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Unbroken (3 of 3)
But in order for art to elicit such a response, it must be true to the lives of the people, the majority of whom are workers. It must show empathy, compassion, and optimism, not cynicism and rhetoric. People do not live abstractly; their lives are centered concretely on work, home, family, and community. Just being Asian in the U.S. today poses a host of contradictions. If this society is truly democratic, why are there so few of us in political office? Why don't we sit on the board of public broadcasting, let alone, ABC, NBC, and have a hand in programming? If this society is just, why are the majority of our people working in sweatshops and restaurants, underpaid, overworked and non]unionized? Why are Asian artists forced to choose between ideals and Madison Avenue]dictated art? If this society is truly equal, why are there such large differentials in income and education between whites and minorities? Why is European]based art considered "universal" while Asian American and Third World art are relegated to the fringe and considered too "narrow" or catering to "special interests"? There is a wealth of themes, subjects and characters from which we can fashion powerful art that can unite people, forge their will to resist, crystallize their desire to overthrow this oppressive system, and educate them about socialism ] a far more equitable and just social system.
The challenges facing Asian American artists are tough and will not be overcome in a year, a decade, or even a lifetime. We need revolutionary]minded artists who are tough, dedicated, enduring. We need artists who are filled with a passion for ending the misery of Asian and all oppressed peoples. Artists driven by a vision of a better future.
What is true is most powerful. The truth of our collective lives is that we built this country along with other peoples, and we continue to give of our sons and daughters. The artist who knows this and who has experienced this reality can create lasting works that touch peoples' lives and change the way they see the world. Our lives abound with examples of everyday heroism that go unrecorded and, therefore, unacknowledged. The tenacity of the San Francisco Chinese restaurant worker who walked a picket line for three months in the cold rain for a decent contract and the collective strength of New York Chinese garment workers who defied their bosses by staging a massive walkout are just a few examples of moments in history which need to be chronicled and heralded. This art can become a weapon that working people and all oppressed people can use against the system which exploits us.
It is the eighties. We've got a lot of work ahead of us. The capitalist system, as powerful as it is, breeds its own destruction by the creation of an ever]growing and impoverished working class and the continued super]exploitation of national minorities. It cannot and will not last forever because the seeds of revolution are already implanted and must be nurtured. It's time, not for cynicism and retreat, but to move forward even more rigorously, and continue our proud tradition of cultural resistance ] unbroken.
We must all support this process of growth and development in the arts for it is our own voice that demands to be heard. For us in the communities, we must become an educated audience capable of appreciating what our artists are trying to do.
Sasha Hohri is a Contributing Editor and was the Chair of the Asian Desk for the Mondale]Ferraro campaign in New York. Leon Sun is art director of EAST WIND. Eddie Wong is co]editor.
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