Awkwafina's Golden Globe is framed as a triumph for Asian Americans, but she exploited Black culture to reach this milestone. By Harley Wong On the night of January 5, 2020, Awkwafina, born Nora Lum, became the first actress of Asian descent
Language purists seem to think that everyone is given the same opportunities and is born with the same abilities to take advantage of those opportunities. By Sarah Khan Language purity is a trend I’ve seen more and more of lately, which isn’t
In “Chubby Sexy,” Tripp capitalizes on his wife’s “thickness” while using a poor approximation of AAVE to deliver heavy-handed fat jokes. By Noor Al-Sibai Robbie Tripp, dubbed “Curvy Wife Guy” by internet cajolers, is back at it again — and this time,
Brown Asians and Black people should not be asked to support a movie that does not support them.By Sangeetha Thanapal [This piece is the second in a two-part critique of race in "Crazy Rich Asians", you can read the first one here.] Many are lauding “Crazy Rich Asians” as a step in the right direction for the representation of Asians in Hollywood. Some have even gone so far as to call it the “Asian ‘Black Panther’”, and its setting, Singapore, the “Chinese Wakanda.” The truth is that the movie is actually far from being a win for representation, largely because it perpetuates existing racist dynamics in Singapore. It simply is not the “Great Asian Hope” that it is being portrayed as. While it is being billed as an Asian movie, it is made up almost entirely of East Asians. The few Brown people featured in it are seen in service positions to the glamorous and wealthy Chinese characters. The dominance of East Asia in the worldwide imagination of who constitutes the idea of Asia is troubling, especially since Brown Asians make up a sizeable portion of the continent. The tendency to equate East Asia with all Asians wipes out the many differences between us. An East Asian-Brown Asian divide exists specifically because Brown Asians have been overlooked from the American definition of Asian for generations. There has been much criticism against such erasure, and this movie only propagates it by branding a Chinese cast as a movie for all Asians. It presents Brown Asians as a backdrop to East Asian opulence and success, reinforcing the notion that Brown people are inferior to East Asians, those in closer proximity to whiteness. It further entrenches the idea that East Asians are the only Asians that matter. This should not be the case, especially because East Asians buy into and promote the model minority myth, conveniently cutting out those who do not fit into this narrative. Commentators keep referring it to as the first movie with an all-Asian cast in over two decades. However, Hari Kondabolu’s documentary “The Problem With Apu” also had a predominantly Asian cast, but because Brown Asians are often ignored within the U.S., the movie was not praised the way Crazy Rich Asians is being. One might say that a documentary is different from a movie but then what about "Missisipi Masala" or even "Harold and Kumar"?
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Dear non-Black Asian-Americans (and other non-Black folks), we have a real issue with appropriating AAVE, and it needs to stop. AAVE stands for African American Vernacular English, and it refers to a distinct language—consisting of words, phrases, intonations, gestures, but also,