June 20, 2018

INTERNATIONAL EXAMINER

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June 20 - July 3, 2018 — 1

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INTERNATIONAL EXAMINER

Sofia Aragon could be the first woman of color representing the 34th

By Alexa Strabuk IE Contributor Sofia Aragon is acutely aware of why a political campaign is also called a ‘race.’ It’s a juggling act, and the to-do list never ends, says the 34th legislative district Washington state senate candidate. But the hustle doesn’t seem to faze her.

“I have a realistic viewpoint,” says Aragon.

“I have no fantasies about what Olympia is like, although I’m hopeful and excited to be a part of the problem solving there.”

If elected, Aragon would be the first person of color and first woman of color to hold a state senate seat in the 34th. Her top priorities as a legislator include pushing for equitable access to education, providing healthcare for all to support the district’s aging population, and working to create affordable housing solutions.

Aragon is one of a handful of State Senate hopefuls vying to replace longtime incumbent Sen. Sharon Nelson, who announced her retirement earlier this year. Aragon, for her part, has always been interested in the notion of being a legislator after having worked in health policy and governmental affairs in Olympia for 13 years. Prior to that, she worked as a registered nurse in a community health clinic in South Seattle.

“The things I saw while working at the clinic convinced me that if there were actual nurses in the legislature, some of the unintended consequences of policy might be prevented,” she says.

Her growing interest in advocacy combined with her commitment to strengthen health policy for vulnerable populations catalyzed her decision to attend law school in Chicago.

After returning to the area, she began doing policy and fiscal analysis at the Department of Commerce in Olympia, which led to a Department of Health position where she managed contracts for people diagnosed with HIV or who needed other services. Aragon quickly moved into a broader policy role before eventually becoming the Senior Governmental Affairs Advisor for the Washington State Nurses Association (WSNA.) “During legislative session, my job was to work with lobbyists and to actually push leg-

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Sofia Aragon. • Photo by Tara Gimmer

islation through. It helped me build relationships with lawmakers; helped me understand how the process of a bill becoming a law isn’t exactly straightforward. It’s important to build relationships on both side of the aisle.”

Aragon’s theory of change is largely based on engagement. Her goal as a senator is to elevate awareness of issues and solutions in both the legislative body, among those who make the laws, and of course, in those back home in the 34th. Inclusion across party lines and stakeholder groups is the key, she says.

People must be brought together, but with so many divisive topics, Aragon knows she has her work cut out for her.

When asked about the recent head tax controversy, Aragon responded: “We need to invest more in homelessness and housing solutions. We can’t get away from more funding. We have very successful companies in the region and their success rides on the workforce that we have and the resources that we’ve provided. The core question is around whether it’s fair to ask these businesses to re-invest in our community.”

Beyond her policy work, though, Aragon has deep ties to the 34th legislative district, which includes West Seattle, Burien, White Center and Vashon Island.

She and her family came to Seattle from the Philippines in 1975, settling in the 34th

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because of its then-affordability. Despite bouts of unemployment, Aragon’s mother, a nurse, eventually bought a house in South Seattle for $30,000. Aragon’s grandmother, a factory seamstress, helped put food on the table.

“I think of how my parents came here with a clear vision of opportunity,” she says. “I’m a proud product of public education. Ever since I was old enough to understand what school was, they said they wanted me to go to the local university. They financed a baccalaureate degree at the UW which, I think, opened the door to my policy career.”

State Sen. Rebecca Saldaña (D-37) who grew up in Delridge and attended school in White Center and Burien, recently endorsed Aragon, citing the candidate’s understanding of the immigrant experience and her many years of working in Olympia to effect social change.

“The 34th has an opportunity to elect a candidate that reflects the rich heritage of immigrant and refugee low-income folks that have always been a part of the 34th. I endorse Sofia Aragon because she has made housing a priority and has the expertise and experience to get results done in Olympia.”

Rep. Cindy Ryu, who first met Aragon during her own run for the State Legislature, echoes these sentiments:

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“Sofia will make a great State Senator because of her calm, thoughtful personality, her training both as a nurse and a lawyer, and she is dedicated to equity and economic justice,” wrote Ryu in an email to the International Examiner. “Above all, I would love to work with Sofia on good policies, including affordable housing.”

The 34th is rapidly changing, says Aragon, much like the rest of the city. And as Seattle’s cost of living continues to rise, she knows the needs of her district will change, too.

The district has long been undervalued which made the area affordable. Aragon’s focus on access could play a fundamental role going forward, especially as the area becomes more and more dense and demands the development of a bolder transportation policy to get people to and from jobs outside the district. Across the board, the region is diversifying.

For example, this year’s kindergarten class is considered majority minority, with 56 percemt of students identifying with a community of color.

The opportunity gap must be closed, says Aragon. “The 34th has always been diverse.

In West Seattle, for example, there’s an economic line down 35th SW. If you go east, you hit low-income communities in Delridge and if you go west, it’s the opposite because of the views of Puget Sound,” explains community activist Akemi Matsumoto. “It can’t only be liberal whites who are represented.”

Matsumoto and Aragon both serve on the board of Asian Pacific Islander Americans for Civic Engagement (APACE), a nonprofit organization that advocates for greater APIA civic engagement and participation. Asian Pacific Islanders are the fastest growing group of color in the state of Washington, explains Matsumoto. She says that if everyone came out to vote, Asians could wield the political power to swing significant elections.

“Communities want to see themselves in their leaders,” says Aragon. “We have an issue because there’s an electorate that could be so much more engaged. A lawmaker needs to be accessible so that people feel comfortable being a part of the political process.”

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INTERNATIONAL EXAMINER

June 20 - July 3, 2018 — 3

Coalition clashes with opponents over “prejudiced” exclusion of Filipino Town in the CID

By Chetanya Robinson IE Managing Editor

In his lengthy rebuttal email to Lau, also sent to City employees, urban planners, developers and local non profits, Cabanilla noted that for almost a year, the City has recognized historic Filipino Town after the amended resolution was passed. Furthermore, he said several historians supported his work to recognize historic Filipino Town, including Dr. Dawn Mabalon of Stanford University, a prominent historian of Filipino American history. In addition, “Filipino Town” was referenced in the National Register of Historic Places when the CID neighborhood was added in 1986.

And historical data also shows a high density of Filipino activity concentrated in Chinatown, Cabanilla wrote.

Many people are concerned that Filipino history in the Chinatown International District (CID) is being systematically erased and stifled. A few individuals admit they are trying to prevent the term “Filipino Town” from being recognized and taught about as a historic enclave within the CID. Others fell somewhere in between. Altogether, more than 20 people met at Hing Hay Coworks on June 14 to discuss, and perhaps come up with solutions to promote inclusion in the neighborhood. But the meeting quickly erupted into arguments over historical facts and terminology.

“There has been a consistent, targeted discrimination happening toward Filipinos on a regular basis,” said Devin Cabanilla, a public historian and former Board Secretary for the Filipino American National Historical Society (FANHS) Seattle Chapter, who organized the meeting.

The meeting was contentious the minute it started, when Cabanilla began referencing removal of Filipino history.

“Stop right there,” said Paul Wu, a retired architect who led design of the Historic Chinatown Gate. Wu said he wanted to counter “insinuations” against Betty Lau, a retired ESL teacher present at the meeting.

In July 2017, Lau successfully petitioned the City Council to cross out references to “historic Manilatown” from a resolution aimed at equitable development in the neighborhood. Before it was removed, the resolution mentioned Manilatown alongside Chinatown, Japantown and Little Saigon. After pushback from Filipino community members and supporters organized by Cabanilla – a group known as the Filipino Town Coalition – Council President Bruce Harrell apologized, and the Council approved an amended resolution recognizing “Filipino Town” as a historic neighborhood in the CID (the favored term over “Manilatown”).

Lau was at the meeting to share her perspective. Before she spoke, Cabanilla responded to Wu’s interjection, immediately detailing several examples, some on public record, of concerted efforts to erase reference to Filipino Town. These included the efforts of Lau, as well as Brien Chow, to strike reference to Manilatown from the resolution.

Another was Lau and Chow asking the Wing Luke Museum to exclude historic Filipino Town from its educational programming (something Chow admitted to later in the meeting). Cabanilla said a Seattle Police Department employee told him that they’d been instructed not to teach about Filipino history.

In an email spreading work about the meeting, Cabanilla detailed a third incident. According to Cabanilla’s email, a petition opposing a planned Filipino Me-

A flyer promoting the June 14 meeting to discuss exclusion of Filipino Town. • Photo by Jill Wasberg

morial Parklet on Maynard Ave South, between King and Weller streets, was circulated among local businesses. The petition claimed the parklet would get in the way of businesses and lion dances, and would be bad Feng Shui. Michael Le, one of the owners of Go Poke restaurant who also attended the meeting, told Cabanilla he was approached by two men who claimed the petition was about “the government was taking away parking on the street.” When he learned what the petition was actually about, Le withdrew his support.

Lau spoke for less than five minutes.

“I inadvertently, I guess, started everything,” she said. She said she was there to “speak my truth” and dispel “painful” rumors.

Lau said she worked to remove references to Filipino Town because she believes there was no record it existed.

She said this was based on a conversation she had with the late Fred Cordova, a Filipino American civil rights leader and founding member of the Filipino American National Historical Society (FANHS). She spoke with Cordova when she was preparing to teach about Filipino American history to high school students. According to Lau, Cordova said there was a large Filipino presence in the neighborhood, but no historic Filipino Town. “As we were discussing about Filipino Town, he said, ‘It might sound odd for me to say that Betty – that there wasn’t a Filipino Town – but we have to get the facts out there.’”

Lau also made this assertion in an email in May, arguing that it would not be accurate for flyers distributed in the neighborhood to reference historic Filipino Town. Cabanilla was added into the email conversation, and the meeting was arranged after the email exchange.

In her email, to support her claim, Lau quoted from Filipino first-hand accounts that referenced “Chinatown” or “Seattle” but not Filipino Town. She also quoted from the Filipino kiosk on 6th and King St., which reads that “the CID is considered by Filipinos as their home away from home.”

Cabanilla noted in the email that Filipino presence in the neighborhood was often ignored. “However, people and groups change in understanding,” he wrote. “We do know Filipino community was a de facto presence concentrated in the Seattle CID, so we will form its collective meaning as ‘Filipino Town’.

This is an acceptable change of terminology that brings clarity and underlines the reality of a truly International District.”

As for Cordova – who was Cabanilla’s uncle – Cabanilla wrote: “The Cordovas are not the sole historical source for Filipino Americans,” and added that they have been open to discussing new understandings of history. Cabanilla added in the email, “It is strange Ms. Lau that you bring up Fred Cordova’s name, but not the names of local living people who worked on the actual resolutions or proclamations that have since been created for Filipino Town.”

most crucial lessons of the civil rights movement locally was how Chinese, Japanese, Filipinos and effectively worked in coalition and for inclusion to achieve big goals.

Halfway through the meeting, Cabanilla tried to change the topic of conversation toward solutions to inclusion. But people continued to discuss the issue of Filipino Town, and the name “International District.”

Wu said that because he didn’t know of any Filipino businesses in the CID, creating a designation of FIlipino Town when there are no visible Filipino presence would be redundant. “The economic value of giving a name is for business vitality,” he said.

Near the end of the meeting Chow said: “I’ll be honest with you all – this neighborhood is Chinatown. It’s been named Chinatown for over 100 years.

That’s where I’m coming from….Chinatown is the name of a neighborhood and that’s where I’m from. And Japantown is the name of a neighborhood, and Little Saigon is.”

“And so is Manilatown,” someone interjected.

“Well I didn’t want to get into that,” Chow said.

Others argued that debating whether Filipino Town has a historical basis misses the point. “There’s more to place, geography, than something that’s put in some kind of legal, litigious paper,” said Lauri Young, secretary for the Filipino Community Center of Seattle. “There’s story. And we have all of that to share.

If we work together, we can share that.”

Dr. Polo DeCano, Pio DeCano’s son, At the meeting, Cabanilla said: “I said: “To take away that history and that can’t corroborate with my uncle anylegacy because it doesn’t fit some variamore – he’s in the grave.” tion of fact, or definition of what is fact, Ten minutes into the meeting, Chow I think loses the spirit of what I think said he wanted to address “accusations” we’re all trying to accomplish.” that Lau “didn’t like Filipinos, etc. etc.”

In an interview after the meeting, CaCabanilla interjected that he never banilla said he thought it went poorly. said this. “I said there is specific action “We spent too much time talking about being taken at the legislative level, at the past,” he said. the department level….Why is it consis“Most people accept that there is tently Filipino items that are excluded more than one group in Chinatown, and from your requests? Because that is perit’s just a handful of people who seem to sistent, and it can be taken as prejudice.” be in denial about it,” he said. “Whether Frank Irigon, a Filipino American ac- or not you want to say that there is not tivist who advocated for CID and API a Filipino community, it’s just absurd concerns starting in the 70s, defended because the Filipino community keeps Lau and said it was important for the on coming together to recognize what neighborhood to work together on fund- our culture and history were here in the ing for historic preservation and to com- district.” promise on projects such as the Filipino Cabanilla said he never expected Lau Memorial Parklet. “Knowing Betty, I know she meant no harm,” he said. “I or Chow to say they were wrong at the myself was very flustered, not know- meeting. The only reason he welcomed ing what was going on even though I’d them to attend was to let other people been involved with this district for over hear their perspective. “I don’t think enough other people understand how 40-something years.” regressive their ideas were, and so I’m Filipino community leader Pio DeC- just giving them a place to speak, not ano, who is a trustee for the Filipino a place for us to reconcile,” Cabanilla American National Historical Society, said. “Because there’s no reconciliation also stressed the importance of over- with having such completely different coming divisions. He said one of the truths.”

4 — June 20 - July 3, 2018

INTERNATIONAL EXAMINER

Lore Re-imagined at the Wing Luke Museum

by Susan Kunimatsu IE Contributor “I spend a lot of time in museums,” says Chieko Phillips. “I’m attracted to art that resonates with my historical training.” A self-described history nerd, she is the curator of the exhibition, Lore Re-Imagined: Shadows of our Ancestors, recently opened at the Wing Luke Museum of the Asian American Experience. A professional in the field of cultural preservation with degrees in history and museum studies, she initially pitched the exhibition as an exploration of oral heritage in the visual arts.

“The Wing and I value oral history,” she says. “Oral history captures the parts of history that don’t make it into books… the history that falls between the lines.”

The show’s central concept is how artists learn from their elders and teachers, and use those stories, techniques and beliefs in their work. Phillips chose three artists from diverse backgrounds, working in different media. Although based in different parts of the country, all had lived in Seattle. Each expresses their heritage through their work in different ways. They taught Phillips that intergenerational exchange happens along lines other than oral and verbal.

Megumi Shauna Arai grew up in the Pacific Northwest and Tokyo. Her Japanese father and Jewish mother were both artistic and encouraged her to express herself through art, introducing her to many different media, including Yemenite embroidery that her mother practiced.

“I’ve always had a fascination with fiber and textile,” she recalls. “I believe it is the tactile nature of the medium that I find so attractive.” Given a grant to study traditional papermaking in Japan, she recounted to Phillips how she developed her technique by imitating the physical motions of a master paper-maker. The material rekindled her interest in embroidery.

“I started to envision paper as a textile and my obsession with stitching began,” Arai says, noting in her artist statement, “piecework has a long tradition of holding space for conversation and creation.”

To create Unnamed Lake, she designed a process of cultural transmission, bringing together 40 volunteers in random pairs to practice sashiko, a Japanese quilting technique, while conversing about their personal and family histories. Recorded snippets of their conversations play from speakers hidden behind the single large textile that all the participants worked on.

Alex Anderson’s ancestry is Japanese and African American, but China is a pervasive influence in his art. Raised in Seattle and educated largely in the U.S., he began studying Chinese in high school and speaks fluent Mandarin. He spent a semester at Jingdezhen, a center of traditional Chinese ceramics, and was a Fulbright scholar at the China Academy of Art in Hangzhou. His ceramics and paintings are layered with personal and historical references. Anxious Watermelon, a large ceramic jar is one such work.

“It’s an emotional piece and a racially charged piece,” Anderson explains. The wa-

Anxious Watermelon. • Photo courtesy of the Wing Luke Museum

termelon references an African American stereotype while the round white eyes, only one with a pupil, evoke Daruma, a Japanese good luck figure. He employs traditional Chinese ceramic and painting techniques in edgy contemporary works. Anderson reflects that, “All art is self-portraiture in a way, expressing your internalized world.”

Satpreet Kahlon is obsessed with boundaries. Her family is from the Punjab region that spans the border between India and Pakistan. Her grandfather survived the violent partition of those countries, so traumatized he could not talk about the experience.

Kahlon recently traveled to India, but the ongoing conflict kept her from visiting her ancestral home in Pakistan. She yearns for a place that is inaccessible to her, in geography and memory.

“If only I could go back to Pakistan 50 years ago…but that’s a false narrative,” she quickly concludes. “[For me,] the loss of heritage creates a metaphorical border.” Her installation in/ /between fills the gallery.

Constructed of found materials, the sprawling piece mingles her family heirlooms with trash from the Rhode Island School of Design, where she is a graduate student. Seven video monitors and tablets are embedded in the piece. Recordings of her family’s matriarchs and an account of her visit to the border form a connecting narrative. Viewers must pick their way through, uncertain as to where the art ends and personal space begins.

“Specificity closes off a lot of interpretations,” says Kahlon. “I want the viewer to be an active participant. It’s like poetry: the viewer must interpret it for themselves.”

Chieko Phillips hopes that viewers will appreciate Lore Re-imagined as visual art, but also as a prompt to ask themselves what cultural knowledge is in their own families, and how it manifests in their day-to-day lives.

“I was thinking about how cultural memory gets passed down,” she says. “It is held within the body and can be held within actual places…It’s not just learning about a tradition and that it existed [but] figuring out how to use it today.”

Lore Re-imagined is at the Wing Luke Museum in Seattle through April 2019.

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INTERNATIONAL EXAMINER

June 20 - July 3, 2018 — 5

Khmer language curriculum faces uncertainty at the UW Ammara Touch IE Contributor

classes will look like. Word has it that it will be offered in the 2018-2019 academic year.

As of now, their efforts are focused at having the program housed under the American Ethnic Studies department in hopes that if the grant is not given to the program, they will have a safety net to fall back on and have a way to collaborate for a solution, continuing their endeavors in establishing the Khmer language studies as a permanent budget line item.

On the third floor of the Ethnic Cultural Center at the University of Washington, a group of students from the Khmer Student Association (KhSA) gather around a large table strewn with worksheets, guiding each other in writing difficult sentences in Khmer, the script elegantly drawn on the whiteboard.

Despite this success and student dedication, the Khmer language class faces much uncertainty. Funded by the Title VI federal grant, re-application for this competitively sought-out pool of money to support the curriculum occurs on a three-year period.

At the start of 2017, major issues arose due to federal budget cuts in education that allocated less funds to the Title VI grant.

With the urgent, immediate fear of losing the Khmer language program and potential inability to revive it in future years came the birth of the Khmer Advocacy Project, under president Savannah Son, which is an initiative developed to keep the Khmer language program at UW and specifically sought to make the Khmer language class a permanent budget item so that there is no uncertainty in having to apply every time for funding.

The members aggressively fought for its preservation, circulating a petition that garnered over 3,000 supporters, contacting other institutions with Khmer language programs for letters of support, holding meetings with community members and UW faculty, as well as collecting data to convince UW administration that the program needed to be saved.

Melissa Ouk, a KhSA officer and core team member of the Khmer Advocacy Project, is pushing for answers. “We keep hearing, ‘you have to wait, you have to wait,’ but we want a definite answer…this is important to us. We need the community and students KhSA students at the Annual CIRCC Celebration. Photo by Bunthay Cheam to help; they have the most power to pressure the administration, because the faculty can program that similarly faced threats of dis- English to survive and live a better life, of- only do so much and will likely be brushed appearing from UW’s curriculum – worked ten leaving the home language forgotten and off.” on discerning the importance of native lan- simultaneously, the history. “The Khmer lanThere is still hope, though. Hay is espeguage, especially to scholarship, and its rel- guage [class] isn’t just to learn a language; it’s cially grateful to see the involvement of other evance to various fields of studies in order to to learn about a culture that has been fighting students outside of KhSA and from faculty. demonstrate that it is not a language of ‘play’ [and staying] resilient,” Hay says.

“It’s amazing to see how much energy stuand ‘unscholarly.’ Had the Filipino commuThe idea of language barriers is also a dents have to support each other from difnity not spoken out in defense against the in- common discussion of concern, and memsinuation made by school administration that ber Ryan Seang addresses the healing from ferent cultures and departments...[who] can Tagalog was an unscholarly language of play, genocidal trauma that has divided families, relate to the struggles and importance of a language barrier and ethnic studies.” it would not be an offered course today. seeing Khmer classes as an opportunity to Moving forward, KhSA hopes to see more KhSA has rallied immense support from bridge the gap between the older generation community involvement for this project. the greater Khmer and UW community as who cannot speak English and the younger well as its members. Students have expressed generation who cannot speak Khmer. These Ouk, alongside many other students, sees the their passion for this project and for the relationships are valuable to learning about importance of a Khmer class and having it Khmer language itself, seeing it as the heart the past and truly opens the doors to appreci- as a permanent course for future students so to their identity, a mechanism for community ate culture. In the conversation, Seang raised they do not have to worry about fighting for building, a push towards decolonization, and a question of equity as well. “It [Khmer] is it. “If it’s lost, that’s another thing that they’re a step towards healing. part of our heritage and if other languages taking from us, and we only have so much,” Ouk laments. “The Khmer community has Andy Hay, a KhSA officer, sees the impor- like Spanish, Japanese, Hindi, Sanskrit and so little already…because of assimilation, Greek are offered at this University, why not tance of Khmer language as a way to reconthe Khmer language has faded.” nect with one’s roots. With the Khmer dias- Khmer? Is our language less valuable?”

The statistics they found provided evidence that there is in fact a stable demand for the Khmer courses. The project’s core team’s pora and immigration away from Cambodia, Currently, the students don’t know for cerfocus – modeled off the Tagalog language many were forced or encouraged to learn tain what the future of the Khmer language

“From one came many”: Filipino student organization celebrates 100 years of activism and empowerment

By Molly Quinton IE Contributor

work that went into planning the centennial celebration running throughout the 2017-2018 year, and how she hopes the When Sunshine Arcilla joined the UW legacy of FASA will continue far into the Filipino American Students Association future.

(FASA) her freshman year, she didn’t The centennial began with a kickoff anticipate that she and her randomly-asevent last September and events continsigned roommate, Marijo Manaois, would even get along – let alone think the club ued throughout the school year. The Centhat they decided to check out together on tennial Gala on April 28 was its crown a whim would become such a huge part of jewel, with 400 alumni, students and community members attending and raisboth of their lives. ing $25,000 for an endowment scholarFour years later, Arcilla and Manaois ship that will help the next generation of joined members of the UW community in Filipinx students on campus. front of the Husky Union Building to celLongtime FASA advisor Lolie Farinas ebrate the installation of a new plaque that commemorates 100 years of the Filipino also spoke, providing context and histostudent organization FASA’s presence on ry to the work the students have accomcampus. Arcilla and Manaois have been plished. involved in FASA for four years. Manaois “This endowment scholarship will supis president of the club and Arcilla serves port students in infamy, leaving a as centennial coordinator and president.

Arcilla stood in front of the crowd, beaming as she described the extensive

FASA: Continued on page 19. . .

Members of the UW Filipino American Students Association (FASA UW) celebrate the installation of a new plaque commemorating 100 years of the organization’s presence on campus. • Photo by Molly Quinton

6 — June 20 - July 3, 2018

INTERNATIONAL EXAMINER

My-Linh Thai is running in the 41st Legislative District and fighting for equity

By Grace Madigan IE Contributor My-Linh Thai announced her candidacy for the 41st legislative district position, left open by Rep. Judy Clibborn, back in April, but Thai’s decision to run goes back much further than that.

Thai is a Vietnamese American who immigrated to the U.S. at the age of 15 with her family. Not knowing a single word of English, Thai struggled to navigate the school system but eventually graduated from the University of Washington’s School of Pharmacy. It was her experience with the public school system that would later inspire her subsequent work in education.

Although, health care was Thai’s first passion when she became a parent, education quickly became her second. Thai moved back to the Seattle area in 2008 with her family and took a year off from work to help her two children get settled in their new community.

After volunteering in the classrooms of the Bellevue School District, Thai was left with a lot of questions about the education system. She didn’t understand why classrooms were so big, why the curriculum was the way it was or why kids who needed a challenge weren’t getting one and

Photo courtesy of My-Linh Thai

those who needed help weren’t getting it.

Thai recalls reading scholarship applications offered by the Bellevue PTSA for high school students. Two of the essays stuck out and helped prompt her to run for a position on the Bellevue School District Board.

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“When I read those essays, of the undocumented students, it brought me right back to 1983 when I was that 15-year old kid who didn’t know English, didn’t understand what was going on. All I had was a dream, and these students have a dream too,” Thai said.

Thai won her first term on the Bellevue School Board in 2013 and won re-election in 2017. She is currently the school board president of the Bellevue School District and also the vice president of the Washington State School Directors’ Association. This year marked the 10th year of her “break.”

The 41st legislative district covers an area that includes all of Mercer Island, parts of Bellevue, New Castle, Renton, Issaquah and Sammamish. The 2010 census reported that Asians made up just over 20 percent of the district.

During her time on the Bellevue School District Board, Thai has pushed for the school district to address inequalities in the public school system, an issue she hopes to continue to advocate for in Olympia if elected. After 10 years of working in the education system, Thai has come to the conclusion that equity is key to improving our public schools.

Thai draws on her own experiences in understanding the importance of equity in public schools. Thai laments that in high school, “they didn’t know what to do with me,” as a 15-year-old refugee who didn’t speak any English. When she told her counselor she wanted to become a doctor, she was told that wasn’t possible.

The most recent report of demographics of teachers in Washington state from 2016 shows that almost 90 percent of all teachers were white. Thai expresses the importance of having teachers that reflect the diversifying student body they’re teaching so that they have people who can inspire them.

One of the issues, Thai explains, is that recruiting teachers of color is one thing but retaining them is another. Too often these teachers burn out as they face the uphill battle of fighting inequity alone without community support.

Thai hopes to work on supporting teachers of color more by offering student loan forgiveness and a network that will help them attain their goals. Additionally, she wants to secure more money for Washington schools.

Aside from education, Thai takes a holistic approach to the issues that face her district. She recognizes that many of these issues are related and that by addressing one you’re addressing part of another.

Thai’s main focus has always been education and health care but she believes in what she calls “strategic prioritization.”

Thai explains that it’s the job of elected officials to find a balance between listening to their constituents and using the data available to guide them in what they focus on. Only when they determine the fundamental issues that can and need to be addressed can they begin to solve all the other issues.

Since her campaign started; Thai has been endorsed by a number of organizations but she highlights Fuse, Washington Education Association, the 41st Legislative Democrats and the Washington State Labor Council as a few that she feels proudest of receiving.

Thai explains that getting the sole endorsement of the Washington State Labor Council was particularly meaningful to her because she comes from a working class family.

“Yeah, those were the years,” Thai said.

Her family lived right across the street from Federal Way High School. The family of seven shared a two-bedroom apartment and spend summers picking berries alongside other refugee families to make ends meet.

“We’d meet at locations usually 4 o’clock in the morning, and we’d all hop on to this bus and we’d get to the fields probably around 5-ish,” Thai said.

If Thai gets elected, from what she understands, she will be the first first-generation refugee to hold an elected position at the state level in Washington. For Thai this is significant, because as she puts it: representation matters.

Thai exclaims that she will not only be representing the Asian community and refugee community but women of color, educators, parents, health care professionals.

The American dream exists in Thai’s world; she’s living it but she recognizes that it isn’t attainable for most people like her but she wants to change that.

“For me the very basis of all my work is truly the question of is it justice or just us?

Do we truly love everyone as we say we do? And that only show through actions, right? Words are just words.”

INTERNATIONAL EXAMINER

June 20 - July 3, 2018 — 7

Award-winning movie Waru elevates Maori wahine voices Linda Ando and Aya Bisbee IE Contributors The New Zealand movie Waru played at SIFF this year, and was deservedly a Best of SIFF award winner. Nine Indigenous Māori women filmmakers broke the silence and united to produce Waru, an award-winning film featuring eight distinct vignettes about a community grieving the death of a young boy named Waru.

This film is about pain and confronting issues of child abuse, but it is also about elevating wahine Māori voices, the complexities of Māori culture and identity, challenging harmful narratives constructed about indigenous communities, and about healing.

The producers set guidelines for the directors – each vignette was required to have a female Māori lead, shot in a single 10-minute take, and filmed in one day, with the entire film being shot in only eight days. Each vignette in the film took place at the same time, 10:00 AM, the morning of Waru’s tangi (funeral).

Waru screened at the Seattle International Film Festival (SIFF), winning the portrays sisters facing the dilemma of “Best of SIFF 2018 Audience Award” confrontation. and had an encore screening June 18 in Their collective voices and stories were Seattle. felt deeply during the film and long afterThe IE spoke with director Chelsea wards.

Winstanley, who proudly wore the names Winstanley shared the startling statistic of all eight Waru short films patched on that one child is killed every five weeks in her shirt, emphasizing the importance of New Zealand. She stressed this is not only each filmmaker and their unique perspec- a Māori issue but a national issue. tive in this collaboration. Winstanley diA Māori health researcher, Dr. Fiona rected the segment “Kiritapu,” which focuses on a young Māori newscaster who Cram says, “Reducing Māori child abuse takes control of her platform to speak up will require tackling poverty and racial for her community, confronting a racist discrimination.” There are no easy answers to why child abuse occurs in any and bigoted white news anchor. community. The history of colonization In addition to Kiritapu, Waru featured and the intergenerational fragmentation seven other vignettes: of the family and community structure ● “Charm” by Briar Grace-Smith opens has profoundly affected the well-being of the film with a respected Aunty manag- the Māori community. Waru provides a ing a kitchen at the marae (Māori meet- platform to talk about these issues in oring complex) where Waru’s tangi takes der to heal. place nearby. She is a beacon of support Waru cries out to the world to make for grieving family members while also changes, to make people aware of the hucoping with her own emotions. man suffering and cultural genocide that ● “Anahera” by Casey Kaa centers on has affected indigenous communities a teacher coping with guilt following the and peoples. Here in Seattle, we must acloss of a student, and how to maintain knowledge that we are living on the land of the Coast Salish peoples and be aware strength for others. of the lasting impacts of colonial violence ● “Mihi” by Ainsley Gardiner demonand the importance of platforms such as strates the daily experience of a mother Waru. of four trying to make ends meet while At the end of the film, the voice of Waru protecting her children’s innocence and imagination from the financial difficulty says, “I’m still here”. Waru and these nine wahine directors demonstrate that Māori she faces. have and continue to speak up to address ● “Em” by Katie Wolfe is about a single issues in their own communities. mother struggling with alcoholism, fightWinstanley also shared with us that she ing to care for her child. is returning to New Zealand to work on a ● “Ranui” by Renae Maihi focuses on film about her mentor, Merata Mita. She two grandmothers carrying on ancient is working with Mita’s son, Heperi Mita, traditions to ensure their great grandon the feature documentary, Merata: How child’s wairua (spirit) was cared for at his Mum Decolonised The Screen. tangi.

“The revolution isn’t just running out ● “Mere” by Paula Jones shows a young with a gun. If a film I make causes inteen standing up to an abuser and repredigenous people to feel stronger about senting hope for Māori women. themselves, then I’m achieving something ● “Titty and Bash” by Josephine Stew- worthwhile for the revolution,” said Winart-Te Whiu and Awanui Simich-Pene stanley.

Photo courtesy of SIFF

*** around the world. I am working on a film International Examiner: Can you with her son about her life told through share the process of creating your vi- her children’s eyes. gnette “Kiritapu”?

IE: Talk about the scene when Kiritapu, your newscaster character, adChelsea Winstanley: I am fascinated with truth and how truth is told. I come dresses the public and TV host “This is from a documentary perspective, I like not just a Māori problem”... stories that stem from basic truth. It is always interesting how they portray these stories of children dying. More often than not, it would be reported it was a brown baby, person, very skewed, never got the full picture, there was always a lot of racist undertones and it needed to have some sensitivity, highlight the fact that not only Māori kill their kids, white people do, too.

That wasn’t getting reported the same way, so I wanted to do something about that.

IE: Who were the women in your life that influenced your cultural identity and role as a filmmaker?

CW: My grandmother, Kiritapu, and my cousin who was named Kiritapu after her. She just made it into parliament as one of the first Māori and openly gay women who is a member of parliament, super proud of her. I wanted to model my piece around two Māori women in my life who I really value and am proud to know, who give me my cultural identity.

My grandmother came from the generation where they were hit at school for speaking their native language. So she never taught the language to her daughter, my mom. There are really sad effects of colonization. People don’t understand the full effects of that trauma. We talk about posttraumatic stress disorder and intergenerational trauma that you carry – all that cellular memory, you carry those memories and that hurt from generation to generation. So people are struggling and people are stressed out and have limited choices when they are stressed on a daily basis.

CW: It was building up, relentless blatant racism, unconscious bias. It is the behavior and with Me Too, Times Up Movements, bad behavior we got to just stop it and address it. One of the last films I was working on is with Merata Mita on child abuse in Māori community.

This issue has always be on my mind and how more often than not if it was a brown or white baby that died, it would be the brown baby seen on the news. Images of brown and black people being scarier than others, all these crazy messages that people consume and start believing it.

That is the process of colonization and assimilation, one group feels superior than the other.

IE: Any last words or a message you like to share, especially for our Pacific Island students and communities?

CW: I feel hopeful in this moment as conscientious people, especially women with voices, and we support one another, like when people in our community have wins, support them. We are so quick to judge, and chopping each other down.

We are not going to get anywhere if we don’t support one another and keep moving forward. Dig deep and find love and no matter what you do, have a teach-in with heart.

Be kind to one another. Never forget that an indigenous struggle is real and it has hope because if you think about it, you are all still here. The job of the colonizer has not been completed and they did not completely wipe you out.

You should be proud of the fact that you are still here and still fighting. Keep fightFilmmaker Merata Mita has influenced ing! me and so many indigenous filmmakers

8 — June 20 - July 3, 2018

INTERNATIONAL EXAMINER

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INTERNATIONAL EXAMINER

June 20 - July 3, 2018 — 9

Bollywood thriller Raazi is based on a true story of espionage during the Indo-Pakistani War of 1971

By Pinky Gupta IE Contributor Raazi is strong dramatic thriller that unfolds the story of espionage, and it is a mustsee movie for one who wants to understand the emotions during the war of India and Pakistan in 1971.The movie is based on the novel Calling Sehmat, written by Harinder Sikka, and inspired by the true incidents.

India. Sehmat agrees to take the job of spying by becoming an informant for the Indian intelligence bureau. For her very first mission she is required to become the devoted daughter-in-law of a top Pakistani army officer. And so the young lady leaves her education at Delhi University and starts training to be a spy; because India first, self later.

Sehmat marries the son of the Pakistani army major general. The son is also an army officer. After getting married, Sehmat easily wins everyone heart and trust in the family except Abdul (Arif Zakaria), the family’s cook. Sehmat successfully and smartly passes crucial and highly senstive information to the Research and Analysis Wing (RAW), which ends up helping helped India win the 1971 war against Pakistan.

The opening of the movie shows female protagonist Sehmat Khan (Alia Bhatt) as a student at Delhi University. She is saving the lives of squirrel, as she prevents them from crushed, an early indication of her sensitive and caring nature. It’s 1971, and Sehmat’s father, Hidayat Khan (Rajit Kapoor), wants his daughter to follow in his footsteps and spy for India as he is doing and to continUnlike any movie on the relationship ue the family tradition serving the mother between India and Pakistan, Gulzar shows country. both sides of the story, and that people in Sehmat learns that her father has a deadly Pakistan are sensitive, not cruel. In a scene tumor, and his last wish is for her to con- where Sehmat’s father-in-law talks about tinue the family tradition of being a spy for the war and destroying India, Sehmat’s hus-

band, Iqbal (Vicky Kaushal), sympathies with her and calms her. Iqbal is humanized, as are other members of his family, so that Sehmat’s betrayal acquires a few more layers.

In the movie, it is shown that it is not easy for an ordinary girl to be successful in espionage while destroying her supportive husband’s home. Gulzar understands those emotions and channels them well. As an obedient daughter, Sehmat does everything for her country, going as far as murder. At the end of the movie, however, when she is back in India from her mission, she discovers she’s returned with a lifelong reminder of her husband, and she must determine whether or not she wants to keep her husband and what he means to her in her life.

Director, Meghana Gulzar depicts with Raazi that there is a line between the nationalism and patriotism. The movie does not have any loud and heavy dialogues to show one’s love for her country. It also doesn’t have many war scenes, for those who are

sensitive to this type of setting. The music

by Shankar-Ehsaan-Loy is delightful. And the movie does justice to the 70’s era scene with carefully chosen details to clothes and art. Raazi is not only an excellent movie, it is also a tribute to the unsung heroes of India.

Christian Jay Quinto’s life of singing lands him center stage in A Sensible Theatre Company’s production of Pageant

By Roxanne Ray IE Contributor Most people have seen a beauty pageant or two on TV or in person and have wondered how the judges make their decisions.

Now, the audience can participate: At ACT Theatre, A Sensible Theatre Company is presenting Pageant, which places male drag centerstage in the Miss Glamouresse Beauty Pageant.

One Glamouresse contestant is Miss Industrial Northeast, played by Christian Jay Quinto. “Miss Industrial Northeast has immigrant parents and she’s not ashamed of her culture and the community that she grew up in,” Quinto said. “She taught me to embrace and celebrate all of the things that make me unique, especially being a person of color in a white-dominated industry.”

Quinto was excited to audition for Pageant because of A Sensible Theatre Company’s mission. “I strongly believe in their mission of producing shows that focuses ‘exclusively on furthering the LGBTQIA+ conversation of inclusivity and equality,’” he said. “Also, any excuse to be able to wear heels on stage, count me in!”

Singing and performing has been a part of Quinto’s life since his childhood in Ilocos Norte, Philippines. “The thing that I looked forward to every year was the ‘Zarzuela,’ which is a form of a play where the lines are sung,” Quinto said. “It’s usually in Ilokano, Tagalog or Spanish. I remember being in awe with the magic happening on stage, the lights, the sets and the talented actors.”

At first, Quinto’s training was informal.

“I have been singing my whole life,” he said.

“At a very young age, my mother taught me how to sing using our karaoke machine at home.”

Then in high school, things changed for Quinto. “Mr. Lawrence Wayman, my acting teacher at Farrington High School in Honolulu, Hawaii, encouraged me to audition for the spring musical at Kaimuki High School,” he said. “To my surprise, I was cast as an ensemble member. I caught the theatre bug after that and performed in community theatres and theatre summer camps.”

So Quinto decided to pursue more dedicated training. “I’ve made multiple selfdiscoveries during my training at Cornish College of the Arts,” he said, “but the most valuable discovery was my mission statement as an artist: I aim to diversify stories portrayed on stage and screen, especially Filipino-American representation and visibility.”

Pursuing this goal is not always easy.

“The biggest challenge that I’m facing right now is managing my time between rehearsals, shows, muggle job and self-care,” Quinto said. “I found that having a consistent sleeping schedule and waking up early has helped a lot.”

Quinto also finds balance between discipline and relaxation. “I have my journal with me at all times to write down important stuff and check off my to-do list,” he said.

“When I’m feeling down, I order in chicken cutlet with Japanese curry, which is my comfort food. It just warms my soul.”

When Quinto needs fortification, he also turns to his primary role model. “I worship

Lea Salonga,” he said. “She’s my number one idol!”

He seeks out her work. “I always watch her Miss Saigon audition video on Youtube when I need to be inspired,” he said. “Her talent, humility and selflessness are admirable. Also her vocal quality is impeccable!

Her voice hasn’t changed a bit from singing “A Whole New World” in Aladdin to ‘The Human Heart’ in Once On This Island! Vocal health goals, indeed!”

But Quinto also finds that sharing the art of musical theatre makes his challenges worthwhile. “I just finished a four-month tour with The 5th Avenue Theatre’s Adventure Musical Theatre,” he said. “We toured around the Pacific Northwest schools and performed an hour-long musical written by a local playwright and composer. I was very lucky and humbled to have performed for and inspired countless Asian kids all throughout Washington and Oregon.”

Once Pageant closes, Quinto expects to continue his focus on performing for youth.

“On July 9th, I will be flying back home to Hawaii to start rehearsals for the world premiere of an original musical, Filipino Folktales and Fables, with Honolulu Theatre for Youth.”

But he won’t be away for long. “I’ll stay in Seattle and keep building my resume here,” he said. “I admire Seattle’s API theatre community because it’s so tight-knit.

There’s a large Filipino community here in Washington, but there’s not a lot of Filipino actors. I want to stay here and represent my fellow Filipinos whether it be on stage or screen.”

Pageant: The Musical Comedy Beauty Competition runs from June 15 to July 8 at ACT Theatre, 700 Union Street, Seattle.

10 — June 20 - July 3, 2018

INTERNATIONAL EXAMINER

Reflections on the inaugural Advocacy Journalism Fellowship Program

By Bif Brigman The inaugural year of the Advocacy Journalism Fellowship Program (AJFP) has been a whirlwind of brainstorming, challenges, dreams, hopes and

hard work.

The program began in 2017 as a joint partnership of the International Examiner and Asian Pacific Islander Community Leadership Foundation (ACLF) as one of the Vibrant Democracy initiatives funded by the Seattle Foundation. The program is a three-year pilot program that will focus annually on four underrepresented communities within the Asian American Pacific Islander (AAPI) diaspora, with the ultimate goal of having 12 unique communities involved with the program at the end of the three years.

The overarching goal of the program is to train community members in developing new leadership and journalism skills to better assist in amplifying community voices and issues often missing or misrepresented in mainstream, and even community-based media.

Fellows learn about the communities’ histories, relationships and evolving struggles

Bottom left: Tanya Rachinee (L), owner of Root Table in Ballard, shared her experiences with Annie Kuo for an IE profile on Thai transgender women.

with the purpose of empowering those communities to mobilize, and providing them with an appropriate platform to make their voices heard. Each of these underrepresented communities will have pages in the print edition of the IE and web pages dedicated to their voices, issues, news coverage, and culture.

In this first year, we studied the various communities that are under the AAPI umbrella to determine which communities face marginalization, misrepresentation and a lack of a dedicated community communications vehicles. What voices are missing in common AAPI representation? We also weighed length of time of communities in the U.S., overall community populations in the Puget Sound area, and in Washington State in general, and whether the individual community had an established leadership program for developing future leaders.

After much discussion the communities selected for this first year were: Thai, Khmer (Cambodian), Pakistani, and Samoan.

Our program reached out to the focus communities, and their leaders, to identify potential candidates for the kick-off of the program. Ideally we hoped for candidates

from each of the four communities. Our goal was to have each of the selected fellows be assigned to a community that they didn’t identify with and gain the knowledge of working with a new community and act as a resource to their cohort. But things don’t always work out as planned.

Unfortunately, we didn’t have anyone apply for the Fellowship from the Pakistani community. And additionally, our AJFP Steering Committee raised concerns about language hurdles that our Fellows would face working intergenerationally with community members where English is a second language.

We received 15 submissions for our first cohort and had positions for four. We were impressed with all of the candidates and their interest and passion to work with the focus communities. Each candidate brought an amazing and inspiring array of skills, talents and experiences. The final selection process was highly competitive due to the outstanding prospective applicants and the special skills required to be successful in the goals of the program.

We tried to be thoughtful and balanced on issues of gender, age, experience and com-

Center: From left to right: IE Fellow Bunthay Cheam, IE Community Relations Manager Lexi Potter, IE Fellows Annie Kuo and Nick Turner

Bottom right: IE Fellows Phoenix Leapai, Annie Kuo, Nick Turner and Bunthay Cheam pose with Rep. Sharon Tomiko Santos who led a session on Communicating and Fear. • Photo by Bif Brigman

Top left: IE Fellows Annie Kuo, Nick Turner and Bunthay Cheam walk the red carpet at the 2018 Seattle Asian American Film Festival. • Photo by Sokha Danh

munity connections and the myriad of intersections of all of these factors.

The final 2017-2018 Cohort Fellows selected were Annie Kuo who would work with the Thai community, Bunthay Buadalupe Cheam who would work with the Khmer community, John Phoenix Leapai working with the Samoan community, and Nick Turner who would work with the Pakistani community.

The fellows came on with gusto and immense interest in both developing their personal and professional skills, as well as building meaningful and authentic bonds with the focus communities.

AJFP offered training sessions on an incredible array of topics and subjects including: The History of the API community in Washington; The Model Minority Myth; Disaggregated data and diversity under the API umbrella; Journalism ethics; Understanding identity, diversity and bias; Working between generations; Understanding key elements related to engaging an underrepresented community; The importance of paying attention to the histories of a community including marginalization and mistrust; Oppression: The impact and its manifestation;

Top right: IE Community Contributor Maria Pan interviews a patron at the ART of Survival, an event celebrating Khmer American resilience through the arts. • Photo by Thomas Sorenson

INTERNATIONAL EXAMINER Building trust vs. being trustworthy; and Community engagement: Past, present and future -- among others!

While we didn’t always hit all of our targets, we are excited by the successes we have achieved, and we look forward to the next cohort of fellows to build upon on what we have learned and what we have accomplished.

We give great thanks to the communities and community leaders who opened their hearts, minds, homes and businesses to our fellows and the many resulting gifts bestowed on all who have worked on this project and the many readers of the International Examiner who have begun to learn about your important communities and issues they are facing.

The incredible talents of trainers made an enormous impact over the course of the

program. The dedication and commitment from community leaders, activists, historians, teachers and artists has been profoundly humbling and inspiring. The time, attention and thoughtfulness of these volunteers to pass on institutional knowledge, best practices and new and different ways of thinking propelled the program forward in remarkable ways.

Special thanks and deep gratitude to facilitators, trainers and panelists: Sharon Tomiko Santos, Venice Buhain, Nina Wallace, Doan Nguyen, Lori Matsukawa, Cynthia Yongvang, Jamie Stroble, Florence Sum, Sameth Mell, Matt Chan, Cynthia Brothers, John Eklof, Sili Savusa, Marissa Vichayapai, Rev Shalom Agtarap, Rev. Jirote (J.R.) Bongkotmart, Tagoipah Mathno, Travis Quezon, Mitsue Cook, Randon Aea, Chetanya Robinson, Lexi Potter and Jill Wasberg.

June 20 - July 3, 2018 — 11

Thanks for their guidance and knowledge go to: 2017-2018 AJFP Advisory Committee members – Maria Batayola, Dr. and Reverand J.R. Bongkotmart, Matt Chan, Sameth Mell, Rita Meyer, Betty Patu and Lexi Potter.

2017-2018 AJFP Steering Committee members – Travis Quezon, Randon Aea, Jill Wasberg, Alex Johnson, Mitsue Cook and Bif Brigman It is not just the successes and fruits of this first year that we celebrate but also the knowledge that the nurturing of seeds we have planted offers all of us a brighter and more inclusive future.

Bif Brigman / Advocacy Journalism Fellowship Program Manager

Editor’s note: It goes without saying the success of this fellowship program in its first year is the direct result of it being led by Bif Brigman, but it really should not go without saying. So the editor is saying it.

Bottom left: IE Community Contributor Molica Chau poses with a who’s who of prominent Tacoma community members including Anida Yeou Ali, Mashahiro Sugano, Savong Lam, and Silong Chhun.

Chhun hosted a screening for Dr. Emad Rahim’s film, Against the Odds.

Bottom right: Class of 2018 Cambodian American Community Council of Washington (CACCWA) Cambodian Graduation Celebration grads posing with CAPAA Commissioner Sina Sam. Part of the even’t purpose is to address higher education access inequities in the Khmer American community.

Americans Interned: A Family’s Story of Social Injustice June 14 – September 1, 2018 Artwork by Chris & Jan Hopkins highlights personal stories of the effects of Executive Order #9066, which authorized the mass incarceration of Japanese Americans during WWII. SCHACK ART CENTER 2921 Hoyt Ave. in downtown Everett, WA 425-259-5050, schack.org Admission free, M-F 10-6, Sat 10-5, Sun 12-5

Images: Out of the Mouths of Babes, Jan Hopkins All American Boy, Chris Hopkins Support provided by: City of Everett Hotel/Motel Tax Fund

12 — June 20 - July 3, 2018

INTERNATIONAL EXAMINER

Taking a leap of faith: A different type of journey

By Bunthay Cheam Cambodian (Khmer) Community Fellow

community. He agreed. And then he told me he didn’t have a traditional journalism background either. And that the best I was suddenly free. And just like that, journalists are people like myself and him, physically and mentally, my hands, my all the talent we needed was in our hearts. thoughts, all of it asked, “What’s next?”

And on May 18, 2017, on the anniversary Travel. And that’s what I did. I went of the eruption of Mt. St. Helens, my deeper into the woods. I went to the Bay. first article was published. It was about I went to L.A. Twice. I went to Southeast a gatekeeper in the Khmer American Asia. And the time spent there was the community in Tacoma, Silong Chhun, and longest I had spent outside of the U.S. his work to bridge the intergenerational since I arrived as a 10-month old refugee. I divide through an art exhibit he curated spent almost two months traveling through called, “Scars & Stripes: War, Genocide, Cambodia, Kuala Lumpur, Singapore and Resettlement, Deportation.” This exhibit Bali. I reconnected with some old family, told the story of the Khmer diaspora’s met a lot of new ones. journey and the continued trauma the I took a 10-day Vipassana meditation community deals with up to present day. course. Silence. For 10 days. Eating twice I didn’t know it then, but the submittal of daily, once at 6 AM and the second time that article marked the beginning of another at 11 AM. When I came back to Seattle type of journey. Although I still live where from Southeast Asia, I became a Samenara I grew up and have been in the community Buddhist Monk. I learned a lot about myself for a long time, it wasn’t until I began to and even more about the Khmer culture write for the IE that I understood what from these two journeys. type of community member I had been and Around the time I became unemployed, began to understand what I was beginning a good friend sent a link to an article to to become. me from the International Examiner (IE).

I’m a 1.5-generation refugee. That means I don’t remember what it was but in the my mother and father were adults when they email, she wrote something like, “You arrived and therefore identified with Khmer should write for the IE…” culture more than being American. You Some time passed and upon further can see that in their day to day beliefs and critical thinking afforded by all the free values. My son, Tyler, is truly American. I, time I had, I realized that the IE didn’t have however, am in- between, and, to an extent, too much coverage on the Southeast Asian understand both worlds. community. Actually, all Asian American “Taking leaps of faith,” is how I decided media didn’t. Neither did alternative papers. I’d spend this newfound freedom. So I The same for mainstream media. No real did that. With the travel, the meditation, coverage for communities like the Cham, the monkhood, all of it. I also did it with Lao, Mien, Hmong and Khmer. people. I did this by showing up in spaces So in the late spring, I asked Travis for and with people I didn’t know too well Quezon, editor of the IE at the time, for a but in work that I believed needed to be meeting. I told him that although I didn’t go done to address the lack of visibility and to school in journalism nor did I have any marginalization that the Khmer American real experience writing articles, I would be community faced. a great addition to the IE because I grew In the fall, Sameth Mell, a Khmer up and had some access into the SE Asian American community leader, forwarded me

information about the Advocacy Journalism Fellowship Program (AJFP). Help give a platform for marginalized communities to tell their stories through journalism? I didn’t think twice. I wanted in.

To be honest, I wasn’t even sure what a fellowship was when I applied. I had never been in one. I’m new to the world of “community work” as it’s understood and the culture that exists in the API world with all the non-profits and community based organizations and in the community at large. I’m still learning acronyms that are common language t0 this day. I still feel very much like an outsider.

alliances and perceived alliances from within the community can be really hard or tough depending on who’s you’re trying to cover. I learned fast that I couldn’t just parachute into their space with a story in mind. I really had to spend time and build trust. Only then would the genuine conversations begin. And only then would I learn what the stories truly were.

Lesson 2: It’s very much related to the first lesson; you listen and learn. I really had to do that because at first, I only heard what I wanted to hear. Then I began to listen.

And after that, something crazy happened.

Real genuine stories were shared with me.

I was accepted (THANK BUDDHA!!!), And it elevated my understanding of the and I met three other dope fellows with a community. I started to actually become a similar need in their core, to help people. real live “JOURNALIST.” We all come from very different walks of I don’t know if it was a coincidence, life but have been raised with very similar how being involved in the fellowship values, in other words, SAME SAME BUT intensified my writing, especially about the DIFFERENT. Khmer American community alongside my At some point during the fellowship, immersion into community work. I also I needed to take off my training wheels got involved with a number of community and take even more leaps of faith into the groups to do some really good and much community. But I thought it wouldn’t be needed work, strengthen old relationships as hard as I thought. I’m Khmer, so why in new ways, and connect with even more wouldn’t they let me in? Also, I know what dope people who fight the fight every day. issues the community is facing so I know But I’ll take it.

what I should write about – displacement The past year has been a year of journeys, from gentrification, intergenerational and the fellowship led me down a path to trauma, access to higher education, etc. discovering new ways to advocate for Those two assumptions couldn’t be communities. It was a conduit to get to further from what I really needed going know the people in my community deeper, into the community: a lot of humility and stronger, better and it taught me that I didn’t know everything and that that was ok and better listening skills. that to simply show up and be present was Lesson 1: Just because you’re ethnically powerful, it allows me to genuinely pass from the community doesn’t mean that on an authentic stories. Along with the it’s going to help you. When you show meeting of minds with the other fellows, up in Khmer spaces, people want to the sessions with established API leaders know who your parents are, where you’re and their experiences, the AJFP gave from (geographically), what community me another path to leap towards on this organizations you’re with. It’s almost as continued exploration of my purpose: To if it’s worse being from the community tell the stories of a community that nobody ethnically. Trying to prove that you’re has ever heard. coming in with objectivity given your

Building trust in the Pakistani community

By Nick Turner Pakistani Community Fellow For the last six months or so, I’ve spent my time trying to learn all that I can about the Pakistani community in Seattle so that I could understand them, write about them, and represent them more accurately in my reporting. As someone who isn’t from Pakistan or of Pakistani descent, this was a bit of a challenge. I wasn’t familiar with the country, nor was I educated or well-versed in its history, culture and traditions. In every sense, I was a foreigner.

And I still am. I won’t pretend that I’m happy with the amount of progress I’ve made but I’ve learned a thing or two about this community during my time here. The first thing I learned is that if someone fears

reporters or hesitates to speak with them, it’s more likely than not that they have a good reason.

The history between Pakistan and the United States is contentious and has led to endless misunderstandings. Like most communities of color, for years the Pakistani community has been subjected to stereotypes, ignorant behavior, bigotry, violence, and racism. This has all been catalyzed and perpetuated by misrepresentation in the media.

My goal, however naïve it may sound, was to help right that wrong. It shouldn’t have to be said that the Pakistani community are a people like any other, but all too often the truth falls on deaf ears. And so, half a year ago, I set out to build as many connections as I could within the Pakistani community.

Very quickly I understood the extent of this problem. I won’t mince words: almost everyone turned me down. I can’t possibly

assume why they did so, but I do think it’s do everything I can to change their mind. telling that those who said yes to interviews, The Pakistani community is worth getting to phone calls, or meetings did so with great know. It’s time the world knew that. hesitation. To them, I was another journalist looking to see what he could find, pick out the interesting parts, and discard whatever is left with no regard for the damage or burned bridges I may have left behind.

I did my very best to explain my intentions whenever I was given the chance to do so, and in the few instances it worked, I was received by open arms, warm souls and great food.

The Pakistani community, like any other, is one full of loving, caring people who care for the important things in life: family, prosperity, taking care of elders, supporting the young, faith, and community.

Though this program will end soon, I intend to continue this work. I just hope that those I meet, or have met, will see that my intentions are clear and honest. And if they don’t, I will

INTERNATIONAL EXAMINER

June 20 - July 3, 2018 — 13

Dancing with words: Respect and self-discovery with the Samoan community

By John Phoenix Leapai Samoan Community Fellow

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By Annie Kuo Thai Community Fellow

14 — June 20 - July 3, 2018

INTERNATIONAL EXAMINER

Director Yang Mingming draws from life experience for her mother-daugher movie, Girls Always Happy Aya Bisbee IE Contributor In Yang Mingming’s debut feature film, Girls Always Happy, we experience the everyday life and struggles of a mother and daughter living in a Beijing hutong. The film is tender and honest as it explores issues of class and gender, digging into the nuances and contradictions of this mother daughter relationship and what it means to be a woman in contemporary Chinese society.

As director (and writer/actor/editor), Yang was deservedly awarded Best Director at the 20th Seoul International Women’s Film Festival. Earlier this month, the film screened here at the Seattle International Film Festival (SIFF).

Inspired in part by Yang’s own relationship with her mother and her experience growing up in a hutong, Girls Always Happy centers around a daughter, Wu (Yang Mingming), and her mother (Nai An), who care deeply for each other, but are constantly butting heads. Wu is a struggling screenwriter doing her best to get by financially, and her mother, who also takes up writing as a hobby, spends her time tending to her elderly father in-law and worrying about her daughter.

The title of the film, intended ironically, points to the unhappiness of the characters in the film and reflects the moments of sarcastic humor which run throughout.

In Girls Always Happy, the ordinary becomes intriguing as Yang brings subtle moments to the fore. The film portrays mundane aspects of life, from moments of silence, to shots of eating and cleaning, to quarrels between Wu and her mother.

With feminist undercurrents, Girls Always Happy is a sincere portrait of a mother and daughter who remain determined through their disappointments with money and men, and their strained yet loving relationship each other. As a daughter, I found the ups and downs of this mother daughter duo to be poignant. While Yang was in town for SIFF, I got a chance to speak with her about her work and this recent film. *** International Examiner: Could you tell us a little bit about yourself and how you became a filmmaker?

Yang Mingming: Actually, I wanted to be a dancer when I was a child. It wasn’t ballet – we studied Chinese folk dance.

But a dancer couldn’t eat a lot (laughter) – I ate too much. After graduation, I made a short film called Female Directors. It was released in North America and was a very independent film. I just spent 300 euro and it was just two actors, me and my friend. It was the two of us using a camera and exchanging a camera to make the whole film.

42 minutes in a mockumentary style.

From that, some people knew about me and that encouraged me. But it took six years to make a feature film.

IE: How did you decide to make this

film?

Photo credit: SIFF

fort and support in each other. How do can see their social status and state of mind YM: It’s based on me and my mother’s you see your work as feminist? by the way they eat. For example, in the life a little bit. It wasn’t easy because I reYM: First, I don’t know how to write way the mother squeezes milk out of the ally want to shoot romantic films and love about men (laughter), so all the male char- bag of milk – that will tell you a lot about stories, but I didn’t have any feeling of that acters in my films are supporting roles. I the person. during these six years (laughter). I had am not very outwardly feminist, but I do IE: I was wondering if you could talk some struggles with my mom and that’s think in China, quite often women are betabout the title. Why is the English title how it happened. ter than men, in terms of morals and huGirls Always Happy and what was the IE: Could you talk about the unique manity. original title of the film? bond of the mother daughter relationIE: I would like to ask you about the YM: (Laughter). There is no one happy ship? significance of food in your film. The [in the film], right? The original title transYM: In this film, the daughter and the different sections of the film are named lated directly is like “tender histories”. But mother hate each other, but at the same milk, lamb marrow, melon and there are it’s not a romantic, beautiful film. It’s a time they love each other. We really can many scenes which take place around little bit dark-funny, so that’s why I used see that the daughter, when she grows eating. What role does food play in the this in the opposite way. up, will be just like her mother. She will way the story is told?

IE: How have different audiences rebecome her mother. It is something of a YM: The story doesn’t have a strong sponded to your film? Has the reaction tragedy because there are many similari- narrative, so I decided to format the film been different in Beijing or other places ties between their personalities. It’s also a in three chapters. The first chapter is titled in China compared to here? wider symptom of Chinese society, where “Milk” because it is one of the most affordYM: I actually enjoy the feedback of the people will not have economic stability, able, accessible foods that supplies nutriso they will have conflict. In society, they tion. It works very well with their social West more. The audience feedback is excouldn’t provide enough security so it be- class and status and they would be able to actly what I’ve been expecting. The film comes people against people. afford it. And for “Lamb chop”, many peo- hasn’t been played much in China, just once in Hong Kong. I’m a bit worried beIE: For much of the film, Wu and her ple in China have memories of not having cause this lived experience is very real in enough food, so eating any form of meat mother are focused on gaining status China, and also it in some ways challenges at a symbolic level means improved living. and wealth through men in a patriarwhat a family or mother daughter relationThe last chapter is titled “Honeydew”, for chal society, whether it is through Wu’s ship should be in China. living life with a little bit of a sweeter tone. grandfather’s inheritance or through IE: Could you talk about the setting And through the way one eats food, we marriage. Later, it seems they find comof the film in Beijing and particularly hutongs?

YM: Hutong is a typical Beijing traditional neighborhood and it’s quite distinct from the rest of the city. There’s nothing really specific in terms of meaning, but I just found it more interesting. And in hutong, there’s less privacy, since people can keep an eye on each other and hear their neighbors.

IE: Do you have any last words you would like to share? What do you hope people take away?

YM: I want people to see it and I think my film is the real China. Truth is important.

INTERNATIONAL EXAMINER

June 20 - July 3, 2018 — 15

Lgcqg F]o OYn] ak Y _Ykljgfgea[ _gmje]l lgmj l`jgm_` BYhYf Cynthia Rekdal IE Contributor $QGUHD )D]]DUL¶V ERRN Tokyo New :DYH &KHIV 'H¿QLQJ -DSDQ¶V Next Generation, with Recipes, is a triple valentine to “a country ZKHUH FUDIWVPDQVKLS KRVSLWDOLW\ DQG DWWHQWLRQ WR GHWDLO DUH DQ DUW IRUP´ 7KH 7RN\R EDVHG SKRWRJUDSKHU ZULWHU DQG DXWKRU KDV FUDIWHG SRUWUDLWV RI WKLUW\ PHQ DQG RQH ZRPDQ WR VSRWOLJKW D QRXYHDX QLSSRQ JDVWUR WUHQG LQ D FLW\ DZDUGHG PRUH 0LFKHOLQ VWDUV WKDQ DQ\ RWKHU LQ WKH ZRUOG :LWK RYHU UHVWDXUDQWV LQ 7RN\R FRPSDUHG WR LQ 3DULV ZKHUH SODWV GX MRXU DQG WKH SUL[ ¿[ PHQX DUH ZRUVKLSSHG RQ WKH DOWDU RI KDXWH FXLVLQH )D]]DUL LQWURGXFHV D JHQHUDWLRQ RI \RXQJ FKHIV IURP WKHLU PLG V WR PLG V DV UHSUHVHQWDWLYHV RI WKH FLW\¶V WRS FKHIV SODWLQJ IUHVK DOWHUQDWLYHV WR WUDGLWLRQDO -DSDQHVH IDUH )XVLQJ SDVW SUHVHQW DQG IXWXUH ³WKLV QHZHVW JHQHUDWLRQ RI HVWDEOLVKHG 7RN\R FKHIV DUH TXLWH GLIIHUHQW LQ WKHLU DWWLWXGHV DQG DSSURDFK WR GLQLQJ WKDQ FKHIV ZHUH MXVW WHQ \HDU DJR ´ VWDWHV WKH DXWKRU 7KH\ DUH ³PXFK OHVV ULJLG PRUH RSHQ WR WKH ZRUOG DQG RWKHU FXLVLQHV XVLQJ WKLQJV WKH\ OHDUQHG E\ WUDYHOLQJ ´ 2IIHULQJ XS XQLTXH FUHDWLRQV IURP QLSSRQ VWDUWLQJ SRLQWV WKDW PHUJH ZRUOG SHUVSHFWLYHV LQ WKHLU NLWFKHQV WKHVH FKHIV KDYH QXGJHG GLQHUV IURP WKHLU +HOOR .LWW\ DQG WR OHDUQ D OHYHO RI TXDOLW\ GHWDLO DQG ZLWK ¿VK DQG RWKHU JDUQLVKHV UDPHQ QRRGOHV LQ D VDYRU\ VDXFH ZLWK PHDW FRPIRUW ]RQHV LQWURGXFLQJ WUDGLWLRQDO SUHFLVLRQ UDUHO\ VHHQ LQ RWKHU FRXQWULHV ´ -DSDQHVH SDODWHV WR LQYHQWLYH GLQLQJ 6KH EHJDQ SRVWLQJ SKRWRV DQG FRPPHQWV DQG YHJHWDEOHV L]DND\D EDU GLVKHV VXFK H[SHULHQFHV $FFRUGLQJ WR )D]]DUL DERXW KHU H[SHULHQFHV XVLQJ VRFLDO PHGLD DV \DNLWRUL ± ELWH VL]HG PHDWV VHDIRRG ³DQ\RQH ZKR LV IDVFLQDWHG E\ IRRG EXW ZKR 3HUVXDGHG E\ WKH SRVLWLYH DWWHQWLRQ YHJHWDEOHV VNHZHUHG DQG JULOOHG RPDNDVH KDV QHYHU EHHQ WR -DSDQ LV VLPSO\ PLVVLQJ UHFHLYHG VKH VXEPLWWHG D SURSRVDO WR FKHI¶V FKRLFH IXOO FRXUVH GLQQHUV NDLVHNL RXW XQDZDUH RI D ZKROH XQLYHUVH WKDW SXEOLVKHUV 7KH UHVXOW Tokyo New Wave WUDGLWLRQDO -DSDQHVH FXLVLQH RI VPDOO GLVKHV HPSKDVL]LQJ VHDVRQDO LQJUHGLHQWV HPERGLHV WKH HSLWRPH RI JDVWURQRP\ ´ :KLOH D JUHDW GHDO RI KHU VHOHFWLRQ \|VKRNX -DSDQHVH LQÀXHQFHG :HVWHUQ :LWK KHU SXEOLF UHODWLRQV EDFNJURXQG HPSKDVLV ZDV RQ ZKHWKHU RU QRW D FKHI IRRG H J )UHQFK -DSDQHVH ,WDOLDQ LQ IDVKLRQ $UPDQL DQG 'ROFH *DEEDQD ZDV ZLOOLQJ WR ZRUN ZLWK KHU WKH ¿QDO -DSDQHVH JOREDO -DSDQHVH )URP DQG ¿OP 0LUDPD[ )D]DDUL WUDQVIRUPHG FKRLFH RI WKH FKHIV ZDV EDVHG RQ KHU PLQLPDOLVWLF VLPSOLFLW\ WR OX[XULRXV KHU VSHFLDOW\ LQWR WUDYHO DQG WKH FXOLQDU\ SHUFHSWLRQ RI HDFK DV D SHUVRQ ³DVSHFWV PROHFXODU JDVWURQRPLF LQYHQWLRQ WKHLU ZRUOG WKURXJK ZRUN DW 7UDYHO /HLVXUH RI WKHLU SHUVRQDOLWLHV WKDW ZHUH XQLTXH FXOLQDULDQ FRQWULEXWLRQV DUH LQVSLULQJ *RXUPHW PDJD]LQH DQG FRPPHUFLDO LQWHUHVWLQJ KHDUW ZDUPLQJ´ )URP VK\ HGLWRULDO DQG ERRN SURMHFWV WKDW KRQHG TXLHW DQG UHVHUYHG WR H[XEHUDQW XUEDQH Loafcd]$ Loafcd] KHU VNLOO LQ SKRWRJUDSK\ DQG SURYLGHG DQG IUHH VSLULWHG WKH FKRVHQ ZHUH D H[WHQVLYH RSSRUWXQLWLHV WR ZRUN ZLWK GLYHUVH NLWFKHQ VSHFLHV ZKLFK ZLWK WKH 6LQFH WKH 0LFKHOLQ *XLGH KDV ERRN¶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¿VKLQJ YLOODJH FLUFD WR VHWWOH LQ D RQ D \HDU ROG &\SUXV WDEOH RU LQ D RU PRUH VWDU UHVWDXUDQWV 3DULV D FLW\ UHFDVW LQ DV -DSDQ¶V HDVWHUQ IXOO VFDOH PRGHUQ EXLOGLQJ GHVLJQHG E\ GLVWDQW VHFRQG KDG OHVV WKDQ KDOI FDSLWDO 7RN\R SRSXODWHG WRGD\ ZLWK RYHU UHQRZQHG DUFKLWHFW .HQJR .XPD WKHUH DUH VRPH VWULNLQJ VLPLODULWLHV DPRQJ %\ HLJKW RI WKH New Wave PLOOLRQ SHRSOH PDQ\ RI WKHVH QHZ ZDYH FKHIV JHQNL FKHIV KDG EHHQ KRQRUHG ZLWK 0LFKHOLQ Cal[`]f K`gcmfaf eYkl]j YjlakYf! 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HOSPITALITY – SALES

Sales Coordinator Washington State Convention Center (WSCC) has a Sales Coordinator position open. Duties include professional administrative sales and services support assisting the department in promotion, booking and contracting with excellent customer service. ".2&/"! 2 )&9 1&,+0 %"),/80 !"$/"" &+ )"0 20&+"00 /("1&+$ or related subject preferred. &+&*2* ,# 1%/"" 6" /0 ,# !*&+&01/ 1&3" "5-"/&"+ " -/"#"/ )6 &+ %,0-&1 )&16 +! ,+3"+1&,+ 0 )"0 ,/ related area. Equivalent combinations of education and "5-"/&"+ " * 6 " ,+0&!"/"!

1/,+$ -/,9 &"+ 6 &+ & /,0,#1 ® #9 " +! ,1%"/ /") 1"! 0 )"0 +! space management databases.

Visit www.wscc.com for further info or to download an application.

Applications are also available at the WSCC Service Entrance, 9th and Pike ,+ /& * 1, - * WSCC application must be ,*-)"1"! #,/ ,+0&!"/ 1&,+ , )&+"

16 — June 20 - July 3, 2018

INTERNATIONAL EXAMINER

Bold Re-imagining of the Seattle Asian Art Museum

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SECURITY

Director of Security and Public Safety Washington State Convention Center (WSCC) is accepting applications for the position of Director of Security and Public Safety. The Director of Security and Public Safety will be responsible for developing, implementing, and managing all aspects of the public safety, security, a n d e m e r g e n cy p r e p a r e d n e s s programs for the WSCC. '26+3'& 6#-+<%#5+0/4 #%*'-03 4 degree in Criminal Justice or related <'-& #/& 4+9 50 5'/ :'#34; '91'3+'/%' #5 # .#/#)'.'/5 -'7'- equivalent combinations of '&6%#5+0/ #/& '91'3+'/%' .#: $' %0/4+&'3'& +)/+<%#/5 '91'3+'/%' +/ 16$-+% 4#('5: '45#$-+4*'& '95'/4+7' positive working relationships with f e d e ra l , s t a t e , a n d l o c a l l aw e n f o r c e m e n t , a n d e m e r g e n cy medical personnel is highly desirable.

Visit www.wscc.com for further info or to download an application.

Applications are also available at the WSCC Service Entrance, 9th and Pike 0/ 3+ # . 50 1 .

WSCC application must be %0.1-'5'& (03 %0/4+&'3#5+0/ 0$-+/'

INTERNATIONAL EXAMINER

June 20 - July 3, 2018 — 17

H`Ye k FYad]\ Al \a_k aflg Na]lfYe]k] 9e]ja[Yf j]kada]f[]

By Misa Shikuma IE Contributor

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18 — June 20 - July 3, 2018

INTERNATIONAL EXAMINER

COMMUNITY RESOURCE DIRECTORY

COMMUNITY RESOURCE DIRECTORY

INTERNATIONAL EXAMINER

June 20 - July 3, 2018 — 19

OPERATIONS

Tai Tung Restaurant

# " " ! " $ % Vice President of Operations Washington State Convention Center (WSCC) is accepting applications for the position of Vice President of Operations. The Vice President of Operations is responsible for the management and review of day-today operations which includes building operations, event services, security and public safety, and capital projects.

Come Enjoy the Oldest Chinese Restaurant in Town!

" ""

Mon-Thurs 11am-10:30pm Fri-Sat 11am-12am Sun 11am-10pm

ADVERTISE WITH THE INTERNATIONAL EXAMINER

& SUPPORT COMMUNITY MEDIA

Email: advertising@iexaminer.org

. . . FASA: Continued from page 5

%04)1%$ 4!+)9#!3).-2 !#(%+.1 2 $%'1%% &1., ! &.41 8%!1 college or university and ten years related experience and/or training; equivalent combinations of education and experience may be considered. Requires six to ten years of experience at a senior management level which demonstrates excellent administrative and leadership abilities.

Visit www.wscc.com for further info or to download an application. //+)#!3).-2 !1% !+2. !5!)+!"+% !3 3(% WSCC Service Entrance, 9th and Pike .- 1) ! , 3. / , WSCC application must be #.,/+%3%$ &.1 #.-2)$%1!3).- ."+)-%

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20 — June 20 - July 3, 2018

INTERNATIONAL EXAMINER

WAR M UP TO THE FU TURE WAT ER F RO NT WIT H

FREE LIVE MUSIC & PERFORMANCES ALL SUMMER LONG AT

HOT SPOT

W AT E R F R O N T PA R K // P I E R 5 8 // 1 4 0 1 A L A S K A N W AY

J U LY 7 - S E P T E M B E R 2 , 2 0 1 8 PRE S ENTED BY

FOR MOR E IN FORM ATION ON T HE WATERF RONT PR OJECT, V ISIT WAT ERFR ONT SPAC E 1400 Wes tern Aven ue, Seattl e

2017 KEXP ROCKS THE DOCK. Photo by Robert Wade.

Japan Fair

2018

ROCKS THE DOCK J u ly 7 , 3 - 7 p m F E AT U R I N G

Stas Thee Boss & Nappy Nina Misvnderstood & Gypsy Temple Breaks and Swells DJ & EMCEE OCNotes F O R E V E N T D E TA I L S , V I S I T

friendsofwaterfrontseattle.org/events