The Roots of Tradition

                                     The Roots of Tradition

     In the drawing below the tree shows its roots deeply underground, the same way that culture and tradition are incorporated in Vietnamese culture. The green of the leaves is meant to be young and vibrant helping the reader to remember that the 1.5 and 2 generations live in different times and eras, whereas the roots are left colorless because they are meant to represent the fact that the older generations do not stray from tradition. Andrew Lam has shown us how deeply roots the Vietnamese culture is to their traditions. No race likes to dishonor their families, however this is a trait that is often times portrayed in families of Asian descent than in any other race. This being said, homosexuality is not socially accepted in many cultures yet. Up until recently, there we no words that could be used to directly translate the word gay from English to Vietnamese. Knowing this why is it that Ethan's parents do not accept the fact that he is gay? They love and accept him the same way most parents love their children, yet they refuse to acknowledge the fact that their son is gay, going to such extremes like speaking in code when referring to his sexuality? Is it because of their tradition, and is their tradition the very same thing that hinders them from accepting the fact that Ethan is gay and happy?  

Little Saigon Doll

In this drawing i selected the little saigon doll wearing the red ao dai dress as my subject and the pile of trash beside a brick wall as the setting. Migrating to the U.S. Vietnamese immigrants quickly recognized the necessity to adopt American consumerist behaviors and beliefs in order to attain a stable living. Those unable to adopt found themselves in impoverished conditions, forced to reside in ghettos. I used the trash surrounding the doll to depict their living conditions. The brick wall serves to show Americas rejection of invading Vietnamese customs displaying the external pressures to assimilate. The male protagonist in Everything Must Go throws the doll away, symbolism of him metaphorically tossing his beliefs away.

-Jose G.

Traveling the Red Sea

 
Hunger,” “Sister” and “Yacht People” are all stories that illustrate the atrocities immigrants endured while on their perilous journey to America. This drawing represents the pain most Vietnamese immigrants endured after the war as they crossed the sea on boats. The colors are important because they are each symbolic of specific situations. The sea has been tainted by the color red to symbolize the many lives that were lost at sea. The bright sun contrasted with the dark clouds represents the irony of their journey: they search for a brighter future but are tormented by their painful past. There are many black boats traveling this red sea, purposely drawn small to blur identity; just as the Vietnamese immigrants lose their identity struggling to fit in between a Vietnamese and American world. The thought bubbles are significant because they display the thoughts running through their minds. Almost all the thought bubbles represent horrifying thoughts. However, amidst all the negative thoughts, there is one that will save them—hope. 
-Gaby F.

Forced Assimilation

 

  This scene depicts a Douglas Kim in the position of the one being dominated by Roger Briggs (his "daddy") but then calls Mr. Le his daddy. This scene shows forced assimilation where Douglas Kim represents a group of people (the Vietnamese in this story) as being forced to assimilate. Kim's first "daddy" is the one he is used to and can be represented as the Vietnamese's culture, but as things change (Mrs. Le comes into save Kim) the group must move on to another culture/place because they can no longer go back (Kim cannot go back to Briggs and therefore, he moves onto Mr. Le, calling him his new "daddy" because he has been humiliated). Kim represents the theme of having or being forced to assimilate like the Vietnamese refugees who are forced to assimilate into American culture because they cannot go back to Vietnam.

- Ilene C.

Grandma's Return!

This drawing represents the magical realism story "Grandma's Tales," and is a depiction of Grandma herself post-rebirth, entering the party. Her dress is embroidered with a phoenix, a symbol of said rebirth, and she is clearly enjoying herself as an errant breeze musses her flowing freshly-loosed hair. Her shawl is white for purity, and the cleansing of rebirth. The picture (and the story in my opinion) signify the "rebirth" which immigrants have when they fully acclimate into the new society which they choose to be a part of. Her (somewhat) traditional gown suggests, however, that acclimation does not mean abandoning all aspects of a previous culture, but a perfect synthesis of the two.

Transcending Compassion

In the story “Show and Tell” the blending of cultures is epitomized with the introduction of Cao to the classroom of American students.  Billy is the main antagonist of Cao he constantly picks on him, making fun of anything he can manage, “my daddy said them VCs don’t wear shoes” (25).  Cao doesn’t even know that Billy is making fun of him but Robert and Mr. K understand that Billy is attempting to torment Cao.  When Billy starts to attack Cao accusing his dad of giving Billy’s dad a huge scar Robert stands up for Cao, “Leave him alone, Billy” (26).  A vengeful Billy then turns his torment to Robert accusing him of “protecting his new boyfriend” (26).  Robert ignores this insult and feels he is responsible for taking care of Cao and making him feel welcome in America instead of a stranger.  While Robert might not literally be Cao’s boyfriend he stands up for him like a family member someone closer than an acquaintance he just met.  Robert subconsciously takes Cao under his wing and teaches him how to tell people to leave him alone and how to combat the prejudices of those around him.  He treats Cao like his little brother, protecting, teaching, and guiding him along a path that will lead him to what he wants or what he desires, acceptance.  Their sibling like relationship is epitomized when Robert explains Cao’s story to the class as he points to each drawing on the board, creating an emotional but concise story.      

---Jeremy B. 

Making Amends

In "Slingshot," Tammy's relationship with Uncle Steve--- or, as Tammy calls him, "U.S."--- is conflicted, and drives the plot of the story. U.S. has served in the Vietnam War, and during that time has acquired an interest in Vietnamese culture, as shown when he interacts with Tammy and her family (42, 43). On one hand, one can interpret U.S.'s interest in Vietnam--- and Tammy's annoyance at it--- as a critique towards cultural appropriation. U.S.'s attitude towards Vietnamese culture bears similarities to when someone tries to embrace a foreign culture without fully understanding the complexities of said culture, which can come off as arrogant/annoying to people who are part of the culture (Tammy being the most vocal in this case). However, U.S. is shown to be deeply affected by the war; it isn't hard to say that his experience in Vietnam, having participated in a bloody war, made him want to learn about pre-war Vietnam as a way of atoning for his actions. U.S. is portrayed as a decent person, who only seems a little oblivious to Tammy's feelings regarding his constant visits to their restaurant; this can be a reflection of the Americans' involvement in Vietnam, in that their presence did more harm than good. Indeed, after Tammy vocally expresses her disdain for him, U.S. leaves for a while, which can symbolize America pulling out of Vietnam. However, he later tries to return Tammy's father's ashes, only to have Tammy unknowingly break the vase containing them with her slingshot, causing the ashes to scatter (51, 52). This, in turn, can be seen as an allegory of the United States trying to make amends for the war, only to be met with mistrust and violence; the overall message, it seems, is that no matter what, it will be hard to repair the broken relationship between the two countries, despite the US's well intentions.

--- Neil G.