DEAR ASIAN YOUTH @ GW FALL 2023 ZINE

VOLUME 2, ISSUE 1

FALL 2023

DEAR ASIAN YOUTH @ GW

COVER ART BY JENNETTE NOLASCO

LITERARY ARTS MAGAZINE

About Us We are the GW chapter of Dear Asian Youth, a global organization dedicated to uplifting the Asian community through intersectional activism. On campus, we have created a platform for Asians and non-Asian allies to amplify their voices and narratives through our bi-annual literary arts magazine and other digital platforms.

Meet the E-Board

Supneet Kaur

Sarah Scherkenbach

President, ZINE Co-Editor-in-Chief

Vice President, Treasurer

Winnie/Elizabeth Wang

Jovanna Abdou

Izzy Rasmussen

Secretary

Outreach Officer

Creative Director, ZINE Co-Editor-in-Chief

Ceri Matsuda

Shifa Ali

Kayla Pham

Assistant Creative Director, ZINE Co-Editor-in-Chief

Social Media Chair

Events Chair

PHOTOGRAPHED BY: SARAH SCHERKENBACH

Meet the Editors

Ariana Defosse Angel Liang

Della Whalen

Olivia Turcio

Gabrielle Clark

Ranna Zara

Sophie O’Connell

Tuesday Sohn

Soneha Datta

Stephen Li

PHOTOGRAPHED BY: SARAH SCHERKENBACH

Contrasting Function in Guardian JOVANNA ABDOU Guardian (F1949.21), also commonly referred to as Nio or Protector of Buddhism, is a wooden statue created during the Kamakura period (1185 CE-1333 CE) in Japan. Standing at approximately 92 inches, the statue is larger than life and well preserved. Given the prevalent Buddhism in the Kamakura period and the work’s title, it is likely that the statue’s function was to stand guard as a protector of a Buddhist temple. The figure consists of a series of contradictory stylistic elements and use of form. I believe that such contradictions emphasize the dual nature of the statue by inviting those who are faithful towards Buddhism and warding away threatening forces.

Details of the body are realistic with the placement of the spine, ribs, and overall tendons and ligaments being anatomy correct. This accuracy likely means that the creator of the work is well educated due to their familiarity with the human body. The protruding muscles of the left knee resemble burls of a tree which further alludes to naturalism and the medium’s influence on the statue. Additionally, the natural grain of the wood aids in enhancing movement in the waist garment and adds dimension and depth to the muscles. Dynamism and a contrasting smoothness--especially in the left arm--are created as a result of the man-made and

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innate wood’s line. Not only does this extenuate the figure’s power, but it also emphasizes the naturalistic elements of the body.

The statue is identifiable as a bi-product of Buddhism due to shared characteristics that are commonly seen in the Buddha’s depictions. Even though the angered expression on the figure contradicts the typical serene look of the Buddha, a bun atop the head resembles that of an ushnisha, and a bump on the forehead resembles that of the urna (third eye). The earlobe’s elongation and exposed torso with an elegant garment about the waist is an additional shared depiction. Exposure of the spine and ribs can also be seen on some depictions of the Buddha fasting.

Shared characteristics are easily recognizable to the Buddha’s followers which eliminates some of the initial fear the spectators may hold towards the enlarged statue. At the same time, such characteristics install fear in those who cannot identify them. For example, the sight of the spine and ribs generally installs discomfort as the internal structures are meant to be hidden under the skin and are only seen in the face of death.

Rage encapsulates the figure as veins about the arms and legs and eyes with frowning eyebrows bulge out. A mouth takes the rectangular form of a shout with

teeth being bared; the right arm raises in a flexed closed fist. The slightly elevated left leg compliments that of the raised right arm and elevated right hip as they create a diagonal axis that showcases momentum for movement. On the other hand, the right foot and the palm of the left hand create another diagonal axis but lay flat.

Control is showcased as a result of the contradiction between movement and staticism. It is unnatural to have one arm ready to strike and the other still, hence a level of control must be exerted from the figure to maintain such an abnormal positioning. Overall, the notion that the figure is in control of its actions and not in a blind fit of rage is bound to comfort the faithful spectator. Controlled anger is seen from the eyes looking in the same direction in which the raised fist is

pointed. Direct targeting of a specific enemy, entity, or personage, is alluded to by such directionality as opposed to general and uncalculated destruction.

Additionally, despite the figure’s expression being provoked and crude, the garment worn is elegant and discerning.

The human body of the figure, due to its familiarity, provides solace to the human worshipers of Buddhism. Nevertheless, celestial elements like the cloud-like form and central star of the ushnisha highlight a contrast between the figure’s manhood and greater, heavenly, being. Towering over those attempting to pass, the figure’s size alone, unlike the typical size of humans and akin to celestial beings, asserts power and dominance. Welcome protection is extended to those faithful and loyal to Buddhism because of the statue’s bodily similarities, but at the same time, a challenge is raised to the unfaithful and unloyal due to the figure’s inhuman attributes.

While themes such as rage, power, and wrath are present in the work, the overall subject matter is the protection of Buddhist ideals. With the function of standing guard, the figure’s realism, human attributes, and control is inviting to the devoted, while its striking pose and bulging eyes, veins, and muscles serve as a repellent to the unfaithful. Finally, it is essential to note that such a figure usually appears in a pair with the other statue having a similar demeanor but with its mouth closed.

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Silence, Prayers, and Absolution Hymns

By Gabrielle Clark I wrote this piece in response to the overturn of Roe v Wade and Affirmative Action. I started my journey to becoming a lawyer when I was a child because I saw the mistreatment of my mother because of her gender, race, ethnicity, and intelligence. Even though she earned all of her accomplishments, simply because of her gender, race, ethnicity, and intelligence she was constantly disrespected. Seeing that made me want to rewrite the wrongs that she and many other women have gone through in history. I wanted to make an impact that would create a better world for the future generations. However, since the overturn of Roe v. Wade and Affirmative Action, everything that my mom and every other woman before us fought for has been wiped away. It feels like a call for submission once again. This is a piece about our ancestors, what they face, and what we must do now to protect the future for our descendants.

This moment of silence wraps me in its abyss. Falling further and further into the onyx waters below. This is the start and end of the beginning. The screams of our ancestors scream out in silent rage. Poisoned by time, they are no longer heard by the descendants of their executioners. No longer are our pleas and submission enough. No longer is our soft oppression enough. No longer is our silent rage enough. Alone on this battlefield riddled with the lost souls and bodies of those that fought before us. Will our forsaken souls join the legends of our ancestors?

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These legends that we told every night as children, and are encouraged to honor as grown women. Now, these legends are nothing more than forgotten fables. Enough is enough. The silent rage dancing within the screams of our ancestors I can no longer take. I can no longer accept the selfish prayers of our executioners. I refuse to join the darken, forsaken catacombs that our ancestors dwell within. The sweetest submission is one that is won on the battlefields, not within the silent halls of a sanctuary. Taking up the swift blades that cut us down, I will follow in the steps of our executioners. Whispering our selfish prayers, I will become their nightmares. Taking the mantle they left behind for pride, greed, wrath, envy, lust, gluttony, and sloth. I will not come in the shadows like a coward, like our executioners. I will walk through the abyss they have left us within to perish, and greet them as Dea Tacita. This will be the last face they will greet in this life of cowardness and selfish prayers. Now they will know the screams of our ancestors.

Now they will kneel at the altar of our ancestors and pray for absolution. Make no mistake for they will not find their mercy in this life or the next. These forsaken catacombs are where we have built our altar, praying for divine protection and justice.

Do not be mistaken in your quest for our submission to you once more, we will not meet our demise within these onyx waters your ancestors casted us in. No, these waters are now our divine altar. Here we gather our strength, bathed in our ancestors and our silent rage. This will be the place you shall fall to your demise. Goddess Justita will have her justice. I do not seek absolution, none of us will seek absolution because we found an old solution to our prayers.

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ocsalon ettennej

Sun Kissed Time Travel

This is one of my favorite interpretations on a selfportrait. I painted different ages of myself as if they were all hanging out doing one of my favorite activities—laying in the sun. The concept of all the versions of me hanging out is one of the craziest things that I am glad to have brought to life.

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iy nyrmac

The Moon Goddess and Her Rabbit

The story of Chang’e (嫦娥) is one of my favorite Chinese myths, and was the story that introduced me to the Mid Autumn Festival. The story of Chang’e has several versions, but the one I was told was this: after Hou Yi (后羿) shot down the nine suns, saving Earth from burning, the heavens rewarded him with two pills of immortality for him and his wife, Chang’e. However, before they could take them, a former student of Hou Yi’s went to his house to steal them. When he went to their home, he did not know Chang’e was there. To prevent him from stealing the pills, Chang’e quickly took both of them and ascended into the sky, but before she left she took her pet rabbit with her. This piece is of her and her beloved companion.

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With my family’s relocation, Hong Kong, the unfamiliar southern city came into my life not too long ago.

Throughout various short but meaningful stints in the city, I have grown comfortable with the new home.

These photos capture the stories of the city through different seasons, from the humid summer days to the weeks leading up to the lunar new year. I hope to showcase the beauty, vibrance and the unwavering elegance of this city through turbulent times.

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香 港 Hong Kong to me means much more than its food or its nightlife. From the Muslim security guard doing his evening prayer to the fishing boats in front of the glamorous skyscrapers of Tsim Sha Tsui, Hong Kong’s true beauty is shown through its rich diversity. Regardless of who you are or where you came from, you can also find your place here.

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Visions from Yunnan: Modernity

by Alex Wan “The province of Yunnan in southwestern China is a mountainous region and the home of various ethnic minorities of China. While visiting the cultural cities of Lijiang ( ) and Shangri-La ( ) however, I found modernity juxtaposed onto that tradition.”

丽江 香格里拉

Roof of a traditional Nakhi ( ) house converted into a hostel.

Note the wires.

纳西

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Roof of the Ganden Sumtseling Monastery ( ), a famous site in Shangri-La

松赞林寺

A national parks worker picking up trash on Jade Dragon Snow Mountain

An antenna on top of a mountain

Tourists scale the mountain in the rain

Traditional Nakhi house, installed with security cameras and stage lights

A woman on her phone in the monastery

Bird.

Tourists in traditional Tibetan costumes taking pictures in front of the monastery

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Shifting Perspectives

“In this edition of my photography, I shifted my focus primarily towards capturing the beauty of nature, a departure from my previous emphasis on bold architectural subjects.

Fortunately, I had the opportunity to photograph for two GW groups: GW Vibes and GW's District K dance team. This experience allowed me to delve into portrait photography, leading to a series of spring photoshoots, particularly during the enchanting Cherry Blossom Season. Exploring vibrant color contrasts within diverse settings represented a departure from my usual approach to photography, showcasing the various avenues for growth and improvement.”

Lowell Pioquinto 16

颐和园

I was originally adopted from China when I was one, so going back felt very surreal, but I also distinctly felt like a foreigner when I went, which I didn't fully expect. Overall, I thought the landscape was incredibly beautiful, and I really love how the architecture honors Chinese culture and history.

Sarah Scherkenbach

(Left and right are from Yangshuo, bottom is from the Summer Palace.)

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桂林山水甲天下

“By water, by mountains, most lovely, Guilin.”

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Blossoms by: Sarah Scherkenbach 19

TIDAL BASIN 2022

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DEAR ASIAN YOUTH

COVER ARTIST: @JENNETTESARTSTUFF

@dearasianyouthgw

dearasianyouthgw.org VOLUME 2, ISSUE 1