Sparks Magazine Issue No. 26 | University of Florida

ISSUE 26 | SPRING ‘24 at the University of Florida

at the University of Florida

UNIVERSITY OF CENTRAL FLORIDA

UNIVERSITY OF SOUTH FLORIDA

Editor-in-Chief Liana Progar Managing Editor Norah Layne Lead Design Editor Maliha Versi Copy Editor / Web Editor Jolina Jassal Copy Editor Medha Medicherla PR Event Manager Kaylee Duong PR Design Manager Jaimie To

Editor-in-Chief Amy Pham Managing Editor Rohit Veligeti Finance Director Fariah Ansari Content Editor Quyen Tranh Design Editor Amreen Naveen Photography Editor Kaniz Angel Promotions Director Ishita Sen Programming Director Yasaswi Nimmagadda

Writer Liana Progar • Jolina Jassal • Teresina Follone • Samanthaka Nandam • Ibrahim Itani Photographer Ryan Baez • Olivia Kondraschow • Designer Maliha Versi • Medha Medicherla • Arianna Flores • Alyssa Mugavero PR Jenna Ho • Teresina Follone • Breanna Pham

Writer Aditi Ragothaman • Alphy Maria Antony • Anushri Gade • Deeksha Sridher • Merita Mary Thomas • Mridula Singh • Nimrit Doad • Ramya Subramanian Reagan Huynh • Sanjana Nallapati • Serena Bhaskar Vaidehi Persad • Shriya Punati • Ly Vu Graphic Designer Daniela Kate Abaquita • Dat Pham • Merita Mary Thomas • Khoi Vu • Riya Choksi • Sayuri Gautam • Shifa Shaikh • Smyrna Davalath Photographer Jayce Jiang • Khoa Hoang

COVER

NATIONAL BOARD

PHOTO Kat Tran DESIGN Kate Lynne Pudpud and Elyza Navarro MODEL Surya Karthikeyan Vijayalakshmi

EXECUTIVE DIRECTOR Jason Liu CHAPTER DEVELOPMENT DIRECTOR Aleem Waris MARKETING DIRECTOR Ingrid Wu CHAPTER MANAGER Samia Alamgir LEAD GRAPHIC DESIGNER Esther Zhan WEB DEVELOPER Chris Tam

FOLLOW US ON SOCIAL MEDIA FACEBOOK SPARKS AT THE UNIVERSITY OF FLORIDA INSTAGRAM @uf_sparks_mag sparks-mag.com

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E-BOARD

Editor-in-Chief Loryn Smith • Managing Editor Aliza Ahmed • Financial Director Marium Abdulhussein • Lead Copy Editor Karen Zhang • Copy Editor Justin Fernandez • Copy Editor Leila Wickliffe • Copy Editor Sabrina LaVopa • Copy Editor Yeleeya Li • Design Editor Elyza Navarro • Design Editor Kate Lynne Pudpud • Design Editor Madison Edwards • Photography Editor Kat Tran • Photography Editor Refat Roja • PR Director Ellie Uchida-Prebor • PR Director Michi Tang

STAFF

WRITER Abby Renger • WRITER Aize Hassan • WRITER Ananya Pradhan • WRITER Gracie Lucas • WRITER Mahima Kedlaya • WRITER Maria Juliana Tady WRITER Morgan Hurd • WRITER Sienna Chien • WRITER Zainab Nawaz • DESIGNER Ceyan Ang • DESIGNER Divya Somayaji DESIGNER Jackie Truong • DESIGNER Jennifer Jia • DESIGNER Joy Chen • DESIGNER Maya Rudo • DESIGNER Shiyin Hong DESIGNER Skylar Rosario • DESIGNER Tina Mei • DESIGNER Zarin Ismail • PHOTOGRAPHER Andrea Sison • PHOTOGRAPHER Anushka Raviprasad • PHOTOGRAPHER Christina Nguyen • PHOTOGRAPHER Eddy Chen • PHOTOGRAPHER Haley Desai • PHOTOGRAPHER Julia Lin • PHOTOGRAPHER Rayvin Velasco • PUBLICITY Brian Paz • PUBLICITY Cathleen Valenzuela • PUBLICITY Colin Strom • PUBLICITY Emma Salcedo • PUBLICITY Isana Schroder • PUBLICITY Maika Huynh • PUBLICITY Nam Tran SPRING 2024 | 3

A LETTER FROM THE EDITOR DEAR READER, It was difficult to settle on a theme for Issue 26; a single word didn’t feel as though it could encapsulate the diversity of our staff, nor could it convey how much our organization has bloomed throughout the years. Even though Sparks has been publishing a print magazine each semester since 2010, every single issue retains its own unique charm and distinctive voice. Our magazine serves as a time capsule, preserving the stories that bring us together and showcasing the resiliency of the APIDA community.

As we decided on a theme, it became clear what kind of legacy we wanted to pass along. For this reason, I am beyond proud to introduce Issue 26: Empower.

Empowerment is a simple yet transformative concept upheld by the writers, designers, photographers and PR staff that make this magazine possible. They are defined by their ambition and perspective, as well as the strength of their voices. I’m continuously amazed at the ways in which they use their creativity to make a space for individuals to express themselves and tell their stories proudly. Thank you all for your hard work and for bringing a renewed sense of vitality to our community year-round.

A special thanks to my amazing executive board for bringing these stories to life. You all embody the reasons that I’ve loved Sparks Magazine so much over the past three years.

Even though this is my last semester with the organization, I will always be cheering you on from the sidelines.

Here’s to another year of telling our stories.

WITH LOVE, LORYN SMITH, EDITOR-IN-CHIEF

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AASU Presidents’ Chat

8| Nature’s Guardian Nature Connects Through more than just Roots

10| Anna May Wong Quarters & Classics

12| The Primos of the Pacific

Anecdotes of the Legacy of Spanish Colonization in the Philippines & Latin America

14| Chic & Covered Modesty in Fashion The Struggles Between Modesty & Modern Fashion Trends

16| Putting the ‘A’ in Arts ...Giving Life to Narratives Rooted in Cultural Heritage

18| We (can’t) Chat

The Impact of Banning Chinese Apps on Chinese UF Students

20| Tikka Look Shining a Light on Gainesville’s Indian Restaurants

22| Hare Krishna

More than just a Cheap Lunch

24| Unclogging the Pipes

An Exploration of Toilets in East & Southeast Asia

26| Art Contest Winners

CONTENTS

6| Living the Legacy

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A time capsule for the past, present and future APIDA students and a reflection on the ways our leaders empower their community

Asian American Student Union Amy Guo (right) & Julia Guerrero (left)

Julie Chan

CASA has always strived to celebrate and raise awareness about Chinese and Chinese American culture at UF and the greater Gainesville community. It’s a place where members are able to grow both personally and professionally in a cultural space, something they can carry into the next steps of life. As president of CASA, I wanted to carry on this legacy by elevating the voices of officers and general members to expand the impact of our legacy and speak on what they cared for. This allowed for the opportunity to explore different identities within Chinese American and Chinese culture, like adoption, that aren’t typically talked about. This was an important step in recognizing that everyone has different experiences and journeys to understanding their identities, and we were able to create a space for our members to learn and explore these. My hope for future AASU leaders is that they will continue to find more ways to explore and celebrate these different identities, embracing diversity and fostering an inclusive environment with these different backgrounds and experiences. By fostering a sense of belonging and promoting cross-cultural understanding, they can propel the APDIA community into a future where we stand as a dynamic force for empowerment within the broader community at UF. 6 | SPRING 2024

models/ AASU & AASU sub-organization presidents

Chinese American Student Association

design by/ Divya Somayaji

With both the good and the bad times, I am reminded and humbled by the greater mission I serve with AASU: to collectivize and advocate on behalf of the Asian American community. For over 30 years, AASU has been here as our answer to inequalities, discrimination and community-building. As co-president, I have made it my goal to assert to our community that this spirit of advocacy and empowerment lives in all of us as Asian Americans, not just in our AASU organization. With threats to DEI and our spaces as a whole, it is now more important than ever to remember not only why AASU exists, but also why we Asian Americans need to continue to lead and advocate for our community. AASU exists so we can not just exist, but thrive. As I finish my time as copresident, I hope that our future AASU leaders remember our purpose and know that there is strength in coming together. We deserve to thrive!

photos by/ Gracie Lucas

It has been daunting to carry on the legacy of AASU, especially in light of AASU recently turning 30 years old. However, throughout these 30 years, the core of AASU’s mission has remained the same: to create a space for Asian Americans to feel welcomed and to thrive on UF’s campus. Throughout my time as co-president of AASU, I hoped to emphasize building bridges and connections by using AASU to bring our many sub-organizations and programs together to foster mutual support and care. As I leave this position, I hope that future AASU leaders find the importance of supporting each other, and continue to uphold solidarity within the Asian American community as well as other marginalized communities at UF. In times when we experience threats to our identity and community, it is crucial to have those we can rely on to protect and validate our existence.

edited by/ Loryn Smith

Living the Legacy: AASU Presidents’ Chat

Filipino Student Association Rocky Villanueva

As president of FSA, I take pride in honoring our organization’s rich legacy while striving for continuous improvement to better serve the diverse needs of present and future APIDA students. Throughout my term, we’ve undertaken initiatives to rebrand FSA, including unveiling a new logo and website, to enhance our engagement with a wider audience and create a more inclusive community. The lasting impact I wish to leave behind is to establish FSA as a safe and welcoming space where individuals of all backgrounds can freely share their stories, experiences and perspectives. By fostering a culture of empathy, understanding and support, I have aimed to build a stronger sense of belonging within our community. My vision for future AASU leaders is centered on empowerment, inclusivity and mentorship. I encourage future leaders to prioritize advocacy, representation and support of all members of our community. Ensuring diversity and inclusivity should be at the forefront of our efforts, guaranteeing that every individual who walks through our doors feels welcomed and valued. Above all, I believe in the importance of mentorship and leadership development. By investing in the growth and development of the next generation of leaders, we can ensure the longevity of our organization’s legacy – where opportunities for personal and professional growth will empower individuals to advocate for positive change within our community and in society at large.

Asian Kaleidescope Month Clementine Dela Cruz

After 31 years, AKM continues to stand as a source of comfort, enrichment and empowerment that unifies all students of the Asian diaspora. AKM has grown from a week-long series to a month’s worth of programming – from our Opening Ceremony where we showcase talented performers from our community, to our Food Festival where we bring you food from over a dozen countries, as well as our Mx. AASU Pageant that celebrates the accomplishments of our peers. It is through this program and this organization that I discovered my passion for advocacy and education and learned how to use my voice for the benefit of this community. My experience here is not unique; it is one that I hope continues to flourish, despite the sociopolitical obstacles which threaten us. I wanted to ensure that, during my term as executive director, that this AKM would aim to empower every individual in our community to show our oppressors that we are resilient and everlasting. While there is still much to be done with regards to breaking down divisions and preexisting biases towards others within our community, AKM has and will continue to be a program you can depend on to ensure that diversity in all aspects is celebrated and respected throughout the APIDA community. It is my hope that future leaders of this organization understand that they carry a long, inspiring history along with them and continue our legacy to promote innovation and inclusion.

Health Educated Asian Leaders

Andrew Chung & Ashly Almendrala (not pictured) The experiences of Asian Americans are not monolithic, whether that be our diverse languages, cultures and customs to our varying socioeconomic backgrounds. One thing we want to highlight is that many students at UF struggle with being a firstgeneration student. Being one of the first collegiate students in your family is an amazing feat of resilience, dedication and hard work, but continuing on from that point is even more difficult, especially going beyond your baccalaureate program.

HEAL recognizes the challenges many first-generation students face when it comes to dealing with the question, “What comes next?” This is why HEAL takes initiatives to not only educate our members on Asian American cultural awareness in the realm of healthcare, but also provide resources for college literacy.The sharing of knowledge, experiences and, most importantly, opportunities between members is what makes HEAL such a unique cross-section between a pre-professional and cultural organization. This type of collaboration is the legacy that HEAL was built on: the concept of Ohana. As future healthcare professionals, teamwork is what makes the dream work. Hospitals are collaborative spaces where professionals in all specialties work together for a common goal: the health of a patient. We are proud and honored to have continued on this legacy and am excited to see how it continues to develop.

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written by/ Morgan Hurd

eep in the Zhāngjiājiè Forest, there is quiet.

A symphony between organisms.

Foliage so prosperous you couldn’t tell where the ground started and the trees ended. Sunlight filtered in through the mosaic of canopy leaves. A breeze that gently kissed your forehead. Hikers would come from far and wide to savor the forest’s prosperity. They hiked its trails and would picnic on the warmer days. People felt safe here. Over the years however, a plague seemed to run through the forest. Slowly, the trees became more sparse, flowers stopped blooming, and the forest became a dark place.

Now, there was an absence. The air was stale. A perished canopy; the sun no longer peeked through but blared 8 | SPRING 2024

straight onto the barren floor. Where there had once been harmony, now there was only dissonance…

Despite its now-deteriorated state, there is one family who visits the forest annually. The parents, uneasy about the desolate appearance, could not understand why their daughter, Héxié, insisted on coming here to hike.

Whenever they asked her why she had an interest in Zhāngjiājiè Forest, she always said that she felt connected to it, like it was a part of her.

On the family’s most recent trip, Héxié’s parents were unable to keep up with her pace. They stopped to rest while Héxié continued on, traveling deep into the forest. Around dusk, she decided it was time to turn back around, but something glistened in her peripheral. She moved

toward it as if a light wind pushed her in that direction.

Héxié continued to follow the glint, stopping dead in front of a tree. It was different from the dull ones that plagued the forest. It was alive, with greenish, glimmering bark. She looked up, and was met with piercing, yet soft eyes that stared back at her. Startled, she fell onto the ground. The tree erupted in an instant, swooping into the sky.

The creature flew, and it blended in with the bushes and trees so Héxié was unable to determine what it was. Once the creature reached the sky, the girl was able to make out shining emerald scales and green wings that seemed as if roots grew through them.

龍. What she thought was a tree, was a dragon.

design by/Skylar Rosario

D

photos by/ Eddy Chen

Nature connects through more than just roots…

No sound came from the dragon as it landed. The creature and Héxié held eye contact for a moment before it began to approach her. The girl’s fear slowly subsided with every step the dragon took toward her. She knew she should be scared. In front of her was a powerful beast that she was told was imaginary all her life, yet she felt calm in its presence.

The creature bowed to Héxié, and she reached her hand out cautiously.

Upon placing her hand on top of the dragon’s head, the entire world rushed into her eyes in a kaleidoscope of colors.

Her body glided through the air, rushing towards something unknown. Energy surged through her body. The sun set and rose multiple times. As fast as the feeling had been thrust into her, it was over.

Héxié opened her eyes slowly, bewildered to see that her surroundings had changed. It was midday now. It seemed she was still in the forest, but it looked different — felt different. She heard birds chirping. The sun didn’t burn directly onto her anymore but peeked through the lush trees that towered overhead. She saw animals living peacefully, unaware of her presence. River water rushed softly.

Walking through the forest, she tried to determine if it was real or a fabrication of her mind.

Approaching the river, Héxié was unable to believe what she saw. Gathered around the water were dragons of varying sizes with the same emerald green scales and leaf-like wings as the one that had stood as a tree. The green of their scales reflected magnificently in the sunlight, making the scene radiate a peace Héxié could have never imagined. She noticed that as one of the dragons walked, flora seemed to grow beneath its feet with each step.

The

wood

dragon approached her, kneeling, and the girl

climbed on its back. As soon as she was on, the dragon lifted off, soaring through the air. The girl gazed at the liveliness of the forest and the full, tufted tree tops, amazed by the serenity of it all.

The dragon landed at the entrance to the forest. She slid down its wing, feeling the smooth, leaf-like scales glide against her legs. Héxié’s feet planted onto the ground and the world around her rippled. Time sped forward, the sun setting and rising multiple times, the leaves falling and regrowing onto the trees.

The world began to solidify, the sun and leaves stopped cycling, and voices could be heard. For the first time since Héxié encountered the dragon, the girl felt fear.

Not fear for herself, but for the dragon.

Mythical beings were a children’s concept.

Héxié had been reprimanded multiple times during school for refusing to deny their existence. As the people approached the entrance, no one seemed to bat an eye. In fact, it seemed as though they didn’t see the dragon, or even Héxié. The girl looked at the creature with confusion.

It did nothing but turn its head to gaze toward the forest, so the girl did the same.

Staring at the forest for some time, she noticed something strange. The leaves of the trees melted away. The path that led into the forest widened. Bits and pieces of trash were scattered amongst the forest floor.

The girl bolted for the river where she had seen the community of dragons.

She watched on as people, completely unaware of the presence of dragons, violated their grounds. She watched as the dragons frantically tried to heal what was being destroyed. This continued on for what seemed like hours. The dragons were beginning to slow down, unable to compensate for the damage that prolonged endlessly.

Zhāngjiājiè continued to be defiled.

No matter how efficiently the dragons attempted to replenish the forest, the humans’ destructive ways outnumbered them. The girl began to cry. The forest continued to falter as she fell to her knees. A few of the dragons were able to fly away. The others, drained from their efforts, laid down to accept their fate.

She never knew that Zhāngjiājiè Forest was once beautiful and full of life. Every visit to the forest, Héxié experienced the same crunch of dead leaves beneath her feet. The same dull scenery. The same vast nothingness. Yet, she continued to visit. Why? To Héxié, it felt as though there was an invisible string tying her to the forest, constantly pulling her in.

Héxié heard a whisper, “不要灰心！Don’t lose heart!” She understood.

Before the devastation could swallow her, she rose. Héxié closed her eyes and dialed fully into all of her senses. The dry soil and dead leaves beneath her feet. The wind that weaved in between every strand of hair and her fingertips. The sun that beamed onto her golden skin, wrapping her in warmth.

The wind picked up fiercely. What little leaves that were still alive caught in the wind. A ring formed around Héxié. Emerald light glistened from every direction. Héxié was completely engulfed in the tornado of leaves, her feet lifted off the ground.

A bright light flashed and everything stopped. Héxié dropped to the ground.

She stood up, her eyes adjusting to the nighttime darkness. She was back in the barren forest she came from. Still unsure if what she just experienced was real or imaginary, Héxié walked away, flora growing beneath her feet.

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Quarters and Classics:

ANNA MAY WONG Asian American women in film and their role in American culture

W

accomplishments do not end there. Her early embrace of the 1920’s flapper style thrust her into the fashion spotlight, and her highly successful career in Europe left her fluent in German, French, English and Cantonese.

A Tough Transition

“There’s this kind of a discrepancy — a disparity between her face and her voice – and that makes people wonder what’s going on. You know, during those years, the stereotypes about Asian Americans were still deeply rooted in society, and people did not [accept the possibility of] Asian Americans speaking fluent, perfect English.”

Ironically, Anna May Wong was forced to use her “exotic” appearance to her advantage by taking on stereotypically written roles. The closed-mindedness of the film industry at the time relegated

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design by/Joy Chen

Xiao continued to point out that, at the time, the idea of interracial relationships as taboo was still so entrenched in society that any manifestation of the mixing of cultures, such as a face that looks “exotic” and American English, was abhorred.

photos by/ Gracie Lcas & Paul Tanqueray

Having been interested in acting from a young age, her persistence and resourcefulness secured her a leading role in the 1917 silent film “The Toll of the Sea.” In the early 1920’s, technological advances in the film industry started to take off and develop into the Sound Era: the time period when the first movies with sound played in theaters.

During the transition to the Sound Era, Wong found herself challenged by the limitations of the roles that were available to her. Ying Xiao, an Associate Professor of Chinese Film and Media at the University of Florida, suggested that the audience was unable to grasp the multiculturalism that Wong represented.

She explained:

written by: Abby Renger

hat does it take to be the face of the quarter? Evidently, the United States Mint has deemed the criteria to be a notable acting career, meaningful philanthropy and years of persistence as a minority in an antagonistic industry.

Anna May Wong is considered to be the first APIDA Hollywood film star, but her

her to supporting roles for most of her American career. Especially tired of perpetuating the conniving, manipulative stereotype of the seductive “dragon lady” archetype, she traveled to Europe, where she flourished. According to the New York Historical Society, Wong was quoted as saying that “she was tired of playing innocent or evil characters who died.”

Anna May Wong, in an attempt to connect with her Chinese background, visited her hometown in 1932. She was met with criticism from many Chinese

Overseas Optimism

Unfortunately, Anna May Wong’s passing was tainted with despair.

While planning to return to Hollywood with the film “Flower Drum Song,” she suffered a heart attack and died at the age of 56. Although many fashion and film awards were named in her honor, it is regrettable that these accolades were not in effect until after her death.

While overseas, she starred in plays, films and operas where she would sing in fluent German. Her success in Europe is seemingly the result of a culmination of contributing factors. At the time, Germany’s economy was more stable than America’s, which was experiencing the Great Depression. This allowed German filmmakers the flexibility to offer her more lucrative work.

Additionally, according to “The Many Faces of Weimar Cinema: Rediscovering Germany’s Filmic Legacy”, German society in particular was much more interested in incorporating a Chinese narrative into their stories.

Returning Home

Homesickness eventually led Wong back to Hollywood, but she struggled to find any significant roles. In fact, the role she most coveted in 1937, “The Good Earth,” was given to Luise Rainer, a white actress in yellowface. Moreover, at times, Anna May Wong was featured in films alongside actors in yellowface.

It was a testament to her strength as an actress that she was able to take her roles seriously and perform to the best of her ability, while white actors in the same film jumped at the opportunity to perform as a character that required nothing more than a lazy, racist imitation of an “Asian” accent.

people due to her portrayal of Chinese characters; however, she attempted to mend this relationship by becoming an advocate for China and raising money for Chinese refugees during World War II.

A Unique Tribute

Notably, in 2022 Anna May Wong was featured on the quarter as part of the American Women Quarters initiative which “recognizes contributions of women in technology, science, and the arts.”

“She’s brought back to life... and she becomes collectible. She has become a token... that has face value.”

When asked her opinion on Anna May Wong’s likeness being celebrated with the quarter, Xiao proposed that the move could stem from a feeling of nostalgia. There is a risk around reviving her legacy for the sake of soothing our collectively guilty conscience rather than purely raising awareness of her contributions to APIDA progress. It is certainly a layered approach to reach into the past to feign representation rather than highlighting up-and-coming APIDA figures.

It is important to consider the implications of associating powerful women in history with the quarter. On one hand, it is implied that the quarter would be worth much more than 25 cents due to its collectible and limited nature, but on the other hand, one could argue that her legacy is being diminished to a means of performativity.

Purchasing the Anna May Wong quarter gives many Americans the easily accessible opportunity to feel as if they are contributing to the advancement of APIDA representation. This is not to say that spreading awareness of her life story is negative overall, but the concept of any representation being good representation is the very belief that plagued Wong’s acting career.

Is minting Anna May Wong’s face on a limited number of quarters truly an acknowledgement of her legacy?

These quarters, as collectibles, will not end up circulating as widely as people may imagine. A random customer that is given change for their purchase is unlikely to happen upon one of her quarters and be forced to wonder about her remarkable contributions to the American film and fashion industry. Perhaps the focus should be on educating those who are not initially aware of her legacy, instead of marketing to people that already acknowledge and appreciate her contributions.

Although complicated, this acknowledgement does memorialize Anna May Wong and her extraordinary work. Having her represented on a widely respected form of currency is indicative of a positive step toward both remedying missed opportunities to celebrate her and cementing her legacy in an optimistic light.

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written by/ Maria Juliana Tady photos by/ Andrea Sison

F

rom the bustling streets of Manila to the vibrant plazas of Mexico City, echoes of Spanish colonization resonate through both the Philippines and Latin America.

Spain inhabited the Philippines for around 350 years, visibly leaving lasting cultural and societal impacts that mirror those felt by similarly colonized Latin American countries. Today, the legacy left behind by Spanish colonization binds these two distant regions.

Duolingo? Nah, Dual-Lingo Spanish colonization introduced the Spanish language to the Philippines. Over time, Spanish transitioned from coexisting with indigenous languages in the Philippines to integrating itself within them, leading to the development of various dialects spoken in different regions of the Philippines today.

However, this emergence of diverse dialects brought about barriers in communication in regions where multiple dialects are spoken. Maddy Gastador, a Filipino American student at University of Florida, exemplifies these experiences. “Growing up, I would hear a mix of Tagalog and Bisaya, and to this day...I can understand it, but I can’t speak it or differentiate the words.” Despite being able to comprehend the mixture of both native Filipino dialects, this linguistic diversity within her household posed a challenge for Gastador.

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This experience is common in multi-dialect Filipino households, with persisting language barriers between different generations making it difficult to communicate.

Gastador discovered a unique solution to overcome this barrier with her grandmother who exclusively spoke Chavacano, a Spanish-based creole language native to Mindandao. “I speak Spanish, and I would speak to my Lola in Spanish. This made our conversations clearer and more comfortable for the both of us.” The decision to speak Spanish wasn’t just about communication; it was about preserving a bond with her grandmother and transcending language barriers to connect on a deeper familial level.

Similarly, when interviewing Ismael Contreras, a Mexican Peruvian fourth-year student at UF, he recalled a small conversation between him and another student over the different ways the word “straw” was referred to in Spanish — “Cañita,” “Absorbente,” “Pajita,” “Popote,” and “Pitillo,” to name a few. In both of their stories, there is a recurring trend of languages evolving depending on the region, while still drawing from the same Spanish roots.

Just as different regions in the Philippines have developed their own distinct dialects influenced by Spanish and indigenous languages, Spanish itself has evolved differently across Latin American countries, resulting in diverse regional variations.

models/ Reinalisa Anonuevo, Sieana Banangada, Nathan Collins, April Guimary & Damien Shane

ANECDOTES OF THE LEGACY OF SPANISH COLONIZATION IN THE PHILIPPINES AND LATIN AMERICA

design by/ Ceyan Ang

The Primos of the Pacific

Sunday Obligations Outside of shared linguistic elements, Catholicism largely influences cultural practices between the Philippines and Latin America. This influence is evident with over 80 percent of the Philippines’ population practicing Catholicism, and it being the major religion of nearly every country in Latin America.

This religious influence is evident in how the Philippines celebrates significant Catholic events such as Christmas, Holy Week and All Saints’ Day, all traditions deeply rooted in Spanish Catholic history. Evelyn Rodriguez, a professor of Philippine Studies at the University of San Francisco, clarified that “the Philippines didn’t just have Spanish Catholicism imprinted on it; Philippine Catholicism is its own distinctive kind of Catholicism.” This evolution into something distinctively Filipino reflects the Philippines’ ability to create a sense of authenticity and belonging, developing a Catholicism that resonates with the country’s cultural heritage. Rodriguez elaborated on this by discussing religious customs within the provinces. “You’ll go to these parishes in the province and while there is the same kind of mass that you would attend anywhere else in the world, [but] there are also uniquely Filipino traditions that are evident in those parish communities.”

When discussing religious holidays, Gastador stated that her Filipino extended family “would go to the graves to eat and sleep, to celebrate the lives [of her late grandparents], and they would always have her mom on [video call] so that she was there in a sense.” This practice is known as Araw ng Mga Patay, a regional iteration of Dia de Los Muertos, a religious holiday that celebrates the life of the dead in the Philippines.

Similarly, Contreras reflected on his family’s participation in Dia de Los Muertos and its divergence from solemnity. “This holiday isn’t done in a depressing way,” he explained, “but rather we celebrate the lives that our loved ones lived by displaying our love through food and music.” Painting a picture of familial love that surpasses even death, Mexican culture parallels the same sentiments celebrated with Araw ng Mga Patay in the Philippines.

Both cultures emphasize the importance of storytelling and remembrance of their departed loved ones, using various forms of artistic expression to foster a joyful atmosphere that celebrates the enduring connection between the living and the dead. Through these shared traditions, the Philippines and Latin American countries demonstrate how traditional Catholic customs are evolving to fit contemporary contexts, fostering a distinct cultural identity in both regions.

Shared Roots or Shared Environments?

While these similarities are prevalent through anecdotal comparisons, environmental factors play a significant role in shaping an individual’s sense of community

and identity. The concept of the development of a person’s identity in relation to the environment they’re in is known as place-specific identity.

Zarsadiaz elaborated on place specific identity with the example, “if you were Filipino and you moved to a predominantly white community, or a Latin American community … your perspective of how you’re being Filipino and its ties with [the] other cultures is going to be impacted.” The idea of “place-specific identity” highlights how cultural identity is shaped by local and global influences. People’s perceptions of their cultural heritage and their connections with other cultures can vary depending on the communities and environments they find themselves in. For example, Filipinos growing up in areas with strong Hispanic influences may feel more connected to Hispanic identities because of the cultural surroundings.

Gastador’s upbringing in rural Tennessee starkly contrasts with the experiences she might have had if she were raised in a more Hispanic area, or one with a larger Filipino community. Without either, Gastador faced a profound sense of disconnection from her Filipino identity. She recalled,

“I felt so disconnected because a lot of my friends who I grew up with spoke the lnanguage, went to the Philippines, and I had to find a niche where I felt comfortable because, in their eyes, I wasn’t considered Filipino; I was seen as American.”

Gastador was pigeonholed into categories that didn’t fully represent her, an experience commonly felt by Filipino Americans across the country. The cultural gap that is caused by the constant categorization of her experiences in rural Tennessee made it difficult for her to navigate her cultural identity. This tug-ofwar between an Americanized upbringing and a Filipino heritage highlights the complex interplay of culture, environment and individual identity, emphasizing the concept of place specificity that Zarsadiaz mentioned.

These experiences from Gastador and Contreras aren’t the pinnacle of representation and shared roots for Filipinos and Latin Americans, however, it demonstrates an intrinsic connection between the regions’ cultures that may be overlooked. Navigating through their identity as Spanish colonies and subsequently developing unique traditions in each region, the Philippines and similarly colonized Latin American countries contribute to the emergence of a rich tapestry of experiences intrinsically connected through their historical roots.

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Chic & Covered

The struggles Between modesty & modern fashion trends without blouses. British colonization of the Indian subcontinent, however, meant that South Asians were encouraged to follow Western values — most distinctively through fashion. The Victorian-era style of rigid bodices and multilayered petticoats conflicted with sleeker South Asian saris that draped the body and selectively exposed skin. This clash of styles led to women wearing blouses and petticoats underneath their saris, forming the modern-day iteration of the sari.

A hijabi Bengali student, who chose to remain anonymous, expressed her struggles with appearing modest to the community. “I get so paranoid if my ankles are showing because my parents taught me that people will say stuff if you’re not modest enough. I think within South Asian culture too, it’s so hard to be modest and also adhere to South Asian culture specifically because people are so picky and nit-picky about everything.”

Even as a hijabi, a South Asian woman cannot hide from the prying scrutiny of “the community” and their everexacting measures of modesty. Hijabi and non-hijabi South Asian women alike find themselves covering up more in front of their community out of fear of judgment, scared to be seen as anything less than a perfect South Asian daughter.

However, with many South Asians assimilating to Western cultures, some South Asian American women are also scrutinized by other South Asians for being too conservative. The anonymous hijabi student detailed her own stories where other muslim bengali women questioned her decision to take the hijab, especially since she began at a young age.

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models/ Zarin Ismail, Deshna Soni

The cultural dichotomy of Western and South Asian fashion in the past is reflected in how South Asian Americans and immigrants perceive modesty. Firstgeneration immigrants are presented with the unique opportunity to define how they express modesty. While their parents were raised with a singular culture — and subsequently a singular standard of modesty — The Urdu/Hindi phrase “Log kya kahenge?” — or “What will people say?” — is a prominent social idea that other people will always have an opinion on a person’s life and decisions. This idea is especially important to South Asian women, particularly when it comes to a woman’s attire. Many of the expectations of modesty that are upheld by South Asian parents result from fear that their children, especially their daughters, will be judged for the modesty or immodesty of their outfits by the “aunties’’ and “uncles” of the community. But even women that strive for modesty still find their attires assessed, down to the very last detail.

design by/ Jennifer Jia

Nandini Patel, a second-year student at the University of Florida, described how despite her parents immigrating and integrating into Western culture, she still grew up with many of the Indian values that they were raised with. Patel also noted how ethnic and religious diversity among South Asian women impacts their perceptions of modesty. “Being Hindu, that means my version of modesty is different compared to, say, a Muslim girl. Some parts of my body I can show and still have it be counted as modest, but for other religions it may not be counted as such.” Commonly with Asian parents, enforcing these modest values onto their children is done to uphold the ones that they were raised with. Interestingly, though, the root of these expectations is not just religious but also societal.

photos by/ Julia Lin

A Tale of Two Cultures:

interact with.

written by/ Zainab Nawaz

ultural influence has long played a role in fashion, South Asian Americans exist in a new blended culture, C especially as social and religious values have combining the South Asian values their parents taught evolved. For centuries, Hindu women wore saris them and the Western ideals held by the society they

Modesty in Fashion

“Even as Bengalis, people would say, ‘You don’t have to wear the hijabi, you’re so young, live your life.’ I’d get comments like that and I never understood why.”

The misconception that dressing modestly means that a person is reserved or oppressed takes away the agency and individuality of choosing to dress modestly.

Despite growing up with a mixed culture of Eastern and Western values, the ebbing and flowing expectations for how modesty is defined hinders South Asian American women’s ability to explore their own relationships with fashion. Being perceived as too modest by some and not modest enough by others makes it difficult for women to exist in — or even define — a middle ground on the modesty

Modems of Modesty: Trying to find pieces that are both stylish and modest in a Western society is easier said than done. With modern trends favoring more revealing styles such as crop tops and mesh fabrics, it can be hard for women to find items that fit their ideals of modesty. Because they don’t appeal to a niche audience, modest pieces also tend to be costly.

These barriers in accessibility can make it more difficult for modest-dressing women to express their personal style.

Online shopping has alleviated some of the struggle of finding pieces that work. Digital retailers can supply wider varieties of styles and silhouettes, providing women more options to choose from. Modest dressers also implement layering to give revealing pieces more coverage and create more dynamic silhouettes with their outfits.

South Asian American women also turn to cultural clothing to express their modesty as the pieces are often already modest. Cultural fusion fashion pairing South Asian kurtas with American blue jeans or lehengas with Western tops allow women to express both modesty and culture. This mixed fashion has gained popularity due to social media and increasing South Asian representation in Hollywood.

Alternatively, Western media has also influenced how South Asian fashion brands portray modesty. The past decade has shown increased boldness in South Asian fashion, but in countries like Pakistan, where

religion significantly influences culture, the average consumer still opts for modest pieces.

Sobia Hamid, Business Head of Bridals and Couture for Maria B, discussed how interpretations of modesty differ between high fashion and mass market clothing in Pakistan. Elite, more niche brands have favored less modest designs, becoming more experimental and international with their looks. The mass market, however, has shifted towards more modest attire. “You see brands like Khaadi, Sapphire, Generation — bigger brands in Pakistan who are dominating the mass market — they have gone towards making sure their clothes and shoots are more modest. Out of their whole collections, maybe two outfits will be sleeveless. Otherwise, they’re all full sleeves.”

Even on an industry level, the expression of modesty is subjective and ever-changing. Finding a personal style is hard enough with brands and media dictating the current trends. Dressing modestly presents its own challenges, but often to beautiful and stylish results. Whether one buys from more conservative brands or innovates upon modern trends, the potential for modest fashion is boundless.

South Asian American women will be judged no matter what they wear. Though that may deter some, the reality is that fashion provides an avenue of self-determination.

Dressing the way they want and embracing their personal style means that South Asian American women get to be in charge of their own narrative. Be it modest, South Asian, Western or modern fashion, the confidence of feeling good in an outfit is one that no auntie or trend can take away.

SPRING 2024 | 15

rt is a medium of communication, celebration and component of her identity. After transferring to the School A contemplation, giving life to narratives rooted in of Architecture in her sophomore year, Jayaraman has cultural heritage. It is a means of transcending borders been outspoken about the inspiration she has drawn and bridging generations, a permanent capsule of one’s creativity and passion. Art is a reflection of one’s story, an artist’s canvas being the chapters of their life experiences.

Each stroke, brush and design weaves stories of identity and assimilation, illustrating personal experiences and collective histories.

Prim Tanachaiwiwat - Acrylic Painting Prim Tanachaiwiwat, a second-year student at UF majoring in microbiology, explores various elements of what it means to be an Asian woman in America in her acrylic paintings. Being a Thai woman greatly impacted the way she perceives beauty. Having to reevaluate notions of beauty from a very young age, Tanachaiwiwat’s art reflects a fascination with the grotesque — in finding unconventional beauty in things that rebel against cultural expectations or standards. Much of her art revolves around self-portraiture, specifically what it means to

“walk the line between self-perception and outside perceptions.”

Illustrating such dualities strongly relates to her identity as an Asian woman, re-examining what beauty means in a predominantly white society. “A lot of my work, especially with acrylics, has to do with rendering skin in a nuanced way. For example, I did a few pieces where I used very stark straight yellow tones in my portraiture,” Tanachaiwiwat remarked. A 16 | SPRING 2024

models/ Akila Jayaraman, Prim Tanachaiwiwat & Zoe Chu

Akila Jayaraman, a second-year student at the University of Florida majoring in architecture, employs various cultural components in her artwork. Art, as she describes it, is an extension of herself. Her perspective on art is shaped by her culture, a vital

Being an individual of Asian descent in this community is multifaceted; it is a rewarding opportunity for individual exploration. Jayaraman points out her eagerness to incorporate cultural detailing and art forms into her own works. Her cultural identity and art intersect through her goals of translating the traditions of her culture and historic preservation. Much of her work originates from stories; she suggested that “using a diagram from Hindu mythology or folklore would be an interesting base point for my works.”

design by/ Jackie Truong

Akila Jayaraman - Architecture

“Art is a translation of culture. Pursuing an artistic endeavor is bold, in itself, especially if it is based on your cultural experiences. The way art is received is so subjective and constantly fluctuating.”

photos by/ Christina Nguyen

Artists contribute to a visual narrative through their creativity, and they foster cultural understanding and appreciation. Racial themes, techniques and traditions encapsulate the beauty of Asian culture as it invites much artistic inspiration through its rich history, religion, clothing, food and music. Asian artwork serves as a medium for self-discovery, nurturing a sense of unity in diversity and allowing artists to express their unique perspectives through the universal language of art. Student and local Asian artists stand out as they utilize art to explore their rich and diverse heritage. Visual art provides sanctuary for such expression and represents artists’ journeys of cultural exploration. This exploration will dive into the motivations propelling three artists to channel their creativity into Asian cultural representation.

from film, music, literature and other media. Jayaraman’s visit to India this past summer proved bountiful with inspiration, observing the rich religion, maximalism and intricacy in Asian art. This semester, she has been working on a diagram, finding inspiration in her name and its ethnic origins. The name Akila, stemming from India, means “universe” in Tamil. Her diagram’s incorporation of celestial maps reflects this. Culture is endlessly fruitful, having countless sources of inspiration for artists of all backgrounds. Jayaraman explained:

written by/ Mahima Kedlaya

...giving life to narratives rooted in cultural

majority of her art has revolved around the nexus between beauty, desire and fear, and what conflicting elements arise from that. She has spent a lot of time as an Asian woman considering her role in existing in such stereotypes of beauty and girlhood, reflected in her pieces.

Art, being so nuanced, invites many challenges, especially when portraying one’s culture.

Tanachaiwiwat, like many other Asian artists, has had difficulties in conveying the richness of her culture in art. When designing a mural representing Asian students in her high school, Tanachaiwiwat faced obstacles when re-examining what it truly means to be an Asian American. “I think our greatest challenge was trying to excavate an Asian American identity entirely separate from the stereotypical Asian identity,” she commented. Asian culture is often depicted as monolithic, so it proved difficult, as an artist, to represent it in a way that wasn’t reductive.

Zoe Chu - Mixed Media Zoe Chu, a first-year student at the University of Florida double majoring in biology and digital arts and sciences, has gained much inspiration from her cultural background. Her artwork incorporates many underlying themes of self-discovery and the process of healing from generational trauma. “The idea of having to adjust to a culture that is different to my parents and my original home blends through into my pieces,” Chu stated. There are a lot of overarching themes of acceptance, inclusivity and desolation in her works. Chu has revisited many subjects of Chinese culture in her art, specifically the values of conformity. Her artwork is indicative of her exploration of queerness and what that means within Chinese culture. Her culture is such an important part of her identity - as an individual and artist. Chu explained:

“My art is representative of cultural turmoil and figuring out where I belong within Chinese and American cultures.”

Much of Chu’s pieces are inspired by the Asian American artist Mitski. She incorporates themes from the songs and aims to implement them into something she can understand and relate to in her art. “One of my favorite pieces was inspired by the song ‘Liquid Smooth’ which talks about being a non-white woman trying to seek validation in the Western world,” Chu noted. An Asian woman’s experiences of recognition and beauty are observed throughout many of Chu’s artworks. Her interpretation of this song depicted women as fruits on a tree, forced to feel a sense of ripeness that has to be plucked or taken. Similar to fruits, women are expected to fulfill certain expectations of beauty to be wanted or deemed worthy in society.

Conclusion Architecture, acrylic painting and mixed media - three mediums through which student artists have highlighted the bountiful potential of their Asian culture. Art is a realm for discovery.

It inspires artists to explore what their cultural beauty, literature, music and much more, mean to them. Figuring out where one’s cultural identity fits in the Western world is incredibly challenging, and it is incredible that art holds the power to help individuals navigate this journey.

SPRING 2024 | 17

We (can’t) Chat

The Impact of Banning Chinese Apps on Chinese UF Students Ding! On April 5th, 2023, students across the state of Florida received an email from their state universities:

This announcement happened right after the Board of Governors for the State University System (SUS) of Florida amended its preexisting regulations to grant universities in Florida the right to prohibit the use of TikTok and other applications that warrant threats to the cybersecurity of SUS devices and wireless infrastructure. The call for the ban on Chinese-related apps became popularized in 2020 when former President Donald Trump announced his efforts to ban TikTok and WeChat, provoked by the rising tensions between China and the U.S. during the election. However, from national debates for votes and international struggles for power, there are communities formed from diasporas — from international Chinese students to immigrant families — all holding on to a line that stretches 8000 miles away from home.

For Pu and countless other overseas Chinese students, WeChat is not just an app. Pu reports that he uses WeChat for at least 1.5 hours daily and cannot find suitable alternatives due to bans on major communication apps such as Messenger and Instagram in China.

Jojo Xiong, a first-year Chinese American at UF, echoes this sentiment. Despite living with his parents in the U.S., Jojo’s extended family remains in China, making WeChat essential for maintaining ties. Three times a week, Xiong uses WeChat to stay in contact with his family and some

summer school friends who live abroad.

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model/ Alice Jiang

“Nothing in my phone right now can substitute WeChat. I can only communicate with my grandparents on WeChat because they only use WeChat, and I can’t catch up with other [friends back home] without Moments, the social media function on WeChat,” Pu explains.

design by/ Tina Mei

Described as a “convenient, integrated and irreplaceable application” by Blue Pu, a first-year student at UF, WeChat is the main communication app in China. From basic functions such as text messages and social media to calling a taxi or even paying your bills, WeChat has it all. While you cannot call an Uber or pay your bills with WeChat in the U.S., the chat and social media functions are two main ways overseas Chinese students stay connected to their families and friends.

photos by/ Rayvin Velasco

While many students were wondering about the disconnection of TikTok on their phones, Chinese students were worried about the disconnection from their homes. TikTok is an entertainment app that has garnered widespread usage in the U.S. and has become a primary platform for social media interactions and pop culture consumption. Therefore, the ban of TikTok on SUS devices and wireless infrastructure was greatly noticeable. However, the restriction on the similarly Chinese-centered application, WeChat, was widely overlooked due to its lesser popularity, despite it affecting many who have family in China.

written by/ Sienna Chien

“Effective immediately, the installation or use of Tencent QQ, TikTok, WeChat, Vkontakte, and Kaspersky on any university device, network or to conduct any university business, including marketing and advertising, is prohibited.”

While some students resort to using their cellular data or VPNs to get around the ban, they are still prone to missing emergency notifications because of the automatic connection to the school’s Wi-Fi. Considering WeChat is not just a messaging app, cellular data usage may also inflate as video calls, and using social media posts can contribute to bills that students may not afford.

Moreover, the significance of WeChat transcends mere communication — it is a link to traditions and values that anchor students amidst the turbulence of college life. Alice Jiang, another first-year student at UF, reflects on WeChat’s role during the pandemic. It served as her sole connection to family, providing solace and reassurance during uncertain times. She recounts, “WeChat was the only connection we had with the [family], and even if I couldn’t see them in person, just having that one connection helped me a lot to ensure they were safe.” Other than ensuring the safety of family members during a crisis, Jiang uses WeChat to keep up to date with major events happening in her family and keep in touch with her culture. Regarding China and the U.S., Jiang explains:

“Everything is very different culture-wise, and it’s just helpful to even have one connection to your family.”

In a world where distance and digital distractions strain familial connections, WeChat is the lifeline that bridges the 8000 miles — a conduit of love, care, and belonging.

Many college students already struggle to keep in touch with their families as they move out, make new friends and have a sleep schedule that their parents would not approve of. Holidays like Lunar New Year and Christmas are celebrated with the joy of presents and family presence, so — ding! You might want to check that notification from your mom asking you if you have eaten yet. And — ding! Maybe that one from your grandparents is asking if you could call. And — ding! All of the messages that were sent were with care and love.

妈妈 你吃饭了吗 ?

爷爷 打电话给我 ?

Ding!

♥♥♥♥♥♥♥

SPRING 2024 | 19

Tikka Look A

To make chicken tikka, the chicken is marinated thoroughly with things like garlic, ginger, yogurt, lime, chili powder and garam masala. Today, it is traditionally eaten with naan and lemon squeezed over it.

The impact of this innovation is still prevalent today, especially in the U.S. According to Sen, author of “Feasts and Fasts: A History of Food in India,” the original intention of butter chicken was to make tandoori chicken less dry.

With Indian cuisine slowly taking America by storm starting in the 1960s, Gainesville acquired its own fair share of South Asian restaurants. In fact, there are about six restaurants in a five-mile radius from the main University of Florida campus. Of these six, I want to shine some light on three and their take on the chicken tikka/tandoori chicken: Kabab House, Indian Street Food and Tikka Express.

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As the owner, chef Debu Tiwari had a lot on his hands, so he directed me to his ‘right-hand man’: Kellerman. “Debu was a chef in Nepal and one day, a family came in and liked his food so much they hired him for their five-star restaurant, ” he said.

Eventually, chef Tiwari found his way to the U.S. with his business partner and opened up Kabab House. “Before the pandemic, things were a lot easier,” said Kellerman.

“We rarely fill up anymore,” he said, referring to in-person business. However, with the rise in popularity of delivery and takeout, chef Tiwari’s food has withstood the hardships of declining business.

There, I tried their chicken tikka boti which had eight pieces of chicken and vegetables to accompany it. With its paler red-orange color, the first impression of the chicken did not remind me of the chicken tikka I have had in the past. However, I still had faith in its flavor.

After a few bites, there was no denying that the dish was rich and delicious.

Each piece of meat was perfectly moist, elevating the usually dry dish. It also paired quite well with the mint chutney, a sauce of finely blended cilantro, mint and onion, that came complimentary with the order. Despite Kabab House’s specialty being kababs, they executed their chicken tikka quite well – a reminder of chef Tiwari’s great cooking that brought him here all the way from Nepal.

design by/ Maya Rudo

According to the “Bloomsbury Handbook of Indian Cuisine,” written by Colleen Sen, Sourish Bhattacharyya and Helen Saberi – three authors that specialize in food writing – tandoori chicken comes from Punjab, a region of India and Pakistan, specifically from its Hindu community. The tandoor was originally used as an oven to bake bread, however it is also used for grilling chicken.

On the cornerstone of Archer Road by Metro Diner, Kabab House has been a go-to for my friends and me.

Located next to a Crunch Fitness and a cannabis shop, Ed Kellerman, a retired master lecturer at UF and Kabab House’s current business advisor, joked that their motto is “get fit, get lit, come eat.”

photos by/ Haley Desai

slightly charred and spicy smell permeates through the air. A completely dry dish decorated with orange-red pieces of chicken, cilantro and onions is placed in front of you. You sit there confused. Chicken tikka should have curry, right? Wrong. Chicken tikka (or tandoori chicken), not to be confused with the British invention of chicken tikka masala, is simply marinated chicken that is cooked in a tandoor, or a clay oven, and is an authentic Indian restaurant staple.

2022 SW 34th Street

written by/ Aize Hassan

Shining a Light on Gainesville’s Indian Restaurants

Kabab House

Tikka Express 1011 W University Avenue

Indian Street Food 3550 SW 34th Street Indian Street Food stays true to its name, offering several types of chaat and pani puri (or gol gappe). Owned by Prashant Patel, the restaurant is located by Goodwill and TeaStori and is a student favorite. “I love that the menu has a huge range of options. They have South Indian and North Indian food and a lot of vegetarian options as well,” said Shikha Patel, a second-year student at UF. While Indian restaurants in smaller towns typically only offer Northern cuisine, Indian Street Food makes an effort to represent India on a wider scale.

Reminiscing on the times she had gone with her friends and family, Patel emphasized how the restaurant gives you a bang for your buck. “It’s nice because you can order stuff and share it because they serve you so much food — so much that you have to take it home.”

Specifically, she recommended their Gobi Manchurian and Papdi Chaat.

While I did not get the chance to try out her suggestions, I did get the chicken tikka which came with a twist.

Instead of the traditional kind, they serve chicken malai tikka. Malai is a type of cream often used in South Asian cooking. On their menu, this dish is described as “boneless, smokey chicken marinated in creamy cashew sauce.”

Upon first glance, it looked packed with flavor. Each piece of chicken was covered in a marinade and surrounded by heaps of colorful vegetables. There were onions, bell peppers, lettuce, lemons — everything that could enhance the already delicious-looking chicken.

Not to mention, Patel’s observation was completely accurate. They served a large amount of chicken, enough to be eaten by three people and then some.

After my first bite, it was clear this would be a favorite of mine.

The flavor was different from the traditional chicken tikka but was still deliciously tangy and spicy. Not to mention, it was very juicy.

Indian Street Food is a restaurant I yearn to go back to. With their big portions, diverse menu and delicious chicken, it seems like the perfect dinner spot.

Only a walking distance from campus, next to the Hub on University apartments, Tikka Express focuses on a quick service. In fact, it was the first restaurant in Gainesville that I ever tried. After Preview, UF’s incoming student orientation, my Pakistani father’s monthly craving for chicken tikka led us to Tikka Express. Now revisiting, I got the chance to talk to Noori Syed, the co-owner of the restaurant along with her son, Abdulrehman Khan.

“This is actually my late husband’s legacy and dream that my son and I are both following. After he passed on, we continued with Tikka Express,” emphasized Syed. The memory of the late chef Mehfooz Khan is what fuels the restaurant’s vision and purpose.

“I think, for the most part, I really appreciate working in Gainesville and amongst this community; they are so welcoming,” said Syed reminiscing on her experience as a restaurant owner. “They have a saying, ‘Your home is where your heart is,’ and I think my heart is in Gainesville.”

According to Syed, it was Gainesville’s supportive community which kept them afloat since the difficulties of the pandemic.

There, I ordered their chicken tikka boti which came with a whole naan and crinkle-cut fries. As soon as I opened the box, I was amazed by the vibrant reddish-orange, charred color of the chicken and it instantly became something I wanted to try.

Upon first bite, it had the flavor of the classic chicken tikka I remember – one I had tasted on countless trips around the country where my family inevitably finds itself at an Indian restaurant after we get sick of American food. It was salty, umami; and the char provided a depth to its flavor. Plus, the holes in the chicken where skewers had pierced through served as a testament to its authenticity.

Overall, I would describe it as a reliable, classic, and convenient option for all students.

The Test of Time Whether being prepared in a tandoor in ancient India or in an oven in Gainesville, the tale of chicken tikka continues to be passed on. Chicken tikka is more than a dish. It is a testament to chef Tiwari’s hard work and talent, the memory of the late chef Khan and the joy of countless college and family meals. Sitting on a picnic blanket with fellow Sparks members one Saturday afternoon, eating the wonderful flavors of the chicken, I am reminded of the joy that comes with sharing the story of chicken tikka.

SPRING 2024 | 21

Krishna lunch, ISKCON and their place at UF

F

or almost 100 years, students at the University of Florida have walked past the numerous organization fairs, speeches on social and political topics and social events held in the Plaza of the Americas. Historically, as the main space for the UF community to gather, the Plaza has become the home of several outside organizations to develop connections with UF students and staff, as well as the larger Gainesville community in general. One of these organizations includes ISKCON, the International Society of Krishna Consciousness, which has fostered connections with the university through its service of providing meals at affordable prices, now known as “Krishna Lunch.”

What is Krishna?

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Origins of Krishna Lunch At UF, Krishna Lunch was established by students in 1971.

The idea was to provide vegetarian and vegan food for free while performing musical mantra meditation, known as Kirtan.

ISKCON members as a part of this effort strive to present values of upliftment, relationships, teamwork, kindness and service. Krishna House was later established in 1989 as a place to practice Krishna consciousness and learn more about Gaudiya Vaishnavism.

Gaudiya Vaishnavism is a growing field in religious studies and many, such as UF assistant professor Jonathan Edelmann, conduct research on it. Specifically, Edelmann gained interest in the field from reading literature in high school on popular religions within India and China, and continued this by taking classes in similar topics as an undergraduate. Part of the reason he was drawn to Gaudiya Vaishnavism in particular was from visiting India and meeting different scholars who inspired him to learn further about the theology’s perspective on spirituality. Another factor was his reading of the Bhagavata Purana, Gaudiya Vaishnavism’s central text.

Edelmann describes Gaudiya Vaishnavism as a theology

models/ Local Community

According to Hindu belief, Krishna is the eighth incarnation of the supreme God of Creation, Lord Vishnu. It is believed that each of Lord Vishnu’s incarnations came to the mortal world with a defined purpose to restore righteousness. Krishna’s purpose was to kill multiple forces of evil throughout his life, as well as influence the events in one of the most famous epics in Hindu mythology, the Mahabharata.

ISKCON was founded by Abhay Charanaravinda Bhaktivedanta Swami Prabhupada in New York City in 1966. Growing up in Kolkata, India, he worked at a small pharmaceutical business prior to becoming a part of the spiritual business. He became a monk after reading the teachings of several other spiritual leaders and started following the Gaudiya-Vaishnava theology of Hinduism, focusing on the worship of Lord Vishnu. In accordance with this cause, Swami Prabhupada involved himself in spiritual studies and several service projects, including opening up hospitals, schools, colleges and leading food distribution events.

design by/ Shiyin Hong

Hare Krishna is a movement stemming from Hinduism, one of the world’s oldest religions. Originating from India around 5,000 years ago, it is currently the most practiced faith in several Southeast Asian countries, with several large communities scattered around the globe. As of 2023, the United States has the eighth largest Hindu population in the world, and in Gainesville, the local ISKCON community at the Alachua Hare Krishna Temple is well-known for serving much of the population.

History of ISKCON

written by/ Ananya Pradhan photos by/ Anushka Raviprasad

Hare Krishna: More Than Just a Cheap Lunch

focusing on the Hindu concept of “bhakti”: regardless of the amount of suffering one can experience in a lifetime, it can be solved through devotion and love between the individual’s soul and God. He explains how this became especially popular throughout India between the fourteenth and seventeenth centuries, and Gaudiya Vaishnavism is specific to bhakti towards Krishna. For the future, Edelmann believes that to gain a greater following, “the next thing for Gaudiya Vaishnavism is to think about how it and Hinduism relates to other religions.”

For Krishna Lunch, bhakti is practiced in the way food is prepared, as it is done as a form of devotion towards Krishna as well as the people it serves.

Amongst all ISKCON communities worldwide, the term for the food is “prasadam,” which translates to the “gift” or “mercy” of God. Additionally, the food also ties to ISKCON’s practice ofvegetarianism and veganism.

Krishna Lunch Now Currently, Krishna Lunch is offered on weekdays from 11 AM – 1:30 PM at both the Plaza of the Americas and 11 AM – 2 PM at Krishna House. Most of their meals include rice mixed with a variety of vegetables, spices, curries and different flavors of halva. Halva is made from sesame seed paste, nuts and sugar, and it is a popular dessert, particularly in the Middle East and South Asia. From observing the number of people who attend as well as the different foods Krishna Lunch offers on UF campus throughout the week, many people appear to enjoy the food served on Fridays the best.

First-year UF student Madeline Franco originally heard about Krishna lunch from her father, who attended the university and tried Krishna lunch in the 1980s, back when they had just started. Upon trying the food she talks about how along with enjoying it, she thinks it is nice the food is vegetarian.

“I feel like a lot of students don’t go for vegetarian options but everyone seems to love Krishna lunch, and it’s a cool way to introduce people to new delicious foods. Perhaps in the future, they can try to do some free lunches occasionally.”

On the other hand, Harshnasri Pinapala, another first-year student, comments on how she did not like Krishna lunch as much as she believed she would.

“It didn’t have the Indian flavors that I would’ve liked,” she explained, being someone who has tasted similar food before.

Considering herself to be a moderately religious Hindu, she also commented: “I don’t really think Krishna Lunch stayed true to its purpose because it provided free lunch for everyone and now costs money, but I do understand why they priced the food over the years.”

Despite the service and spiritual opportunities provided by

Krishna Lunch, there have been criticisms towards the presence of ISKCON at UF. For some such as Pinapala, they have voiced concerns on if the representation the community provides for Hinduism is accurate. Others have also commented on whether or not it is right for a religious organization to have such a great influence on campus.

Franco found it interesting how Krishna Lunch was able to start in Alachua County, unaware of how large their community was. Especially with their growth over time she says, “Just like any other religious organization on campus, they have a right to be here.”

Even with the criticisms, it is clear that Krishna Lunch’s origins stem from values of compassion and goodwill in the form of serving food. Behind the affordable prices, there is a widespread community and theology which establishes the reasons for having Krishna Lunch in the first place. Edelmann himself has been aware of ISKCON’s presence as he has met some of their professional scholars during his time at UF. Having tried Krishna Lunch while being in the environment which surrounds it, he believes it is an example of “good service and nice community-building which seems as a very popular and defining feature of UF.”

“Good service and nice community-building which seems as a very popular and defining feature of UF.” SPRING 2024 | 23

AN EXPLORATION OF TOILETS IN EAST AND SOUTHEAST ASIA

he Western toilet, also known as the sitting toilet, is a classic staple of American living that is essentially a chair with a hole in it. An invention taking centuries of innovation to perfect, it serves as a seat for scrolling through Instagram reels, a basin for throwing up in and a battlefield for when that late night Taco Bell does a little more than satisfy cravings.

The primary feature of the squat toilet is a toilet bowl sitting at floor level. This toilet is used in a squatting position with the user placing one foot on each side of the bowl, which can be an awkward process for Americans.

While this squatting position may seem unconventional at first glance, the squat toilet has been around since ancient time, with the original model being a hole in the dirt used by farmers. With the creation of widescale plumbing, however, squat toilets have moved out of the field and into the house. The basic techniques remain the same.

Aside from toilets, bidets are also common around the globe, especially in East and Southeast Asian countries.

The bidet utilizes a stream of water to clean up after defecation. These usually come in three models: a handheld hose attachment; a water hose inside the toilet bowl; or a separate toilet-like structure with a faucet attached.

Max Huang, a third-year student, visited Japan for a week after he studied abroad in Singapore. This experience led him to want a bidet in his future home: “I knew of bidets before … but my frequent usage made me not want to go back to not having one.” Huang’s story is not unique, as social media and word of mouth has led to more making the switch. Bidets are now cheaper and easier to get than before, and proponents claim that they are cleaner and more effective than toilet paper.

However, the evidence is conflicting. A 2022 study in Japan concludes that bidets result in less microbes on hands compared to wiping. Other studies cite that bidets disturb the human microbiome, leading to increased risks of vaginal and urinary tract infections.

model/Yeleeya Li

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Intuitively, the squat toilet is more hygienic, with only the user’s feet being in contact with the toilet. Caitlyn Wong, a third-year student at the University of Florida who has lived in Malaysia, explains that, “When you’re [using a sitting toilet], you’re touching the toilet or sitting in a way where you don’t touch the toilet. For the squatting toilet … you don’t have to touch anything.” It is this cleanliness that has carried humans through early living,

Cleaning Up the Act: Toilet Paper & Bidets

design by/Zarin Ismail

Proponents of the squat toilet argue that squatting is the way humans are meant to defecate. By squatting, the muscles in the rectum are relaxed to a greater degree, resulting in less strain. In fact, a study done by Don Sikirov published in the National Library of Medicine reports that squat toilets, compared to sitting toilets, generally reduces time spent on the toilet and increases “sensation of satisfactory bowel emptying.”

and practices of squatting are still popular in places with limited plumbing. It is important to consider that for those with mobility issues, the squatting position might not be the best option as it causes unnecessary strain and joint pain.

photos by/Julia Lin

However, the Western toilet is not the standard practice for many other countries. In East and Southeast Asia, structural differences like squat toilets and bidets differ from those of America.

Keeping it Grounded: The Squat Toilet

written by/ Yeleeya Li

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Toilet paper is also commonly used, though many public restrooms don’t provide it. Instead, people must bring their own or purchase it from a bathroom dispenser.

Getting Messy: The American Toilet Monolith Lacking a bidet and a squat toilet, the universal restroom in America is a sitting toilet with toilet paper provided.

The way someone uses a porta potty or a toilet in a five star hotel is virtually the same due to federal toilet and plumbing regulations. However, America’s sitting toilet monolith is not reflected in East and Southeast Asian bathroom practices.

A strong reason for the variety of toilets and toilet practices in Asia is financial.

In public restrooms or the countryside where there is no reason to maintain very upscale bathrooms, squat toilets are commonly used because they are cheaper to clean and maintain than sitting toilets.

Toilet variety is also due to varied plumbing access. For example, the squat toilet itself can be modified to fit places with poor or no plumbing. These types of squat toilets consist of a long trough of water that spans across multiple stalls, being flushed occasionally by incoming water.

as a traditional bidet. Moreno remarks that his experience encourages him to be more mindful: “[I’m] more conscious about how I use water, even when I’m washing my hands.”

In more modern or upscale places, it is more common to find sitting toilets. Many of these toilets are modified with extra accessories. Huang’s visit to Japan led him to encounter seat bidets that included different water pressure settings, an air dryer and even white noise. He says, “The Japanese toilets, I can’t think of any way that you can outdo them compared to a normal American toilet.”

Overall, many urbanized places in Asia have also started making the switch to Western toilets. In 2016, China’s government launched a campaign to place down more sitting toilets in popular tourist sites. However, these changes are not welcomed by everyone. Patrick Winn, a journalist for The World based in Thailand, interviewed locals on their opinions of the toilet. One Bangkok worker exclaimed, “[sitting] toilets are for rich people who can relax all day … like ‘Oh, I’ll just sit here and chill. No worries for me!’” Other interviewees echoed similar thoughts.

Perhaps the toilet as a status symbol – one to appease Westerners – is why many choose to reject the sitting toilet.

Why does America lack toilet variation compared to other countries? Perhaps diverse toilet practices reflect diverse populations. Wong observes that in the melting pot of Malaysia, certain demographics are more inclined to use a bidet compared to toilet paper. Or perhaps America’s post-industrial revolution foundation made it easier to standardize toilets, with no need to uproot centuries of tradition, like the tabo. Perhaps the American toilet monolith is a self-fulfilling prophecy, where the lack of toilet variety discourages people to explore other options, leading them to continue to prefer the familiar sitting toilet everywhere they go. Ultimately, it is a combination of many factors, and there is no right way to poop.

The quest towards a clean and comfortable bathroom experience is universal. At 2 a.m., when a cheesy bean burrito and seven packets of Diablo finally act up in protest, it is not a lonely battle. It is a battle in which thousands of ancient farmers have paved the way for, and where thousands more — now armed with heated bidets and two-ply toilet paper — will soon join.

Adrian Moreno, a first-year UF student, stayed at a house with limited water access during a visit to the Philippines.

Instead of a showerhead, one of the bathrooms featured a large bucket of water and a water dipper, culturally known as a tabo. In countries such as Indonesia, Vietnam and the Philippines, the tabo is an indispensable part of many traditional homes, being used to clean the bathroom, flush the toilet and for personal hygiene

“It made me more conscious about how I use water, even when I’m washing my hands.”

- Adrian Moreno

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BECOME An ASian

GRANDMA TODAY!

Chit-chat

you too.

CAi luong (Vietnamese folk opera)

Cải lương is always on the TV of a Vietnamese Grandma’s house. It is a combination of southern Vietnamese folk songs, classical music, and modern spoken drama. It is often set in ancient times with the characters wearing colorful and intricate outfits. The men’s faces are decorated with interesting facial hair and the women with bright makeup. Cải lương boasts a special kind of singing called vọng cổ, with đàn tranh zither and đàn ghi-ta (Vietnamized guitar) swelling in the background. The actors use a combination of spoken dialogue and vọng cổ. You best believe when it was time for Cải lương, bà nội (grandma) will yell from across the house, “Đổi kênh cho bà nội đi con!” Change the channel for grandma! And when she does, you’d better stop what you’re doing and run for the remote.

Knitting

Want a handmade sweater made in ethical and lush working conditions? Tell Asian Grandma, and she’ll have a hand-knit cardigan ready for you the next time you come over. Need a hemline taken up, give it to Asian Grandma, she can do that with her eyes closed. Asian Grandma can knit, sew, and crochet. She can look at a store bought knit garment and recreate it, no pattern required.

“Did you eat yet?”

This is Asian Grandma’s number one concern. And even if you tell her that yes, you did eat, she will not stop asking until you repeat yourself at least four times. If you are feeling even a twinge of hunger, she will materialize something for you to eat-leftover rice and meat, soup, a bowl of nuts, and fresh cut fruit. Her fruit cutting skills are immaculate by the way.

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design/Daniela Kate Abaquita

If Asian Grandma is not watching TV, cooking, gardening, or asking you if you ate yet, she’s chit-chatting on the phone. Sometimes she is on the phone and doing these activities simultaneously. Grandma loves the hot gossip. She loves bragging about her grandkids. And if you’re lucky enough to be there when she hangs up, maybe she’ll share a little of that gossip with

by Reagan Huynh

Being an Asian Grandma is a state of mind, not a state of being.

One might think to be a grandma you have to be graying and wrinkling. You have to possess the wisdom only aging provides. And at the bare minimum to be a grandma, you need to have grandchildren.

And to that I say “nay.” You need not these things to be a grandma!

What you need is just a few tweaks in your lifestyle and you too, you, at the ripe age of 21, can become a grandma.

Exercise

Asian Grandma will be going for a walk today. And tomorrow. And the day after. She has to survey the cul-de-sac. Ensure nothing is out of the ordinary.

And of course, to get some exercise. Exercise is very important to Asian Grandma.

Exercise consists of swinging her arms, kicking her legs while sitting on the couch watching tv, and stretching before bed.

DAu giO xanh-herbal oil

Every Asian Grandma has this in their purse. In Vietnamese they call it, dầu gió xanh, which translates to “herbal medicinal oil.” Put your nose up to a bottle of this green liquid and the pungent spicy mint smell will make your eyes water and wake your senses right up. This oil is used for everything!

Sore throat? Dầu gió xanh. Stomach ache? Dầu gió xanh. Bump your head?

Dầu gió xanh. Break your leg? Dầu gió xanh.

Gardening

Asian Grandma has a green thumb.

When you come over, her garden is often the first thing she shows you. If it’s too sunny, she’ll pray for rain. And if it’s too rainy, she’ll pray for sun. You see those leafy green veggies, cucumbers, tomatoes, and oranges on her table? Yeah.

She grew those.

Function over Fashion

One thing about an Asian Grandma is she’s going to prioritize function over fashion.

She’s lived too long and through too much to care whether you like her outfit. She’s cold? She has a perfectly good polka-dot cardigan. Who cares that it clashes with her striped shirt, and that the color doesn’t go well with the other pullover sweater she’s already wearing. If the occasion calls for it, she’ll wear a bucket hat with her church dress, socks with sandals. She’s not ashamed.

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Diversity or Doom?: Cultural Appropriation in the Novel "Yellowface"

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With these things in mind, some people may ask: what is cultural appropriation? Looking at the Britannica definition of the term, cultural appropriation is, “when members of a majority group adopt cultural elements of a minority group in an exploitative, disrespectful, or stereotypical way.” This can include wearing cultural garments as a simple Halloween costume or adopting certain practices and traditions not related to your culture as an aesthetic or for social gain.

While the book is supposed to be a satire exposing the publishing industry, it does make the average reader wonder about the state of cultural appropriation today.

Does it still hold an active presence in our society, and what is considered cultural appropriation in media? With the promises of diversification being delivered, are they done with the right intentions? Analyzing the novel further, we will delve into these questions to understand the state of diversity and representation in the modern age.

At a glance, many readers had their interesting thoughts on the book. Receiving a 3.89 out of 5 stars on Goodreads, “Yellowface” has been generally well-received.

“I think the book overall did a good job exposing the inner

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Before delving into appropriation, an interesting point to tackle first is diversity, especially in the entertainment world today. While we have seen better representation in media in recent years, it is still a controversial issue on both sides, especially with the idea of using certain people as “tokens,” to show that they “care” about minority voices without actually putting in effort to diversify the field. “I think that there definitely is a push to hire or secure a handful of ‘token races’ in order to play into the market where there are demographics that would desire that. And although I believe diversity hires could be helpful, I don’t think that the way that media industries today are handling it [is] being carried out in a beneficial way. Instead of being merit-based in its hiring process and allowing for smaller actors/writers/ etc to enter the limelight, it seems as though a lot of media industries… tend to try to secure the small handful of already successful/token figures to hire instead,” said Avvampato. Sedloff goes into further detail on the potential motivations behind these industries. “I don’t feel that the publishing houses and other companies are doing it out of the goodness of their hearts. They’re doing what June did.

They realize that they can a lot of money by supporting minorities. They know if they don’t diversity, their income will suffer for it.” With powerhouses prioritizing money and their reputations, minority communities see these kinds of gestures as pandering and ingenuine, whereas many non-minority members, like June in the novel, feel as if these industries only care about minority voices and push theirs away. “There are white authors who still believe that publishing favors people of color and that white people are becoming more of a minority and they are the ones that are being marginalized from having their stories published…” Pham said regarding the publishing industry. However, she immediately debunks this claim by

design/ Arianna Flores

“Yellowface” details the path of a young white author named June Hayward. After witnessing the death of her more successful colleague and friend, Chinese American author Athena Liu, she manages to get a hold of one of Liu’s unfinished manuscripts. Initially wanting to publish it in her friend’s memory, she ends up publishing the work as her own, along with rebranding herself as Juniper Song and appearing ethnically ambiguous with her author photo. Throughout the novel, we witness the backlash that she receives from her cultural appropriation, both online and in person, reading into her thoughts that constantly try to justify her actions.

workings of the publishing world as well as the struggles many aspiring authors may encounter,” said Stuart Avvampato, one of the many readers of this book. “I loved ‘Yellowface!’ I think it’s a novel that might rub people the wrong way, but I saw it as a book to (lightheartedly) make fun of the book community,” said Sydney Sedloff, another reader. She has a point, as some people do not enjoy certain aspects. Cindy Pham, an online creator who is infamous for her book and movie reviews, had differing opinions. In her video, “The problem with ‘Yellowface’ by RF Kuang: my thoughts on race, class, and the publishing industry,” she summarizes her thoughts on the book. “Yellowface felt very chronically online rather than reflective of the real-life publishing industry,” she said, highlighting the numerous references to Twitter and the online discourse in the novel.

by Jolina Jassal

hankfully, the 21st century has been more kind and embracing to the various cultures that are featured around the globe. Especially in the world of media, specifically books, there has never been a more diverse and welcoming catalog of content to consume. Tons of novels and fictional works are being created by those who are from underrepresented backgrounds. One of these creators is Rebecca F. Kuang, a Chinese American author who has written numerous bestsellers, including “Babel,” “The Poppy War Series,” and most recently, “Yellowface”.

With her latest work, she has managed to explore the modern reception of diversity, and how people can use it ignorantly or maliciously.

providing author demographic statistics from Wordsrated. com, which shows that roughly 75% of authors within the U.S. are white as of 2021. While minority percentages are growing, they are still heavily underrepresented, therefore throwing any opposing claims right into the garbage.

While tons of people in the novel were offended

by June Hayward writing minority stories, readers had split thoughts on this topic, mainly when it comes to authors who are part of the majority writing minority characters.

However, the main consensus was that as long as proper research and care go into accurate representation, it’s In terms of its dealing with cultural appropriation, possible and acceptable. “Authors are absolutely capable there were mixed opinions and interpretations of its of accurately portraying minorities correctly. The same handling. While Avvampato found some accuracies in thing happens with mental health struggles, class/wage the novel compared to the real world, Sedloff stated differences, gender differences, etc. What is required that it wasn’t necessarily “black or white,” with a singular of those authors though is more research,” said Sedloff. action not being appropriation but the entire process “I do believe that these authors are in fact capable of being appropriation. When trying to analyze this subject, accurately and appropriately portraying these topics. I it is not uncommon to see many people struggle with believe the hurdle would be higher for these individuals what’s considered cultural appropriation and what’s not. due to the subtle nuances that would be hard to portray The author, R.F. Kuang, even added her thoughts on this without being of that culture/minority demographic, but matter when she was being interviewed by the New York I do believe that it is possible,” said Avvampato. There Public Library, describing how formatting the book was are numerous examples where authors succeed and intentional with the modern way we discuss this issue. fail in this venture, such as Lisa See winning numerous “‘Yellowface,’ is an interesting contrast between style and awards for novels like “China Dolls,” and “Shanghai Girls,” content, because I’m trying to unpack all of these difficult and only being ⅛ Chinese from her great grandfather’s questions about cultural appropriation and identity and side, and there’s Naomi Novik with her novel “A Deadly the commodification of marginalization, but I’m using Education,” which had controversial portrayals of this style that’s sloppy and easy and reductive because minorities, mainly involving fantastical world-building that’s how discourse is on Twitter,” she said. “But I was aspects that highlighted negative features. While this trying to use this reductive mode of wasn’t her intention, the lack of care narrative to unpack something that and awareness caused numerous should not be so easily reduced.” communities to be offended.

"I don’t feel that the Especially with the way that we publishing houses and other communicate today online, it is Despite its praises and criticisms, companies are doing it out of easy to jump to conclusions on “Yellowface” is a reflection of the the goodness of their hearts... certain controversies. While it progress and setbacks that we They realize that they can can be capable of holding people have made over the past few [make] a lot of money by accountable, it can be harsh, and decades in media. While we have supporting minorities. They false accusations can easily stir in made great strides in diversity know if they don’t [support] the air. It certainly doesn’t help those and representation in the media diversity, their income will who are confused about the limits industry, we still have a long way of cultural appropriation. Even with to go before it is considered a truly suffer for it." solid definitions, interpretations of safe space. Not only do companies - Sydney Sedloff specific instances can vary from one need to prioritize diversity as a person to the next. However, the moral issue rather than a cash ultimate determiner of cultural appropriation is whether grab, but people also need to be educated on the signs something is being used with genuine respect for the of cultures being represented inaccurately. With constant culture. jumping to conclusions and a lack of confidence in these sensitive issues, it is essential to put everyone on the same page. Putting in the work on both ends is essential to making actual progress toward cultural understanding and appreciation, not just in the media that we consume, but in our daily lives.

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My Canvas, My Body Sienna Chien

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Lánhuā and Keiki Karlee Ling

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Scattered – But Reflecting Brian Paz

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