Sparks Magazine Issue No. 21 | University of Central Florida

An Asian Pacific Islander American Publication

ISSUE 21 | FALL ‘21

University of Central Florida

ART IS ME

IS THAT REALLY YOUR OPPA?

THIS IS NOT A (TRADITIONAL) LOVE STORY

UNIVERSITY OF FLORIDA

EDITOR-IN-CHIEF Michelle Lee

MANAGING EDITOR Karen Zhang

FINANCIAL EDITOR Alexandria Giang

COPY EDITORS Marium Abdulhussein • Cindy Duong

DESIGN EDITOR Aryam Amar • Mercy Tsay

PHOTO EDITOR Daniyah Sheikh

PR DIRECTORS Xinni Chen • Jackie Truong

WRITERS Sabaina Ahmed • Susie Chen • Cherie Chick

• Clementine Dela Cruz • Hanna De La Garza • Hannah

Kim • Shota Konno • Justine Torres • Loryn Smith

DESIGNERS Mya McGrath • Navya Nair • Lauren Shee

PHOTOGRAPHERS Annika Joy Cruz • Xinyue Li • Rajvi

Maisuria • Maria Vanderbilt • Yimeng Zhou

PR STAFF Vivian Chen • Tammy Nguyen • Alyssa Pham

COVER

PHOTO Timothy Nguyen

DESIGN Denise Ferioli

MODEL Chelsea Della Caringal

FOLLOW US ON SOCIAL MEDIA

FACEBOOK Sparks at the University of Central Florida

INSTAGRAM @ucf_sparks_mag

TWITTER @ucf_sparks_mag

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UNIVERSITY OF SOUTH FLORIDA

EDITOR-IN-CHIEF Zahra Saba

MANAGING EDITOR Isha Harshe

FINANCIAL DIRECTOR Anagha Hesaraghatta

CONTENT EDITOR Amy Pham

PHOTO EDITOR Mridula Singh

DESIGN EDITOR Prakash Vasanthakumar

PROGRAMMING DIRECTOR Sanikaa Thakurdesai

PROMOTIONS DIRECTOR Fariah Ansari

CONSULTANT Amy Nguyen

WRITERS Aytana Cordona • Olivia Hemilton • Anagha

Hesaraghatta • Khoa Hoang

• Sayona Jose • Krishna

Kanuparthi • Sanikaa Thakurdesai • Chizobam Ugoboaja

• Padma Vasanthakumar • Krish Veera

DESIGNERS Melwin Aju • Dencie Devora • Zeba Khan •

Maher Ismail • Prachi Misra • Trianna Nguyen • Ana Sorto

• Padma Vasanthakumar • Prakash Vasanthakumar •

Krish Veera

PROMOTIONS Aytana Cordona • Krishna Kanuparthi •

Sofia Simancas • Chizobam Ugoboaja

PHOTOGRAPHERS Prachi Misra

NATIONAL BOARD

EXECUTIVE DIRECTOR Jason Liu

CHAPTER DEVELOPMENT DIRECTOR Aleem Waris

MARKETING DIRECTOR Ingrid Wu

DEVELOPMENT DIRECTOR Chelsey Gao

CHAPTER MEMBERSHIP DIRECTOR Catherine Le

CHAPTER MANAGER Bryant Nguyen

SOCIAL MEDIA MANAGER Sally Zhu

LEAD GRAPHIC DESIGNER Esther Zhan

E-BOARD

FINANCIAL DIRECTOR Natalie Nguyenduc

G-BOARD STAFF

LEAD

WRITERS Chelsea Della Caringal • AJ Johnson • Natalie Nguyen • Liana Progar

Suansing • Zoey Young

PHOTOGRAPHERS Paolo Agahan • Abbigail Huynh

Reggie Ocampos

DESIGNERS Arianna Flores

Skyler Shepard

Zohra Qazi

AJ Johnson • Timothy Nguyen

Denise Ferioli • Niat Ghebrieal

PR COMMITTEE Asma Ahmed

Breanna Pham

Angelika

Natalie Nguyenduc

Megan Heim • Reagan Hollister

Narmeen Chanda • Denise Ferioli • Marc Ericson Galindo

Ilise McAteer

Awonti Newaz

EDITOR-IN-CHIEF Zohra Qazi • EDITOR-IN-CHIEF Asma Ahmed • PR DIRECTOR Chelsea Della Caringal •

DESIGNER Denise Ferioli • LEAD PHOTOGRAPHER AJ Johnson • LEAD PHOTOGRAPHER Timothy Nguyen • WEB DESIGNER Liana Progar • COPY EDITOR Zoey Young • COPY EDITOR Kissimmee Crum

A LETTER FROM THE EDITORS

DEAR READERS,

The term “growing pains’’ is often used but seldom understood until one experiences it for themselves. The Fall 2021 semester began with the unwarranted expectation of going “back to normal” in a year that is anything but. After all, what is normal after over a year’s worth of isolation, loss, and unrest? How do we recover from something we haven’t yet processed? This, my dear reader, I have no answer for. But what I can attest to is our ability to adapt despite it all.

Adapting to change requires patience and compassion. At Sparks Magazine, these qualities were what got us through this semester, from a drastically changing board to learning to work in-person again while fighting our own personal battles. But through it all, we’ve learned, we’ve

adapted, we’ve made compromises and we’ve faced uncertainties head on. Whether that be through the arrival of new variants, the tensions of shifting movements and the struggles of a grieving community: we have continued to improvise, adapt and overcome.

In this issue you will find pieces of exploration and growth in our staff’s work. These articles represent progress in a variety of ways, such as exploring a complicated tradition from a range of perspectives, the politicization of the self– historically and currently– and the mapped progression of popular culture. Issue 21, and by extension the staff at Sparks Magazine, embodies the changes in ourselves and our communities. The lessons we have learned, the situations we have adapted into and the obstacles we have yet to overcome shape us and the narratives we share.

And so, we’ve managed to survive this semester. We’ve adapted and persevered, and this issue, with its stories and explorations, is proof of that. I began this semester as Managing Editor and here I am writing to you as the Editor-in-Chief. I, and this chapter of Sparks Magazine, would not have been able to come this far without the enduring support and compassion of the wonderful staff I’ve had the pleasure of working with.

I hope that you enjoy the hard work and dedication of our staff, and that their messages resonate with you. This is not a new normal, but a new beginning. Happy Reading!

ASMA AHMED & ZOHRA QAZI EDITORS-IN-CHIEF

SABAINA AHMED

THIS

ZOEY YOUNG

THE

ANGELIKA SUANSING

IS

CHELSEA

SOCIAL MEDIA

SAYONA JOSE

Death of the Author

The separation of an artist from their work

“People who menstruate.’ I’m sure there used to be a word for those people. Someone help me out. Wumben? Wimpund? Woomud?”

You, as many others throughout Twitter, may sit in shock and disbelief as you read the astounding tweet made by an individual that had shaped an entire generation to stand for morals and values of acceptance, identity and justice for those who may not have the strength or courage to fight for themselves. J. K. Rowling’s tweets and the defense of her tweets, leading to her developing a piece titled “TERF Wars,” had sent the platform into a storm and effectively started clouding the vision of those who had seen her characters as childhood heroes who could do no wrong.

For the author of such a massive and influential series, her insensitivity to the struggles of trans individuals contradict the messages that she had thought to preach within her own stories. As a result, the disillusionment felt by many due to the once perfect and infallible story that once enraptured their adolescent brain is now being tainted by the horrible thoughts and actions of the creator. At the root of this problem blossoms a feeling that continues to be at the forefront of an extensive debate that plagues the minds of consumers everywhere: Is it completely possible to separate an artist from their work?

The first idea of being able to separate the artist and their work was established by the French critic, Roland Barthes. Barthes’ works on literary structure and his study on semiotics (study of symbols, signs and their subsequent interpretations) later influenced Western thinking and many famous intellectuals, such as the philosopher Jacques Derrida and more. Despite his numerous  contributions, his most famous work is known as “La mort de l’auteur” (The Death of the Author). In this essay, Barthes converses about the need for readers to separate the artist and their work, arguing that a reader would not be able to experience the full effect of the work on its own if they know the artist’s own biases. In Barthes’ eyes, the artist’s

job is only to produce the work, while the reader’s job is only to consume it and make their own interpretations and judgements. This allows for the literary art to truly be able to escape the restraints placed by a single “right” interpretation Thus, the interpretation is under the reader’s control and jurisdiction, completely untainted by the influence of others, or even the author themselves.

The radical introduction to such work, that has subsequently shaped Western literary thought, comes with certain critiques. The first critique comes in the form of a question: Can one truly understand the work without the experiences that shaped the author and therefore, inherently, the work they produced as a result of it?

An example of this critique is found within the context of “The Republic,” a book by the famous Greek philosopher, Plato. The work is centered upon Plato’s idea of his perfect utopia, where he touches upon subjects such as the division of labor, the idea of marriage, finding one’s place within a society and much more. Although the creation of this seemingly ideal “Republic” would not have been born if it wasn’t for the experiences that Plato had gone through first in order to understand and learn what is essential, or nonessential, to his version of a society.

During Plato’s time, there was the establishment of direct democracy within Athens, allowing every male citizen to have a vote. Due to the uneducated judgements of some, they proceeded to wage war against Sparta, a city-state known for its battle prowess. Ultimately, this cost the Athenian state a huge loss and brought about years of tyranny and suffering that led to the death of many, including Plato’s close friends and family. This caused Plato to distrust the idea of direct democracy and his belief that some individuals were not intellectually able to participate in the decision-making of the people. Eventually, the age of tyrants was abolished and direct democracy was established once again to Plato’s dismay. Though this would not be Plato’s last time dealing with suffering, as Plato’s mentor, Socrates, became the target of the masses and was sent to be executed due to his attempts to enlighten the people with his intellectual capabilities.

Plato’s utopia became the exact opposite of direct democracy as a result of his experiences. Plato’s history became the basis of “The Republic” and the reason for his belief that everyone has a place within society and, once everyone finds where they belong, society would then be able to function harmoniously, effectively bringing about the happiness of everyone.

Not only can the author’s own experience shape the reader’s perspective on the art, but the knowledge of the author can warp the reader’s experience entirely. Once information about an author is learned, especially during the age of technological advancements

“In order to truly be able to appreciate the work presented by the artist, we need to stop the idolization of historical figures and artists that do not truly deserve it.”

by Natalie Nguyen design/Niat Ghebrieal

where so much information is transmitted worldwide, would people truly be able to be objective about the subject material they are reading? Anexample of this critic has been already spoken about earlier: J. K. Rowling’s “Harry Potter.”

Once J.K. Rowling had publically revealed her perspectives on transgender individuals and her complete rejection of such individuals as their true selves, it makes it difficult for the readers to objectively separate her viewpoints from her books since they’re inherently written within the story, even if its not explicit.

These implicit biases or prejudice are very prominent in her various instances of racism that are displayed throughout the books in subtle, yet very telling acts of stereotyping. At the very forefront of the obvious racism that Rowling displays is Cho Chang. Her name speaks volumes with two separate last names of Korean and Chinese descent, sparking major controversy with Asian communities throughout the world as the only Asian character of prominence throughout the entire series doesn’t even have an accurate first name, but is instead subjected to the racial stereotyping with lazy characterization and development.

Not only is Cho Chang’s name  a direct telling of these racial undertones, but her placement into the Ravenclaw house, a house focused on intelligence and education, continues to feed into the prolonged and antagonizing stereotypes that Asian individuals can only be defined by their intelligence and academics.

However, Asians are not the only individuals that are impacted by J. K. Rowling’s writing. Dean Thomas and Blaise Zabini are both Black individuals who are subjected to an absent father, furthering the stereotype of Black children not having present fathers during their adolescence. These characters of color had all played their own roles within the premise of “Harry Potter,” but, truthfully, they never stick out nor are developed further than what their use for the storyline plot is needed for. Cho Chang and Dean Thomas only serve as character development relationships for both Harry and Ginny and in turn emphasizes Harry and Ginny’s growing attraction towards

each other through the series. Although J. K. Rowling has tried to make a point upon race with the dynamic between the “muggle,” “half-blood,” and “pureblood” peoples, her discussion on race is tainted by the racism that has been clearly present within her books.

At the end of the day, humans are complex creatures that do not have the ability to be truly objective in everything that they encounter. We’re full of contradictions and have flaws that cloud the subject matter of our books, movies, and television shows. The authors would be just as flawed as their works, continually proving that our own biases and faults do not stop us from pushing the boundaries of the literary or artistic sphere and bettering the craft. Though, this does not mean that we can’t hold individuals accountable for the misdeeds they did without appreciating the works that they have contributed for growing generations. In order to truly be able to appreciate the work presented by the artist, we need to stop the idolization of historical figures and artists that truly do

It’s truly enviable that we stubble upon a work that we stubble upon a work that we love only to later find out that the author of which may not be as honorable as we thought them to be. Our thoughts may be clouded and we may feel sad and frustrated over such a beloved piece of work that has had such an impact on our development and happiness. However, just because our judgments may have changed, it does not mean the joy and memories that we have attached onto these works were not valid and genuine. As Daniel Radcliffe states, “if you found anything in these stories that resonated with you and helped you at any time in your life — then that is between you and the book that you read, and it is sacred. And in my opinion nobody can touch that.”

source/Warner Brothers Pictures

The Personal Is Political Art Is Me:

Striking reds, sharp blues and fading yellows — these blurring colors make up most of the art you undoubtedly see when you’re in a museum. In these settings, you can find yourself glancing and passing colorful images of changing city life, portraits detailed with melancholic expressions and history frozen in whimsical poses.

But there’s one piece that stands different from the others, one that directs your attention away from the rest: a mirror. Clear and reflective, the image of you stares back. And the people behind you that walk by, or stand off in the distance studying the artwork, whisper unanswered questions: “Who is this even made for?” “Who thought of making it?” “Is it some sort of political statement?”

But the question, essentially, boils down to this: who is art?

Art, whether that be fiction, poetry or paintings, has always been labeled as political — regardless of that be for the content itself or for the artist behind the work.

Throughout the course of history, art has been an avenue for personal expression and ideas. The canvas or page offers opportunities to create a narrative that fits our imagined lives. But these imagined lives are based on our own lived experiences. The details of colors and phrasings point back to how the artists, us, see the world and feel through life. Even the stories we tell or the scenes we paint reflect upon our experiences, as we can’t create narratives from a void. The art we create has to start somewhere, oftentimes that somewhere being within us. Our experiences and emotions shape how we view the world and that appears in our art: with every brushstroke or line break we make, there is something within that mirrors our lives.

For Asian Americans, art was greatly important in solidifying our space in cultural and political spheres in America. Immigrants at Angel Island’s Immigration Station, which opened in 1910 and closed in the 1940s, used the walls of the detention barracks as a gallery filled with their poems and inscriptions telling of their personal experiences and thoughts. These writings, composed

mostly by Chinese immigrants, detailed feelings of anger, sadness and homesickness. Poetry for these immigrants was a way to express their feelings and thoughts in the face of injustice.

In sharing personal experiences through art, Asian Americans planted their narratives and lives in America. But, in doing so, their creative expressions were labeled as political.

While some Asian American art is created with the intention of being political, such as student activists in the late 1960s using poetry and essays as a way to speak on civil rights, not all art is intended to be. Asian American artists and writers have turned to art to express themselves, search for their identities and immortalize their families and personal traditions. Poet Li-Young Lee often used poetry in a confessional manner where precious, private morning memories with his parents are shared openly in “Early in the Morning,” or his deeply personal experiences with the language are exposed to the world in the poem “Persimmons.” Yet, in speaking to his personal memories in his writing, Lee’s poetry is often read through a political lens. Even the most personal art that highlights the artist’s personal experiences and identities is considered political.

Regardless of the artwork’s intention, the label is never far, especially when the artist is Asian American or an ethnic minority in the West. This is because race is a hot-button, political topic, especially in a country as racialized as America. The experiences that shape our

“With every brushstroke or line break we make, there is something within that mirrors our lives.”

by Zohra Qazi

photography/Reggie Ocampos

design/Arianna Flores

livelihood as Asian Americans — as immigrants, students, activists and artists — are, without a doubt, political. Just as the food we eat, the languages we speak and the features inherent within our blood stand distant from the “normal” of a white American society, what makes us Asian American makes us political. Thus, our art, whether it is personal or political by its nature, is politicized by the very act of being seen.

Asian American art, and by extension our identity, is made of refusals, which makes it political. In refusing to be ignored and calling to be seen, the Western world labels us and our artwork as a political statement, that our personal experiences when shared are political. We are refusing to be the image of America — of white picket fences, of apple pies. Rather, our art reimagines America where we position ourselves at the center, and not in the margins in which we are expected to be. This reconstruction and repositioning of ourselves will always be political in a country that sidelines minorities who exist outside the image of the majority. In refusing to conform, we and the art we create are deemed political.

However, while the Western world sees our stories and our very identities as political, this shouldn’t stop or dictate the art we create. The art we create as Asian Americans, as ethnic minorities in a highly racialized society, breaks away from the conventions of the idealized Western image. No matter what we do, artistically, the work we put forth will never truly “fit” the standards of America or the expectation of conformity and assimilation. The very concept of assimilation is a façade we can’t achieve — instead, we have to create our own narratives to live, using art as a means to imagine a

life we want. We shouldn’t let the majority decide the art we make; rather, our artwork should be reflections of ourselves and our communities, the lives we wish to lead.

To write, paint and create is to position and define your place in society, to speak for yourself and share your voice with existing or created communities. Art, undoubtedly, is a radical tool that can bring communities together and can change the way you view yourself.

Our art is a community, an individual, a memory and a future. And our art is personal, and our personal is political.

But again, we must ask: who is art?

“...our art reimagines America where we position ourselves at the center, and not in the margins in which we are expected to be.”

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K-Pop Bops

Korean Popular music, K-Pop, is a very large umbrella title. So much music is classified under K-Pop that it can be hard to keep up with it all. With comebacks and debuts right on top of each other, you might have missed a few. Many 2021 comebacks seem to be leaning into a rock/band-esque sound, which has received praise from fans globally. While rock songs dominated, for those seeking other sounds, the usual ballads, R&B and everything in between were also released this year, giving listeners an endless ocean of songs fitting for every mood. Selected through emotional-draw and accolades, here’s our list of some of the top K-Pop songs from Jan. to Oct. 2021.

“Bicycle” · Chung Ha

February 15

“Bicycle” features in Chung Ha’s first audio album “Querencia” and is a confident, self assured anthem. Chung Ha split the album into four sections: noble, savage, unknown and pleasures. “Bicycle” is a part of the noble section, represented by the explosive backing track and confident lyrics like “Coz I’m the baddest queen // I’m sicker than all of them.” “Bicycle” can bring out anyone’s inner sassiness and is a great confidence booster.

February 22

After three of the members returned from compulsory military enlistment, veteran group SHINee came back with “Don’t Call Me,” their seventh album. Their title track “Don’t Call Me” is a moody blend of old school hip-hop and angsty synth. The backing track features a mix of synth and piano, creating the perfect ear worm melody. The lyrics express heartache and anger stemming from a clingy ex won’t stop calling, preventing the speaker from moving on, creating further turmoil. The album landed at No. 1 on the Gaon Album Chart and the title track reached No. 3 on the Gaon Digital Chart showing SHINee’s popularity even after a hiatus.

“After School” · Weeekly

March 17

Rookie girl group, Weeekly had their second comeback with “After School’’ which quickly became a TikTok hit and proved to be a strong title track. Used 15,300 times on TikTok, many people made dance covers of “After School.” The bubbly song expresses the joy of friendship and is all around positive. “After School ‘’ is a super cute and youthful song with playful choreography that will have you looping the music video over and over.

Dive with you (feat. eaJ) Seori, Eaj

“Don’t Call Me” · SHINee

by Liana Progar design/Skyler Shepard

“libid0” · OnlyOneOf

April 8

With their third mini album, OnlyOneOf took the internet by storm with their risqué title track “libidO.” The track is sensual with the artists’ whisper singing throughout the song. The group was praised for taking risks with their dance concept. True to the song’s title, the choreography includes provocative moves portraying the human instinct of libido and scalding gazes. At the 2:08 mark, two members are particularly friendly with each other which caused the song to go viral on the internet, eliciting shock, awe and praise from both OnlyOneOf fans and other K-Pop fans alike. Some fans say that OnlyOneOf broke the “taboo of K-Pop” and are “pioneers.”

“Drunk-Dazed” · ENHYPEN

April 26

“Drunk-Dazed” is rookie boy group ENHYPEN’s first comeback since their debut in November 2020. Despite just recently debuting, “Drunk-Dazed” earned the boys their first ever music show win on “The Show” on May 4. This song is a fusion between synth and rock; like the lyrics, the genre of the song lives in a confusing, gray area. The lyrics express the urge to flee, but also the desire to stay. It’s the perfect conundrum. “Drunk-Dazed” is great for a 2 a.m., one-person rager, accompanied with red lighting and plenty of room to jump around, “Drunk-Dazed”

“Butter” · BTS

May 21

In their second entirely English single, BTS brought fans a feel-good, pop, EDM-infused song. The Recording Industry Association of America announced that "Butter" went double platinum on September 23. The song morphed into many remixes, the most notable remix featuring American rapper Megan Thee Stallion. This song can easily make you “side step, right, left” to BTS’s beat!

“0X1=LOVESONG (I Know I Love You)

feat. Seori” · TXT

May 31

Kicking off a new album series, Tomorrow X Together found a new sound with “0X1=LOVESONG (I Know I Love You).” In this song, the group pushes away from their typical sound to explore the rock genre. “I Know I Love You” blends together rough and soft pleading singing, expressing the desperate lyrics very well. “I Know I Love You” is the perfect song to scream-sing in your car, releasing all of the negative emotions.

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Liana After School · Weeekly campus vibes

Skyler Anti-Romantic · TXT crying in the club

Chelsea We Must Love · ONF victorian vibes

Asma Spring Day · BTS Winter

Zohra What is Love · TWICE Hype Playlist

Denise Townie · Mitski girlboss mode

Natalie Savage · aespa Girl Group Hits

Timothy Ghosting · TXT get into it, yuh

Your Playlists

Asian Fiction & Fantasy

Art Is Me

Restaurants & Immigration

Arranged Marriages

Asian Representation in Disney

Go Beyond the (Hallyu) Wave

driving in the rain

soft k-indie

krnb slow jams

k-hip hop for baddies

crying on campus

You’ll Never Be Western Enough

POC Trend

Mitski Playlist

Goodbye in Another Language

K-Drama Recs

The Sex Taboo

Underrated Asian Artists

girlboss mode

You Can’t Sit With Us SUMNI

“Don’t Fight the Feeling” · EXO

June 7

Although EXO was still missing some members, their seventh EP marked the inclusion of Lay, a Chinese EXO member previously working on solo music, for the first time on a Korean title track since their 2016 winter EP. The title track

“Don’t Fight the Feeling” is an upbeat groovy song about being bold, embracing yourself and various forms of love.

“Don’t Fight the Feeling” is a feel-good dance song that makes listeners feel like they were picked first in kickball or got to have a cookie fresh out of the oven.

“I Got U” · LUCY

June 16

The title track “I Got U’’ from their fourth single album is a sweet, playful song about supporting a loved one. The song is perfect for a long sunny car ride through the hills with the windows down. The song is upbeat yet soft. It is a comforting and supportive song you can lose yourself in. LUCY is a Korean band that consists of one guitarist, one bassist, one drummer, and one violinist, which is something very uncommon within the music industry in general.

“VAMOS” · OMEGA X

June 30

In their debut song “VAMOS,” OMEGA X, puts on a powerful performance; the smoothly sharp dance moves, the strong rapping and airy singing creates a good-time party vibe.

OMEGA X consists of 11 members from disbanded or inactive groups. Since the members have prior experience, their performance isn’t lacking in the slightest. “VAMOS” includes Spanish and Korean influences and is a charismatic, in-your-face party song. “VAMOS” is carefree and encourages listeners to let down their hair and have a good time.

“Bottom of the Ocean” · Golden Child

August 2

In a fully English song from their second full length album, Golden Child brought listeners a pop-rock song about love. The song has a funky, little cow bell that adds to the song’s youthful energy. You can’t help but want to dance around and sing when this song comes on. The song has an infectious joyful energy to it, reflecting the lyrics about falling head over heels in love.

“Thrill Ride” · THE BOYZ

August 9

Having gained a substantial following from the Mnet competition shows “Road to Kingdom” and “Kingdom: Legendary War,” “Thrill-ing” THE BOYZ’s sixth mini album sold 523,630 copies in the first week of release-- 2.5 times the amount of their previous mini album, “Chase.” The title track “Thrill Ride” closed out the summer and takes listeners on a thrill ride with sweet vocals and powerful raps. The song is joyful and bouncy, prompting listeners to get up and dance.

“Ride” · Gaho

August 12

Moving away from his usual original soundtracks and ballads, Gaho dipped his toes into the rock genre with his single “Ride.” This song let’s listeners hear more of Gaho’s range as a singer. “Ride” is a fun and energetic song. The rhythm is easy to ride and pleasing to the ear. Like the title suggests, “Ride” is perfect for any road trip.

“STEREOTYPE” · STAYC

September 6

The rookie girl group STAYC had their second comeback with “STEREOTYPE.” Following the success of their song “ASAP,” the girls delivered a bright pop song that’s too catchy for its own good. Although it is a bright pop song, the lyrics convey a powerful message telling listeners to not judge someone too quickly based on outward appearances. A positive message mixed with a positive sound, creates an overall irresistibly uplifting song.

“Deja Vu” · ATEEZ

September 13

“Deja Vu’’ marked ATEEZ’s first comeback with all eight members since July 2020. “Deja Vu’’ calls back to the darker sound ATEEZ started with, which made fans happy. The song is punchy, addictive and just a tad sensual. The raps are smooth and alluring like a siren’s call. The vocals carry tones of desperation and desire. Blended together, “Deja Vu’’ makes a strong impression and ensures listeners won’t forget the song. With just a couple relistens, you’ll have the members singing “Da, da-da-ra, da, da-da-da-da-ra” as permanent background noise in your head.

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AJ Ride · Gaho drive vibes

Caught in the middle

The Asian American First-Generation Crisis

Asian American is defined as an American person who is of Asian descent, but oftentimes there is an internal battle where it can feel as though the term is really Asian or American. Is it possible to be fully Asian and fully American, or half-Asian and halfAmerican? Will there ever be a point where the mind doesn’t subconsciously feel the effects of the biracial tug-of-war?

First-generation Asian American students resonate with a similar experience in the struggles they face when moving away

South Asian American first-generation students can especially feel this duality as South Asian culture heavily intersects with tradition and religion. Many firstgeneration students from immigrant families are expected to grow up adhering to these traditions, and they find themselves branching away once they move for college.

When asked if she adheres to the presumption of this double-identity, Brinda*, a South Asian American student at the University of Florida answered, “A

that pressure when I’m at school.”

She explained that while the intertwined nature of her culture and religion can feel burdensome due to her beliefs, parts of her culture still heavily influence her life in college.

“Because we’re minorities, it can feel like we’re alone. I love many parts of my culture. I make an effort to celebrate holidays like Diwali if I’m away from home when I can because it’s a part of me, but I don’t celebrate the religious

photos by/ Xinyue Li design by/ Aryam Amar model/Zainab Anila

by Sabaina Ahmed photos by/ Xinyue Li design by/ Aryam Amar model/Zainab Anila

foundations of those holidays,” she said.

Freedom is a virtue that many firstgeneration students rely on when they’re away from home. The freedoms they enjoy aren’t necessarily rebellious in nature, but they allow students to assimilate and find their independence in a world away from their parents.

However, accepting the opportunity for freedom can transcribe itself into a feeling of guilt — for being away from home and leaving family, for feeling like a financial burden, for pursuing their own goals, and sometimes for swaying from the traditions that were instilled in them growing up.

Brinda mentioned the freedom that she has to make her own decisions and to allot time to the hobbies she wants to pursue now that she’s away from home. “I can hang out with my friends more and branch away from the ‘safe’ hobbies,” she said. The digression from tradition is innocent, but it can feel so grand when compared to the strict and sometimes unspoken rules of a South Asian household.

“I have to remind myself that the two identities I have are actually just two versions of me, but they’re still both me and the parts I choose to show to certain people,” she said. “Part of me accepts this is how life is supposed to be for a minority like me but, eventually, I want to take steps to wear whatever I want and not be so affected by my parents’ criticism — to wear my hair down because I choose to. It’s a huge fear of mine, but I want to get there so bad.”

undoubtedly set her back in her mental health journey.

“Going back home can be frustrating because it’s so much easier to present myself the way I used to be when I lived at home rather than introduce them to the woman I am becoming, especially when that woman is someone they would disapprove of,” she said.

they celebrated a respective traditional or religious holiday.

The Western identity that’s part of these students is significant to them and allows them to be expressive, but it does not mean that there is no affliction faced in these Western circumstances.

“Goingbackhome canbefrustrating...”

Shayla, a student who participated in the poll, described how going to predominantly white schools led to her being bullied. However, she never felt fully immersed in her own culture and didn’t identify with the small group of Asian students at her school enough to feel like she could join them. She describes herself as “stuck in this middle ground limbo of Asian and American.”

Asian Americans face several occurrences like this, which is why issues with assimilation can be remarkably rooted in close-mindedness.

Soheyla has a compellingly dual identity that she uses in opposite circumstances. She mentions how her Western identity presents liberal, wears whatever she wants, and is outwardly atheist. Her Asian identity is more conservative both in beliefs and clothing and still presents as Muslim.

Rahul*, a professional educator, provided an account of a notable day in his childhood at school. His teacher divided his class into two religious groups and instructed them to participate in singing either Christmas carols or Hanukkah songs, but Rahul didn’t know where to go as he was the only Muslim student. He laughed at the memory, stating that he didn’t realize it would be significant for him but finds himself thinking about it every so often.

The mental health struggles of Asian American first-generation students can be comorbid with them being both Asian and American. The toll of brazenly assimilating into Western culture versus the echo of the traditions that shaped their childhood can negatively contribute to the psychological stability of first-generation college students.

Keeping with the perspectives of firstgeneration South Asian American students, Soheyla* recounted her personality growing up and discussed how she finds herself falling back to it when she’s visiting her home, which has

This is the internal tug-of-war that has encapsulated Soheyla’s life. Around her family, she must present as the latter personality for fear of disappointing her parents for assimilating into Western culture.

The pressure of “bringing honor” to one’s family by attending college can negatively impact mental health, which can affect the grades and performance of students who are already struggling with assimilating to life away from home.

In a recent poll surveying Asian American students at the University of Florida on whether they felt more Asian or more American, over 80% of students responded “American.” Yet, all of the students also said

Existing as a minority in America may fundamentally foster a double identity, which is a collective experience for many students who are the first to attend college in their families. To battle the internalized desire for a definitive place on the Asian American spectrum, there is a need for safe spaces and constructive environments that embrace all parts of the Asian American identity. There is no winning side in this tug-of-war, just the acceptance that Asian American means both fully Asian and fully American.

*Names have been changed to preserve anonymity.

“...two versions of me...both still me...”

This Is Not A (Traditional) Love Story

Asian Americans reflect on modern interpretations of arranged marriage

The Western fairytale depicts the typical Cinderella story: the perfect prince, a bride in white and love at first sight. These are all traditional signs of an event held in sacred regard: marriage, the legal joining and binding of romantic persons.

Or so says the definition. Yet, the many drunken Elvis-ordained weddings and scandalous affairs between the groom and maid of honor show that marriage does not mean the same to everyone, nor does it serve the same purpose.

For many Asian Americans, it is about ensuring a successful future while also maintaining tradition and culture. This belief results in arranged marriages, or marriages orchestrated by third parties rather than the two partners. These third parties are commonly parents, relatives or trusted friends of the prospective spouses. While vastly different from the rash decisions made in Vegas, arranged marriages still prove that the reasoning behind the sanctity of matrimony is varied.

For Palestinian senior Mona Soboh, studying political science at the University of Central Florida, the possibility of a match-made partner is very real. While not fully committed, Soboh understands the reasoning behind arranged marriages and is willing to consider her parents’ wishes for her future.

“I decided to submit and marry whoever they want me to marry, within the boundaries of what I want. I have standards,” Soboh said.

The decision to allow her parents’ involvement in her dating life was not easy for Soboh, who had been in love previously with someone her family disapproved of, even going as far as “hate” on her father’s part. Generational differences and values cause conflict; for example, while Soboh is comfortable with being romantically involved with non-Muslim boys, her relatives are not.

While said differences are often a result of upbringing, it is unfortunate that society continues to function in such a divisive way. Experiences such as Soboh’s make it evident that the Asian community still has work to do towards acceptance of others.

Change starts with examining said differences that are often hard to work past. Navigating the situation is tricky, but the Sobohs handle it through continuous conversation and honesty.

“My mom understands that when you fall in love with someone, it is very hard to break that love,” Soboh said. “[But] she also understands that not all love is worth proceeding [with] and that you have to break away. She sees that there are priorities; making the majority happy is more important…”

The common root of marriage is love, but for every individual, family and culture, love varies. Soboh’s mother Reem is glad to pass on advice to her daughter and be involved in finding someone for Soboh.

While traditional weddings are based on the idea of “finding the one,” and “true love,” Reem has learned throughout her marriage that love is not the grandeur that is presented in the media, despite being a self-proclaimed romantic. Instead, both partners must have a mutual

appreciation with each other and grow throughout the relationship. This continuous growth is what she believes makes arranged marriages succeed.

“Some people believe that you have to fall in love first, but I do not think it is falling in love first that makes the marriage work. Love is not all flowers,” Reem said. “My husband is not a romantic, but I love him. I know that he loves me. He respects me and I respect him, so it works for me.”

The question of love reaps diverse responses, which is why the topic is so interesting and studied. Reem’s definition of love is akin to respect, yet others’ may mean sacrifice.

Jane Patel*, a freshman biomedical sciences major at UCF, was raised by parents in an arranged marriage while being a part of a community believing in the tradition. She notes that the sentiment of sacrificial love is clear in Indian culture. Though Patel acknowledges that it is possible to find attraction after marriage, she finds it more difficult in practice than in theory.

“It is definitely a common belief... I won’t say it is not possible. I do know of people that are genuinely happy, but they have also had to sacrifice a lot of things they wanted to do career-wise or their own

but I do not think it is falling in love first that makes the marriage work. Love is not all flowers.”

“Some people believe that you have to fall in love first,

—Reem Soboh

goals they set out for themselves,” Patel said. “Especially with my mom, she has to give up some of her personal beliefs and interests. It is a very male-dominated household.”

This resignation is saddening to hear. Misogyny is rampant in many marriages, not just those that are arranged, and the impact of matrimony on potential friends, careers and development of oneself is frightening.

For this reason, Patel ultimately insists on finding relationships on her own. Whereas Soboh feels like she has her mother and father’s support and respect, Patel’s parents are stricter about imposing their own wishes and Patel feels like her voice would be drowned out.

Differing parenting styles especially highlight the diverse ideas and philosophy surrounding arranged marriage. Reem and her husband allow Soboh to freely converse and share concerns about her love life, while Patel’s family treat romance like a taboo, much less the idea of an actual relationship at Patel’s age.

Unlike Soboh and Patel’s family, arranged marriage is not an option in the household of Saagar Shah, a biomedical sciences student at UCF. His parents are against the idea for both him and his siblings. Growing up in an American environment, Shah feels that their view on romance and relationships have become more Westernized; the Western take on romance often stipulates that love can be casual, without the need for labels or tradition.

“It has been filtered out of my family. I think it is an outdated cultural practice that does not really have a place in our progressive society,” Shah said.

Heritage and religion heavily influence the perception of arranged marriages. Some find it to be a culturally significant tradition, and others view the practice as misogynistic and abusive.

Both sides are correct in different situations, and without taking time to understand distinct characteristics of each, it is impossible to ever have a valid opinion on the subject.

On one hand, it is true that arranged marriages can be dangerous for its participants. Dr. Irene Pons, an associate lecturer at the UCF Department of Legal studies and family law attorney, reflects on a case she handled involving a sexual assault victim who was carrying her husband’s child, noting that it was incredibly traumatic for her client. Pons could not legally do anything involving the marriage due to the difference between U.S. laws and Mexican laws; however, she was able to charge the man with several accounts of rape.

In a 2017 International Labor Organization report, around 37% of forced marriage victims were under 18, while in Asia, “...an estimated 2 persons per 1000 were victims of forced marriage.” Arranged marriages that are forced upon young girls without the consent of both individuals can be especially dangerous.

During Pons’ lectures, the debate behind the ethics of arranged marriage often consists of arguments made on behalf of women’s rights versus those of cultural respect and boundaries.

Western views on feminism and women’s rights can sometimes lead to indirect racism or xenophobia, something Reem believes stems from ignorance. Some are strong believers in the independence of women, whether women want it or not. While some believe arranged marriage is completely healthy and normal, others find it to be barbaric and oppressive, even if it is not.

Consent, however, is the top priority and it should be continually given, even during a marriage. Violating one’s autonomy is a serious crime and should be considered as such, no matter the culture or religion.

Not all arranged marriages are forced; many are completely consensual. One’s excitement for raunchy bachelorette parties and white gowns could translate to another’s joy for henna appointments and red saris.

For Reem, her marriage has allowed her to travel the world, raise a family, and continue practicing her faith. Soboh adds that her father treats Reem “like a princess.” Soboh hopes her eventual marriage will be just as healthy as that of her parents, despite having lost past love.

“I believe that if an arranged marriage is done properly with all parties happy, satisfied, and given enough time to decide if the person is the right person, then an arranged marriage is much like your parents helping you find a person they think you would be compatible with,” Soboh said.

*Names changed upon request to preserve anonymity

Let’s Get Down to Business: Asian Representation

in Disney

Seven figures dressed in colorful cloaks march in a line, pickaxes slung over their shoulders. With chubby cheeks, bright eyes and their plodding steps, they make their way about a mine. The scene shifts to show each character chipping away at rock in unison. Most importantly, these merry protagonists are whistling a familiar chorus: “Heigh-ho, heigh-ho, it’s home from work we go.”

One can thank the success of the 1937 release of “Snow White and the Seven Dwarves” for this earworm. It was the first full-length production by Walt Disney Pictures and helped to set the precedent for the studio’s movie-making formula: multimillion-dollar budgets to fund the reproduction of Eurocentric tales. After all, though Disney may be a familiar name in white and Asian households alike, it is ultimately a company – a massive entertainment conglomerate, to be more exact. As a result, the depiction of diverse characters has historically come second to profit.

Even though Disney has been putting Asians on the screen since the 1960s, these productions are few and far between. Not only is the scope of Disney-sanctioned media featuring Asians painfully limited, but the films are rife with stereotypes and genericism.

Disney’s first endeavor into Asian storytelling came in the form of 1967’s “The Jungle Book,” which was adapted from British-Indian author Rudyard Kipling’s book of the same name. Criticisms of Kipling and this particular work have proliferated in recent years because of its racist themes. The film not only preserves these motifs but doubly fails to represent the Indian setting that Kipling intended for the book to take place in.

The story is set in India, yet any attempts to reference this in the film are either generalized or inaccurate. For example, the orangutan antagonist, KingW Louie, was not even a part of the original book’s material, which may have been permissible if orangutans were even native to the region. Disney’s lack of other cultural references undermines the

importance of India to Kipling’s work, leaving only the Anglicized pronunciation of the characters’ names to be an indicator of the film’s Asian influence.

Disney continues to mishandle the depiction of diverse cultures as recently as this year. Massive budgets and exquisite storytelling make for a larger-than-life viewing experience, and “Raya and the Last Dragon” is no exception. The studio’s latest animated picture features cutting-edge computer-generated graphics, breathtaking environments and realistic simulated physics.

Though “Raya and the Last Dragon” is a step forward for Disney, featuring an original story and Southeast Asian setting, the pioneering stops there. The studio missed a

by AJ Johnson design/ Reagan Hollister

major opportunity to showcase specific cultural details, instead choosing to amalgamate all of Southeast Asia together.

As Beatrice Loayza wrote in a 2021 film review for The New York Times, “Raya” received the “Disney treatment” by once again “[neutralizing] the distinctive elements of non-Western culture.” The result is a Pinterest board of Southeast Asia: all images, no substance. The magical viewing experience cannot distract from the fact that Disney put an Asian girl on the screen, pat themselves on the back, and called it a day.

Disney’s habitual butchering of meaningful Asian customs and traditions means that even in stories where Asian characters are the central focus, Disney’s so-called representation fails to do its job. Perhaps the most obvious explanation for this is the employment of white voices to present an authentic Asian story. This issue remains present even in Disney’s attempt to rectify the heavy-handedness of the original 1992 “Aladdin.”

“Aladdin” was Disney’s first adaptation of a non-European folktale, and faced controversy for its mismanagement of Middle Eastern culture. This includes numerous lyrical gaffes, the most controversial found in “Arabian Nights.” The changes made were addressed by the movie’s white composer Alan Menken in a 2019 interview with Digital Spy, where he stated that he thought the original lyric portraying Arabs as violent and barbaric was “funny,” and that it had to be adjusted for the remake because “values go upside-down in a blink” – a rather insensitive wash over Disney’s own shortcomings.

If Disney had employed actual Middle Eastern creators for the 1992 production, an offensive lyric wouldn’t have made the cut in the first place, nor would the villains have been pigeonholed into racial stereotypes. Aladdin and Jasmine’s Anglicized designs purposefully contrast with the darker skin and exaggerated features of Jafar and the royal guards, which perpetuates harmful racial caricatures.

Despite the producer of the 2019 “Aladdin” remake, Dan Lin, claiming it addresses the original film’s “ethnicity issues,” the improvements are marginal. While on the surface, the remake may have appeared more authentic, the shallow, aesthetic insertions of Arabian culture fail to capture anything truly specific about Middle Eastern culture. Samir Abrady, a columnist for the business magazine Fast Company, dubbed the Aladdin remake as depicting “pseudo-Arabia,” accusing Disney of opting for “bland safety over vivid characterization.” Abrady suggests that Disney’s fear of facing

criticism for including cultural and racial tropes has hindered their ability to properly represent Asian cultures on the screen.

Furthermore, Disney reportedly struggled for months to find a Middle Eastern actor capable of filling the part of Aladdin. This speaks to the limited presence of POC creatives in Hollywood; however, the company undeniably has the resources to bring new talent in yet actively chooses not to. During the production of the “Aladdin” remake in 2018, Disney even resorted to putting white extras in brownface. Appallingly, Disney attempted to qualify their actions by claiming it was necessary for the actors to “blend in.”

In a 2017 article for BBC News. Lexi Galer quotes half-Palestinian Oscar-nominated director, Lexi Alexander, who argues that in Hollywood exists a system that “insists actors-of-color need to be household names to be cast.” That means when any major Hollywood studio does manage to put an Asian on the screen, they recycle the same faces as part of an exchange of representation for name recognition.

Why does this occur? To attract audiences, of course.

As one of the five biggest film studios of the modern era, Walt Disney Pictures commands a majority share over the box office. In fact, according to Nash Information Services, the studio has already amassed over 25 percent of this year’s ticket sales, through just seven films alone. Its status as an industry major means that the studio has near unparalleled access to the international market.

1998’s “Mulan” flopped with Chinese audiences, so it was especially important for the remake to succeed given China’s status as the number-two movie market in the world. In fact, Disney publicly acknowledged that it was made for the Chinese

source/Disney

box office, with its director calling it a “love letter to China.” Even with all of Disney’s efforts to cater to a Chinese audience, including casting Chinese starlet Liu Yifei in the titular role and numerous months of research abroad, it was poorly received.

The remake averages about five out of ten stars on Douban, China’s leading website for film ratings. After its release, Chinese audiences were quick to assert that it was too American, citing numerous white crew members, including the director, writers, and costume designers responsible for reinterpreting the tale. Other reviews criticized its inauthentic portrayal of the traditional values key to understanding the original ballad.

Sales in the West were also disappointing, with the hashtag “#BoycottMulan” arising due to the film being steeped in political controversy. A 2020 New York Times feature by Brooke Barnes and Amy Qin points out that not only did filming take place in Chinese cities sanctioning the internment of millions of Uighur Muslims, but the film’s lead actress publicly opposed the 2019 Hong Kong pro-democracy protests. This put Disney under heavy fire as numerous public figures in the West demanded Disney to the notion that they were profiting off of human rights violations.

Disney’s lack of an apology is indicative of their attitude towards representation: check boxes, make money and move on. Beyond misrepresentation, it is important to recognize the studio’s willingness to compromise ethical standards for the sake of profit.

Disney’s repertoire of Asian-centric films expands next year in collaboration with Pixar Animation Studios. “Turning Red” will feature 13-year-old protagonist, Mei Lee, and her navigation of adolescence and filial responsibility. Much like Disney’s other endeavors into Asian representation, “Turning Red” has drummed up much positive press as Disney is lauded for furthering diversity in the industry.

source/Disney/Pixar

The fact that the director and lead actors are all Asian reflects favorably on Turning Red’s authenticity, but Disney’s extensive track record of offensive and superficial representation makes it difficult to have confidence in the film. In 2020, however, Disney launched their Stories Matter initiative, which placed unskippable content warnings before certain Disney+ streams, including the original “Aladdin.” The warning assumes responsibility for the offensive depictions to follow and asserts a commitment to change.

While much of its meaningfulness is compromised because of Disney’s numerous blunders in proximity to the warning, the amount of progress that has been made, particularly in the last decade, cannot be discounted. Disney continues to create opportunities for Asians to be heard and it is necessary to keep the company accountable for the accuracy and meaningfulness of these stories.

Movies can be magical for the visual experience, but there is something even more indescribable in the genuine connection audiences make with characters that they relate to. That is why Disney and the filmmaking industry as a whole must truly commit to representing diverse stories on the screen.

Because at the end of the day, humming along to seven whistling dwarfs will never mean quite as much as seeing someone like you on the screen.

The Chinese Exclusion Act: the Hidden Ingredient in your Chinese Food

It’s late at night, you’ve just finished doing a bunch of homework after coming home from a tiring work shift. You don’t want to cook dinner, so you pick up the phone and call the Chinese restaurant at the corner of your neighborhood. You order your food, pick it up, take it home and savor the sweet and decadent taste of your chicken balanced with the scrumptious garlic of the fried rice, along with subtle bitterness of 138 years of Anti-Chinese immigration history. Did that put a bad taste in your mouth? Well here’s an order you probably didn’t think about: The Chinese Exclusion Act of 1882, the first ethnically restrictive immigration law in the United States which affected those who came from China, Taiwan, and Hong Kong.

In Winter of 2019, the New York Museum of Food and Drink (MOFAD) hosted an exhibit called Chow: Making the Chinese American Restaurant, wherein the museum’s historians and curators pointed out the correlation between the first ethnically led immigration law in American history and the rise of Chinese restaurants across the country, because of an exception in an immigration law.

The first major wave of Chinese immigration came during the mid 1800’s at the start of the Gold Rush. During this time, California was known as “Gam Saan,” the “Gold Mountain” in Cantonese. Here was the site of the first Chinese community in America, which according to MOFAD, grew from 25,000 in 1851 to 100,000 in 1880. But as the gold grew more and more scarce, Chinese immigrants needed to find a new way to make money and survive, so they turned to building the transcontinental railroad. Once the railroad was finished in 1869, they went to work on jobs no white American wanted to do, at much lower rates than was offered to white men. Some of the jobs archived by “The American Experience” on PBS included: laundry services, domestic help and factory work in the garment industry. During this period, animosity towards Chinese immigrants grew. According to the State Department’s Office of the Historian,

white Americans started seeing Chinese immigrants as job stealers, taking opportunities from the white man, spreading diseases and tearing down the moral fabric of America. As noted by the Office of the Historian, they were seen as the reason for the downfall of the American economy, despite it being due to the lack of gold in a state known for providing gold mining jobs. Soon hate crimes rose and propaganda was rolled out to convince all Americans that the Chinese needed to go. Does that taste familiar?

The heat continued to rise with the passing of the Page Act of 1875, which was meant to limit East Asian immigration, particularly of women, under the guise of prohibiting slave labor and prostitution, as well as the apparent diseases Chinese people spread. In 1882, the simmering antagonism towards the Chinese American community came to a boil when the Chinese Exclusion Act was signed, prohibiting all people who ethnically defined themselves as Chinese from entering the country. It was the first law in American history to forbid immigration based on ethnicity, setting the precedent for all ethnically led immigration laws in America.

Christina Khan, Director of UCF Global, made note of the connections between the current acts of xenophobia to the legal acts created in the past. “I think what’s really fascinating to me is that when we think about these different acts, we see that it was really in response to this fear that still, I think, exists towards the AsianAmerican community. Asian-Americans are considered perpetual outsiders or perpetual foreigners, because of the U.S. being based in white supremacy. Some of the same xenophobic and racists ideas that were rampant in the 1800s are still prevalent today and are on display especially in regards to COVID-19. The reference to COVID-19 as the “Wuhan Virus” and the “Chinese Virus” play into the same xenophobic sentiments that led to the Page Act and Chinese Exclusion Act passing. We also see this reflected in the quick move

by

Angelika Suansing photography/Paolo Agahan design/Denise Ferioli

by the US government to ban all entry of individuals from China following the outbreak of COVID-19.”

The first documented Chinese restaurant in America, Canton Restaurant, opened in San Francisco in 1849. Four more Chinese restaurants opened a year later. For many immigrants, working in the food industry was a way to make money and survive. It was a skill that they already possessed which was seen as valuable in the economic market, unlike many degrees achieved outside of the country that aren’t seen as valid in America.

“A lot of the time it is very difficult for you to do the same kind of job as you did in your home country,” said Anne Tsoi, former restaurateur and current President of AsiaTrend, a site dedicated to Asian American culture and events. “If you are a nurse in Hong Kong, you have to spend a lot of time and money to study and recertify as a nurse again, so a lot of people start working in the restaurant business because it’s an easier way for them to adapt.”

UCF Student Jessie He, whose family runs He’s Kitchen in the West Oaks Mall in Ocoee, shared how the American Dream came true for her parents through the restaurant industry. “My parents immigrated to America in hopes of a better lifestyle,” said He. “They never had any aspirations to pursue the restaurant industry. Their foray into the restaurant business was, rather, out of necessity. I would say that the restaurant industry did give my family the opportunity to gain a lot of experiences and form a career out of it. I would also say that my parents did fulfill their original wishes for coming to America. Oftentimes, my parents would talk to me and reflect on how proud they are of how far we came as a family.”

The numbers of Chinese restaurants flourished after 1915 when a Federal Court case created exceptions to the immigration ban. These exceptions allowed for the entrance of students, teachers, diplomats and merchants, the latter of which included restaurateurs. This exception gave Chinese immigrants a way in. According to MOFAD, Chinese restaurants doubled across America from 1920-1930; in New York City, the number of Chinese restaurants quadrupled. Although there was finally a way many Chinese people could immigrate to America, the process was still complicated enough to limit the ability of those who qualified to apply. For one, white Americans had to affirm a Chinese person applying for immigration in order to prove that they were in fact an intellectual or a professional. Because of this, many Chinese restaurateurs had white business partners. Their restaurants also had to be considered high grade in order to qualify as a professional, so that the immigrant is an addition to society instead of being considered a “public charge.”

“A lot of the laws were designed back then so that you get people who can really support themselves, and don’t become what’s called a “public charge,” meaning you have to demonstrate that you have the money and resources to support yourself, that you’re not going to require government assistance. This still exists today. This is probably the reason why certain professions, like restaurateurs, were given the exception, because they were less likely to become public charges,” said Khan.

Today, these policies are still seen in Employee Based visas, wherein American employers can sponsor an immigrant for permanent residency if they have extraordinary abilities, skills or degrees that current employers can’t find within the naturalized American society.

Food can serve multiple purposes outside of being a way to get your nutrition. As we saw earlier, food was one way many Chinese

immigrants could succeed within American society. However, food could also serve as a way to learn about a culture, whether it’s your own or someone else’s. “Food has strongly connected me with my Chinese side of the culture, because with every dish that my parents cook, they have a story behind it. Being a child of immigrants and growing up absorbing mainly American culture, the Chinese food built up the Chinese part of me being ChineseAmerican,” said University of Central Florida student Benny Zhang, whose family owns Super Orient Buffet in Orlando.

Similarly, by the turn of the century, white Americans started connecting to Chinese culture by going to Chinatowns and getting a taste of the delicacies offered within the many restaurants. According to MOFAD, chop suey was a food brought to America by Chinese immigrants, possibly coming from Taishan in Guangdong Province. Offal was replaced with beef, Chinese vegetables replaced with American vegetables, and a gravy-like sauce was added, thus creating the first documented Chinese-American dish, combining traditional cooking methods and American tastes. Chinese restaurateurs needed to make money in order to survive and keep their doors open, so it was natural for them to adapt their cooking styles to please a wider, and in this case, whiter, audience. In 1900, the New York Times proclaimed that New York was “chop suey mad,” as the dish became a go-to dinner and a part of popular culture. American realist painter Edward Hopper depicts this craze in his painting “Chop Suey” where white Americans were getting dinner in Chop Suey palaces in the ‘20s. However, adapting to taste also comes with a price.

“The food served in Chinese take out spots are often Americanized, in my opinion. I would say that working in the industry has helped me define authentic vs Americanized Chinese food. In a way, I guess, I can say that it has helped me develop a greater appreciation of the types of foods I eat at home or at a restaurant that sells traditional Chinese foods,” said He.

Although compromises are made when it comes to the food, the Chinese restaurant industry could still act as a gateway, a paifang, to learning about other cultures and accepting diversity. Vincent Chan, a student at the University of Central Florida whose family owns Hong Kong Dim Sum in Coral Springs said, “I think food is a great way of bridging the gap, because food always helps bring people together. Specific foods correlate with different parts of our culture, like the Zong Zi and the moon cakes. With food, we can eat and discuss why the food was made or the history behind it.”

After 68 years of prohibiting Chinese people from immigrating to American, Congress passed the Magnuson Act in 1943, which repealed the Chinese Exclusion Act and gave citizenship to all Chinese Americans as a way of getting China as an ally during World War 2. But while those of Chinese descent can finally immigrate to

the U.S., only 105 visas were granted each year. It wasn’t until the Hart Cellar Act of 1965 when the U.S. finally gave an equal quota to every country. Unfortunately, these limits have still created a backlog of thousands of immigrants looking to move to the U.S. for a better life.

Khan noted that, “the path to permanent residence is often very lengthy, especially for citizens of China, India, Mexico and the Philippines. For example, if you are a U.S. citizen and want to sponsor your unmarried child who is over the age of 21 for a green card, United States Citizenship and Immigration Services is currently reviewing applications dated from August 2014 for individuals from China, September 2011 for individuals from the Philippines, and December 1997 for individuals from Mexico! That is a long time to wait to be reunified with loved ones and it’s even longer if you don’t have that connection!”

The proliferation of Chinese restaurants in America was due to the rise of xenophobia, but now the parameters have flipped. Chinese restaurants around the country are suffering because of COVID-19 and not only because of the health and safety regulations that limited restaurant capacities, but because of the racist imagery coming from American citizens labeling the disease as “The Chinese Virus” or “The Wuhan Virus.”

“With the economy on pause for those couple months and a virus that originated from China, life was a bit stressful for our family,” recounted Zhang. “The economy part, I am sure everyone can understand that, but when it comes to the racial aspect, we were strongly targeted. We were like sitting ducks. Many people would come in to make Coronavirus jokes, then leave. People were scared to even come in, because we were a Chinese Buffet.”

Some immigrants have tried to lay low and distance themselves from their Chinese identity in order to deflect attention and racist comments. UCF Student Landon Lai recounted his experience immigrating to America in March, at the cusp of America’s acknowledgement of the virus: “We landed in Seattle from Hong Kong and I told my mom, ‘You can’t speak English,’ because my mom doesn’t speak English as fluently as I do. She has a very distinctive accent. So I was like, ‘don’t speak English, don’t speak Cantonese, let me do the talking.’ To be safe, I was very eloquent and mindful of my accent and presentation of myself, to not be too Chinese. My mom was very upset after I told her not to say anything, but she knew that it was something necessary just so that we don’t draw attention to ourselves.”

Now more than ever, the community needs to band together to support the Chinese American community from racist attitudes and beliefs, lest the current immigration ban against those from China due to COVID-19, becomes a permanent fixture in American law, in the way that the Chinese Exclusion Act was for so long.

“This is where our loyal customers and just nice people who heard our stories came to help us during this crisis. They were there as witnesses and intervened in situations,” recounted Zhang. “Some would come up after and give us praise such as ‘You did well dealing with people like that.’ These are the kinds of support that helped pull us through this hardship, because we still have the majority community that supports us!”

Chinese exclusion and xenophobia may have put a bitter taste to your American melting pot, but it doesn’t have to stay this unappetizing forever. Here’s a recipe on how to be a good ally to immigrants: first take one cup of empathy and understanding and gently fold it into your daily interactions. Next, do some self reflection on your biases and counteract those flavors by doing research on the plight of immigrants and learning from their stories. Add balance in your friend and work groups by mixing in different points of view and making sure every voice has a chance to be the star ingredient. Finally, don’t just simmer and marinate, take action by volunteering at local organizations, such as UCF Global, that aim to help immigrants navigate American society, and by protesting or speaking with representatives to help reduce political barriers targeted towards immigrants. Then kick back and enjoy the taste of your hard work, with a side of Chinese takeout from the shop down the street.

“To be safe, I was very eloquent and mindful of my accent and presentation of myself, to not be too Chinese. My mom was very upset after I told her not to say anything, but she knew that it was something necessary just so that we don’t draw attention to ourselves.”

Is That Really Your Oppa?

Content Warning: Mentions of violence, rape and fetishization.

You wake up to the alarm from your phone that you snoozed for the fifth time this morning. Looking at the time and realizing that you’re late for class, you grab whatever looks decent in your closet, put your hair in a messy bun and run out of your dorm. It is a windy Wednesday morning, but your mind is too focused on speeding to class. You fail to realize that someone on their bike is about to crash onto you. Luckily, they manage to swerve, but since you did not

have a good grip on your balance, you fall on your knees and your glasses clatter to the ground. The person immediately abandons their bike and rushes to aid you. You couldn’t make out the features of the person, but you recognized that they were tall and had milky white skin. Picking up and slipping your glasses back on, you can finally see their face clearly. It is a man with long eyelashes, a kind mouth, and groomed eyebrows: all the features of a flower-boy just like in the Korean drama from last night. “Are you okay?” the stranger asks gently, holding your hand as he helps you up. Your heart suddenly skips a beat and you could only stare at each other’s eyes. Right there and then, you knew it was fate. This would’ve been a perfect meeting, if only real life worked this way.

This scenario is a staple of Korean dramas with most of their main characters meeting in this way. Typically, there’s no harm in a romance scene like this. However, as more and more people watch Korean dramas each year, more and more Korean men are getting fetishized in addition to the infinite amount of Asian women who have been having this experience for generations. Fetishization, in definition, is to “have an excessive and irrational commitment to or obsession with (something).” Most people have heard about fetishizing Asian women as it stems from the Western perception that Asian women are exotic and viewed as both submissive yet promiscuous. In a typical Asian household, children are commonly taught to obey, never talk back, and to always show respect towards elders. When these children grow up, they take these lessons with them, even when they live in the West. These types of behaviors, which are the norm in Asia, are unfortunately seen as submission in the West. Most people, especially Western men, take this as a chance to abuse the respect and kindness they are shown. Since the rise of Korean dramas, Asian men have also experienced this fetishization such as being called “oppa,” a Korean term, regardless of nationality.

The word “oppa” means older brother, or is used as a term of endearment by younger females to refer to an older male. In every Korean drama, male leads are usually depicted as tall, handsome and rich, topped off with parental issues. They are made to be the savior of the fragile heroine that struggles to pay rent or is having a hard time finding a job but has the latest smartphone. The female lead is always being dragged by her wrist and into the interior of her supposed love interest’s expensive car, just so he can spend time with her—showing

by Chelsea Della Caringal

photography/Natalie

Nguyenduc design/ Megan Heim

viewers a man who has complete boundary issues but it’s okay because he’s cute. And we’re supposed to root for them. The problem with these types of scenes is that the same male leads rely on the same tropes. The problem is we begin to romanticize misogyny. Girls are weak and we need a Korean man to save us.

Anime, on the other hand, tends to fetishize Asian women, specifically East Asian women. They are often shown as submissive, dressing in maid outfits and being called “waifu” or wife. Anime even goes as far as to appeal to men who are attracted to younger women or to put it simply, pedophiles. They have anime shows and video games with little anime girls that are called “lolitas” or “lolis” that call the player “oniichan” which has the same prospects of “oppa” in Japanese.

“Viewing people as objects is not new,” says Julian Hong*, a third year student at the University of Central Florida. “There is always this sense of entitlement, [that] ever since the beginning of time that people think they are entitled to others. That’s why there’s fetishization.”

The popularity of the fad affects how Asian people in general are being viewed and treated. Women, and sometimes even men, who watch these dramas expect themselves to be treated like a main character from a Korean drama when they see a Korean man walking down the street. While men and adolescent boys who are “anime fans” are glued to the screen of a fictional female character with exaggerated features and then seek to find an Asian woman with the exact build, which causes damage to self-esteem and assault with Asian women.

“There’s a very fine line between preference and fetishization and I’ve had a few instances in my life where I’ve had to question if someone’s liked me for who I am, or what they want me to be,” John Le said, another University of Central Florida student and is of Filipino and Chinese descent. “Not only is it racially insensitive, but it marginalizes other asian ethnicities as well. It’s belittling really.”

According to ncaatogether.org, throughout the 18th-19th century, Euro-Americans wanted to adapt Chinese and other East Asian motifs and styles in Western art. Because of this, Asian female bodies were objectified as ornaments, as Britney Hong from North Carolina Asian Americans Together states. Geishas in Japan have also contributed to the stereotypes of Asian women as submissive and silent. Asian fetishization also stemmed from the history of colonization in Asia from Western countries. During this time, women in Asian countries were sexually assaulted, raped, and beaten. Today, the historical “colonization of the female bodies” is a big contributor to fetishization of Asian women, which has spread to Asian men, especially Koreans.

So, why is it so dangerous to fetishize a race? Asian women as a whole are put into a single category that purposely objectifies them. Outside of Korean dramas or anime, Asian women in western movies are either hypersexualized or the side-kick nerd best friend while Asian men are depicted as unattractive computer geeks. Many, regardless of gender, end up applying fictional drama to their real lives. When reality sets in, so does disappointment, which can result in violence. The Atlanta shooting that took place in March 2021 is just another example why fetishization can be so dangerous. Twenty-one year old Robert Aaron Long, a white man, went on a shooting spree that killed eight people, in which six were Asian women. The shooting spree occurred at three spas in Atlanta, Georgia. “According to Whitehurst and Price, it was reported that Long had been a customer of these massage parlors and saw the Asian women who worked there as sources of sexual temptation.”

“It’s a really toxic mentality to have,” says Astoria Kim*, also a student at the University of Central Florida, majoring in Communications. “It is damaging to both parties because it sets up unrealistic expectations for Asian men to achieve. People tend to think that dating Korean men will give them a Korean drama experience when it’s really not.”

Tourism in Japan and Korea has since skyrocketed due to their popularity. Maid cafes and boyfriend services in Japan and Korea respectively are very much common. In maid cafes, the waitresses are dressed in maid costumes and act as servants to patrons while referring to them as their masters.

“There’s a very fine line between preference and fetishization...”

—John Le

Boyfriend services in Korea give customers a chance to tour cities with their flower boy, tour-guide boyfriend for a day. While it sounds a lot of fun, these businesses are deeply rooted in fetishization. These services capitalize on fetishes where patrons get to live out their fantasies.

“I can’t tell you how many times I’ve heard Korean drama fans compare the looks of an average Asian looking guy in their school to Lee Min Ho or someone they saw in a K-drama,” added Hong. “This guy looks nothing like the Korean drama leads but the fact that he’s Asian makes him so desirable to these girls.”

East Asian media has tried to keep up with growing popularity overseas. Movies made in China, Korea or Japan never fully feature a muscular main character. Rather, they opt for a gentle looking man with soft skin, long lashes, and dimples. Their beauty standards are very different from the West but they make sure that this is how they are represented in the media as well.

This ties into the critically acclaimed Marvel movie, “Shang-Chi and the Legend of the Ten Rings,” that came out this year. Asian Americans were elated to have finally been represented in the media, in a Marvel movie at that. China, however, did not feel the same. They thought that Simu Liu, the actor that played Shang-Chi did not fit East Asian beauty standards. Compared to the flower boy features that most East Asian actors possess, Simu Liu has more common Asian facial features, such as almond eyes and a rounder facial structure. Albeit, most fans have found him gorgeous either way. China wants to keep up with the fantasy that they have created and refuse to accept any other facial features that regular people in China have.

The ongoing problems on fetishization have only gotten bigger and worse and it doesn’t seem to be reaching its stopping point just yet. The romanticization of Asian media and the history of objectification of Asian women became foundations of this dangerous mentality. The rise of K-Pop and the growing popularity of anime gives opportunities for Asians to be seen. This popularity, unfortunately, includes surface level enjoyment and disrespect. This contains but is not limited to; aestheticizing Asian grocery marts where there’s whole pinterest boards featuring people posing in front of Asian snacks with characters not in the alphabet and captioning “exotic snacks” slapped on their instagram post, calling grown

Asian men “babies” when they have a thick accent because they just moved from their motherland, and telling someone they look Korean or a K-Pop idol or an anime character just because they match the body type ad skin tone of one. The line between appreciating a person and their culture and becoming obsessive over them are two completely different things.

“There is a solution [to this problem]. It starts with the exposure and acknowledgement of this problem. Acknowledging and accepting that this is a problem is the hardest part, because it has to happen at an individual level, and that type of introspection is not something that everyone has the humility to do,” Le continued. “There’s nothing wrong with liking Asians and Asian culture, but it has to be done with respect. With any culture, educate yourself on more than what you see on mainstream media. Learn the good and the bad. Don’t look at Asians with rose tinted glasses; we’re normal people. If you start liking someone because you have fantasies based on Asian media that you want to live out, catch yourself and think about why that’s wrong.”

Dating East Asian men and women is no different than dating other races. Having a Korean boyfriend is no different from having a Vietnamese boyfriend or an American boyfriend. East Asians, or even just Asians in general are regular people. Some may be more traditional than others but they are more than their stereotypes. Maybe you’ll get the aesthetics that you desire but you’ll most likely still have disagreements, fights, make-up and go on dates. There are also “players” and cheaters in Korea, just like in any other country. More importantly, dating a Korean man will not save you from being mistreated by your boss nor will they catch you midair when you fall. They will still break your heart, you’ll still waste tears, they’ll probably look mediocre at best, and they probably won’t be a rich heir to a huge company.

*Names changed upon request to preserve anonymity

“Learn the good and the bad. Don’t look at Asians with rose tinted glasses; we’re normal people.”

—John Le

Social Media

Social Media

A Silent Hero Amidst the COVID-19 Global Pandemic

A Silent Hero Amidst the COVID-19 Global Pandemic

In a world filled with constant uncertainty and unpredictability concerning the global outbreak of COVID-19, there is one aspect of our lives we can all agree on. Following the international spread of the virus, our social relationships were completely transformed into an era of digital communication and virtual connections. We, as a society, shifted from face-to-face interactions to a digital means of connection in a matter of mere days. Despite the swift transition from in-person encounters to virtual interactions, countries all around the world dealt with the emotional and psychological turmoil that followed the significant and drastic loss of human connection. Recent studies by the Centers for Disease Control and Prevention (CDC) indicate the rise in mental health crises and suicide rates following the financial, physical, and emotional burdens of COVID-19. In particular, collectivist cultures that thrive off of inter-communal relationships tremendously suffered following the isolation mandates, communal gathering shutdowns and the overall deprivation of human interaction. However, an unexpected hero emerged amidst these global isolation periods. An unexpected hero that would ultimately serve as a key catalyst in maintaining and creating social relationships at a time where heart-to-heart connections were most needed. The unexpected and silent hero…social media.

Collectivist cultures flourish from community relationships. Such cultures, as seen in countries like India and Taiwan, place importance on communal goals and the wellbeing of the whole group over individual pursuits, wants and desires. Overall, these cultures emphasize community interactions due to its crucial role in developing one’s perception of self-worth and wellbeing. The prioritization of communal unity and group dependence ultimately reveals the

devastating effects that the global pandemic and its long-term periods of self-isolation brought upon the individuals of these collectivist cultures. Despite the difficulties that collectivist cultures endured amidst the global pandemic, it seemed as though social media and its 21st-century role in the world played a significant role in uniting the Asian Indian community during the COVID-19 outbreak. The Indian community ultimately found social media as a means to continue relationships virtually. Facebook pages shared information about available hospital beds while Instagram pages spread the

written by Sayona Jose designed by Prakash Vasanthakumar

news of voluntary programs such as Meals for Madras, which offered free homecooked meals for families struggling with the financial burdens of COVID-19. Over the course of a few days, social media was transformed from simple time pass activities to lifesaving platforms.

Although some may argue that social media perpetuated the spread of misinformation and panic concerning the virus, social media paved the way for a new era of human connection during the global pandemic. Digital Diwali and virtual prayer sessions via ZOOM, viral TikTok videos sharing delicious Indian recipes, and online messaging between family members during the bleak periods of social isolation

ultimately enabled the South Asian community to maintain their relationships during a time when a sense of community and unity was needed most. In terms of my own experience, social media and its instant messaging capabilities allowed me to contact my relatives in India daily. To be completely honest, it seemed as though the considerable shift in favor of digital communication during the pandemic ultimately brought me closer to my family in India because of the ease and speed that social media offered. Social media during the pandemic enabled all individuals, regardless of age or nationality, to express themselves and feel emotionally connected with people around the world through a mere click of a button. Therefore, not only has the role of social media and its vast influence in maintaining communal relations been seen on an international scale, but on a personal scale as well. In conclusion, the devastating psychological and emotional turmoil following the outbreak of COVID-19 is without a doubt one of the greatest tragedies of our time. From not being able to hug a loved one to missing out on major family milestones such as weddings and baby showers, the global pandemic seemed to put an end to many social interactions and human connections. In particular, collectivist cultures, such as India, that thrive off of community-based ideals and group relationships with one another suffered major setbacks in terms of emotional wellbeing and personal views of self-worth. However, social media and its rise ultimately offered the South Asian community a new way of life and a platform for intimate connections amidst the global pandemic. In a world where it seemed as though human connection would be far-fetched and implausible, social media ultimately served as a silent, yet powerful hero in bridging the gap between the physically isolated community. The use of social media during the various periods of self-isolation ultimately served as a catalyst for human connection when a sense of communal unity was of utmost importance.

“Although the Indian community initially suffered through a lack of face-toface interactions, together, the group used social media in an attempt to maintain heart-to-heart connections instead”

THIS IS NOT A TRADITIONAL LOVE STORY

models/Narmeen Chanda (left) Abigail Takemoto (above) photography/Abbigail Huynh

model/Chelsea Della Caringal photography/Timothy Nguyen

IS THAT REALLY YOUR OPPA?

ART IS ME

model/Wren Lee photography/Reggie Ocampos

model/Carwin Go photography/Natalie Nguyenduc