Category Archives: Visual Art and related events

Storyscapes Chinatown premieres on Saturday – check out my “Creation Story”

Storyscapes Chinatown premieres on Saturday

– check out my “Creation Story”

I am part of 23 story tellers gathered to share stories of interactions between Chinese and First Nations people in Vancouver.

Check out Storyscapes Chinatown exhibition during
the Chinese Cultural Centre's Arts and Cultural festival held on July
8th, 15th, 22nd, and 29th. The exhibition will be in the courtyard of
the Centre (50 West Pender), as well as on the corner of Pender and
Carall. Please spread the word! An invitation to the exhibition will
follow next week.

My contribution is a Creation story that I learned in one of my many meetings with First Nations people. I have travelled up up and down both sides of Vancouver Island, from Kyuquot Sound to Alert Bay. I have also travelled to Haida Gwaii, Mount Currie, Tsawassen, and the Okanagan and and talked with many people about interactions between Chinese and First Nations peoples. My cousin Rhonda Larrabee, is Chief of Qayqayt First Nations (New Westminster) Band.

Storyscapes Chinatown is a partnership between
KAYA (Knowledgable Aboriginal Youth Association) and the City Of
Vancouver, working with the Musqueam Indian Band, Vancouver Chinatown
Revitalization Committee (VCRC) and diverse community reps.

I attended the March 11, 2005, Storyscapes story sharing which brought together members of the First Nations and Chinatown community.

I shared a creation story, about why First
Nations and Chinese peoples are born with blue spots on the
bottoms. It is called a Mongolian spot, or Mongolian Birthmark.
My story relates to how the two cultures believe that their real home
is the spirit world, and the physical world is full of lessons, and
hardships….

I introduced my story this way:

I was just
talking with Louis [Schmidt] (first nations WW2 veteran) – and unfortunately, it sounds like a lot of
the First Nations people and the Chinese people came together because
they sought refuge from white people. After the railway was built, a lot of Chinese people were taken in by First Nations villages. There was lots of
discrimination in those old days. And even today, I think it’s terrible that we come
together, sometimes, and we talk about white people.

But, you know, we
understand. And I think that’s part of it, that there’s a sense of
community and understanding. And just want to share some literary
references with you. In Sky Lee’s book, “Disappearing
Moon Café,” she wrote about a First Nations woman marrying a Chinese
man. Also in Naomi’s Road by Joy Kogawa – her children's version of her novel “Obasan.” There’s a story of a First Nations man named Roughlock Bill, who met the
Japanese people that were sent up to the Okanagan and “evacuated” away
from the coast.

Here is a version of my Creation Story:

As we know, a long time ago, in the First Nations culture, and that still continues today, there’s a sense of spirit an understanding that we actually belonged to Spirit. We are spiritual beings having a physical experience, rather than physical beings seeking a spiritual experience. In Chinese culture, …there are many heavens and many hells, and as we know through a lot of Buddhism, there is a lot of reincarnation. which is recognized in First Nations culture as well.

A Creation story is about how we come into being. How we were born from spirit and became physical. The physical world we are living in right now is where we do the learning for our spiritual development physical time being.

But it can be very challenging. There’s a lot of hardship in this physical world – lots of discrimination, a lot of racism. We know that if we wanted a nice perfect life we wouldn’t come into this physical world. We wouldn’t want to be born. We would want to stay in the spiritual world because this that is our true home. It is where we are most happy.

What we recognize as Asian and First Nations people that this is what we still have to come out, but to and it’s tough to be born come into this physical world. It is so tough that sometimes we have to be kicked out.

We have to get kicked out.

And that is a true story, because when you were born, if you were are Asian or First Nations, You you were born with have blue spots on your body. And This is a story about the creation story about the Mongolian birthmark. You find it on Asian children. You find it on First Nations children. But the true story of why we have blue spots, and that we recognize is that we come from the spiritual world and have to be kicked out in order to get born.

– Todd Wong

Raymond Chow celebrates latest artwork with May 11 presentation

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Raymond Chow celebrates latest artwork with May 11 presentation

Raymond Chow is a nationally recognized artist.  I first became aquainted with 
his work in the early 1970's, when he painted older houses adding his own bit of
humour to them.  His painting of my grandmother's Chinatown Victorian style 
house now hangs in my grandmother's appartment, many decades after she left 
that home.

Raymond's family paid the head tax, and lived in Richmond long before the recent
overwhelming Chinese immigration of Richmond of the last century.

"House of Joy" was a painting that Raymond did to celebrate and aid the "Save 
Kogawa House" campaign.  He based the painting on paintings of the House, and 
of Joy when she was about 5 years old.

You are cordially invited to an exhibition featuring Raymond Chow's 
latest artwork!

Date: May 11, 2006 (Thursday)
Time: anytime from 3pm to 9pm
Place: Nikkei Place, 6688 Southoaks Crescent, Burnaby (604-777-7000)
Theme: Women in Kimonos, Landscapes of France, Hawaii, Vancouver
Inquiries: 604-274-3587 or clart@telus.net

* prize draws for original Raymond Chow's paintings
* refreshments + fun
* admission by donation

Raymond's web sites:
www.galleryartwerks.com
www.raymondchow.com

Raymond Chow's profile:
Raymond Chow is an internationally renowned artist based in Vancouver, 
Canada. Graduated at UBC in Art Education, Raymond has been painting 
over the last 50 years. He won his first painting award when he was 12. 
He first became known in 1960s for his drawings of old Victorian homes 
and buildings. His drawings of Vancouver, Victoria, Seattle, Portland, 
San Francisco and Los Angeles form a unique history of the heritage of 
the pacific coast. His range of art media includes watercolors, 
acrylics on canvas, limited edition lithographs and geeclay prints on canvas.

His paintings on canvas reached 15 galleries across Canada, Hawaii and 
the USA. Raymond travels extensively to his subject locations and he 
paints portraits on request of people as well as homes and buildings. 
He has painted and exhibited in many cities of Europe, USA, Hawaii and 
Canada. Collectors of Raymond's work have included Indira Gandhi, Paul 
Anka, Raymond Burr, David Lam etc. His paintings and drawings now 
decorate homes of prominent personalities, collectors and gallery 
owners.

Chinese Cultural Centre Abruptly Scraps Chinese Calligraphic Art Show

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Chinese
Cultural Centre Abruptly Scraps Chinese Calligraphic Art
Show

I
have previously thought that the Chinese Cultural Centre in Vancouver,
was for all Chinese descendants in Vancouver. But I might be
wrong now.

I can remember witnessing the original models of the 3 finalist
architectural designs of the proposed Chinese Cultural Centre building, as my architect Joe Wai submitted his design with his
architect brother Wayne. I was there when the sod-turning
ceremony happened following a Chinese New Year parade in 1978. In
1986, We held the Saltwater City exhibition celebrating 100 years of
Chinese history in Vancouver, in the multipurpose Hall. In 2002,
the CCC Museum and Archives held a show titled Three Early Chinese Pioneer Families which featured the family of my great-great-grandfather Rev. Chan Yu Tan. My name is even featured in the exhibit “From Generation to Generation.”

This week it was announced that the Chinese Cultural Centre was
cancelling the planned Chinese Calligraphic show, even though it had
already been posted on the CCC website. The reason initially
cited, was because of a previous booking. The CCC has now stated
that the exhibition can go on, if Gabriel Yu can come up with insurance
to cover the exhibit.

“Kitty Ma (CCC Chair), told media that the reason for CCC declining BC Coalition's venue rental request is because the venue was pre-booked, ” wrote Gabriel Yui to me in an e-mail. “Likewise, Kitty provided new
excuses for cancelling my show. She told media that if I could bear the
insurance and have it purchase by tomorrow, they could put it in
tomorrow's committee meeting. No one from the CCC contacted me about
this, I left a message to Ma and she haven't got back to me. Besides,
how can I buy insurance when the show is cancelled and no time given for appraisal?”

The CCC has also denied the BC Coalition of BC Head Tax Payers,
Spouses, and Their Descendants, from renting a room for public meeting,
citing that the issue is “too sensitive.” This may because the
CCC Board has close ties to the National Congree of Chinese Canadians,
whose efforts to create the ACE program was undermined by wide spread
protest from Chinese Canadian Redress groups across Canada, including
the BC Coalition, of which Gabriel Yiu is a committee member.

Press
Release – 10.3.2006

Chinese
Cultural Centre Abruptly Scraps Chinese Calligraphic Art
Show

The Chinese Cultural Centre at Chinatown has suddenly decided to cancel a planned Asian Heritage Month exhibition “The Art of the Brush – Contemporary Calligraphy by Chinese Masters (in Gabriel Yiu's Collection).”

Regarded by Professor Johnson Su-Sing Chow as an important event in the Chinese cultural community, “The Art of the Brush – Contemporary Calligraphy by Chinese Masters” is to be the Chinese Cultural Centre's participating event in the Asian Heritage Month (Professor Chow is the founding chair of the Chinese Canadian Artists' Federation and an advisor to the Chinese Cultural Centre). The exhibition was suddenly cancelled less than a month before its opening. Gabriel Uiu who lends his collection to the show, is totally shocked and disappointed by the abrupt decision.

“This is a much anticipated event in the Chinese community and much of the preparation work has been completed. The reasons provided by the Chinese Cultural Centre are astonishing: it said the collection is too valuable for the cultural institution and the exhibition never got approved by the board. Ye the show has already been listed on
their website for some time,” said Yiu.

Since the calligraphy does not touch on politics or social taboo, Yiu does not see it
as political censorship. Yiu
surmises that it could be due to his strong opposition to the previous federal
Liberal government’s head tax settlement, which got the support of many Chinese
community organizations, including the Chinese Cultural Centre, as well as his
earlier challenge of the legitimacy of the Chinese Cultural Centre’s signing a
declaration in support of the Liberal government's no apology and no
compensation agreement. The Centre did not consult their board or members before
signing the support declaration.

“If
those are the real reasons, this is an abuse of public trust and unethical
practice on the part of a public institution. The community should take note of such
an unreasonable decision by an organization that claims to promote Chinese
culture,” said Yiu.

Yiu
said he sees the exhibition as his contribution to society and he is helping the
Chinese Cultural Centre to promote Chinese art. Rather than charging a fee to
defray expenses incurred by him in mounting the show, he was printing a
promotional leaflet and house program, as well as coordinating a talk and
demonstration for the show. “In
view of the high attendance of my last show, the Chinese Cultural Centre would
lose considerable admission revenue in the cancellation. It is also a cultural loss to the
public,” said Yiu.

In
November 2003, the CCM Centre in Burnaby presented “Exhibition of 20^th Century Chinese Painting Masters – In
the Collection of Gabriel Yiu” for one month. The exhibition attracted an
attendance of over 5,500 people.

-30-

Contact:
Gabriel Yiu 604-889-0696

Reference
materials

–
Chinese Cultural Centre 4/4 press release to Asian Heritage Month
organizer

–
Exhibition introduction by Prof. Chow Su-sing

–
Email correspondences with CCC staff on 3/4/2006
& 23/7/2005

——–

The Art of the Brush – Contemporary
Calligraphy

by Chinese Masters on display at C.C.C.

Following the successful exhibition of 20^th Century Chinese Painting
Masters in 2003, Vancouver
connoisseur Gabriel Yiu will once again present his valuable collection of
contemporary Chinese calligraphy for public enjoyment. Billed as The Art of the Brush – Contemporary
Calligraphy by Chinese Masters, the current exhibition will be held at the
On-Tak Cheung Exhibition Hall, Chinese
Cultural Centre
Museum from 6 May to 4 June, 2006. The exhibition will be
one of the Centre’s contribution to the celebrations of the May Asian Heritage
Month.

Focusing on the contemporary development, the Chinese masters presented
include Wu Changshuo, Qi Baishi, Pu Ru, Zhang Daqian, Chen Bending, Yang
Shanshen, Shi Lu, Hong Yi, Yu Yaoren, Kang Youwei, Lin Zexu, Lao She, Guo Moruo,
Qi Gong, Zhang Xiaohe, Wu Hufan, Jiang Jieshi, Fei Xiaowo, Zhang Ruitu, Jin
Nong, Zhao Zhiqian, Huang Tingjian , Chen Fengzi, Chow Su-Sing, Szeto Wah, Lau
Wai Yin and Chang Chun Chieh. Over 40 works will be shown and they cover a wide
spectrum of couplets, large horizontal scrolls, letters and rubbings from
stiles.

The exhibition offers a rare opportunity to study and appreciate the
development of the art of Chinese calligraphy. While most of the works are from
contemporary masters, there are also Song, Ming and Qing Dynasties
masterpieces.

———-


Introduction

I have known Gabriel Yiu quite early from his news comments on the radio.
I frequently tune on to it. I also read his special columns on the newspapers.
But I did not know that he is also a connoisseur until he came to my house with
his collection of art for consultation.

These years now, he visited me quite often to my “Ample Cottage” where we
discussed our interest in the arts. While he has an extensive troves of
treasures, I am more than happy to find his genuine interest in the Chinese
art.

Two years ago, his 20^th
Century Chinese Painting Masters exhibition was regarded as one of the
important attractions in the city. Of equal significance will no doubt be the
current exhibition of The Art of the
Brush – Contemporary Calligraphy by Chinese Masters, presented by the
Chinese Cultural Centre of Greater Vancouver.

I was fortunate to see the art works which Gabriel brought in for
consultation. Over 40 pieces of work from famed and treasured calligraphy
masters will be shown. It is indeed a rare opportunity.

This exhibition will undoubtedly contribute to further enhancement of the
art and cultural development in
Vancouver. Viewing the works of
different individual styles and expressions from different periods of time will
gain us a deeper understanding of history.

Chinese calligraphy is an exquisite tradition. Appreciation of its art
will help refine our character and intellectual spirit, while practicing it has
the effect of improving our health, like the conducive exercise of qi gong.

Special thanks should be given to Paul Yeung for organizing this
exhibition and to Gabriel Yiu for his generosity and enthusiasm for sharing his
valuable collection with us.

Johnson Su-Sing Chow

Vancouver Opera's “Naomi's Road” goes to the heart of Vancouver's old Japantown – a fundraiser for Powell Street Festival

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Vancouver Opera's “Naomi's Road” goes to the heart of Vancouver's old Japantown

– a fundraiser for Powell Street Festival

The Japanese Canadian community used to thrive along Powell St. in
Vancouver. I remember walking down there in the late 1960's and
visiting the different stores, on the search for more origami paper,
after being taught to fold origami paper figures by my father.
Today it is a shadow of its former self. But it's memory is kept
alive by both the annual Powell Street Festival
and the Japanese Hall / Japanese Language School on Alexander St.

Naomi's Road opera, put on by the Vancouver Opera Touring Ensemble, came to old Japantown on Saturday night. It was presented in the hall at the Vancouver Japanese Language School,
newly built and connected to the Japanese Hall, built in 1918, which
stands alone as the only property among any Japanese Canadian
private citizen, business or organization to retain ownership after the
war.

About 100 people filled the new hall, in anticipation of watching the
touring production which has been playing to schools throughout
BC. This was about the 95th presentation of the production so
far, and the cast does a remarkable job of keeping each presentation
fresh.

It was also the 4th time I had seen Naomi's Road, writing a review of the premiere weekend, and also the excerpts presented at the Laurier Institution / Roy Miki lecture at the Chan Centre, and the Vancouver Arts Awards. Everytime I have seen it, it is enjoyable. I even find myself humming the songs afterwards now.

Naomi's Road, is the children's version of Joy Kogawa's
award winning novel, Obasan. It tells the story of a family being
torn apart by the events of WW2. The mother goes off to Japan to
look after her sick grandmother. The father's sister comes to
help look after the children. WW2 breaks out, and anybody of
Japanese ancestry is “evacuated” from the BC coastal region, and sent
to “internment camps.” The father is unexplainedly sent to a
different camp (as able-bodied working males were sent to work
camps). The two children Naomi and Steven, aged 10 and 14, learn
to deal with racism, and being separated from their parents, as well as
the negative impacts of war.

All the performers, Jessica Cheung (Naomi), Gina Oh (mother, Obasan,
Mitzie), Sam Chung (Stephen), and Gene Wu (father, train
conductor,bully, Roughlock Bill), perform well. Cheung really
conveys the innocence and wonder of a 10 year old, while Chung plays
her foil expressing the anger and resentment of being forced into the
internment camp.

Oh and Wu perform well in their multiple roles, convincingly altering
ther performances with each character. In Oh's case from a loving
mother, to a reserved aunt, and a youthful child named Mitzie. Wu
does the same, first as a concerned an playful father figure, a racist
bully, and also as Rough Lock Bill, a First Nations character that
befriends the two children.

The action moves quickly, with multiple scene changes which the actors
create by moving screens around as part of their stage action. It
is a wonderful way to experience a small performing arts production,
watching all this stage action unfold, as the set evokes Powell St, a
living room, a train, an internment camp, and a lakeside beach.

For this performance, it was a treat for the performers to be on a
raised stage, rather than floor level at the West Vancouver, or
Vancouver Public libraries. But unfortunately if the performers
stood too close to the front the stage, they became back lit and their
faces were difficult to be seen. The piano was also woefully out
of tune, but giving the performance and “old-time feel” to fit with
it's 1942 setting.

A question and answer was held folowing the performance, and a special
treat was that author Joy Kogawa came up on stage with the
performers. Joy exclaimed that she is moved to tears, everytime
she sees the opera. She said that it is a wonderful opportunity
for sharing the story of Japanese Canadians and for creating healing.

Questions covered many topics, but in this setting at the Japanese
Language School in Japantown, it was interesting to hear that many
former internment camp survivors thanked the performers for sharing the
story, and that they related very strongly to the performance.

At the end, I stood beside the pamphets for the Land Conservancy campaign to help save Kogawa House, and answered questions about the Save Kogawa House campaign.

also see:
my review of Naomi's Road premiere weekend,
my interview with Naomi's Road performers

Joy Kogawa: “EMILY KATO” book launch at Vancouver Public Library

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Joy Kogawa: “EMILY KATO” book launch at Vancouver Public Library

February 27th, 2006
Vancouver Public Library
Central Branch

Here's my summary of the Emily Kato book launch… rather longish description…

I
am still just winding down from a wonderful book launch for Emily
Kato. Joy said at the launch, that she had never before had a book
launch before.

Due to the library regulations… I could not
arrange to have wine served – but Ellen Crowe-Swords set up tea with
Japanese crackers.

7:00pm – people started wandering in… we
left the doors open. Artist Raymond Chow was playing piano and setting
up paintings for display. Katzumi was setting up the paintings and
drawings for the silent auction. VPL director of programming Janice
Douglas and I look around for urns and try to find hot water for Ellen.

7:15
pm – I do a preliminary welcome for aproximately 40 people, and direct
their attention to the paintings and drawings for silent auction.

7:30
pm – Janice Douglas welcomes people to the library, invites them to
pick up the library events brochures, and especially invites people to
return for Tuesday night (Feb 28) as Max Wyman will be addressing that
as we move from the Information Age to the Imagination Age, the role of
creative activity is fundamental to the healthy and peaceful
development of human society.

Janice
introduces the program by stating that Obasan was the 2005 choice for
One Book One Vancouver, and how pleased the Vancouver Public Library is
to have Joy Kogawa back at the library for Emily Kato book Launch.

Picture
of Joy Kogawa with Programs Director Janice Douglas and Chief Librarian
Paul Whitney – at the One Book One Vancouver launch back in May 2005.

7:40pm
Todd Wong introduces Joy Kogawa, by talking about what a pleasure it is
getting to know Joy through the Save Kogawa House campaign. Todd
explains that tonight will be celebratory and that Joy had wanted to
ask author Roy Miki and musician Harry Aoki to participate. There will
also be a dvd animated feature by animator Jeff Chiba Stearns, to help
make Emily Kato come alive by the participation of the guests, to help
address the themes of internment, redress and identity in the book.

7:45
pm – Gail Sparrow, former chief of the Musqueam First Nations is
invited to the stage to give a prayer and blessing for the evening.

7:50
pm – Musicians Harry Aoki and Alison Nishimara take the stage.
Actually Alison performs two pieces on the grand piano beside the
stage. They invoke strong emotions that speak to tragedy and panic of
the evacuation and internment. After Alisons performance, she
identifies the pieces as a Prelude by Stravinsky and a Tocatta by
Kachaturian.

Roy Miki (centre) with Rev. Nakayama and Joy Kogawa at the One Book One Vancouver launch in May, 2005.

8:00 pm – Roy Miki is introduced as having been
almost born on an Alberta beet farm after the internment of his family,
from Vancouver. He is a leader of the JC redress committee of the
1980's, and Todd praises his book “Redress: The inside story of the
Japanese Canadian redress movement,” citing its relevance and parallels
to the current Chinese Canadian movement for head tax/exclusion act
redress. Roy is also an english professor at SFU, specializing in
American and Canadian literature and a Governor General's Award winner
for poetry for his collection “Surrender.”

8:05
– Roy Miki says he was actually born on a beet farm in Alberta, and
talks about the redress movement and reads from his book Redress. He
starts with a passage where people quote passages from Joy Kogawa's
then new novel – Obasan. He tells tales of government misconceptions
and how language is used to euphemize the tragedy and actions to intern
and destroy the Japanese Canadian community.

8:15 – Todd
welcomes Harry and Alison back to the stage. Todd explains that both
Harry Aoki and Roy Miki had served as inspirations for some of Joy's
characters in her books.

8:20 – Harry and Alison play a duet on
piano and double bass that Harry wrote in 1943. He explains what it
was like to have to leave Vancouver during the “evacuation”, as he had
to leave behind his beloved violin, and could only take his harmonica.

8:25 –
Todd introduces the next segment by discussing the names of the Issei,
Nissei and Sensei – first, second and third generations of Japanese
Canadians. The newest generations had to grow up with a sense of
negative identity, not really knowing the extent of the internment as
many Issei and Nissei refused to talk about it. Todd tells a story
about how Joy introduced her half-Japanese grand-daughter at the
Canadian Club luncheon, as being the “future of Canada.”

Drawings from “What Are You Anyways?” by Jeff Chiba Stearns

8:30
“What Are You Anyways?” an animated short film by Jeff Chiba Stearns is
presented Todd pushes play on the dvd player to present the chapters:
“Cauc-Asian” introduces the main character as growing up half-Japanese and half-Euro-Mutt in Kelowna BC.
“Ethnic Roulette” explains how challenging it is to be asked “What are you?” all the time.
“Meeting Jenni” explains how the character comes to terms with his half-Japanese
ancestry by meeting another half-Japanese “girl of his dreams”

8:40
– Joy Kogawa takes the stage, and explains how when Obasan was first
released, there was never a bad review but lots of praise. When Itsuka
was released, it was the reverse, like an ugly sibling. She explains
the challenge of the Emily Kato release – a book that nobody can find
in book stores. She talks about why she wanted to re-work Itsuka, when
Penguin had announced plans to re-release it as a companion with
Obasan.

Joy reads several passages from Emily Kato including
sections on living in Granton Alberta, the redress movement, and the
older Issei growing old living in small rooms scattered across the
country. She uses these examples to demonstrate how the Government of
Canada purposely broke up the Japanese Canadian community, and how the
community is still divided and unsupportive of its own culture and
members. All the while, Joy emphasizes what it means to be Canadian
and the importance to be respectful of different cultures and human
rights issues. She is an impassioned speaker, and her words walk the
fine balance of moral sermon, a punishing critique, and an
inspirational talk – all in one. Amazing.

9:00
Harry Aoki returns to the stage to comment about the future of the
Japanese Canadian community, how it is disappearing, due to the
negative identity, inter-racial marriage, and being scattered across
the country. He plays one more song on double bass, with Alison
Nishihara on piano.

9:10 – Conclusion… explanations of Silent
Auctions, Thank yous… Acknowledgements of artist Raymond Chow and
his painting of Joy Kogawa as a young child, the role of The Land
Conservancy in stepping in to lead fundraising for Save Kogawa House
campaign.

Joy signs books, and takes people's questions.

There
is an immediate long line-up to buy books and have them signed by Joy.
I am asked where Harry Aoki is by Dal Richards, band leader and
musician, who is interviewing Harry for his radio show. It is a good
audience of about 90 people. I meet First Nations people from New
Brunswick, I meet poet Sita Caboni of the Pandora poetry collective.
People sign up on the silent auction items.

I sign up on a collection of Roy Miki books, but I am outbid.
Jen
Kato, signs up for the Linda Ohama print, donated by Roy Miki. It is a
good night. I recieve lots of compliments for my MC work. Joy signs
lots of copies of her books. People are happy, and we feel a good
sense of community.

9:35 – Katzumi announces the last call of the Silent Auction
9:40 – we wrap up and start putting things away.
10:00 – we shut the doors and go home.

Cheers, Todd

Eve and the Fire Horse: child's view of the world pokes questions at multicultural dichotomies

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Eve and the Fire Horse:

child's view of the world pokes questions at multicultural dichotomies

There is deservedly lots of buzz happening for Eve and the Fire Horse. Writer/Director Julia Kwan and her crew have just won the Sundance Special Jury Prize. Film critic Roger Ebert called the movie “the most beloved film at Sundance.” Pretty darn good for Julia Kwan's first full length movie, shopping itself for a US distributor at the most influential independent film festival.

Many people have said they relate to the film's stories and characters, regardless of ethnicity. The two sisters speak English to each other and the younger 9 year old Eve also narrates. Phoebe Kut stars as the central figure Eve, and Hollie Lo plays her older sister Karina. Their parents speak Cantonese Chinese to them, the kids answer in English. This is not a theatrical device – Julia Kwan says this is typical of many immigrant families. This could be any first and second generation immigrant group as they adapt to wherever they are now settled.

The Year of the Fire Horse is a special type of person born in the year of the Horse. Each of the 5 elements Earth, Metal, Water, Air and Fire give a special additional quality to the Chinese zodiac animal. Fire Horse year was 1966, and the children are supposed to be especially spirited and stubborn, and even troublesome. This personality trait for Eve helps to move the film forward as well as help create a wonderful title, movie logo, and release date for Chinese New Year.

The kids also struggle with making friends, settling in with their peer group, and finding a way to reconcile their family's buddhist beliefs with the Christian elements in Canadian North American society. The film opens with a Chinese New Year dinner where clashes between superstitions and common sense can be questioned through the children's comments and explanations of traditions. Along the way we meet a small caucasian girl who is picked on by the school bullies and called “PWT”, explained by the 11 year old older sister Karina to Eve, as “poor white trash.”

“Are we poor white trash?” asks Eve.

“No… we're not white.” Karina answers.

There is something special about how 9 year old children struggle to make sense of the world and it's seeming dichotomies. Julia Kwan allows viewers into the world of Eve, as she is allowed flights of imagination in her conversations with the Chinese goddess of the kitchen, the statue of Buddha, and their new room mate Jesus, as the girls now start going to Catholic Sunday School.

“Two gods in the house must bring better luck than one,” thinks the logic of their mother May Lin Eng, played wonderfully by Vivienne Wu.

The film follows a series of incidents such as an uncle going to the hospital after choking because he refused to spit out his “long-life noodles,” the unexpected death of a grandparent, and a hospital procedure for their father. This allows Phoebe to wonder about how the world works, through reincarnation, funerals, hospitals and Sunday School.

There are so many episodes that I could relate to from my own life: such as being asked in Grade 5 by a school friend to attend a social event, that turns into a education session about Jesus Christ; recalling the funerals and times of passing of my paternal grandparents who always spoke exclusively in Chinese to me – even though I could only speak English. And then there is the delight of Eve recieving her very first pet – a gold fish! Eve and her fish – this is one of the most delightful scenes in the movie, as Eve's imagination takes flight.

After the Vancouver Chinatown New Year's parade I hang with my new friends, producer Yve Ma with his daughter on my left, and actor Phoebe Kut and her friends on my right – photo Deb Martin.

“Eve and the Fire Horse” wins Special Jury Prize at Sundance – very auspicous Chinese New Year's Eve

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“Eve and the Fire Horse” wins Special Jury Prize

at Sundance Film Festival

– very auspicious Chinese New Year's Eve

“About 45 minutes ago, we recieved a phone call from Sundance,” said Yves Ma, one of the producers of the independent film Eve and the Fire Horse. “You are the first people to hear this news, outside of us… We've won the Special Jury Prize.”

Phoebe Kut, who plays “Eve” in the film stood at the front of the theatre with produces Shan Tam, Erik Paulsson and Ma. They were taking part in a Q&A organized by Anita Adams for First Weekend Club at Fifth Avenue Cinemas in Vancouver. The 7:25 pm show had ended to audience applause, and all three people were very happy to share their news and stories from Sundance.

“There was lots of free stuff,” said 11 year old Phoebe answering the question “What was Sundance like?”

“We were the only Canadian film at Sundance, the Canadian Consulate hosted our opening night party and sent two mounties to help us make a splash. We got these nifty jackets sponsored from Telefilm Canada… we got on a bus and people would say “It's the Canadians and start singing O Canada,” shared Paulsson. All four of them turned around showing off their beautiful jackets and vests – black with a red chinese paper cut design of a horse as the logo.

“We were very fortunate, the buzz started early. People were lining up to see the show and talking about it. Roger Ebert's review was great!” said Ma.

I asked them what attracted them each to the film project. Ma was the first to respond.

“It was such an honest story, I could relate to it as an immigrant,” said Ma who is Taiwanese-Chinese on his father's side and Parisian French on his mother's side, “It is partly autobiographical for Julia, but the characters are very strong. Some parts are dramaticized. I just knew I wanted to be part of it.”

“I knew Julia from film school,” piped in Paulsson.

Sham Tan explained that both of the young actors that played the young girls who are the central characters of the movie, had never acted before. In each case, another sister or friend had seen the ads calling for actors, and both Phobe Kut and Hollie Lo were “tag-a-longs” who were eventually cast.

Tomorrow the cast and crew will be parade entry #46 in the Vancouver Chinatown Parade. They will be giving out special custom made fortune cookies. Look for the group wearing black and red, with big big smiles.

Below are some links to stories about Eve and the Fire Horse. including a picture of Julia Kwan recieving the Special Jury Prize at the Sundance Festival in Park City Utah, earlier this evening.

Especially check out: Julia Kwan blogs her “Sundance experience” for CBC
http://www.cbc.ca/arts/film/sundancediaryday7.html

7:39 2 World Cinema Special Jury Prizes, to two first time filmmakers: Eve and the
Firehorse

http://www.cinematical.com/2006/01/28/sundance-2006-awards/

Julia Kwan at Sundance accepting Special Jury Prize Award for Eve and the Fire Horse

Standing behind her is actor Shirley, Eunhee Cha – associate producer and Tom Brown – executive producer. Eunhee directed the award winning documentary “Tribe of One” about my cousin Rhonda Larrabee.

JULIA KWAN’S “EVE AND THE FIREHORSE”
gathering major buzz
Featured on the current cover of
Vancouver
’s Georgia Straight is a great way to start off Chinese New Year festivities this week for film maker Julia Kwan. The timing is perfect for Kwan, since the film opened in Canadian theatres on Friday January 27. Check out the Straight story at http://www.straight.com/content.cfm?id=15554

Roger Ebert's review “One of the most beloved films at Sundance.”

http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20060123/

FILMFESTIVALS05/601230302

Globe & Mail review

http://www.theglobeandmail.com/servlet/story/RTGAM.20060127.wxeve27/BNStory/

Entertainment/?page=rss&id=RTGAM.20060127.wxeve27

The Park Record

http://www.parkrecord.com/todaysheadlines/ci_3433757