Next Big Bang Day1

Good to see folks...but keep the name tags HIGHER! And keep them turned AROUND! The Revue was running around looking to match familiar names with unfamiliar faces, but the tags were always in an...um...awkward place.

First and biggest collection of Asian American and Asian Canadian theatre artists.

Not the end; planning is going on for the first Asian American Theatre Festival in New York, June 11 to 24, 2007.

Phil looked back on his history, in Asian American theatre, as a touch stone for the future. Working on Song for a Nisei Fisherman, he and David Henry Hwang used to joke about what a hoot it would be that someday, somewhere, someone would study this thing called Asian American theatre. Now....

Asian American theatre is very much a created art form, as Asian American identity is very much an invention of ourselves.

In the 1960s and 1970s it was very much part of a flowering of expression that stretched from photography to print making to music to theatre. More importantly, it was a way to exact change and to make the world a better place.

Now, 30 years later, there are new faces, new groups and new concerns. Before, it was strong Chinese, Japanese Americans, maybe Philipinos. In a class he teaches at UC Davis, he includes Hmong, Korean Americans (one of which is 1^st generation immgrant), second generation Vietnamese American, five 1^st/2^nd generation Chinese American and two Filipinos. All were bilingual, fluent and comfortable in both cultures, able and enjoyable in moving in between two major influences on their lives. Yet, they all found something of use and of value in this thing called Asian America.

Open night session afterwards, plenty crowded with young artusts displaying a cross section of the energy and style.

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	From the Sunday Night reception... Good to see folks...but keep the name tags HIGHER! And keep them turned AROUND! The Revue was running around looking to match familiar names with unfamiliar faces, but the tags were always in an...um...awkward place. Gathered for the kickoff speech, in the David Henry Hwang Theatre.. East West Artistic Director officially opens the proceedings. First and biggest collection of Asian American and Asian Canadian theatre artists. Not the end; planning is going on for the first Asian American Theatre Festival in New York, June 11 to 24, 2007. Philip Kan Gotanda speaks. Phil looked back on his history, in Asian American theatre, as a touch stone for the future. Working on Song for a Nisei Fisherman, he and David Henry Hwang used to joke about what a hoot it would be that someday, somewhere, someone would study this thing called Asian American theatre. Now.... Asian American theatre is very much a created art form, as Asian American identity is very much an invention of ourselves. In the 1960s and 1970s it was very much part of a flowering of expression that stretched from photography to print making to music to theatre. More importantly, it was a way to exact change and to make the world a better place. Now, 30 years later, there are new faces, new groups and new concerns. Before, it was strong Chinese, Japanese Americans, maybe Philipinos. In a class he teaches at UC Davis, he includes Hmong, Korean Americans (one of which is 1^st generation immgrant), second generation Vietnamese American, five 1^st/2^nd generation Chinese American and two Filipinos. All were bilingual, fluent and comfortable in both cultures, able and enjoyable in moving in between two major influences on their lives. Yet, they all found something of use and of value in this thing called Asian America. And once again we are reinventing ourselves (and perforce we have to). Roberta Uno speaks. She brings up the notion of polyculturalism, which is different from traditional multiculturalism, where each group holds onto their own singular identity derived from its group. Instead, groups borrow from each other while maintaining their group identity, coming together in singular moments, then spinning off in their own trajectories, then coming back together once again (or, at least, that's how I understand it). Roberta and Philip comment afterwards on each others' talk. Open night session afterwards, plenty crowded with young artusts displaying a cross section of the energy and style. Home \| News \| Calendar \| Directory \| Library \| Plays Copyright 2006, Roger W. Tang Questions? Email