Nobuko Miyamoto: A Song in Movement — establishing a cultural voice
The documentary explores performance as activism
YILDIZ SUBUK · STAFF WRITER
Content warning: mentions of internment camps.
The Vancouver Asian Film Festival premiered brilliant films and documentaries this year. One that stood out was Nobuko Miyamoto: A Song in Movement, which tracks the life of thirdgeneration Japanese immigrant Nobuko Miyamoto. As an artist and storyteller who decided to break away from the white gaze to create powerful performance art and music, Miyamoto has established a legacy of using art to unite communities and creating spaces to tell the stories of the unheard.
During her childhood, Miyamoto and her family were part of the 120,000 Japanese Americans forced to relocate in internment camps during World War II. They spent most of the war in crowded concentration camps, facing discrimination from American society during a time of mass anti-Japanese sentiment. After the war, Miyamoto, who had found music as a way to lull the isolation she felt, went into performance art. Miyamoto’s voice, soft yet powerful, radiates in every minute of the documentary as she presents her reflections on art and the importance of creating community through her craft. She is not simply answering questions about her life, but providing a narrative. The film provides decades of archived footage edited together to effortlessly give audiences a visual progression of her life, allowing her to have full agency over her story.
The early years of Miyamoto’s career had her working in musicals like West Side Story and Flower Drum Song. As an upcoming star, she realized there was something problematic in
the way her culture was being represented when she performed “Chop Suey” on stage for Flower Drum Song. She realized the audience she performed to had no actual knowledge of her culture, and the authentic representation she thought she would be a part of was, instead, a cheap watered-down attempt to fetishize East Asian cultures. She was performing for the white gaze, a concept that obscured the story of her people through stereotypical caricatures of her culture. “There was something in the way those delighted folks looked at us. In a flash I realized, WE were “chop suey,” she said. The white gaze notes how stories are made to keep white audiences at the center of viewership. As Miyamoto walked away from the
Miyamoto’s voice, soft yet powerful, radiates in every minute of the documentary as she presents her reflections on art and the importance of creating community through her craft.
mainstream, a spark was lit. She didn’t want to be used as a prop in cheap attempts at multicultural storytelling — she wanted to create spaces for underrepresented voices to thrive. Miyamoto’s dedication to merging art and activism, a process
known as artivism, started with performing songs during advocacy campaigns. She did not perform in venues, but in open areas amid large groups of people who were vocal about change. In her early years, she was involved with the Black Panthers and protested the Vietnam War. These experiences, as well as her desire to create spaces for Asian communities to learn and engage with art across America, show her belief in the transformative power of art. These spaces include empty studios and Buddhist temples, where she taught performative art and spent a lot of her early years as a mother.
A Song in Movement not only captures Miyamoto’s story from a personal lens, but also a communal one. We see the impact her art has on the Asian communities she gets involved in, and we see how she uses music and performance as an instrument for revolution and breaking the mold of white-dominated storytelling through music. The documentary captures how Miyamoto starts a performance project called FandangObon. This dance project turned into many different communities collectively dancing in a circle and playing their music. It’s a dynamic form of performance that not only links communities together, but also invites many to engage in it.
The beauty and empowerment permeating in songs like “We Are the Children” could only be created by someone who not only understands the importance of authentic storytelling, but has devoted genuine care and taken action throughout her life. It’s a testament to the rich thoughts behind A Song in Movement, as well as the impact it has on storytelling within localized communities. A Song in Movement is the perfect
FOOD FOR THOUGHT
Dumplings, potstickers, perogies, gyozas, mandu . . . there are many variations of a filling stuffed in a dough wrapper. Each culture has its own spin on this type of dish, and the Nepali dish, momos, are no exception.
A staple in Nepali households, momos are best enjoyed in the winter months. The filling of these delicious delicacies differs for each person. However, its base is usually some type of ground meat with onions, ginger, vegetable oil, salt, garlic, and Nepali seasonings all wrapped in a flour dough
wrapper. What differentiates this from other dumplings around the world is the chutney it is paired with. Once again varying per person, the chutney is usually tomato based, filled with red chillies, salt, sugar, and garlic. The spice from the sauce adds a kick to the taste of the momo, creating the perfect balance of savoury, spicy, and sweet goodness in your mouth.
There are multiple stories as to how momos emerged. One consistent component is the involvement of Tibetan people. Some say Newari merchants brought the dish to Nepal while travelling from Tibet; however, others believe that a “Nepalese princess, who was married to a Tibetan king,” brought the dish from her country to his.
Though its origin is up in the air, the feelings momos create for Nepali people are straightforward. Momos foster nostalgia, familiarity, and love. Since they take so much work to make, families usually gather around a table, with everyone participating in its production. Gossip is shared, funny stories are narrated, and memories are created. What makes this so special is that the momos are usually made and eaten simultaneously. You finish making one batch, eat it, then repeat. I can’t tell you why or how, but for some reason this process makes the momos taste so much better than if they were prepared all at once. Perhaps it’s the time being spent with your family that enhances the flavour, or
the distance in time between eating so your stomach has time to digest the food. Either way, this process makes the momos taste that much better!
Momos are greatly loved in Nepal for reasons beyond their taste and the feelings they create. These flavorful, bite-sized delights are extremely versatile. They can be steamed, panfried, deep-fried, served in soup, and more. A reason for its versatility is how they’re stored. Because they take so much work to make, momos are made in big batches, and then stored in the freezer for the future. This prevents them from going bad and gives people time to decide how they want this dish to be prepared.
The idea of momos relates to a feeling of nostalgia for me. As a kid coming home from my after-school programs on a dreadful rainy day, I would be hit in the face with the fog from the steamers cooking the momos, wafting in the garlic-filled air. My mom would always make these delicacies on days that were cold and gloomy, almost like she was trying to lift up our spirits through these flavourfilled goodies.
I think it’s beautiful how different cultures have their own take on a dish, and how they can differ so drastically both aesthetically and tastewise! It’s through food that we realize how much more similar we are than we originally thought.
PHOTO: COURTESY OF TADASHI NAKAMURA AND QUYÊN
PHOTO: Momo King / Pexels
Momos: A Nepali staple
ZAMLING SHERPA PEAK ASSOCIATE
The West Coast rules with Triton
Exploring the depths of the Vancouver-based indie artist
While Vancouver is home to many amazing artists, I never thought that I’d find one right in my classroom! As a former classmate of independent alternative artist Triton Smith, it has always been fascinating hearing his bedroom-pop sound transition into something new in real time. His constant involvement in music, whether it be at school or on his own, was always fun to hear. He brought a nuanced sense of musicality that was different from much of the local sounds I’d heard; fresh beats from well-known alternative genres, all fused in a stylistic medley.
Smith started releasing music under the name Triton when he
was 13 and later developed a different sound of music, forming his new moniker Samo T. He has put out two LP’s and various singles amid multiple live performances in Vancouver and Toronto. The Peak spoke with Smith to find out more about his person and his work.
Smith has been involved with music his whole young life, noting that his father and grandfather were both musicians, keeping music in the family. Taking music classes as a youth resulted in his first release of music in 2020, noting how self-isolating at the emergence of the COVID-19 pandemic “was a great outlet”
Spring 2025 Courses
GSWS 212-3 Gender & Sexuality in South Asia
Tuesdays: 14:30 – 16:20 (Blended)
Vaibhav Saria
In this course we will introduce ourselves to the study of modern South Asia This region of our world has not only been very intensively studied but has also emerged as critically important partly because of global capital flows (seen in examples such as outsourcing , call centres, and nuclear weapons etc ) and partly because of globalizing cultural artifacts that are associated with South Asia (seen in examples such as yoga, Bollywood, caste system, arranged marriages, etc ) Thus, this course will not only be a study of South Asia but also a study of how bodies of knowledge are transformed, circulated, contested, and consumed This course will take South Asia as offering intellectual challenges to familiar notions of gender, sexuality, religion, love, and citizenship
GSWS 319-4 What is Good Care?
Fridays: 8:30 – 12:20
Amy Krauss
An extensive feminist literature exists on an “ethics of care” as distinct from paradigms of justice In these works, a relational sensibility that valorizes our interdependency with and responsibility towards particular others is contrasted with abstract concepts of legal justice and individual rights Within Marxist materialist theories of social reproduction, care is also a form of necessary labor Disability studies philosopher and theorist, Eva Feder Kittay distinguishes between care as labor and care as an attitude, “as labor it is the work of maintaining others and ourselves when we are in a condition of need As an attitude, caring denotes a positive affective bond and investment in another ’s wellbeing the labor unaccompanied by the attitude will not be good care”
GSWS 321-4 D100 Indigeneities Around the Globe
Fridays: 8:30 – 12:20
Mariam Georgis
Often, Indigeneity is associated with the continents of North and South America, and Oceania In this course, we will broaden this understanding of Indigeneity by globalizing Indigeneities and colonialism(s) We will learn and examine key concepts and frameworks of global colonialism and Indigenous feminisms to explore the connections of colonialism(s) across space, time, and geography We will use these frameworks to explore historical contexts and formations, sovereignty, land and resource rights, Indigenous knowledges, and Indigenous struggles/movements for decolonization around the world The course will begin
for him “during that time.” Immersing himself in Vancouver’s underground indie scene was a turning point for him.
“I started meeting other musicians who were around my area playing shows with them, meeting people working together, and that completely changed my perception on what I could accomplish,” he said.
Smith takes inspiration from Kendrick Lamar and Frank Ocean, among other artists like Beabadoobee, King Krule, Jeff Buckley, and Mazzy Star. He stated plainly his style is “alt rock,” but that’s far from all he has to offer. He fuses elements from shoegaze, alt pop, ambient music, electronic music, and more. Though it’s clear his style is grounded in the alternative fashion, none of his songs sound alike to each other. Raspy guitar, a stylistically dynamic voice, and clever allusions are what make Smith’s music stand out. Triton’s songs craft vivid moods within the brain — grainy pictures, bus rides home at night pretending you’re a character in a film, speedwalking across campus, or overthinking in your bedroom. Regardless of the image, Smith has something for you “Smiles, There’s Cameras” and “Swollen Ankles” both have
I stopped making rock music and it felt right to go under a different name, but I didn’t want it to be completely different.
mesmerizing instrumental breaks near the ends of the songs. “Got My Neck” is hypnotizingly raspy with the sound of the electric guitar, upbeat drums, catchy lyrics, and its alluring altrock inspired melody. However, my personal favourite is probably “Saltwater,” which reminds me so much of something off of Frank Ocean’s Blonde because of its dreamy repetitive melody, synth strings, and soft vocals.
Smith’s first show at one of Vancouver’s “quintessential underground venues,” the Red Gate, was a gateway into the scene’s culture. Smith claims the indie scene in Toronto and Vancouver are more alike than not, as he says “it’s just people celebrating music together; the bands get drunk and play shitty, fuck up their equipment after.” The consistency of indie music is something I’ve always appreciated; “the culture is the same around the world,” Smith noted on the binding nature of indie and underground scenes.
When he switched to Samo T, immediately, I noticed the reference to expressionist artist Jean Michel Basquiat’s graffiti tag “SAMO.”
“I stopped making rock music and it felt right to go under a different name, but I didn't want it to be completely different,” he explained, as it’s the “same old Triton” (but with new music). He also explained the name of his last album So Far, So Good as a reference to the 1995 crime/thriller film La Haine. The song “Hate Monologue” from his album contained the speech from a prominent scene in the film, which made me appreciate the commitment to the motif even more.
Triton Smith and his band are playing on December 21 in Vancouver at Green Auto. Tickets can be purchased at samotee.com
PHOTO: COURTESY OF JOE SALMON
TRITON SMITH, AKA SAMO T
YASMIN HASSAN · STAFF WRITER
TRICKLE DOWN CLARKONOMICS
Even the MLS email newsletter touts itself as “the Messi insider.”
Lionel Messi is one of the best, arguably if not the best, soccer player of all time. Still, the star is slowly fading as injuries pile up after a lifetime on the pitch.
Dear Peakie,
I’m in my main character era. I love it when people watch me walk into lecture one hour late with my oat vanilla latte. I walk through the front door so I can strut right in front of the professor. I also make sure to make multiple people stand up so I can sit in my preferred seat in the middle of the row despite the other more discreet seats available. Anyway, I don’t really even have a question for you because I’m too iconic for that. Instead, I have an instruction: Validate me.
Sincerely, It’s not rude when I do it
Dear It’s not rude when I do it,
I get you. People sitting around you in lecture should already know that seat is your unassigned assigned seat. You deserve as much! At some point during any semester, you stop caring about unspoken rules of showing up on time to lecture or sitting in any farther available seat as quickly as possible, and that’s alright. You’re spending your energy, time, money (because I know that oat vanilla latte cost you at least $8), and academic prowess to be at university. Your presence is probably what the lecture hall is missing, so, in all honesty, they should be thankful to be graced by your fashionably late arrival.
XOXO, Peakie gets it
Dear Peakie,
In light of recent events, my feeds are flooded with people claiming they’re moving to Canada. But how can this be true if “Canada” is nothing but a colonial fantasy and the “border” is just lines random white men drew on a map?
Decolonially,
I’m still scared for the next federal election though
Dear I’m still scared for the next federal election though, I’m totally with you there. Who knew fall 2024 would be characterized by TWO great migrations? One up north towards a so-called Canada run by monopolies who show up to Pride parades so you can’t criticize them. And the other from Twitter to Bluesky! Anyways, the conversation about borders might be a bit too advanced for people who think it’s acceptable to finders, keepers their way through life. It’s the natural order of things, really. First, you make up the border, and then you make up a department and name it after a meme coin!
Biting my nails with you, Peakie
Dear Peakie,
I guess this is more of a question for the SFU Snap App, but I’m already here. When I get off the bus at the Transportation Centre and want to go to Convocation Mall, should I cross the street into the big empty space with the piano, or is there a secret way to get in through the parking lot? Don’t worry, I can keep a secret.
Best,
Trying to reduce my step count
Dear Trying to reduce my step count,
Going up those flights of stairs humbles me every time I try to get to Convocation Mall from the bus stop. However, legend has it that a pack of raccoons will sometimes scamper through the Central Parkade, trying to forage for thrown away trash and whatnot. While our furry friends may seem unsuspecting, if you bribe their leader with a half eaten farmer’s wrap while continuously making eye contact with them, they will escort you through the parking lot all the way to the flights of stairs that lead directly into the mall. These valiant beasts are like SFU’s version of Minecraft dolphins.
Sincerely, Peakie
STIX: COMIC BY YILDIZ SUBUK
SUDOKU
