Movie Monday: "Cats of Mirikitani," a film by Linda Hattendorf, 2006.

I saw this documentary several years ago and then rediscovered it again this last weekend. The messages of this film, for me, stand as an important reminder not only of significant events in American history, but also as a mirror for our preconceived notions on the stories of the countless homeless.

The film takes place mainly in Manhattan over the course of a couple years, beginning in late 2001. Tsutomu Mirikitani lives along a wall near a Korean Market on McDougal and Prince Street, creating artwork each and everyday. His mobile studio includes pens, crayons, chalk and paints, and his canvases include cardboard and scrap paper. With the events of September 11, 2001 breaking around him, he continues doing what he does best, creating memories through artwork. Shortly after 9/11, Ms. Hattendorf invites Mirikitani to stay with her for a period of time, to avoid the choking dust and debris still permeating the air around the World Trade Center site.

Over the course of the film, Hattendorf uncovers more and more details of Mirikitani’s life, including his birth in Sacramento, California and experience growing up in Hiroshima City, Japan. He returns to the US shortly after the opening of World War II. In his early twenties, and as a lawful US citizen, Mirikitani entered Tule Lake Internment Center in Northern California, where he signs a government document revoking his US citizenship. The film follows not only the story of his relationship with his new friend and documentarian Ms. Hattendorf, but also unveils some of his backstory that led to living on the streets in NYC.

The important messages of this film not only center on the plight of the mobile homeless, which continues to be an issue for social services nationwide, but also a reminder of the dark times in US history and of justice deferred. Far too easy to dismiss the internment of Japanese American citizens during WWII as history and not applicable today, one need only review the rhetoric of political demagogues against our Muslim citizens to realize such events could repeat themselves. Mirikitani expresses his anger and lingering, seething disgust at the events of World War II, and memorializes his experience in the internment camps through his artwork. He neither asks for nor wants anything from the US government, even as Ms. Hattendorf and her team work tirelessly to recover Mirikitani’s citizenship information and secure more public assistance for him in his advanced years.

The latter part of the film is lovely, as Mirikitani and Hattendorf slowly bring his story into the present moment, and realize that he is not alone in this world. Over time, family members are found and Mirikitani sees opportunity to work past what happened, and truly begin to see his life in the present moment.

Nancy Wong via WIkimedia Commons

"Janice Mirikitani in front of the International Hotel in San Francisco, January 1977"

The film is not always easy to watch, particularly at moments when Mirikitani’s cantankerous attitude aims at the filmmaker. I sometimes felt like Mirikitani didn't appreciate some of the kindnesses the filmmaker expressed, but after realizing his long history of being outside normal social channels, I feel more kindness towards his perspectives. Even though he sometimes criticizes the filmmaker’s decisions, once reprimanding her when she goes out to a movie and comes back to her apartment far later than expected, he does so because of worry and care for the young woman. Other moments legitimately made me tear up a little, particularly when the film explores recollections of the camp experience and of lives lost.

I encourage everyone to check out this film when given the chance. It is rather short and moves along at a good pace. It successfully introduces audiences to one story that helps humanize the events against Japanese American citizens during WWII that may only be known through textbooks. It also humanizes the ongoing social issues surrounding homelessness and our own personal notions of just who the homeless are.

Purchase "The Cats of Mirikitani" via Amazon

Digging the Dinardaraan!

Digging the Dinardaraan (Dinuguan)

Ways I Reconnected With My Pinoy Heritage

Many second through fourth generation young people of mixed heritage have a challenging task of balancing their American (or majority) culture with their family or ancestral culture. Particularly if you are like me. My mom and her brothers are very Americanized and I was too young to ask those deeper questions of my Ilocano, elderly grandfather and very private grandmother (both since passed). Without the stories of the past, of my grandparents’ lives in the Philippines and their eventual immigration to the United States, I can only piece together bits of their unique story. As it stands, my adult self feels very ignorant of my Filipino heritage but I deeply wish to to learn where I can. While I have a long way to go, here are a few ways I have begun reconnecting with pieces of my cultural heritage.

Extended Family Members

Talk to and connect to any and all extended family members you can! Filipino families are “notorious” for having numerous cousins, uncles, aunts, lolos, lolas and other family friends who are more than happy to share their experiences with you. In Filipino cultures, “it takes a village” takes on a whole new meaning. If you can’t visit them outright, reach out by calling and talking with them, sending them an email, connecting via social media or taking them out to coffee. You can start a private “family” group on Facebook, then invite your extended family to participate by sharing stories or photos, etc. Any way you can find to ask about your family heritage will help you discover new things.

Read!

The Internet is not just for cat videos ( they are cute, aren’t they?)! It can be a fantastic source of nearly unlimited information on just about any culture present, past (or future??) for you to learn. Outside the Internet, books, magazines, articles, blog posts, newspapers and radio broadcasts abound. Pretty much anything that might give you insight into your target culture is fair game. Better if you understand one or more of your target culture’s languages, as a variety of media gives a fantastic insight not only into past events, but current events that may be missed in mainstream American media. Focus on things you find interesting, such as dance or sports. Not only will you be more likely to stick with it when your research hits a roadblock, but you’ll be able to strike up conversations with others about topics you’re both passionate about, a sure way to connect even more!

Participate!

Social Media

Related to connecting with extended family, take a look at social media. Seek out people, places and organizations on Facebook, Linkedin, Instagram, Twitter and others related to your target culture. I have personally expanded my cultural network to include the Philippine American Writers and Artists, Inc (PAWA), the Filipino American National Historical Society, and the Kalesa Traveler and Positive Filipino magazines. This has resulted in both fantastic networking opportunities and chances to learn more about the Filipino diaspora across the United States.

By Maki R. (Own work) via Wikimedia Commons

EDSA People Power Monument, Philippines: Getting involved in celebratory events and learning about your heritage through study is one of the best ways to reconnect

Social events and contests

Once you’ve found a variety of interesting organizations through social media, keep up to date on potential contests and events in which to participate and contribute. It is a rare organization that will deny an interested volunteer a chance to participate! I wrote a submission for the EDSA/People Power Revolution Essay Contest, sponsored by PAWA, Inc, and won! I met many awesome people from the Fil-Am community in the Bay Area I otherwise would never have met.

Language learning clubs

Language is a fantastic way to connect with your heritage, as it gives valuable insight into so many aspects of the culture. Words used for food, animals, ways of life, professions, religion, etc are all communicated through language, and provides a door to media and music that might otherwise be closed. You will also meet others interested in the same thing as you, which will make the journey that much more enjoyable. Make sure to be patient and try to stay positive while experiencing the journey, it will likely be an enjoyable, lifelong pursuit.

Social Gathering clubs

Colleges and local communities often have events and clubs focused on a specific region or nation of the world. Chinese American Club, Asian American clubs, Filipino Culture club, and many others are just a few examples. Sports clubs might tailor themselves around a specific nation’s sport, including Sumo or Escrima or boxing and martial arts. These are good areas to check out and connect with similarly interested people. It offers some of the same benefits as the language learning clubs and culture organizations, in that sharing community with people interested in some of the same things makes the experience much more enriching.

Media and Film

Popular media is another great way to experience a variety of aspects of your target culture. If the specific country has a film industry, seek these out on Amazon, Hulu, Netflix or other avenue that tailors to international films. I found that daytime Filipino dramas are highly popular, and stand up in passion and intensity with some of the best soap operas in the United States. Often, if movies or tv shows were released widely enough, there will also be subtitles (or dubbing) accompanying the original language, in English or your language. Watch them multiple times and see what aspects of the characters peak your interest, be it where they live, their profession, their mannerisms, their favorite food, etc.

By CapnPrep via Wikimedia Commons

Fusion food culture in Asia: Rice-bun fast food (chicken?) sandwich,

Cook!

Everyone eats! Food and culture are intimately tied together. Food speaks to the region’s geography, culture and language. Search out recipes you’re interested in trying on the internet, or rent or buy a cookbook specializing in your chosen culture’s cuisine. Pick a leisurely day (often on the weekend) to shop and try out one recipe of your choice. Take the time to appreciate the different ingredients (maybe only available at a specialty market you may never have been to!) and the people who shop for the ingredients. Ask questions of your friends and family, if you are unsure about anything. Cooking not only helps you try the food of your target culture, but also connect in many ways with the past, as well. I happened to cook sinigang for the first time with a good Filipino friend in graduate school, and loved its strikingly pungent, vinegary goodness. The first time trying balut and dinuguan was definitely a culinary adventure, but I am so glad to have seen many sides of Filipino cuisine.

By GracinhaMarco Abundo (Dinuguan) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons

My first time trying dinuguan (or dinardaraan in Ilocano) was in Daly City, CA. It was delicious after a long day of traveling. It had a very earthy, meaty texture and deep flavor, perfect with rice.

Take Action!

These are just a few ways we young, second through fourth generation, mixed parentage people can reconnect with a cultural heritage we may not have been able to experience as a kid. Maybe your family was like mine, and didn’t really practice or teach you much of their own culture. As a young person or an adult, you can feel a little closer to your grandparents and their parents by trying out a few of these tips.

Was there something I missed? Have you found something else that helps you keep connected? I’d love to hear about it!

Mabuhay!

My Winning Submission: EDSA/People Power Revolution Essay Writing Contest

EDSA/ People Power Revolution Essay Writing Contest, sponsored by Philippine American Writers and Artists (PAWA) Inc and the Philippine Consulate of San Francisco


To My Grandparents,

How did you feel when Marcos’ government fell in 1986? What went through your mind when you heard the news? Were you happy that a regime that took so much from the people was gone? As Ilocanos, were you upset that a man who began with big promises for the people was unfairly slandered by opposition forces and unlawfully deposed? Were Ferdinand and Imelda your John and Jackie Kennedy? Were the people right in their revolution? What did your families say when they sent letters, or did they mostly ask for money? I wish I had asked before you went to God’s side. I knew of you, and spent time with you, but never had the chance to really know you. I was so young, and knew nothing of death. I felt you would be around for a long time.

I wish I could have asked you about your life in the Philippines. As a young child, I never learned about our Filipino culture and our Ilocano language. Now that you are both gone, I’ll never be able to recapture your unique stories. As an adult, I can now read about the conditions Filipinos faced in early twentieth century America. Having read America is in the Heart, I can imagine a little of what you, lolo, went through on your journey to Hawaii and California. Did you, like so many pinoys, come to the United States in hopes of a better life? Did you see so little opportunity in your home that you felt a long voyage across the sea would open the doors for your success? What made you decide to purchase one hundred acres of Central Coast farmland with your brothers? How were you able to purchase the land, at a time when Filipinos were still looked at with suspicion and prejudice? So many questions, and yet so few answers.

How did you feel about your children? Were they raised to be wholly American, with so little expression or knowledge of their Filipino heritage? I know among many immigrant parents it was better to cultivate the American culture, in order to assimilate more completely, and draw less attention from the government officials who tried to expel “illegal” workers and “lawfully” exclude Filipinos from free access to all being an American national meant. Were you proud of your children? Did you feel, as so many parents do, that there was more you could have done to make them even more successful?

How did you feel about me? A third­-generation Filipino American with so little knowledge or cultural ties with our family’s Filipino culture. A young person who must rely on books, secondhand stories, and friends’ families to learn anything about our Philippines. Who knew so little that, prior to this assignment, didn’t even know what the 1986 People Power Revolution referred to? I knew who Ferdinand Marcos was, but only as a dictator who styled himself a political playboy. I knew of Imelda Marcos’ shoes.

How can I recapture that narrative which, through my and my parents’ upbringing, was so quickly lost within two generations? While I feel so blessed to have unrestricted access to a wealth of virtual resources I can use to study our culture, they are not you. They are not your individual stories. How can we; young, third and fourth generation Filipino Americans with, at times, so little connection with our Filipino heritage, recover a lost history that’s so often ignored in our American and World history courses? We must ask questions and take action.

Would you, our manongs and manangs, be proud of where we have come? We have a TV show that depicts a Filipino American family sitting down to Thanksgiving dinner without over-­the-­top stereotypes. We fought to rename a high school after two of our most prominent, but largely forgotten, labor union warriors in Larry Itliong and Philip Vera Cruz. We produced a documentary that introduces so many of our own to the fight in Delano, and its role in the great labor battles of the twentieth century. We’ve done much but, like those who came in support of their personal values and rights as citizens on the Epifano de los Santos Avenue, there’s still much work to be done. Neither the Filipino people or we are truly free of the status quo.

Ours is not a physical conflict against an individual regime or tyrant, but a cultural struggle against anonymity in history and invisibility in society. Our conflicts are not waged in revolutionary language with great public displays, but with a quiet determination in the halls of government and behind our cameras. In speaking with you and your children, and telling or retelling the story of our people, we honor our culture and those who fight for their beliefs. We are the offspring of Filipinos, but we are also Americans. Our charge may not be to overthrow a government, but like the Revolutionaries we must change minds and hearts of others who do not know about us. We must save our cultures from disappearing into the shadows of history, lest we ourselves forget. We owe our lives to the sacrifices of men and women like you, lolo and lola. Without you, I would not be here, able to enjoy the benefits of this great country. I hope our young people are up to the challenge of honoring the lives of our grandparents and great-­grandparents, and honoring the spirit of those who fought for a better life for themselves and their families on the EDSA in 1986. Though we are in different arenas, we both fight for our right to relevancy and visibility in our national stories.

To my grandparents, I hope I made you proud. I wish we had had more time to get to know each other, and share our stories with family and food. I look forward to showing you more about my life when I see you again.

Love,
Your grandson

See Positively Filipino Magazine's article on the contest here.

Movie Monday: "Picture Bride," a film by Kayo Hatta

Wikimedia Collection

Hatta, Kayo. "Picture Bride," starring Kido Yuki, Takayama Akira, and Tamlyn Tomita, 1995.

It was by chance I happened upon “Picture Bride” at the library and was moved to rent it. A riveting historical drama, "Picture Bride" depicts the life of a young Japanese immigrant woman working on the sugar cane fields in Hawaii during the early 1900s. It shows how both characters used deception to improve their chances of sealing the arranged marriage. Photography innovated the “picture bride” system that initially relied on written letters alone or face-to-face meetings. 

This film provides a solid script for strong performances that make the film particularly moving. Lead actress Kudo Yuki gives picture bride Riyo the emotional expressions that capture the apprehension and exhaustion a newly arrived city girl experiences under field conditions. Actor Takayama Akira ably expresses the hard life and defeatist mentality many bachelor field hands experienced under the Gentleman's Agreement of 1907 and prejudicial labor relationships. Finally, Tamlyn Tomita supports the leads with her capable performance as a strong young picture bride who must take on the roles of mother and mentor. One important aspect is that the cast are all capable Japanese and Japanese-American actors, a novel circumstance given the recent controversial casting choices in 2015 Hollywood.

When Riyo (Kudo) first arrives at the immigration office on the shores of the territory of Hawaii, she meets her husband for the first time, a field hand (Takayama) almost two decades her senior. This fact, not shown in the youthful photo he sent, sets up tensions from the start. The various hardships the two newlyweds face include prejudicial ethnic conflict with white overseers, labor conflicts with fellow Filipino field hands, as well as the appeal of gambling as a downtime activity. Couple this with the relationship built on lies and the film contains plenty of tension and conflict. The challenges these characters face will illuminate an almost forgotten historical exchange network that greatly disrupted immigration to the United States.

One of the strongest aspects of this film is the human element that makes it so relatable to a variety of viewers. Many of us can relate to the class challenges of trying to get ahead in a tough work and social environment, particularly when it seems like the paychecks are never quite enough. Viewers may relate with the ethnic conflicts that plague both historic societies and today. For me, this film made me realize how blessed I am in my own life, particularly the great physical toil these characters face each and everyday, and how they manage to find positives.

Overall, this film is a great peek into the historic condition of “picture brides” under the Gentleman's Agreement of 1907. Not only does it depict the ethnic conflicts Filipinos and Japanese field workers faced, but also the different ethnic hierarchies that native Hawaiians felt in relation to the Anglo landowners and European (Portuguese) overseers. While the film does slip into too much pathos at times, the narrative does manage to express an accurate depiction, perhaps less intense than some authentic experiences, of Japanese immigrants under an inherently prejudicial legal and social system. If you’re a fan of historical dramas, this may be the film for you. Please post comments or suggestions below, and what films you'd like to see reviewed in future posts.

Purchase "Picture Bride" or stream via Netflix here.

Historical Notes for discussion in the comments:

• The “picture bride” system for skirting the Gentleman's Agreement of 1907.

• Ethnic interrelationships and labor: Anglo and Euro owners vs. laboring minority; labor vs labor between Filipinos and Japanese

• Labor conflicts, the company store, $1 fee for lack of work, $. 65/day and $300 to go back to Japan

• Bachelor Societies: both Chinese and Japanese, Filipino immigrant men

• Aspire to be Rudolph Valentino, but Japanese actor Sessue Hayakawa came beforehand, but not in the dominant history

• Asian, mainly Japanese and Filipino actors cast in the film, Japanese language used instead of English (think Sayuri/Memoirs of a Geisha)

Book Review: "Converting California:Indians and Franciscans in the Missions, 1769-1836" by James Sandos

By Rennett Stowe (Flickr: Mission San Luis Obispo) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons

James A. Sandos, Converting California, Indians and Franciscans in the Missions, 1769-1836 (Yale University Press, 2004)

 Scholarship surrounding the Spanish Missionary period in California abounds with different interpretations. Some vilify the Spanish missionaries for essentially wiping out the Native American populations in California and disrupting their lives to destruction. Others opt for a more benign approach, complicated by cooperation and agency among the Native populations. James Sandos’ work on Franciscan conversion of the Native Americans is just such a work.

  Sandos’ overarching thesis is that the goal of the Franciscan mission was conversion of the Native Americans, however the meaning was limited or framed within their understanding of eighteenth and nineteenth century religious ideologies. While the relative intensity of faith the Native Americans brought to their conversion was diverse and somewhat unknowable given the sources, the Franciscan priests believed that once baptism and conversion was “sealed,” the Native Americans assumed not only the unspoken contract of living a pious, Christian lifestyle, but also agreed to a form of “spiritual debt peonage” to the missions (108). Sandos further emphasizes that these conversions were likely driven by survival interests like food, protection, and other material benefits that came to those who participated in musical arrangements that supported the mission.

  Sandos further argues that Franciscans were not intentional agents of a genocidal mission against the populations of the Native communities. In fact, there was a lot of internal concern for the maintenance of the population numbers given that the missions relied on these new populations not only for their spiritual goals, but as a steady supply of labor to support their mercantile efforts in trades like oils, candles, tallow and cattle. Sandos’ analysis, however, does seem to limit the discussion to physical genocide, particularly at the level of populations. What is important to recall here is the fact that the Franciscans did intend to commit a kind of cultural genocide, in that they did (ideally) want to replace the indigenous culture with a Christianized, Hispanic-oriented culture. In practice, however, this has been shown to not be the case, as Sandos illustrates with his argument that the missionary period formed a complex hybrid culture that the Franciscans and Native Americans both contributed to, where villains and heroes are not easily defined (184).

  Such arguments mirror other discussions within American West and Southwest borderlands’ communities, such as with James Brooks’ article "Violence, Exchange, and the Honor of Men", as well as Gutierrez’ chapter on "The Spanish Conquest of New Mexico," particularly outlining the conflicts between military conquest before 1573 and the focus on religious conversions by the Franciscans afterwards (Gutierrez, 46). A seemingly coherent argument between Gutierrez and Sandos is the relationship the Native Americans had to the celebration of Mass, where Gutierrez emphasizes not only the familiar aspects of the celebration with Native religious rituals, but also the pacifying effect such a “universal” celebration would have on the population (Gutierrez, 63).

  Sandos, however, emphasizes too the level of resistance the Native Americans had against the religious colonization efforts, particularly in the context of a “hidden transcript,” where the public display of acquiescence belies the very real, private resistance that exists under the surface. What is interesting here is the concept of the “hidden transcript,” as expanded upon in James C. Scott’s book Domination and the Arts of Resistance (a highly recommended work) which deals with the condition of Southern slavery. Sandos emphasizes that the experience of the Native Americans within the missionary system was not one of slavery as we understand it, but of pre-existing “debt peonage.”

  Sandos wishes to emphasize that his analysis avoids the dichotomous camps of Spanish missionary California, particularly the “Christophilic Triumphantalist” that overemphasizes the positive aspects of the Franciscan missions, against the “Christophobic Nihilist” who condemns the Franciscans for their disruptive, destructive efforts. While this point of view is admirable, modern scholarship almost always seem to avoid such black and white “camps” in favor of a more nuanced, gray area reading of what the experience was like. Sandos also mentions the role disease had on the Native American populations, particularly the spread of venereal disease. While these discussions are interesting, it may strengthen a future edition to consider works by Steven Hackel, whose work in ethnographic and environmental factors could strengthen Sandos’ own arguments.

  There are problems with parts of Sandos’ arguments. His discussion of how patriarchy was introduced by the Franciscan missionary system, which relies on the idea that there was a strong matriarchal culture or at least female agency previously, is somewhat problematic based on such assumptions and reduction of the diverse cultures of Native American communities. Further, the role of disease on the native populations also could be strengthened with further diving into more demographic information that would strengthen or counter his treatment of diseases’ impact. Steven Hackel’s later work Children of Coyote, for example, emphasizes the “dual revolutions” of disease introduction AND environmental factors that limited the traditional lifeways of the Native American communities, further influencing many of the men’s participation in the missionary system. Finally, Sandos’ reliance on French artist Louis Choris’ impressions of Native American male expressions places the reasoning on inherent psychological issues, when in fact ethnographic research shows it more to be a reflection of indigenous forms of etiquette, a fact that was not as deeply addressed as it could have been.

  Overall, this work is a useful addition to the historiography, particularly in the treatment of music and its role in Christianizing the Native American populations. The most original aspects of Sandos’ work is in this chapter, as he emphasizes the material benefits of participation in the musical activities. His treatment, too, of their acquisition of the Spanish language, and its potentially unifying role in communication across cultural groups, though Sandos isn’t sure of its full role. The prose is highly readable and quick, meaning historians and lay readers alike will benefit quickly from the salient arguments without getting bogged down in unnecessary complications.

Student Success: Keeping Yourself Clean

This might seem basic, but with many new freshman being out on their own for the first time, it needs to be covered as a fundamental part of success in a school environment. Keep yourself clean.

Keep Your Self Clean!

There's a lot of stress associated with being in a new environment, be it educational or professional. In order to present the best possible image to potential colleagues and professors, students should regularly clean.

By Miguel Andrade (Own work) [Public domain], via Wikimedia Commons


Shower: if you find yourself particularly busy in your first quarter in your new school environment, shower at the end of the day to make mornings easier. Not only will your bedding remain cleaner, but you can wake up, wash your face, brush your teeth, put on deodorant and be out the door. Which brings us to the second point

Russell Lee [Public domain], via Wikimedia Commons

Face-washing: Each morning, use a mild face cleanser to clear away accumulated dirt and refresh yourself for the day ahead. Products by Clearasil or Neutrogena are easy to find and reasonably priced, or many of Target's generic products will also do the trick for less.

By Mennonite Church USA Archives (Flickr: Kindergarten, Stanfield AZ) [Public domain], via Wikimedia Commons

Brushing: Your breath is ripe in the morning, brushing your teeth helps take care of this. It is best not to brush right after you eat, as the natural saliva created while eating can actually help protect your teeth. If desired, one can also follow brushing with a mouthwash, although it may require you not eat for about fifteen minutes after.

By Loico (Own work) [Public domain], via Wikimedia Commons

Deodorant: This is not optional. During the day, you're going to sweat and your fellow students will appreciate this step. Ditch the Axe Body Spray of your high school youth and go for a scent more appropriate for a college student (Old Spice is one of my favorites for musky, traditional aromas, Dove or another mildly scented stick also works)

While this list is certainly not exhaustive, doing these few fundamental things will do wonders not only for your demeanor when attending class, but for your general well-being and mental health. This is a new chapter in your professional and academic career, make the most of it by taking care of the basics. Keep yourself clean and sharp!