Asian-American and Pacific Islander Heritage Month

The global circulation of comics, manga, and other such visual mediums between North America and Asia produces transnational meanings no longer rooted in a separation between "Asian" and "American." Drawing New Color Lines explores the culture, production, and history of contemporary graphic narratives that depict Asian Americans and Asians. It examines how Japanese manga and Asian popular culture have influenced Asian American comics; how these comics and Asian American graphic narratives depict the "look" of race; and how these various representations are interpreted in nations not of their production. By focusing on what graphic narratives mean for audiences in North America and those in Asia, the collection discusses how Western theories about the ways in which graphic narratives might successfully overturn derogatory caricatures are themselves based on contested assumptions; and illustrates that the so-called odorless images featured in Japanese manga might nevertheless elicit interpretations about race in transnational contexts. With contributions from experts based in North America and Asia, Drawing New Color Lines will be of interest to scholars in a variety of disciplines, including Asian American studies, cultural and literary studies, comics and visual studies.

This book offers gendered, postcolonial insights into the poetic and artistic work of four generations of female Asian American artists in the San Francisco Bay Area.  Nancy Hom, Betty Kano, Flo Oy Wong, Trinh T. Minh-ha, Theresa H.K. Cha, and Hung Liu are discussed in relation to the cultural politics of their time, and their art is examined in light of the question of what it means to be an Asian American artist. Laura Fantone's exploration of this dynamic, understudied artistic community begets a sensitive and timely reflection on the state of Asian American women in the USA and in Californian cultural institutions.

In investigating both customary and modern Pacific art, these collected essays present a wide-ranging view across time and space, taking the reader from antiquities to contemporary art and travelling across the region from Australia, Papua New Guinea, Solomon Islands, New Zealand to Samoa. Studies of artefacts and traditions, such as self-portraiture, wood carvings, shields, tapa, dance and masks, use a variety of approaches, some deriving from museum studies while others are based on field investigation. Together they reveal the oppositional tensions between tradition and innovation, and the inspiration this provides for contemporary artistic practice, either through conscious implementation or rejection of past definitions. Engagement with these cultural performances and objects provide new possibilities for the creation of current identities. In this volume, artists, curators and academics, including Maori and other Islanders, bring fresh approaches to Oceanic Art History that will also be interesting to scholars of Indigenous Art more generally. The drafting of antiquities legislation, the tortuous journeys objects have taken to find a place in galleries, the use of exhibitions in cultural exchange, framed by the architecture of museums, as well as the role of film and photography in appropriating Pacific art culture for emerging nationalisms, all of these are considered here to enhance our understanding of indigenous arts place in the world today. These historical perspectives provide the framework in which to explore contemporary acquisition and outreach work with Pacific communities that seeks to reconnect people with objects taken away from the places and intentions of their makers.

Redraws the contours of Asian American art, attempting to free it from a categorization that stifles more than it reveals. Charting its historical conditions and the expansive contexts of its emergence, Susette Min challenges the notion of Asian American art as a site of reconciliation or as a way for marginalized artists to enter into the canon or mainstream art scene. Pressing critically on the politics of visibility and how this categorization reduces artworks by Asian American artists within narrow parameters of interpretation, Unnamable reconceives Asian American art not as a subset of objects, but as a medium that disrupts representations and embedded knowledge. By approaching Asian American art in this way, Min refigures the way we see Asian American art as an oppositional practice, less in terms of its aspirations to be seen--its greater visibility--and more in terms of how it models a different way of seeing and encountering the world. Uniquely presented, the chapters are organized thematically as mini-exhibitions, and offer readings of select works by contemporary artists including Tehching Hsieh, Byron Kim, Simon Leung, Mary Lum, and Nikki S. Lee. Min displays a curatorial practice and reading method that conceives of these works not as "exemplary" instances of Asian American art, but as engaged in an aesthetic practice that is open-ended. Ultimately, Unnamable insists that in order to reassess Asian American art and its place in art history, we need to let go not only of established viewing practices, but potentially even the category of Asian American art itself.

War Baby / Love Child examines hybrid Asian American identity through a collection of essays, artworks, and interviews at the intersection of critical mixed race studies and contemporary art. The book pairs artwork and interviews with nineteen emerging, mid-career, and established mixed race/mixed heritage Asian American artists, including Li-lan and Kip Fulbeck, with scholarly essays exploring such topics as Vietnamese Amerasians, Korean transracial adoptions, and multiethnic Hawai'i. As an increasingly ethnically ambiguous Asian American generation is coming of age in an era of "optional identity," this collection brings together first-person perspectives and a wider scholarly context to shed light on changing Asian American cultures.

By necessity, understanding of leadership has been based on who used to be business leaders, namely men. In the last few years, Asian women have been making their mark in corporate America. Although Asian women have become part of the American workforce, and some have achieved spectacular success, there is little discussion about them. Many of these women could be first general immigrants, still balancing the strong pull of two cultures. Even for second or third generation immigrants, Asian cultures can often exert immense pressures. Thus, the achievement of these women deserves far more attention than it has received, and comprehensive research on these advances should be presented. Asian Women in Corporate America: Emerging Research and Opportunities traces the history of Asian women's presence as executives of major American corporations, presents biographical sketches of a select few, draws upon factors (individual, corporate, and societal) that influenced their journeys, and links to past theories on business leadership. The chapters serve to bring attention to a minority group in leadership and extricates factors that helped in the success of Asian American women in these prominent roles. While highlighting topics such as existing leadership theories, gender and ethnicity in leadership, models of theories regarding Asian women, and their involvement in major corporations, this book is a valuable reference tool for managers, executives, researchers, practitioners, academicians, and students working in fields that include women's studies/gender studies, business and management, human resources management, management science, and leadership.

A behind-the-scenes examination of Asian Americans in the workplace In the classroom, Asian Americans, often singled out as so-called "model minorities," are expected to be top of the class. Often they are, getting straight As and gaining admission to elite colleges and universities. But the corporate world is a different story. As Margaret M. Chin reveals in this important new book, many Asian Americans get stuck on the corporate ladder, never reaching the top. In Stuck, Chin shows that there is a "bamboo ceiling" in the workplace, describing a corporate world where racial and ethnic inequalities prevent upward mobility. Drawing on interviews with second-generation Asian Americans, she examines why they fail to advance as fast or as high as their colleagues, showing how they lose out on leadership positions, executive roles, and entry to the coveted boardroom suite over the course of their careers. An unfair lack of trust from their coworkers, absence of role models, sponsors and mentors, and for women, sexual harassment and prejudice especially born at the intersection of race and gender are only a few of the factors that hold Asian American professionals back. Ultimately, Chin sheds light on the experiences of Asian Americans in the workplace, providing insight into and a framework of who is and isn't granted access into the upper echelons of American society, and why.

A survey of U.S. history from its beginnings to the present, American History Unbound reveals our past through the lens of Asian American and Pacific Islander history. In so doing, it is a work of both history and anti-history, a narrative that fundamentally transforms and deepens our understanding of the United States. This text is accessible and filled with engaging stories and themes that draw attention to key theoretical and historical interpretations. Gary Y. Okihiro positions Asians and Pacific Islanders within a larger history of people of color in the United States and places the United States in the context of world history and oceanic worlds.

This set profiles prominent Asian and Pacific Islander American individuals from colonial times through the present.

This text reinterprets a misunderstood and overlooked epoch of the Asian American experience, the Asian American Movement (AAM). The authors argue that, contrary to the common view of the movement as a passing phase limited to college youth, the Asian American Movement spanned diverse political viewpoints and became increasingly sophisticated and effective. Asian Americans were active participants and played unique roles in the social movements that convulsed the 1960s and 1970s, particularly in protests against the Vietnam War. The book traces the history of the AAM from its roots in the 1930s to the present day and its impact on diverse areas of the Asian American community. Most importantly, it looks at the societal and community dynamics that led to the movement's trajectory. Using the lens of social movement theory, it analyzes the AAM's rise and ebb and possible resurgence. The authors argue that the AAM constituted a distinct, identifiable, and relatively stable social movement that dramatically impacted the direction of Asian American political and social activity.

Originating in the 1968 student-led strike at San Francisco State University, Asian American Studies was founded as a result of student and community protests that sought to make education more accessible and relevant. While members of the Asian American communities initially served on the departmental advisory boards, planning and developing areas of the curriculum, university pressures eventually dictated their expulsion. At that moment in history, the intellectual work of the field was split off from its relation to the community at large, giving rise to the entire problematic of representation in the academic sphere. Even as the original objectives of the field have remained elusive, Asian American studies has nevertheless managed to establish itself in the university. Mark Chiang argues that the fundamental precondition of institutionalization within the university is the production of cultural capital, and that in the case of Asian American Studies (as well as other fields of minority studies), the accumulation of cultural capital has come primarily from the conversion of political capital. In this way, the definition of cultural capital becomes the primary terrain of political struggle in the university, and outlines the very conditions of possibility for political work within the academy. Beginning with the theoretical debates over identity politics and cultural nationalism, and working through the origins of ethnic studies in the Third World Strike, the formation of the Asian American literary field, and the Blu's Hanging controversy, The Cultural Capital of Asian American Studies articulates a new and innovative model of cultural and academic politics, illuminating the position of ethnic studies within the American university.

Asian American women scholars experience shockingly low rates of tenure and promotion because of the particular ways they are marginalized by the intersectionalities of race and gender in academia. Although Asian American studies critics have long since debunked the model minority myth that constructs Asian Americans as the ideal academic subject, university administrators still treat Asian American women in academia as though they will simply show up and shut up. Consequently, because silent complicity is expected, power holders will punish and oppress Asian American women severely when they question or critique the system. However, change is in the air. Fight the Tower is a continuation of the Fight the Tower movement, which supports women standing up for their rights to claim their earned place in academia and to work for positive change for all within academic institutions. The essays provide powerful portraits, reflections, and analyses of a population often rendered invisible by the lies that sustain intersectional injustices in order to operate an oppressive system.

The American Dream of success for many Asian Americans includes the highest levels of education. But what does it mean to live that success? In Straight A's Asian American students at Harvard reflect on their common experiences with discrimination, immigrant communities, their relationships to their Asian heritage, and their place in the university. They also explore the difficulties of living up to family expectations and the real-world effects of the "model minority" stereotype. While many of the issues they face are familiar to a wide swath of college students, their examinations of race, ethnicity, gender and sexuality, and culture directly speak to the Asian American experience in U.S. higher education. Unique and revealing, intimate and unreserved, Straight A's furthers the conversation about immigrant histories, racial and ethnic stereotypes, and multiculturalism in contemporary American society.

Writing against Racial Injury recalls the story of Asian American student rhetoric at the site of language and literacy education in post-1960s California.  What emerged in the Asian American movement was a recurrent theme in U.S. history: conflicts over language and literacy difference masked wider racial tensions.  Bringing together language and literacy studies, Asian American history and rhetoric, and critical race theory, Hoang uses historiography and ethnography to explore the politics of Asian American language and literacy education: the growth of Asian American student organizations and self-sponsored writing; the ways language served as thinly veiled trope for race in the influential Lau v. Nichols; the inheritance of a rhetoric of injury on college campuses; and activist rhetorical strategies that rearticulate Asian American racial identity.  These fragments depict a troubling yet hopeful account of the ways language and literacy education alternately racialized Asian Americans while also enabling rearticulations of Asian American identity, culture, and history.  This project, more broadly, seeks to offer educators a new perspective on racial accountability in language and literacy education.