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Vancouver Asian Film actors Chinese New Year Dinner

Vancouver Asian Film actors Chinese New Year Dinner

Asian actors are everywhere now on
television and in movies.  Vancouver has long since become
“Hollywood North” for television shows such as X-Files, Battlestar
Gallactica, Smallville and many movies of the week.

But there once was a time when Asian actors were very few.  My
grandmother's uncle Luke Chan was one of Hollywood's early Asian
actors.  He was the son of Rev. Chan Yu Tan, who arrived in Canada
in 1896.  Uncle Luke played many characters such as “assistant
manager”in the Shirley Temple Movie Now and Forever (1934), 
“radio operator” in the Clark Gable / Rosalind Russell movie They Met
in Bombay (1941), “Chinese runner” in the Robert Mitchum/ Van Johnson
movie 30 Seconds Over Tokyo (1944), and “Chinese coolie Boatman” in the
Gary Cooper movie, The Story of Dr. Wassell (1944).  But he also
had character roles such as Professor Chan Fu in the Bela Lugosi movie
The Mysterious Wu Sin (1934).

I met some of Vancouver's current Asian actors at a recent Chinese New
Year dinner for Vancouver's Asian film community organized by Greg
Chan.  I was the guest of Ricepaper Magazine publisher Don
Montgomery. I was also very happy to see my friends Larry Wong, Jeff Chiba Stearns and Jen Kato at the table too!


Colin Foo has acted in many local Vancouver commercials and is currently seen on Robson Arms.


Kathy Leung and Grace Chin are the hosts/coordinators of Scripting
Aloud.  Kathy is also a film maker and was the director of the
play Twisting Fortunes. Grace was the play's co-author and lead actor.


Russel Jung plays the “hockey father” in the Tim Horton's commercial. 
I wrote an article last year when the ad first appeared, Tim Horton's, Asian Canadians and hockey
and Russell wrote to me, explaining about his role in the
commercial.  We followed it up with a phone call, so it was great
to finally meet in person.


CBC's television drama Dragon Boys
featured local actor Darryl Quon in the role of Sorrows.  Quon has
appeared in major feature movies as The Chronicles of Riddick, Romeo
Must Die, I Robot, X Men 2 as well as television
shows such as Smallville, Andromeda, and Dark Angel




Charlie Cho and Tetsuro Shigematsu are alumni of the sketch comedy
troupe Hot Sauce Posse (on hiatus), as well as CBC radio
producer/writer/reporter/hosts… well sort of… Tetsuro briefly
hosted “The Roundup” before moving to Los Angeles in 2005. 
Charlie is co-author of the recent play Twisting Fortunes, and was our
wonderful stage manager for Gung Haggis Fat Choy 2007 dinner.



Joy Kogawa House committee to receive Vancouver Heritage Award of Honour

Joy Kogawa House committee to receive Vancouver Heritage Award of Honour


A young Joy Kogawa with brother Tim standing beside their childhood home in Marpole prior to 1942 – photo courtesy of Joy Kogawa

On February 19th, at Coastal Church, the City of Vancouver Heritage Awards will give the Heritage Award of Honour jointly to Joy Kogawa House Committee and The Land Conservancy of BC.

Joy Kogawa House was the childhood home of award winning author Joy Kogawa,
which she was forced to leave in 1942, at age six, when
Japanese-Canadians were “evacuated” from the BC Coast and sent to
internment camps during World War 2.  The Canadian government
subsequently confiscated all their remaining property and auctioned it
off, supposedly to help pay for the cost of internment.

She and her mother always dreamed of returning to the house, but their
family was sent to live in Alberta as part of the Japanese Canadian
dispersal program, in an effort to keep Japanese Canadians from
returning to the Coast, and trying to reclaim their confiscated
property.

Obasan (1981), is the award
winning book that is a fictional memoir about the internment of the
Japanese-Canadians.  It is considered one of Canada's most
important 100 books ever written according to the  Literary Review
of Canada.  It is the second most studied book in Canadian schools
and universities.

I am one of the committee members for the Joy Kogawa House committee
along with Ann-Marie Metten, David Kogawa, Anton Wagner, Ellen
Crowe-Swords, Richard Hopkins, Jen Kato, Joan Young and Sabina
Harpe.  We have all put in incredible hours of volunteer work to
help realize this project.

It was only 17 short months ago, when Ann-Marie Metten contacted me for
help when she learned that a demolition inquiry for 1450 West 64th Ave.
was being made.  In the months to come, we would be asked why it
was important to save the childhood home of author Joy Kogawa.  We
would also be told that there was little chance to save it.

The 3rd week of September 2005, was a roller coaster for Joy
Kogawa.  She learned of the demolition plans in the same week that
saw: 1) excerpts from the Naomi's Road opera performed at Vancouver
Arts Awards; 2) she received the Community Builder's Award from Asian
Canadian Writer's Workshop; and 3) the final event of One Book One
Vancouver “Obasan” program where she gave a reading at Word On The
Street book and magazine festival.

In December 2005, The Land Conservancy of BC stepped in to become a
joint partner in our project to save the house.  They became the
chief fundraiser and eventually purchased the house in full in May 2006.



Joy with Richmond elementary students who wanted to save Kogawa House – photo Joan Young

We are ecstatic and honoured to receive the Award of Honour, for projects demonstrating an outstanding contribution to
heritage conservation.

Nominations were accepted for:

  • Restoration, rehabilitation, adaptive re-use or continued
    maintenance of a heritage building, a significant interior of a heritage
    building, or characteristic features of a heritage building;
  • Use of innovative engineering techniques or restoration/conservation
    methods in upgrading a heritage building which may include seismic upgrading;
  • Preservation of a heritage landscape;
  • Heritage advocacy of a group or individual in the preservation
    of a heritage site or increasing public awareness of heritage issues;
  • Publication, education or exhibit that promotes heritage
    conservation;
  • Efforts in community or neighbourhood revitalization.

Polygamy and Head Tax: what's the point? Only 0.7% of head tax certificates are being recognized anyways!

Polygamy and Head Tax: what's the point?  Only 0.5% of head tax certificates are being recognized anyways!



(revised Feb 13, 11:30pm)

The Vancouver Sun, today on Monday February 12th, published an alarmist story Polygamy warning issued on head tax: Federal government told redress program might raise 'huge' legal issues
about a non-issue regarding the possibility of multiple claimants as
surviving spouses of head tax payers.  It was a front page
headline on page A1. 

This is a 'huge' non-story because
99.95% of the 81,000 head tax payers from 1885 to 1923 are already
dead.  Only 44 head tax survivors applied for the $20,000
ex-gratia payment.  Only 337 widowed spouses have applied for the
ex-gratia payment.  The government is still REFUSING to recognize
any head tax certificates where both payer and spouses are predeceased,
even if there are surviving sons or daughters.  Less than 1% of
the 81,000 head tax payments are being recognized – only half a percent – 0.5%!

Who
really cares if one dead head tax payer had 2 or 3 wives?  The
chances of more than one being still alive is less than any of the
original head tax certificates being honoured.   We should be
thankful that anybody is still alive at this late point.  And the
government will still only honour one payment per certificate, so
what's the point of the article – other than being alarmist?

Blame the head tax for imposing the high costs that kept families
apart, or for making it a financial hardship to bring a wife to
Canada.  Blame the Chinese Exclusion Act from 1923 to 1947 for
driving married men to start up a new family in Canada, or remain a
bachelor for the rest of their life because of the scarcity of Chinese
women.

Who really cares if Chinese men had 2 or 3 wives, the Canadian
government at the time believed that Chinese would not make good
citizens, would not contribute to the development of Canadian society,
would not stay to live in Canada… and consequently the Canadian
government would not grant naturalization or full citizenship rights
nor even voting privileges to Canadians born in Canada of Chinese
ancestry.

I personally know of stories where families became separated because of
the head tax and Exclusion Act, then believed each other dead or
missing because of loss of communication because of both civil war in
China, and WW2.  The husbands re-married in Canada, resulting in a
second wife.  This is NOT polygamy.

When families were later rediscovered and/or reunited after the war –
the existence of another family caused great anguish to the wives and
families.  It even drove some wives to suicide – both in China and
Canada.

The real story is that:

1)  The government has trouble reconciling justice without
admitting it was previously wrong, and continuing to deny true justice
for Chinese head tax payers, spouses and descendants – short of giving
a refund for a wrongful and a racially discriminating tax.

2) 
The government didn't know how to recognize a “full apology,” give
symbolic compensation to surviving head tax payers and spouses, without
being seen as unfair to descendants whose head tax paying parents and
grandparents are pre-deceased.   

3)  The government continues NOT to consult and negotiate with
actual head tax descendants such as they did with actual
Japanese-Canadian internment survivors for the historic 1988 Japanese
Canadian redress

4)  The government monitors the Chinese language media in an
effort to appeal to the Chinese language immigrant vote, to be seen as
“multicultural.” They see the immigrant Chinese language voting group
as more important than English speaking, born in Canada, head tax
descendants.

Activist groups such as the Chinese Canadian National Council
and the BC Coalition of Head Tax Payers and Familes, said “One payment
for each certificate.”  Event though 99.95% of the original head
tax payers are already dead, both the present and past governments do
not want to to incur a potentially expensive redress to descendants.

But head tax activists are only asking for symbolic but fair
redress.  How can you give a payment to some people but say no to
others by saying “Sorry, your parents and grandparents are already
dead.  Too bad they couldn't survive long enough after unfair and
racist laws made extreme hardships for them.”

My paternal
grandfather had a total of 6 wives, of whom my paternal grandmother is
wife #5.  He came to Canada at age 16, around 1882.  He would
have married his wives during his visits back in China, or in
absentia.  In those days, if you were wealthy you could afford
multiple wives or concubines – especially if wives #1, #2, #3, and #4 didn't
give you any children.  Because my grandfather was living in Canada,
and his wives were in China, he wouldn't have been properly able to
look after them, while he tried to raise money to pay the head tax to
bring them to Canada. We don't know what happened to wives #1,
#2, #3 or #4.   But grandfather did bring wives #5 and #6 to
Canada.  And he would have had to pay the head tax for each of his
wives, and the money would have gone into the Canadian governmnent's
bank account because there was no income tax in those days.

I
was told that my grandmother, wife #5, was the only one to have her
marriage recognized in Canada.  She was the one that lived with
grandfather through his last years in their tiny appartment in
Strathcona, on the edge of Chinatown.  He died in 1964, and she
died in 1968. 

If grandfather had survived to see head
tax redress in 2006, he would have been 140 years old.  Grandma
died when she was 73, if she was still alive in 2006 she would have
been 111.  My point is that head tax redress came too late for the
head tax payers and their spouses.  Every certificate should be
honoured.  If the original payer or spouse is predeceased, the
symbolic ex-gratia payment should be given to their descendants.

The
Chinese protested when the first head tax of $50 was levied in
1895, and they protested when it was raised to $500, and again they
protested when the “Chinese Exclusion Act” was created in 1923. 
After WW2, returning Chinese Canadians who fought for Canada, were able
to gain the voting franchise for Canadians born of Chinese ancestry in
1947.  As well, the “Chinese Immigration Act” known as the
“Chinese Exclusion Act” was repealed.

In
1984, the first head tax redress campaign was launched when an elderly
man went to his MP, Margaret Mitchell, to ask for help in reclaiming
the head tax money.  In 1988, the Mulroney Conservative government
apologized and gave redress for the internment of Japanese-Canadians
and the confiscation of their property.  However, despite
discussions about Chinese head tax redress, subsequent Canadian
governments refused to bring a closure to 62 years of legislated racism.

Finally on June 22, 2006, Conservative Prime Minister Harper offered an apology for Chinese Head Tax,
and expressed his “deepest sorrow” (but no apology) for the Chinese
Exclusion Act, while promising to give symbolic individual payments of
$20,000 to living Chinese Head Tax payers and living spouses of
deceased payers. 

Meanwhile, a possible 381 head tax
certificates are recognized while an estimated 80,600 are
ignored?  This is not fair recognition!

And now… a
non-story about possible multiple surviving wives making the same
claims on a possible head tax certificate gets a front page story in
the Vancouver Sun?

Contrast this non-news item with the very real news of  Head Tax Payer Charlie Quan receiving the first head tax – The Vancouver Sun buried the picture and story on page B8, and ran a self-congratulatory front page on their list of 100 Influential Chinese Canadians in BC 
which was criticized by prominent community leaders for whom the list
left out, while including people of Chinese ancestry who most likely
weren't Canadian citizens if they've only been in Canada for 1
year.  Isn't the definition of a Chinese-Canadian somebody who is
actually born in Canada? or a Canadian citizen of Chinese ancestry?

Anyways… this latest non-story.

Government warned of legal problems from head tax
http://www.canada.com/topics/news/national/story.html?id=a59347f2-
acbc-4365-8ef4-e65119945e11&k=34946

Polygamy warning issued on head tax: Federal government told redress program might raise 'huge' legal issues

The Vancouver Sun, 12 Feb 2007
Dateline: OTTAWA
Byline: Peter O'Neil

OTTAWA
— The Conservative government, which last year announced a Chinese
head tax redress program, had earlier received internal warnings that
the initiative might raise “huge” legal problems and possibly risk
offending community members over the issue of polygamy, The Vancouver
Sun has learned.
“On the issue of Chinese spouses, we risk offending
the community by 'exposing' the whole polygamy question,” stated an
unsigned Canadian Heritage briefing note prepared in early 2006. It was
obtained through the Access to Information Act by researcher Ken Rubin.
“In
fact, this will be a failure in the eyes of the community and will be
seen as a perpetuation of a 'wrong today' unless we can develop an
approach which treats all forms of spouses in a dignified and gracious
manner and which recognizes their experience without unduly exposing
the whole issue of polygamous unions or 'non-legal' marriages.”
The
briefing note added: “Of course, this does not address the bigger
question of Charter 'retroactivity' which, as you know, we believe is a
'HUGE' issue.”
The warning referred to concerns that the government
could expose taxpayers to enormous costs if it provides retroactive
compensation for rights violations before the Charter of Rights'
equality provision came into force in 1985.
Another internal
document, stamped “secret” and obtained by The Sun Friday, also warned
the former Liberal cabinet on June 21, 2005, that redress for
Chinese-Canadians would “increase substantially” the Canadian
government's exposure to legal action from numerous ethnic minority
groups seeking compensation for racial injustices.
Prime Minister
Stephen Harper apologized last June to Chinese-Canadians and promised
$20,000 payments to surviving head tax payers or the spouses of
deceased head tax payers to recognize an historical injustice.
Canada,
after welcoming some 15,000 Chinese labourers to help build the
Canadian Pacific Railway, imposed a $50 tax on Chinese immigrants
starting in 1885. The tax gradually rose to $500 before legislation in
1923 banned Chinese until that law was repealed in 1947.
Canadian
Heritage spokesman Len Westerberg said Friday that the legal issue was
addressed by making clear the $20,000 payments to head tax payers and
widows announced last June were “ex gratia” and voluntary.
That was
the same terminology used by the federal government in 1988 when it
provided a $422-million redress program for Japanese-Canadians and
their immediate descendants interned during the Second World War.
Westerberg,
asked about the polygamy issue raised in the documents, noted that the
payments to spouses could only go to women in “exclusive conjugal”
relationships.
The newly released documents state that many
marriages performed in China until the 1940s “were either potentially
or actually polygamous.” Most head tax payers in Canada would have
married in China, either before leaving for Canada or during a trip to
their home country, it said.
Neither Victor Wong, executive-director
of the Chinese Canadian National Council, nor former Liberal
multiculturalism minister Raymond Chan said they were aware of serious
government concerns over the possibility that more than one spouse
might claim to be the widow of the same head tax payer.
Multiculturalism
Minister Jason Kenney denounced the former government on May 5, 2006,
for relying on legal concerns as an “excuse” for not apologizing and
providing redress.
Kenney, who was then Harper's parliamentary secretary, relied on an Aug. 5, 2004 briefing note to Chan.
That
note concluded that Chinese-Canadians and other aggrieved groups would
have difficulty making a successful Charter of Rights challenge for the
same treatment that Japanese-Canadians got in 1988. The government has
always maintained that the Japanese-Canadian experience was unique.
But
the 2005 cabinet document obtained by The Sun indicates a redress
package for Chinese-Canadians would “increase substantially … the
risk of litigation by a broader field of communities seeking similar
treatment.”
One internal document said Canadians of Ukrainian,
Italian, Jewish, Indo-Canadian, German, Polish, Czech, Slovak,
Croatian, Bulgarian, Austrian, Turkish and Romanian descent could make
claims with respect to alleged mistreatment during the First and Second
World Wars. So could members of the Mennonite, Hutterite and Doukhobor
religions.
“If the government were to accept any or all of the new
redress proposals [from Chinese-Canadians and other groups], its
ability to defend the Japanese redress payments as unique and
unparalleled, and hence not subject to section 15 of the Charter, would
be undermined,” states the 2005 cabinet briefing note.
Another
internal document cited a current case before the Supreme Court of
Canada, in which five gay plaintiffs are asking for survivor pension
benefits dating back to when the Charter of Rights' equality provision
took effect in 1985.
Canadian recognition of historical injustices
pre-dating the Charter of Rights risks “adversely influencing” the
Supreme Court decision in the gay pension case, the Canadian Heritage
documents on the head tax issue warned.
It added that a head tax
redress package dating back to matters decades before the Charter took
effect “creates a further risk that a court may treat this as a legal
precedent and require the government to do so in all federal laws that
extend benefits.”
The document also warns about possible court challenges that the government's redress package is unfair.
“If
the payments are made to all spouses, then other family members may
challenge these payments on the basis that they discriminate on the
ground of family status under the Charter,” it warns.
“For example,
the head tax payer may have had children who were alive during that era
and so were more directly affected by the hardships associated with the
tax than a more recent spouse who may have no direct connection to the
harm suffered.”
Kenney said Sunday the government stands by its decision.
“The
bottom line is that lawyers can make an argument for or against any
course of action. It's up to political leaders to apply common sense,
and make principled decisions,” Kenney said in an e-mail to The Sun.
“That's what Stephen Harper did in making the apology for the Chinese head tax.”
Westerberg
said 44 applications from head tax payers have been filed, and in 37 of
those cases $20,000 cheques have already been mailed out.
Another 337 applicants from widowed spouses have been filed, he said, but those claims still haven't been processed.
The
CCNC's Wong said his group agrees with the warnings in briefing notes
that the government is being unfair to some head tax victims.
He
said his group wants the government to expand the program, at a cost of
at least $60 million, by giving $20,000 cheques to each of the 3,000
families of descendants of head tax payers.
Wong, who said Harper
has done more to advance the issue than any of his last six
predecessors, said his group has no plans to spoil current goodwill by
heading to the courts.
“There probably will not be any legal action. We'll just keep pressing the issue,” Wong said.
Patrick
Monahan, dean of the Osgoode Hall Law School at York University in
Toronto, said it's not clear if other groups will be able to use the
Chinese head tax package in court.
“I'm inclined to think that ex-gratia payments do not give rise to a legal obligation in other cases,” he said.
“But
the more such payments are made, I think the more difficult it is to
resist claims of equal treatment. So I think there is some risk
associated with that.”
poneil1@hotmail.com
– – –
COUNTING THE COST
Ottawa
used “actuarial estimates and assumptions” to calculate the number of
living head-tax payers and their descendants existing in 2006. The
multiple wives question was included, as shown below.
110 head-tax payers
229 Spouses of the era (1 wife)
458 Spouses of era (2 wives)
293 Spouses of era and present (1 wife)
586 Spouses of era and present (2 wives)
2,045 Descendants (if 1 wife/1 child)
6,135 Descendants of era
12,270 Descendants (assuming 2 wives/3 children each)
Ran with fact box “Counting the cost”, which has been appended to the end of the story.
Colour Photo: Certificate

Gung Haggis Fat Choy comes to SEATTLE for Feb 18th

Gung Haggis Fat Choy comes to SEATTLE for Feb 18th

For the first time, the Gung Haggis Fat Choy Robbie Burns Chinese New Year dinner is officially expanding beyond Vancouver.

Feb 18th, 2007
Ocean City Restaurant
609 S. Weller St.
International District,
Seattle, Washington

5pm reception.
until 9pm.

Expect a 3 hour feast of Chinese food with Scottish music + Robbie
Burns poetry, singalongs, + some Asian Canadian poetry and…. special
music performances.

featuring:
Northwest Junior Pipeband
Don Scobie – bagpiper

Tix: $35

Contact Bill McFadden
206-364-6025

produced by Bill McFadden for Caledonian & St. Andrew's Society of Seattle

proceeds to benefit Caledonian & St. Andrew's Society to help send
Northwest Junior Pipeband to the World Pipeband Championships in
Scotland, 2008.

Theatre Review: Twisting Fortunes is just like “real dating” – same challenges with dating Asians or Caucasians too!

Theatre Review: Twisting Fortunes is just like “real dating”
– same challenges with dating Asians or Caucasians too!




Twisting Fortunes
February 6, 7, 8, 9,
8pm
Playwrights Theatre Centre (1398
Cartwright Street)
on Granville Island.
Tickets $10 at the door.

Whether
or not you have dated an Asian or a Caucasian, you will relate to this
play.  Playwrights Grace Chin and Charlie Cho, have created a
witty and sharply funny play about dating (or non-dating) in
Vancouver's cyber-café culture.  Filled with hip pop culture
references that clash with traditional dating expectations, Twisting Fortunes
explores the netherland of dating culture's “do's and don'ts” while
adding an inter-cultural spice with references and comparisons to
dating Asians and non-Asians. 

Gee… just like real life!  At least from an Asian-Canadian
perspective…  Growing up As-Can (that's Asian-Canadian) in a WC
(White-Canadian) dominated world, you really don't have many chances to
see people that look like yourself in plays, movies or theatre – except
in stereotypical roles.  Indeed, this is how writers Chin and Cho
felt, as they drew on their own life experiences and friendship, to
create a “MIV” (made in Vancouver) cultural theatre experience. 
Amazingly, it doesn't feel forced.  The main characters Ray Chow
and Jessie Leong, played by Zen Shane Lim and Grace Chin, just happen
to be both Chinese-Canadian… but that doesn't mean they don't date
Whites – they have.  They just weren't looking in particular to
date somebody Chinese either.

Sparks start to fly when Ray Chow,
a young reporter covering a flash mob, is soon asked by Jessie Leong
what happened.  After some light flirtatious banter they
whimiscally decide to meet the next day at a cafe, without exchanging
cards or phone numbers.  Echoing romantic comedies of the past,
“if it is meant to be, it is meant to be.”  And so begins a
journey of accidental meetings, flirtations with sexual tension.

Ray and Jessie get off to a rocky start, as Ray starts guessing that a
couple of smooching Asians in the café are Japanese… or American.  Jessie
challenges him on his stereotyping assumptions, to soon discover that
Ray isn't really comfortable in his As-Can skin:

“I grew up in this really White
community. I didn't really know any other Asian women but my mom and
sisters.  Sure, I went to Chinese school on Saturdays, but I just
thought Asian women were – nerdier.”

They also discuss they they don't date Asians, citing parental
expectations.  Jessie, who is in the film business as an
actor/writer, says:

“There was this Chinese guy I dated. He
was nice and all that, but his mom didn't like me. She wanted me to be
more “Chinese.” And he always caved in and took her side.

“My next boyfriend was – well, White, but it was a total suprise. I
mean, before then, I couldn't even imagine myself dating a White guy.

“Because I didn't think they'd be into me. And I couldn't imagine
dealing with all that White guy-ness. They smell different, right?”

Hmm… So much for the “nice Chinese girl” stereotype for Jessie –
especially when she says “by the way, I didn't notice a size
difference.”

Just two people talking, like in the movies Before Sunrise, and Before Sunset
And like the characters of Jesse and Celine, their conversations reveal
not only an attraction, but also their defensive personalities that
have prevented them from achieving any truly real happiness in their
lives.  We learn that Ray prefers not to “date” but rather to have
“friends.”  This helps keep Ray free from overly committing
himself to a relationship, whereas Jessie prefers “serial
monogamy.” 

I went to see Twisting Fortunes on Thursday night, and it is
surprisingly good.  The audience was mostly Asian but there were
also a number of mixed race couples too.  Almost immediately
during the intermission, people were talking about the first act and
it's statements about dating.

With
my friends, we immediately started comparing dating experiences with
both Chinese, Caucasian or other Asian dates.  True or False…
Asian males are
intimidated by Asian females… or Asians are more reserved in dating
behavoirs… Asians don't bring dates home to meet the parents. There
is/isn't any difference in size.

The
second half becomes darker, and more entangled.  The friendship
between Jessie and Ray alternates between going deeper, or more
estranged.  They are still trying to work out what they are doing,
not only in their own lives – but in relationships with others, and as friends to each other… or is it something more?

Many
people who have watched the ongoing theatre soap series “Sex in
Vancouver” put on by Vancouver Asian Canadian Theatre will be familiar
with actor Zen Shane Lim, who played Kevin in all the episodes except
the final one.  Kathy Leung who filmed the videos for “Sex in
Vancouver” is the director here, and is able to transform the small
black box theatre into a very flexible space – utilizing almost every
inch. 

A large video screen shows different scenes as the
characters move from street scene to cafe, from restaurant to
apartment, and from art gallery to street scene.  It is an
effective way of conveying moods and settings and is never intrusive,
but always suggesting.


Twisting Fortunes
is a welcome addition to the Asian Canadian arts community.  It
reflects accurately the social experiences of Asian Canadians without
being preachy or political.  The characters are well-crafted and
the audience quickly is drawn into their developing
non-relationship.  The sexual tension is playful and drawn out,
and reflective of deeper socio-cultural currents – hinted at but never
fully explored, nor does it need to be.  If you ever wondered what
when wrong in your ex-relationship with that Asian guy/girl – check out
this play and maybe you will find the reason.

Grace Chin and Kathy Leung are the hosts of Scripting Aloud, a monthly scriptreading and networking event for scriptwriters and actors, held at Our Town Café (245
E. Broadway, Vancouver, BC).
It was at these sessions that Twisting Fortunes was workshopped and
honed before being presented in it's finished form at the Playwright's
Theatre.

Twisting Fortunes opened earlier this week on
Tuesday, but by Thursday – the final Friday show was already sold
out.  With largely word of mouth, networking and some choice
interviews on CBC Radio and elsewhere, Twisting Fortunes seems to have
quickly found its audience.  Too bad it can't run for another
week.  Here's hoping for a remount soon… and maybe even a sequel.

Preview: Twisting Fortunes – an accidentally Asian comedy play opens this week

Twisting Fortunes – an accidentally Asian comedy play opens this week



Jan. 28: Zen Shane Lim and Grace Chin had a captivated
audience of almost 400 laughing with the reading of a scene from the play at
the
Gung Haggis Fat Choy dinner – photo Tim Pawsey

Twisting Fortunes
was one of the special surprises at the 2007 Gung Haggis Fat Choy
dinner on January 28.  I have known the playwrights Charlie Cho
and Grace Chin for a number of years through our mutual connections
with Ricepaper Magazine – where both have been editors.


GHFC always tries to highlight Asian Canadian literary and arts, and
the TF press release looked like something exciting and fun. 
Charlie Cho sent me an excerpt that was witty, sharp and punchy, and
still made social commentary about Asian-Canadian culture.

Presto – actors Grace Chin and Zen Shane Lim were booked to perform at
GHFC, and we snagged Charlie Cho to become our stage manager. 
Charlie and Grace have attended GHFC dinners in the past, and Charlie
even came to our 3rd public dinner back in 2001 when we were serving
only 100 people at the New Grandview Szechwan Restaurant.

UBC associate professor Henry Yu invited Charlie Cho, Grace Chin and Zen Shane Lim to discuss Asian dating in Vancouver with his fourth-year history class: Asian Migrant Communities in Vancouver.




“After seeing a scene from TF
performed at Gung Haggis Fat Choy, I immediately asked the cast to come
to my class at UBC to talk to the students. The play addresses some of
the pressing issues concerning Asian Canadian youth, but with a light
hearted touch that engages and provokes at the same time as it makes
you laugh. The students really enjoyed it.” – Henry Yu



Charlie Cho, Jim Wong-Chu, Grace Chin sing Auld Lang Syne at the 2005 Gung Haggis Fat Choy dinner – photo Ray Shum.

Below is information from the Twisting Fortunes website – which includes

News/Audio


Feb. 6: Grace Chin and Charlie Cho were interviewed by Rick Cluff on The Early Editon on CBC Radio, 690 AM in Vancouver. With an excerpt featuring Zen Shane Lim. [Listen 6:24]

Feb. 4: Kathy Leung and Zen Shane Lim's interview with Sheryl Mackay about Scripting Aloud and Twisting Fortunes on North By Northwest aired on CBC Radio in British Columbia. [Listen 9:53]

Feb. 2: Grace Chin and Charlie Cho were interviewed by Joyce Lam and Grace Kim on Wake Up with Co-op on CFRO 102.7 FM. With an excerpt featuring Zen Shane Lim. [Listen 19:42]



Vancouver, BC – Wind it up for a bittersweet, frothy mix of romance and sexual tension this winter with Twisting Fortunes, a made-in-Vancouver play set to the buzz of Terminal City's café culture.

TF is written by Charlie Cho (Hot Sauce Posse, Ricepaper magazine) and Grace Chin (Scripting Aloud co-producer)  (“., and is directed by Kathy Leung (writer of the Leo-nominated Lily's Crickets, Scripting Aloud co-producer), with sponsorship support from Scripting Aloud and Vancouver Asian Canadian Theatre (VACT)

Reminiscent of the Richard Linklater film Before Sunrise, Ray Chow and Jessy Leung exchange coffee, tea and repartee against a video and photo montage of familiar Vancouver venues in TF's
intimate look at personal, sexual and racial politics on the
multicultural Left Coast. A radio reporter and simultaneous non-dater,
Ray is tired of the game. An aspiring actor and serial monogamist,
Jessy still hasn't found what she's looking for. They both want out –
or do they want in?

Zen Shane Lim, the male lead in VACT's popular Sex in Vancouver theatre episodic based on the successful American Sex in Seattle
series, headlines this two-act play about an accidentally Asian pair
who find it easy enough to fall in like, then find their relationship
anything but. Chin, an actor herself, takes on the female lead.

TF is the first theatrical production to emerge from Scripting
Aloud, a monthly pan-Asian Canadian scriptreading series active since
2005.

Twisting Fortunes plays February 6, 7, 8, 9 at 8 p.m. at the Playwrights Theatre Centre (1398
Cartwright Street) on Granville Island. Tickets $10 at the door, $11 online via
PayPal.

Media enquiries:
Charlie Cho
co-writer, Twisting Fortunes
co-producer, TF Productions
778-288-5933 c
twistingfortunes@gmail.com

 

Gung Haggis Fat Choy on You Tube – featuring Toddish McWong & Joseph McDonald

Gung Haggis Fat Choy on You Tube
– featuring Toddish McWong & Joseph McDonald

It was bound to happen…. Gung Haggis Fat Choy getting posted to Youtube.com

Jounalism instructor Ann Roberts posted a 30 second video clip of Gung HAGGIS RAP Choy, a “rap” version of Robbie Burns' immortal poem “Address to a Haggis.”

The sound isn't the best – maybe next year we will set up an official videographer and record directly from the sound board.

This is the 4th verse of the Burns poem which goes like this:

Then horn for horn they stretch an' strive,
Deil tak the hindmost, on they drive,
Till a' their weel-wall'd kytes belyve
Are bent like drums
Then auld Guidman, maist like to rive,
Bethankit hums.

See the youtube video:
http://www.youtube.com/watch?v=xtE_HQXO3hg

download and listen to the MP3 file of a five verse version of:
Gung HAGGIS RAP Choy – Robbie Burns Address to a Haggis set to rap music

for all 8 verses see:

The Gung Haggis Rap


Gung Haggis Fat Choy reported on Dr. Fred Bass' new blog

Gung Haggis Fat Choy reported on Dr. Fred Bass' new blog

Over the last few years, the Gung Haggis Fat Choy dinner has caught the
attention of many of our city councillors and mayors, past and
present.  Dr. Fred Bass,
former city councillor and 2008 mayoral hopeful came to our 2007
dinner, sitting with Anne Roberts, also a former city councillor on the
previous council.  Also attending this year's dinner were current
mayor Sam Sullivan, current councillors Heather Deal, Peter Ladner and
Suzanne Anton, and former councillor Ellen Woodsworth.

I have gotten to know Fred over the past year and we discovered many
connections through health interests, library connections, exercise,
and city issues such as saving Joy Kogawa House.  Fred's
enthusiasm for fitness and preventative healthcare is expressed through
his fondness for bicycling.  He even came out this summer to try
dragon boat paddling and was a very enthusiastic novice.

Fred now has a blog and on January 30th, he wrote:

“On January 28, I had the good fortune to attend Gung Haggis Fat
Choy–China meets Scotland and vice versa. Under the skilled and
persistent leadership of Todd Wong, this event has turned into one
of Vancouver's most wonderful multi-cultural celebrations.

There was music, Chinese classical performed eloquently by Silk
Road
, Western opera sung gracefully by Heather Pawsey, American
pop belted out by Leora Cashe, classic bagpipe and Chinese pop classics.
In traditional Robbie Burns celebration style, the gathering did
a reasonable number of Scottish sing-alongs. However, the ultimate
musical experience for me was Joe McDonald's performance of rap
in full Scottish brogue!

There was laughter. Whether during the music, the speeches, or
the appreciations, people proved themselves to be in good humour.
To see a multi-ethnic crowd so enjoying themselves was to honour
one of Vancouver’s greatest strengths—our multi-culturalism.

Not only is this sharing of cultures and identities vital to the
life of our city, it is a key strength in our economic development.
Research has shown that an important factor in the growth of research
and development businesses is the presence of a high proportion
of immigrants in the population. Furthermore, knowledge-based industries
have employees who want an interesting and vital community to live
in, and the many cultures of Vancouver provide this…

This event, at $75 a plate, was a
fund-raiser for a number of worthy causes: Save Kogawa House, Asian
Canadian Writer's Workshop, and the Gung Haggis Fat Choy Dragon Boat
Team. The driving force in Gung Haggis is Todd Wong.   I had
the good fortune to serve as a novice under Todd Wong’s captainship in
a multicultural dragon boat crew. He was patient, knowledgeable,
reasonably demanding and always in good humour.

We are very lucky in Vancouver to have people such as Todd Wong
who are so talented, so committed to the community, and who can,
as he showed Sunday night, play a mean accordion.”

Check out more of what Dr. Fred Bass thought about the 2007 Gung Haggis Fat Choy dinner at
www.drfredbass.ca

Feb 1st was Kilts Night at Doolin's….

Feb 1st was Kilts Night at Doolin's….


The first Thursday of each month is Kilts Night
at Doolin's Irish Pub.  Wear your kilt and recieve a pint of
Guinness.  Above tartans are McDonald, Fraser Hunting, and
Macbitseach.


We celebrated with first timer Brent Campbell, enjoying a pint with Rob
McDonald – who also plays bagpipers and makes West Coast Kilts. 
Bear is kilt maker of Bear Kilts, and Todd Wong is creator of Gung
Haggis Fat Choy – photo Deb Martin.


The Halifax Wharf Rats provide great musical entertainment every Thursday at Doolin's – photo Todd Wong

They play a mixture of celtic Maritme songs + great Canadiana songs
such as Bartlett's Privateers, Four Strong Winds, Stompin' Tom Connors'
The Hockey Song. There are also good old Celtic songs such as Tell My Ma too!  And then they also play Wharf Ratted versions of U2's With or Without You, Johnny Cash's Ring of Fire, and Kiss' I Was Made For Loving You.


Our lovely server Rachelle with Rob McDonald and his treasured bagpipes – photo Todd Wong

Vancouver Opera's Magic Flute: A journey between cultures to infinity and beyond

Vancouver Opera's Magic Flute: A journey between First Nations  and Western cultures… to infinity and beyond

The Magic Flute – W.A. Mozart
Vancouver Opera
January 27, 30 – 2007
February 1, 3, 6, 8 – 2007
Queen Elizabeth Theatre, Vancouver BC
Director –  Robert McQueen
Conductor – Derrick Inouye
reviewed on Tuesday, January 30

Why would Vancouver Opera take a perfectly good Mozart opera and spend
it's largest single event budget to try to give it a First Nations
twist? 

Why would Vancouver Opera consult with First Nations artists to create
costumes and dances and set designs reflective of First Nations art and
culture, when the Magic Flute was a 1791 production set in a faraway
land, filled with Mozart's newly learned knowledge of Free Masonry and Masonic rituals?

The real question is not simply “why not?” but rather “Why hasn't something like this been done before?”

All the pre-event buzz of a First Nations Magic Flute was worth
it.  All the endless rounds of community and cultural
consultations working with the First Peoples’ Heritage, Language and Culture Council, was thorough on every level.  All the Where Cultures Meet
public presentation/forum events at the Vancouver Public Library and the Chan Centre peaked
people's interest and challenged their notions of opera and culture.  I reviewed the November 8th event
Can Cultures Merge?
 
James Wright, general director for Vancouver Opera, has been making
the company more representative and responsible for the community,
history and culture of Vancouver.  In 2005, “Naomi's Road” debuted
as a 45 minute opera for schools.  It was based on the children's
novel version of Joy Kogawa's award winning novel “Obasan” which told
the story of the internment of Japanese-Canadians during WW2. 
This was only the 2nd original commission in the Vancouver Opera's
history, following The Architect (1994). 

Last fall the Vancouver Opera's Touring Ensemble revealed their 45
minute version of Mozart's Magic Flute. The normally 3 hour long opera
underwent a radical adaptation to become a First Nations story about a
young man who must prove his worthiness to his father, Sarastro, by
finding the “box of shadows” from T'sonokwa, the Wild Woman of the
Woods.  Along the way he meets bird catcher Papageno, and the
beautiful Pamina who are also on their own quests to find love and
family.  A complex Mozart opera became a delightful opera about
the value of family and community.  I loved it immediately when I
saw it performed at the Vancouver Academy of Music in December.

And now the full-length version embraces First Nations culture, while
staying true to original storylines.  A long creative process saw
collaboration and mentorship between First Nations cultural consultants
and artists with the opera company.  Similarties were found in
Mozart's opera between the Masonic spiritual rituals and First Nations
mythology and spiritual values.  An opera representatively set on
the Pacific Coast with a multicultural cast has emerged from the
swirling mists.  Vancouver Opera opened a box of possibilities and
and now give mainstream culture a taste of what has been happening on
the Vancouver cultural arts scene for years on a much smaller and
edgier scale.  This is a rich and worthy project and deserves to
be seen.

Before the opera began on Tuesday night, Chief Leonard George of the
Tsleil-Waututh
Nation (Burrard Band of the Squamish Nation) came out to welcome the
audience to traditional Salish/Squamish lands, and spoke about the
collaboration between Vancouver Opera and First Nations peoples in
creating this production of Magic Flute.  He stated that it was
wonderful that the high culture of of First Nations is now recognized
as  equal with the high culture European opera.  The son of
the late
Chief Dan George, he is also an actor and film consultant as well as a
lecturer,  and First Nations traditional singer and dancer. 
Beating on a hand drum, Chief Leonard George sang a song that helped
prepare the audience for the special cultural journey for the evening.

The overture opens with a film projected onto the vast scrim of the
Queen Elizabeth Theatre.  Images of urban street scenes of
buildings, alleys and cars give way to forest trees and ocean lapped
rocky shores.  This high tech staging device helps to transport
the audience from the traffic hassles of parking the car on the same
night as a Vancouver Canucks hockey game, into the anticipated world of
the First Nations Mozart opera.  And maybe this also explains why
the main characters Tamino and Pamina are wearing contemporary style
clothes, as they too are transported from the contemporary into this
brave new, yet ancient
world.  There are 70 amazing individually designed costumes by
John Powell and Christine Reimer, which provide lots of “ohh factor” for
this production.

In the original Magic Flute production, Tamino is an Italian
prince, attacked by a sea serpent,
before being cast up on the shores of Egypt (spiritual birthplace of
Masonry).  Now he is a First Nations man of noble heritage, who is
attacked by a double
headed First Nations serpent, and landed on the rocky coastline of
the  Coast Salish forest. Phillipe Castagner is a splendid Tamino,
full
of self-determined
bearing and strength of will and song.

The
prone Tamino is discovered by Three Ladies, attendants of the Queen
of the Night who killed the sea serpent to save him.   The
Third Lady is played by mezzo-soprano Marion Newman of
Kwakwaka'wakw/Coast Salish heritage.  The ladies
are dressed in traditionally inspired First Nations styled costumes
that contrast with the urban leather pants worn by Tamion.  The
ladies also have blue skin and bald heads.  It is
apparent that Tamino's journey is truly to a different land.

Papegano is dressed in the wonderful blue and black raven costume that
you see on billboards and ads around Vancouver.  Raven is perfect
for Papegano, as Raven is the classic “trickster” figure in First
Nations culture.  Papageno is the first character that Tamino
meets, and promptly becomes his sidekick and travel companion for
adventure.  Played by Etienne Dupuis, he brings much comic relief
to the opera, stealing many scenes, long before the famouse
Papageno/Papagena duet.

The Queen of the Night is played by Korean soprano Hwang Sin
Nyung.  She is a ravishingly thrilling Queen of the Night hitting
the famous high F note with ease.  Her head is bald and her
costume looks like it was picked out of a Jack Shadboldt painting – a
butterfly on acid, striking with blacks, blues and silver.  Her
wings are used to great effect as she wraps herself in them or they
simply hang or flow, dependent on her movement. 

Instead of visiting a sacred Masonic temple, Tamino
finds himself at a cathedral like forest which itself is sacred in
First Nations culture. 
He is met by “The Speaker” played by baritone Gene Wu, the
Chinese-Canadian last seen in Vancouver as Naomi's father in Naomi's
Road.  Wu is dressed completely in green, with large leaves
evocative of being a tree himself.  His baritone is lyrical as he
challenges Tamino to see past the deception and lies of the Queen of
the Night, and to understand Sarastro as a benevolent and wise man.

Sarastro, is played by African-American Kevin Short, as a dignified
chieftain.  His bass-baritone is strong, and provides a strong anchor
against the other voices, especially with the male chorus or the mixed
chorus, and the finale with the Queen of the Night.  His costume
includes a copper shield breast plate – an artifact of high honour in
West Coast First Nations culture.  From high priest to wise
chieftain, this role easily fits in with the transformation, as he is
surrounded by his tribal council – each dressed in costume
representative of the 12 different West Coast First Nations.

Michel Corbiel is the menacing Monostatos who is threatening Pamina
when we first meet them both. He is dressed as a rat with ears and a
tail, but with knickers remnescient of 18th C. Europe, as are his
followers.  I guess this is the political statement about European
colonialism in North America.

Director Robert McQueen has indeed attempted to embrace the
almost-impossible, balancing political correctness with First Nations
protocol, European opera traditionalism with new creative vision. 
He wisely sticks to the central universal themes of love, and heroic
myth.  We met him during the intermission after he had just been
congratulated by Lt. Governor Iona Campagnolo.  McQueen was still
very actively engaged in tweaking with the production, as there were
still projection problems.  But he was amazingly optimistic and
certainly happy with the production. 

Mozart's Magic Flute score is filled with hummable songs and famous
arias, and easily stands on its own.  Vancouver born conductor
Derrick Inouye writes in the program:

“Great theatrical and musical works
have always been re-invented and re-imagined by adventurous directors
and composers, setting Rigoletto for example in Chicago in the 1930's, or Romeo and Juliet as West Side Story
While not all these creative offshoots are successful, some of the most
inventive re-interpretations can not only spark our imagination but
also bring a new richness to our perception of a familiar work and
evoke the underlying truths of human experience and emotion that can
encompass such an evolution of the original intent.”

And this Magic Flute production indeed sparks our
imaginations.  What if Ballet BC were to do something similar such
as set Swan Lake in First Nations mythology?  What if Vancouver
Opera and other mainstream arts organizations commissioned new original
works with BC's diverse heritage and culture in mind?  Will we see
Naomi's Road blossom into a full scale opera?  Will we see First
Nations stories emerge into the mainstream?  Will we see a Chinese
Canadian opera about building the railroad and paying the head
tax?  The possibilities are infinite and only defined by the
limits of our imagination.

Vancouver Opera's full scale Magic Flute runs until Feb 8th.

But if you can… also check out the 45 minute version that was created
for school children.  While the 3 hour version is amazing with
brilliant moments, there are also scenes that drag a bit.  The 45
minute version sustains “the magic” from start to finish. Melody
Mercredi who plays the Queen of the Night understudy for the Queen
Elizabeth performances, is a frightening wonderful T'sonokwa/Queen of
the Night.  I talked briefly with her in December, and the Metis
native told me that while growing up, she heard many stories
about T'sonokwa, so she felt she could really relate to the First
Nations retelling of the opera.

Feb 9, West Vancouver Memorial Library
April 7 & 8, Firehall Arts Centre

Check out this other links and reviews

Innovative Magic Flute justifies the buzz
www.canada.com/vancouversun/news/arts/

NationTalk – Vancouver Opera Presents A New Production of W.A. Mozart
www.nationtalk.ca

Welcome to the Vancouver Courier

www.vancourier.com/issues07/015107/entertainment

globeandmail.com: Mozart, with a first nation touch
www.theglobeandmail.com/servlet/story/LAC.20070201.FLUTE01/TPStory/Entertainment