released yet. We are now feeling much sorrowful because because the family consists only of our mother and me. You should pay much caution. 

Please write to this address: 

Wishing you a good health. May I stop here.

Your youngest sister,
Nguyen Thi Trung Tuyen. 


As to whether or not he ever received this letter, we do not know. However, we do know that their father was arrested and put into a re-education camp because of the older brother's previous status or activity, and that the brother is now a wanted man in Vietnam. 

Also, we find out that his wife and children were deported to an NEZ. NEZ stands for New Economic Zones, designated areas where many were relocated, often forcefully so, in order to ease urban congestion and increase agricultural output after the war. However, NEZs were often areas that were very rural and undeveloped, and very poor; being sent to an NEZ was often akin to being sent to exile (1)(2). "Between 1976 and 1990, 3.7 million people were forcibly resettled in "New Economic Zones" in the Central Highlands and the Mekong River Delta and forced to work on collectivized farms. Some suffered from starvation and extreme poverty. The conditions were so bad there that Vietnam faced a famine in 1986. This was a major reason for the economic reforms started in that year" (1). 

The details in this letter underscore the risk involved not only in fleeing, but also in staying. 


(1): http://factsanddetails.com/southeast-asia/Vietnam/sub5_9a/entry-3369.html
(2): https://en.wikipedia.org/wiki/New_Economic_Zones_program

tags: fromthearchives, NEZ
categories: From the Archives
Friday 01.19.18
Posted by Tammy Tran
 

PYD Spotlight: Howard Zinn Book Fair 2017

Last month, PYD had the opportunity to table at the 4th Annual Howard Zinn Book Fair at the City College of San Francisco Mission Campus. We had wanted to participate last year, but were unable to due to scheduling issues. This year, thanks to the amazing organizers and lucky timing, we were able to snag the last exhibitor table! For those who may not know, 

"The Howard Zinn Book Fair is an annual celebration of People’s History, Past Present and Future. We gather together authors, zinesters, bloggers and publishers for a day of readings, panel discussions and workshops exploring the value of dissident histories towards building a better future. In the spirit of the late historian Howard Zinn we recognize the stories of the ways that everyday people have risen to propose a world beyond empires big and small."

A special shout out to Maivy for helping us table!

A special shout out to Maivy for helping us table!

We brought copies of pop quizzes, PYD submission info flyers, and the new PYD postcards, and also debuted the stickers! We met so many passionate and inspiring individuals, from former professors and current activists to incredible organizations and curious students. One of the highlights was meeting a young woman who had had a dream to start something similar for the Latinx community, and it reaffirmed what many of us already know - that often, the dominant culture ignores, or worse, erases, the voices of people of color and other marginalized groups. So to be surrounded by so many groups and individuals who were working to fight for equity and equality was truly an empowering way to spend a Saturday. 

We want to thank all the people who stopped by and took the time to speak with us, whether it was to share your own stories, to learn more about the Southeast Asian diaspora community, to connect us with other individuals who might be interested in submitting to PYD, or to give us words of encouragement - we deeply appreciate it. Also, thank you to the staff at the Howard Zinn Book Fair for having us! 


For more information about Howard Zinn: https://www.howardzinn.org/ 
For more information about the Howard Zinn Book Fair: 
https://howardzinnbookfair.com/

Homepage of the Howard Zinn website.

Flyer for the Howard Zinn Book Fair 2017.

tags: howardzinnbookfair, howardzinn, PYDspotlight
categories: PYD Spotlight
Thursday 12.28.17
Posted by Tammy Tran
 

#fromthearchives: Vu Manh Tuan

This particular letter, written by Vu Manh Tuan, is originally part of a series. However, we only have the second letter translated into English. We did attach the rest Mr. Vu's letters at the end of the post in case there are some who are interested in seeing or reading the accompanying letters. 

When going through these boxes of archives, we mainly see documents and letters regarding petitions, reasons for asylum, and other perspective on the Vietnam War.  Rarely do we see further descriptions of what life is like inside the refugee camps, where so many were just trying to survive and wait for a chance to be sponsored to America, Europe, Australia, or elsewhere. Therefore, we found this letter of Mr. Vu to be very interesting. He has written to his family overseas, and he is now waiting to hear back about his petition for asylum. In these letters, he talks about his life in a refugee camp in Hong Kong, and it appears that he spent some of his free time making art and teaching art to his peers. 

Furthermore, we also attached the photos right after the letter's translation. It appears that there may have been more but we have three currently. 

December 1, 1991
Shalin (Refugee Camp)

Dear respected (Brother and Sister),

Today I take advantage of (the opportunity) to write you a letter wishing you and all overseas Vietnamese good health.

The other day I received your translation (of my petition) mailed to my family. I answer back to you immediately. In that translation there was only one error - the year of the matter when I had beaten a public security officer – May 15th, 1988. It was not 1989, because on the 14th of June 1988 my family had left Vietnam already.

And recently, I have learned that Mr. Thang had visited Hong Kong.

As for my family, the kids are all right. I still have the task of distributing food rations in the camp, and when free, I stay home to sculpt from aluminum and plastic. Although circumstances in the camp are not favorable to sculpture, I still try day and night. And I am teaching 6-7 roommates who like art. Recently I was able to finish four (sculpted) paintings (ASPIRATIONS; RED DEMONS; CRUSHING THE COMMUNIST REGIME and PLEASE TELL (THE WORLD) ABOUT OUR BURNING DESIRE FOR FREEDOM). All these pictures I gave to Mr. Binh at Camp 1, for him to mail them out. And now I am working on two additional paintings THE WAY OF HO CHI MINH and THE OCTOPUS, and I will complete both of these paintings in just a few more days. I could have completed all these a long time ago, but in this prison I do not have the conditions to find aluminum. Recently I was able to buy a few pieces of aluminum, (sister)! And enclosed please find a picture of my daughter Vu Anh My, and a picture of myself and Mr. Ngo Anh Giao, for you to remember us by. In closing, I respectfully wish you both, together with all our overseas Vietnamese, good health and happiness.  

Looking forward to receiving your reply, and yours always,

Vu Manh Tuan  

Credit: BPSOS Archives . The man in the photo, possibly Vu Manh Tuan, etching the shape of Vietnam onto a metal plate.

Credit: BPSOS Archives . The man in the photo, possibly Vu Manh Tuan, etching the shape of Vietnam onto a metal plate.

Credit: BPSOS Archives. Two men holding their freedom posters.

Credit: BPSOS Archives. Two men holding their freedom posters.

Credit: BPSOS Credit. Possibly Vu Manh Tuan and his roommates from Camp 1 as mentioned in the letter.

Credit: BPSOS Credit. Possibly Vu Manh Tuan and his roommates from Camp 1 as mentioned in the letter.


As mentioned earlier in the post we have attached all of Vu Manh Tuan's letters below, including the translated one. This way, one can see the series holistically as well. 

tags: fromthearchives
categories: From the Archives
Monday 07.31.17
Posted by Tammy Tran
 

#fromthearchives: Huynh Van Thanh

These following documents detail Huynh Van Thanh's efforts to appeal the decision to reject his claim for refugee status. Previously, Vietnamese who fled Vietnam were automatically given refugee status, but in August 1988, this exception was removed and Vietnamese had to follow the same refugee status process as everyone else where they had to demonstrate fear of persecution as stated in the 1950 Convention relating to the Status of Refugees, which defines a refugee as:

As a result of events occurring before 1 January 1951 and owing to a well-founded fear of being persecuted for reasons of race, religion, nationality, membership of a particular social group or political opinion, is outside the country of his nationality and is unable, or owing to such fear, is unwilling to avail himself of the protection of that country; or who, not having a nationality and being outside the country of his former habitual residence as a result of such events, is unable or, owing to such fear, is unwilling to return to it.

Mr. Huynh, who received his decision in 1993, fell into this category of Vietnamese and Southeast Asians who now had to essentially prove their need for refugee status. As he was rejected, so too were his wife, son, and stepson. The reason for rejection is listed as:

"THE APPLICANT'S STATEMENT OF THE FACTS DOES NOT SUBSTANTIATE A WELL ROUNDED FEAR OF PERSECUTION OF THE 1950 CONVENTION, BECAUSE THE APPLICANT WAS ABLE TO CONDUCT A TOLERABLE LIFE IN VIETNAM."

In this appeal packet, there is a Letter of Introduction written by an acquaintance, a copy of the official decision, the actual appeal request itself (which is actually in English), and a series of supporting documents (some of which are missing). We can only assume that his original application was less detailed, as he provides an incredible amount of additional information in his appeal. 

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We are deeply grateful to BPSOS, especially the Youth Program Coordinator, Trung Nguyen, for allowing us to have access to these archives, and to the Vietnamese Studies Students at Southeast Asian Studies Summer Institute of University of Wisconsin-Madison (SEASII) for helping us translate some of the documents that didn't come with official translations.

tags: fromthearchives, galangcamp
categories: From the Archives
Sunday 07.09.17
Posted by Tammy Tran
 
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