The Kwun Shu Opera Society’s Kun Opera performance | Photo by Brianna Chu / Hey SoCal
To most Asians and people of Chinese descent, the dragon is the most auspicious animal symbol in the lunar calendar – the sign symbolizes power and success and brings good fortune and prosperity. The Huntington Library, Art Museum, and Botanical Gardens welcomed the Year of the Dragon with a festival on February 10 and 11, 2024 from 10 am to 5 pm.
Program highlights on Feb. 10 included live music by the Han Music Ensemble (10:30 a.m.–12:30 p.m. and 2–4 p.m.) and Chinese Kwun Opera Society (11 a.m. and 1 p.m.) in the Chinese Garden. There were also martial arts demonstrations by Shaolin Temple Cultural Center USA (East Lawn, 10:30 a.m. and 2:30 p.m.) and K-STAR Contortion and Martial Arts (Rothenberg Hall, 11 a.m. and 1 p.m.), as well as lion dancers featuring Northern Shaolim Kung Fu (12:30 and 3:30 p.m.) on the East Lawn near the Huntington Art Gallery. Additionally, mask-changing artist Wei Qi Zhong performed (11 a.m., 1 p.m., and 3 p.m.) inside Haaga Hall.
Lion Dance | Photo courtesy of The Huntington Library, Art Museum, and Botanical Gardens
“This is one of the most beloved events of the entire year at The Huntington,” Sian Adams, Director of Strategic Initiatives, stated during a phone conversation. “There’s something for everybody; it has a lot of different food options, live music, performances, arts and crafts workshops for kids, lots of different offerings that make the day fun for a variety of ages.”
Kung Fu demonstration | Photo by Brianna Chu / Hey SoCal
While some events – like the lion dance – are mainstays, the organizers mix up the offerings. “We always are looking at the programming,” stated Adams. “This year we added the Kun Opera for a two-day performance in the Chinese Garden because we wanted to bring in something very artistic and special to the garden’s space itself.”
Kun Opera | Photo by Brianna Chu / Hey SoCal
The Kun Opera, also known as Kunqu Opera, is one of the three classic operas of the world. It is highly stylized – singers with painted faces wear elaborate costumes; hand gestures and head movements add another layer of meaning to what’s being sung. UNESCO proclaimed it as a ‘Masterpiece of the Oral and Intangible Heritage of Humanity in 2001.
All performances were relatively short – about 20 minutes each – held at different locations and people watched while standing. However, some performances had seating, like the Kun Opera in the Chinese Garden and the contortion and martial arts shows in Rothenberg Hall.
Floral display | Photo by Brianna Chu / Hey SoCal
Whether it was by design or a case of bad scheduling, some shows were presented during the same time slots. Visitors either missed a really great presentation or had to stay the entire day to catch all the performances. If the organizers planned that all along to entice people to stay longer, though, then it was brilliant! There were several shows that went on throughout the day, like the floral arrangements, the Lego display, and calligraphy writing station. The Han Music Ensemble played well-known Chinese music with traditional instruments at the Transcendent Pavilion from 10:30 a.m. to 12:30 p.m. and from 2 to 4 p.m.
Calligraphy-writing station | Photo by Brianna Chu / Hey SoCal
According to Adams the Lunar New Year Festival is open to all members but it’s so popular that membership tickets usually sell out on the first day they’re offered. Tickets are also available to the general public although these also go very quickly so everyone is encouraged to purchase well in advance. Advanced reservations to get in are required for non-members and members as well.
Tai Chi demonstration | Photo by Brianna Chu / Hey SoCal
“This annual event is part of The Huntington’s regular programming,” explained Adams. “That said, we’ve had one corporate partner which has made the Lunar New Year Festival possible for us since the beginning and that’s East West Bank. They have been our champion and a friend to the Chinese Garden at The Huntington from the earliest days. We’re truly lucky and we appreciate their friendship.”
Masked performer / Photo courtesy of The Huntington Library, Art Museum, and Botanical Gardens
Now on its 19th year, the Lunar New Year Festival is The Huntington’s biggest event and it takes place across the institution in multiple staging spaces. It’s surprising therefore to learn that there aren’t that many people who make it happen. Adams said, “It’s a pretty lean and mean team headed by our Membership Dept. But while there are only a handful of core staff organizing it, there are about 50 volunteers on the day of the event to help ensure everything runs smoothly. We have a robust volunteer program – teen volunteers, docents, and staff sign up for the various events.”
Battlefield drums (gu) being played| Photo by Brianna Chu / Hey SoCal
“The Lunar New Year Festival is a big lift for The Huntington – it’s all hands on deck for all of us here. We want everybody who comes to have a good experience and a great time. We look carefully at our programming and, just as important, our food offerings. All our restaurants are open and we also bring in external food trucks so there are lots of options to help ensure shorter lines and people aren’t waiting a long time for food. Additionally, we want to give visitors a variety of choices. These food trucks are they’re typically grouped in spaces but they’re all over The Huntington. It’s a very large campus so we want to make sure there are food available everywhere for easy access to visitors. You can be on one side and you don’t want to go all the way to the other side to find food.”
Adams added, “We make sure we offer lots of different entry points to invite people to come in and learn about other cultures and experience different traditions. Food can sometimes be an important gateway. You might try Chinese food and think ‘Oh I want to learn a little bit more.’ It makes the world a little bit smaller.”
Han Music Ensemble with traditional Chinese instruments (pipa, which is like a guitar, on the left; guzheng, a plucked zither, on the right) | Photo by Brianna Chu / Hey SoCal
“One of the things I want to emphasize is how proud we are to be a part of the Chinese-American community in Southern California,” declared Adams. “With the Garden and this festival, we open up The Huntington and welcome that dialogue in trying to make the world a little bit smaller by bringing east and west together. And really just connecting people and educating for the purpose of increasing understanding is important for these days and times. If you can learn a little bit more about another culture, boy doesn’t that go far!? Those are the things you carry your whole life – a little bit of understanding, a little bit of perspective.”
Photo courtesy of The Huntington Library, Art Museum, and Botanical Gardens
If there’s one thing that most people can connect with, it’s food. And who doesn’t like Chinese food? Dumplings, chow mein, sweet and sour pork, and orange chicken are some of the most recognizable dishes the world over. How wonderful it is to discover our shared humanity with people sitting at the same table while enjoying a delicious bowl of noodles and taking in the artistic and cultural traditions of one of the oldest civilizations on earth. At the very least, it’s a fantastic way to welcome the Year of the Dragon.
Betye Saar, ‘Drifting Toward Twilight,’ 2023 (installation view) | Photo by Joshua White / JWPictures.com. The Huntington Library, Art Museum, and Botanical Gardens
A newly commissioned, site-specific installation by renowned Pasadena artist Betye Saar opened to the public on Saturday, November 11, 2023 at The Huntington Library, Art Museum, and Botanical Gardens. Called ‘Drifting Toward Twilight’ it will be on view for two years at the Virginia Steele Scott Galleries of American Art, after which it will become part of the institution’s American art collection.
The large scale artwork – a 17-foot vintage wooden canoe and found objects, including antlers, birdcages, and natural materials Saar harvested from The Huntington’s 207-acre grounds – is the focus of an immersive exhibition ‘Betye Saar: Drifting Toward Twilight.’ It is co-curated by Yinshi Lerman-Tan, The Huntington’s Bradford and Christine Mishler Associate Curator of American Art, and Sóla Saar Agustsson, Saar’s granddaughter and the Huntington Art Museum’s special programs and digitization coordinator.
During the press preview on Friday, November 10, Dennis Carr, Virginia Steele Scott Chief Curator of American Art, remarks, “Betye Saar is one of the most important artists of our time. Her compelling voice has echoed in Los Angeles for many, many decades. But she grew up in Pasadena and has fond memories of walking in the Huntington’s gardens.”
Yinshi Lerman-Tan | Photo by May S. Ruiz / Hey SoCal
Co-curators Lerman-Tan and Agustsson alternately talk about the installation. Lerman-Tan divulges that Saar specifically chose this location for the installation because it’s like a secret room. She explains, “It has a ‘cocoon-like environment.’ The walls are painted in an oceanic blue gradient, featuring a poem by Saar and phases of the moon. Shifting lighting effects in the gallery emulate phases of daylight to twilight, evening to night, and night to dawn. Inside the monumental canoe, Saar positions mysterious ‘passengers,’ including antlers in metal birdcages, children’s chairs, and architectural elements – all drawn from the artist’s ever-evolving collection of found objects. The space beneath the canoe will be illuminated by a cool neon glow, highlighting plant material foraged by the artist from The Huntington’s gardens.”
“Saar’s work evokes mysticism and the occult, as well as the human relationship to nature and the cosmos,” Lerman-Tan describes. “An immersive, watery space containing a canoe that is part vessel and part dreamscape, the installation gestures to the ancestral and mythological journeys, and the constant cycles of the natural world.”
Betye Saar with ‘Drifting Toward Twilight,’ 2023 (installation view) | Photo by Joshua White / JWPictures.com. The Huntington Library, Art Museum, and Botanical Gardens
Besides her role as co-curator, Agustsson was instrumental in making this installation and exhibition a reality. Speaking by phone a week before the exhibition opening, she discloses, “I worked as an assistant to Christina Nielsen (Hannah and Russell Kully Director of the Art Museum) when I first came to The Huntington about two years ago. She happens to be a huge fan of Betye’s and wanted to do an exhibition with her. A few ideas floated around but I remembered that when I was working for Betye a few years ago, she had bought this vintage canoe and had started collecting antlers and natural materials for an assemblage. She’s done canoe installations in the past so this was a notion that has been marinating. I thought that The Huntington Gardens would be the perfect home for the canoe because the concept was to incorporate natural materials. Then Betye came up with the idea of foraging and using plant materials from the Huntington garden.”
Interviewed via email, Saar recounts her collaboration with the Huntington’s Art Museum and Botanical Gardens to realize this endeavor. “I visited the Huntington in the spring of 2022 and met with Christina Nielsen and my granddaughter Sóla Saar Agustsson and the idea of a project came up. Then some of the Huntington curators came to visit my studio and saw the canoe. I submitted a sketch and then made a scale model of the room and the canoe. It all just came together after that.”
“I have used canoes in some of my previous installations,” explains Saar. “To me it represents an element of indigenous people who used them, and the connection to nature. But I also really enjoy the shape of the canoe. The flow of it visually and how when you are in a canoe you feel like you are gliding. I acquired this particular canoe a few years ago and it was sitting in my garage waiting to become art. The Huntington commission made it take shape.”
In a short documentary film – produced for the exhibition and is being shown at an adjacent room – Saar explains her concept for the installation, “A canoe is an object of Early America as a means of transportation and I added the wood burrows to make it look vintage. There are three cages that make you think of slavery, of being taken care of and having certain things but you’re still caged – caged freedom in a way.”
The companion film also includes a footage of her foraging natural materials at the Huntington garden. Saar recollects, “I think it was back in April when I came to gather materials from the garden. There had been a series of storms and many of the trees had limbs break or had to be trimmed. I picked up what Mother Nature started.”
As she picks up discarded branches, she gets ideas about how to use them and asks an assistant to hand her her notebook. Saar expounds, “I am an assemblage artist and am inspired by the materials I find at flea markets and estate sales, or things people give me. Sometimes I’ll think ‘Oh this old red box needs to sit on a red table’ or something. But I also am inspired by things I see as I travel or images in my dreams and I’ll make a sketch of it. I always have a little sketchbook in my purse and a bigger art kit and sketchbook when I travel. Sometimes the sketch becomes an assemblage, sometimes it stays a sketch.”
Betye Saar, ‘Drifting Toward Twilight,’ 2023 (installation view) | Photo by Joshua White / JWPictures. com. The Huntington Library, Art Museum, and Botanical Gardens
Saar had a very clear idea about the ambience she wanted to produce and she kept close tabs on its progress. She relates, “I’ve been back and forth to The Huntington many times these past months. I was selecting the wall colors, choosing the lighting effects, etc. until it all came together to create the right mood. I wanted to feel immersed in the room.”
Agustsson says she worked very closely with Lerman-Tan to ensure they carried out what her grandmother envisioned. The inter-generational component of this exhibition will extend to the catalogue to be published in the summer of 2024. Agustsson will write a Q&A piece that covers Saar’s life and her career. It focuses specifically on her childhood growing up in Pasadena and her visits to The Huntington as a child and teenager, gardening practice, and an interview about the new canoe installation.
It will have a Director’s foreword by Christina Nielsen, followed by a short essay by Ishmael Scott Reed, an American poet, novelist, playwright, and longtime friend of Saar, as well as a re-publication of an archival interview he did with Saar in the 1970s. Lerman-Tan and Tiffany E. Barber, assistant professor of African American art at UCLA, will be contributing essays.
I ask Agustsson what it was like to work on a project with someone she knows so well, and she replies, “I’ve worked with her in the past for years so that helped me capture her vision and facilitate dialogue between her and the museum. I realize that this is a very special and personal project given her upbringing in Pasadena so I wanted to establish that particular connection.”
“For me, I found it to be really inspiring and meaningful especially getting to interview her and learning more about her,” Agustsson says further. “Even though I’ve grown up with her, there are things I continue to discover about her. I learned that she liked tap dancing when she was a teenager. I had no idea, I never heard that before! She’s 97, she’s had so many amazing experiences, and she’s done different kinds of art work in various media – costume design, designing greeting cards, printmaking, collage, immersive installations like this one, and she was a seamstress. It doesn’t surprise me that she also did tap dancing.”
Saar is the matriarch of a close-knit family of artists, as Agustsson’s account of her grandmother’s influence in her childhood years and present life as an adult attests to. “Betye has three daughters and six grandchildren. We were always drawing and doing art as youngsters. But even now, we have themed family parties and we’re all very supportive of each other. In a way Betye working in diverse mediums – assemblage, printmaking, collage, design, painting – was passed down. Two of her daughters, Alison and my mother Lezley, are artists and her other daughter Tracye is a writer and her studio manager. Alison does printmaking and sculpture, my mom does painting, collage, and assemblage.”
Betye Saar and Sóla Saar Agustsson | Photo courtesy of Sóla Saar Agustsson
“I’m not really a visual artist but I do collages and dollhouses, which is like assemblage in a way. My cousin does printmaking and ceramics,” continues Agustsson. “My grandfather, Betye’s husband, Richard Saar was a ceramicist and my other cousin does set design, which relates to Betye being a costume designer. We like to go to flea markets together and are on the lookout to get each other certain things. My grandmother would also give me a lot of advice about art.”
Collecting found objects to create art is something Saar began doing since she was four or five years old. She says that whenever they moved to a new house, she would look through the previous owners’ trash to see what they threw away.
It’s no wonder then that assemblage spoke to her. Saar reminisces, “In the 1970s I saw the work of Joseph Cornell, right here at the Pasadena Art Museum in fact. I was inspired by how he took ordinary objects and made them into art. He made art that was beautiful and clever and had a sense of humor. It made me want to do that too.”
I inquire if there’s one artwork she created that means more to her than the rest, which one is the most memorable piece she made and why. Saar answers, “I don’t really have a favorite but I have a few works of art that I like because the viewer is invited to make an offering. Mti (1973) and Mojotech (1987). I like involving the public and getting them to experience my work in different ways. It’s also very interesting to see what people leave as an offering. Sometimes it’s a gum wrapper or money or ticket stubs. But sometimes people will leave a drawing they made on site or return later with a photograph or poem. I keep all of these items and feel they have a special power from people connecting to my work.”
That tangible takeaway is something Saar hopes for. She says, “As an artist, one tries to elicit an emotion from the viewer. This can be a tricky thing because I want people to feel what they feel but not dictate it. I hope that people come and see my exhibition in the gallery and then go out and find their own inspiration in the gardens. That’s what I did.”
Betye Saar, ‘Drifting Toward Twilight,’ 2023 (installation view) | Photo by Joshua White / JWPictures.com. The Huntington Library, Art Museum, and Botanical Gardens
When I ask Agustsson what she wants viewers to take away, she replies, “It’s meditative and I think she wanted to convey that emotion. It mimics floating in a body of water looking at the twilight and the moon; it has a very cosmic feeling. With all the turmoil going on in the world and in life, the room feels like a reprieve. I don’t get caught up in thinking about its meaning in terms of words. It’s refreshing to walk away with just an emotional response to it. And that’s very much integral in her process of creating – getting across an emotion – and intuition is a lot of what guides her.”
Agustsson adds, “I just hope that visitors and aspiring artists will relate to her method in harvesting and assembling the work where she demonstrates you can make art out of everyday objects and things you find on the ground. And that they get inspiration after seeing the film, watching her work in the creative process with so much enthusiasm at 97 years old.”
Finally, I ask Saar what it means for her to have her installation become part of The Huntington’s permanent collection and she says, “Well, being from Pasadena it means a great deal to me. I came to the gardens as a child and now here I am as an adult, a 97-year old, with my art in this amazing museum. It’s truly an honor that my work is now part of the legacy of The Huntington.”
‘Betye Saar: Drifting Toward Twilight’ represents a homecoming for Saar. Without a doubt, Pasadenans will be proud of her significance in this community and celebrate her iconic status in Black feminist and American art.
But the installation will profoundly affect all visitors. As they step inside the room, they will at once be enveloped in its warm embrace. And as they read Saar’s poem painted on the wall, ‘The moon keeps vigil as a lone canoe drifts in a sea of tranquility seeking serenity in the twilight,’ they will feel transported to a calm and peaceful place.
During the press opening held on Friday, October 13, Karen Lawrence, president of The Huntington expressed her gratitude for the generosity of the Yokoi family who gifted their ancestral home to the beloved institution.
Karen Lawrence, president of The Huntington Library, Art Museum, and Botanical Gardens. | Photo by Brianna Chu / Hey SoCal
Lawrence remarks about this exceptional new destination at The Huntington. “This restored residential compound is truly a masterpiece and it offers a glimpse of life in rural Japan some 300 years ago. It’s the only example of this kind of architecture in the U.S. and its presence here wouldn’t have been possible without the generosity of the Yokoi family.”
“In Japan, the house was disassembled, restored, disassembled again, and shipped to us at The Huntington,” Lawrence adds. “Once the components of the house arrived, it was up to The Huntington to rebuild and provide context, including recreating the landscape and gatehouse.”
A signage at the house shows the Yokoi family crest. | Photo by Brianna Chu / Hey SoCal
It’s only fitting for the Shōya House to join the distinctive house Henry E. Huntington bought from Pasadena businessman George Turner Marsh that has been at the Japanese Garden, which has such a fascinating history. The Huntington’s information kit gives the following chronology.
The building of the Japanese Garden began in 1911 and was completed in 1912. The garden, which is currently 12 acres, was inspired by the widespread Western fascination with Asian culture in the early 1900s. Henry E. Huntington purchased many of the garden’s plants and ornamental fixtures, as well as the Japanese House, from a failed commercial tea garden in Pasadena, located at the northeast corner of Fair Oaks Avenue and California Boulevard. When The Huntington opened to the public in 1928, the Japanese Garden became a major draw for visitors. Features such as the bell tower and bridge were newly built for the garden by Japanese American craftspeople.
Robert Hori, Gardens Cultural Director and Programs Director. | Photo by Brianna Chu / Hey SoCal
By World War II, staffing shortages – including those resulting from the incarceration of Japanese American employees – and the political climate led to the closure of parts of the Japanese Garden, and the Japanese House fell into disrepair. In the 1950s, members of the San Marino League helped support the refurbishment of the buildings and surrounding landscape.
In 1968, The Huntington expanded the Japanese Garden to include a bonsai collection, which now numbers in the hundreds, and a rock garden, the Zen Court. Since 1990, The Huntington has served as the Southern California site for the Golden State Bonsai Federation.
The ceremonial teahouse, called Seifū-an (the Arbor of Pure Breeze), was built in Kyoto in the 1960s and donated to The Huntington by the Pasadena Buddhist Temple. In 2010, the teahouse made a return trip to Japan for restoration, overseen by Kyoto-based architect Yoshiaki Nakamura (whose father built the original structure). It was then shipped back to San Marino and reassembled.
In 2011, a team of architects with backgrounds in historic renovation, horticulturists, landscape architects, engineers, and Japanese craftsmen undertook a yearlong, large-scale restoration of the historic core of the garden. The project included repairs to the central pond system and water infrastructure, along with increasing pathway accessibility and renovating the original faux bois (false wood) ornamental trellises.
A view of the house from the side. | Photo by Brianna Chu / Hey SoCal
The Japanese Garden continues to be a popular attraction to this day. However, as Lawrence points out, “What was missing was a traditional Japanese residence that could demonstrate the important historical relationship between the Japanese people, their culture, and the landscape. The iconic Japanese house in the original garden provides the idea of a Japanese residence but it wasn’t really lived in.”
Lawrence clarifies, “The shōya house is completely different. It’s an exquisite example of a village leader’s residence where rural village life can be explored through the lens of 18th century architecture and farming practices. The residence was occupied by one family, generation after generation, over the course of three centuries. Mr. Yokoi is the 19th generation to own the house.”
The tile work on the roof. | Photo by Brianna Chu / Hey SoCal
“Today it provides us with a rich aesthetic experience of the beauty of Japanese building art and many insights into what it means to live sustainably on the land,” Lawrence adds. “We were fortunate to have artisans come from Japan to work alongside local architects, engineers, and construction workers to assemble the house here and recreate elements that would have surrounded it at the time when it housed a village leader or shōya. They created the wood and stonework features you see, as well as the roof tiles and plasterwork prioritizing traditions of Japanese carpentry, artisanship, and sensitivity to materials.”
Lawrence concludes by voicing her opinion that this will become a major visitor attraction in Southern California, as well as a primary resource for architects, scholars, students, teachers, and others interested in the complexities and beauty of traditional Japanese design, craftsmanship, and architectural practices. And that visitors it will appreciate the lived experience of what this meant and how it was sustained for 300 years.
Robert Hori, gardens cultural director and programs director, says, “It has really taken an entire village to build the head of a village’s house. It wasn’t just the botanical gardens, everyone at The Huntington has contributed in interpreting the house which will make a full experience for the visitors. They won’t be looking at an exhibit in a museum, they will be in that museum. They’ll be able to participate in rice planting, and see the changes of the season. This is something that exists nowhere else and can only live at The Huntington.”
The doors open so the outdoors and indoors blend seamlessly. | Photo by Joshua White / JWPictures.com. The Huntington Library, Art Museum, and Botanical Gardens
The construction team that undertook this project was headed by Yoshiaki Nakamura of Nakamura Sotoji Komuten, who oversaw the restoration of the teahouse in 2010. Hori discloses, “When Mr. Nakamura first came to The Huntington about 15 years ago, he toured it and he said, ‘Wow, this is something special.’ He saw the resources in the library (each year we have over a thousand scholars) and he said, ‘I want to create something that students, teachers, and researchers can explore and be inspired by.’ He wanted to bring traditional building and garden techniques here at The Huntington so they can be a primary resource for those who are not going to Japan.”
“We have also been blessed to have the partnership of many architects and professionals, including Mike Okamoto (U.S. Architect of Record),” continues Hori. “He has been a valuable partner in reassembling this house. You can imagine the challenges of bringing not just a 300-year-old house and re-erecting it, but bringing the metric system and having it meet U.S. building code. We are likewise fortunate to have Takuhiro Yamada (Hanatoyo Landscape Co. Ltd. (Kyoto, Japan) doing the landscape and really putting together the program.”
The formal garden. | Photo by Brianna Chu / Hey SoCal
“What we’d like to show is the beginning of landscape,” Hori expounds. “And that design starts
with the ability to control water and to move earth – and that’s exactly what a farmer is doing. We want visitors who go on a tour of the house to have the experience of being transported to 18th century Japan.”
Each time Hori gives a tour of the Shōya house, he begins at the terraced agricultural field, where he notes a whole new animal population has taken as their home. “You’ll notice the terrain is sloped – this is how many of the farms were in Japan because it’s the most efficient way to move water from uphill to downhill.”
Nicole Cavender, Telleen/Jorgensen Director of Botanical Gardens. | Photo by Brianna Chu / Hey SoCal
Throughout the tour Hori impresses on everyone how these sustainability practices were a matter of survival for farmers centuries ago. And that sustainability is one of the biggest challenges we face today globally.
And it’s an issue that Nicole Cavender, Telleen/Jorgensen Director of the Botanical Gardens, deeply cares about. She states, “I’d like to emphasize one aspect in particular that’s especially near and dear to me – we have here a model of sustainability practices. You’ll see how in this house, in this landscape, we’ve integrated and showcased the historical integration of agricultural systems, how water can be used and recycled. In the front as you come in, you see the agricultural landscape that showcases sustainable practices of using cover crop and companion planting. I’m really excited to be able to share these practices and hope to inspire people to integrate them into their own life.”
View of the private garden | Photo by Joshua White / JWPictures. com. The Huntington Library, Art Museum, and Botanical Gardens
Without hammering our head with it, The Huntington makes a compelling argument for practicing sustainability. By restoring the Shōya house and recreating the landscape which will grow vegetables and various crops that change through the seasons – and showing how the village head and townspeople lived – we will witness for ourselves how extraordinary beautiful the outcome can be. Would that in the foreseeable future, Cavender’s hope that their efforts to persuade us to do as these villagers did in 18th century Japan come to fruition.
The exterior of the Yokoi family’s historic family home in Marugame, Japan | Photo by Hiroyuki Nakayama / The Huntington Library, Art Museum, and Botanical Gardens
A 320-year old Japanese Heritage Shōya House from Marugame, Japan, has been carefully and meticulously disassembled and restored then shipped to The Huntington Library, Art Museum, and Botanical Gardens in San Marino, California. Sited on a two-acre lot at the storied Japanese Garden, this remarkable architectural and cultural gem will open to the public on October 21, 2023.
During the Edo or Tokugawa period in Japan – between 1603 and 1867 – a single government ruled under a feudal system. It was marked by a flourishing economy and peaceful times. Samurai warriors, who were no longer necessary to protect their villages, moved to the cities to become artists, teachers, or shōya.
Successive generations of the Yokoi family served as the shōya of a small farming community near Marugame, a city in Japan’s Kagawa prefecture. Acting as an intermediary between the government and the farmers, shōya’s duties included storing the village’s rice yield, collecting taxes, maintaining census records, and documenting town life, as well as settling disputes and enforcing the law. He also ensured that the lands remained productive by preserving seeds and organizing the planting and harvesting. The residence functioned as the local town hall and village square.
In 2016, Los Angeles residents Yohko and Akira Yokoi offered their historic family home to The Huntington. Representatives of the institution made numerous visits to the structure in Marugame and participated in study sessions with architects in Japan before developing a strategy for moving the house and reconstructing it at The Huntington.
The agricultural fields and the gatehouse | Photo by May S. Ruiz / Hey SoCal
The Huntington raised over $10 million through private donations to accomplish the project. Since 2019, artisans from Japan have been working alongside local architects, engineers, and construction workers to assemble the structures and re-create the traditional wood and stonework features, as well as the roof tiles and plaster work, prioritizing the traditions of Japanese carpentry, artisanship, and sensitivity to materials.
Visitors to The Huntington will get to see the Japanese Heritage Shōya House, a 3,000-square-foot residence built around 1700. A remarkable example of sustainable living, the compound consists of a small garden with a pond, an irrigation canal, agricultural plots, and other elements that closely resemble the compound’s original setting.
Robert Hori, the gardens cultural director and programs director at The Huntington, generously gives me a tour of the shōya House while he talks about the project. He begins, “Visitors will first view the agricultural fields and the gatehouse. In much of Asia, rice was a staple food and farmers played a very important role. Here we have terraced rice fields on one side and a field growing a variety of crops on the other side. This will give the public a sense of the seasons, the life style of the Edo period in Japan and what the pre-modern way of life was like.”
The gatehouse | Photo by May S. Ruiz / Hey SoCal
As we reach the gatehouse, Hori says, “This compound was open during the day for business and at night the gates were shut. The gate was built for events and also to protect the house from weather because Japan and much of Asia are susceptible to typhoons. The gatehouse was damaged in a typhoon in1970 so this structure was not original to the house; it’s a replica based on existing models from the same period in Japan and photographs.
The exterior of the house with the formal entrance | Photo by May S. Ruiz / Hey SoCal
“Inside the gatehouse is a dirt courtyard used for several purposes including drying the crops and where community gatherings – like harvest festivals – might have taken place. The house has two entryways. The formal entrance on the left has sliding panels, and was originally for samurai, dignitaries, and government representatives. Inside the main house, visitors will first see the front rooms, which were used for official functions. The doorway on the right, which Huntington visitors will use, was the everyday entrance for farmers and craftspeople. It has stamped earth floor. The front area consists of public rooms where business was conducted, and the back are the private quarters.”
Visitors entering the public rooms can watch a video that shows the disassembly and relocation of the house and its integration with the surroundings at The Huntington. Additionally, visitors will be able to learn about the traditional skills and tools of Japanese carpentry, such as the wood joinery that was used in constructing the house.
Visitors can watch a video about how the house was disassembled in Japan and reconstructed at The Huntington | Photo by May S. Ruiz / Hey SoCal
Hori continues, “I was part of the team that went to Japan in 2016 to look at the house to see if we could move it, how we were going to do it, and what changes had to be made to it so it could be approved. I was there again for part of the process of taking down the house but not for the entire nine months it took to disassemble it. The crew that took it apart inspected each part for any damage, cleaned, and repaired them. The house arrived at The Huntington in January of 2020.
“Everything in the house uses traditional joinery techniques. We had several crews of carpenters, plasterers, roofers, and tilers who came from Japan to work on it. It was a two-year process which was hampered by the pandemic in March of that year. It was difficult to get people to travel so there were periods when people went back and they had to quarantine and that really slowed things down. Additionally, there weren’t that many flights.”
Clay wood fire cooking stove | Photo by May S. Ruiz / Hey SoCal
A large clay wood fire cooking stove is the first thing visitors will see. Hori speculates that it used to cook perhaps as much as 60 cups of rice to feed the people working in the house and also during planting and harvest. These community efforts were spread out over several weeks.
In the kitchen area is a brick stove. Hori says, “We couldn’t move the one original to the house but this is the type of stove they had. The source of water for the kitchen is a well located just outside and there’s a sliding door you can open to access it.”
The day room, work space, and sleeping quarters | Photo by May S. Ruiz / Hey SoCal
We then move to the private rooms and we take off our shoes. Hori describes, “This lower level was part of the kitchen which was the center of activity. It was probably where they dried and salted vegetables that would last the whole year. The upper level has a floor covering called tatami, mats that measure three-by-six feet. This was the family’s day room where they conducted their activities – they would eat their meals here, then they would use it as a work space after they put away their dishes. Japanese houses like this didn’t have central heating so everyone stayed close together near the fire.”
As we reach another area, Hori describes, “This was probably where they slept. It would have cabinets with futons or bedrolls, and sliding doors could close off the area at night.”
The private garden that can be accessed from the master’s room | Photo by May S. Ruiz / Hey SoCal
In the back is the master’s room. It has a display alcove called a tokonoma where a painting, a scroll, or a flower arrangement can be hung. There’s also a door that opens out into a small private garden.
The Buddhist shrine | Photo by May S. Ruiz / Hey SoCal
We then go into the public spaces for dignitaries and the first room we enter has two shrines – one is Shinto and the other next to it is Buddhist. Explains Hori, “They had two religious systems that co-existed and people were both Shinto and Buddhist. Everything in Shinto is considered having a spirit; they worship mountain or forest gods. Buddhism, on the other hand, goes back over 2,500 years and started in India; it spread to China, and then to Japan. Buddhism also has a cultural and writing component from China that includes language and Chinese characters. The Japanese had their own language; they had a word for mountain, which is ‘yama’ like Fujiyama. The approximation in Chinese for mountain is ‘shan’ or ‘san.’ The same concept applies to religion – they have a cosmic god and a Japanese god.”
The main room where distinguished guests were received has a tokonoma on the side; it’s similar to the one in the master’s accommodations. A shoji opens to reveal a beautiful formal garden planted with carefully shaped pines and camellias, as well as cycads – considered a symbol of luxury in 18th-century Japan. The rocks in the garden came directly from the original property and were placed in the exact same spots in relation to the house and a koi pond.
The garden and pond in the formal area | Photo by May S. Ruiz / Hey SoCal
I ask what the condition of the house was when they went to Japan to look at it and Hori replies, “The last time it was rebuilt was in the 19th century around 1860 to 1870. It had also been modernized later – they put in electricity and flush toilets. But it hadn’t been lived in for over 30 years; the last person who resided there was the grandmother who passed away in the 1980s. And when a house is unoccupied, several things fall unto disrepair.”
About what challenges they faced after the house arrived here, Hori says, “Our first challenge was how could we construct the house so it passes the building code? We also have earthquakes in California so we had to build it to meet seismic requirements. We’d never done this before so we didn’t know if it was a viable undertaking. And, as far as I know, this is the first house of this size to be built at a public institution. This is the first Japanese house of this age and size in the United States.”
Standard houses in Japan are not this size, clarifies Hori. “Because of their responsibility, the shōya would have bigger dwellings with more amenities. A regular residence wouldn’t have this public area. The typical layout of an ordinary person’s house would have a kitchen, a dayroom/living room/dining room and a sleeping room. If you lived in the city your house might be twelve-by-twelve-square-feet. You ate, worked, and slept in the same room – something we call a studio.”
The vegetable garden in the back of the house | Photo by May S. Ruiz / Hey SoCal
The house and the area surrounding it are models of sustainable living. Hori declares, “They probably didn’t have the word for sustainability but they had the practice in place. If they didn’t lead sustainable life styles, they wouldn’t be alive – it was a matter of survival. The keys to sustainability are reducing waste, reusing, recycling, and repairing. For example, these glass doors don’t line up exactly because they come from different parts of the house. They have been repaired and reused, thus reducing waste.”
“Growing your own food is an example of a sustainable life style,” adds Hori. “Since we are a botanical garden, we tell everyone that farming is the root of ornamental landscapes because it has to do with being able to move earth and control water. In the other gardens – the Chinese Garden or the Japanese Garden – we have ponds and streams, and they’re all part of an irrigation system.”
The pit toilet | Photo by May S. Ruiz / Hey SoCal
As we walk to the back of the house Hori shows me a covered circular ground container and says, “Thinking about how we treat waste, we recreated a pit toilet. There’s a real lavatory inside, but having this type of toilet is one of the keys to sustainability – reducing waste. In Japan, China, and much of Asia, they use human waste for fertilizer.”
Hori also discloses that there were two storehouses on the property – one for household items and the other for rice. They haven’t been built but they have the footprint of one of the storage houses.
“Construction of the irrigation canal is underway,” Hori explains when we walk by it. “Japan gets about 100 inches of water from the rain but even in countries with an abundance of water, you have to save the water, control the water, and use it for agriculture; this is part of the agricultural system. In Japan and other Asian countries, they use gravity – they have terraced paddies and fields to move water from the top to the bottom. Using natural forces instead of electricity or a pump is conserving resources.”
The back of the house | Photo by May S. Ruiz / Hey SoCal
“What we’re recreating here is a village – a community,” Hori pronounces. “It is looking at another culture and how people in the past addressed sustainability. And it’s one of the biggest global problems we face today.”
The Yokois made a well-considered decision to endow their shōya house to The Huntington, an institution renowned for preserving historical artifacts and cultural treasures. Under its stewardship, this remnant of history will be protected for centuries to come.
And The Huntington has taken this responsibility a step further by restoring the shōya house and its surroundings to educate us and demonstrate that it’s possible to live sustainably. It’s a lesson we have to heed and practice to help save our planet and ensure not only our survival but also that of future generations.
Chapter 28 ‘Extirpation’ illustration by J.J. Dunn | Rawls says, “I’m fascinated with the idea that there are extirpated animals and it makes me wonder whether they’ll come back | Photo courtesy of M.G. Rawls
While enjoying a refreshing glass of iced tea – and maybe a sandwich – on the balcony of M.G. Rawls’s home, you may get a sighting of a black bear. Or maybe a mountain lion. A review of her security camera from the previous night’s outdoor activity might show nocturnal creatures having free run of the creek that abuts her property.
They are the inspirations for the characters that inhabit The Sorts of Pasadena Hollow, a trilogy of young adult books created by Rawls in 2019 (Sorts are people who can transform into animals). Her first book, Hannah’s Fires, at 166 pages, follows a teenager’s story as she settles into her new home in Pasadena Hollow. The second installment, Tony’s Tales, is 224 pages and focuses on Hannah’s first friend there. The last in the series is Henry’s Hopes, which is 332 pages long and has just been released on Amazon as an ebook (order it here). It chronicles the life of an elderly Tongva shaman, one of the earliest residents in the area, who also serves as mentor for the young Sorts.
Chapter 1 ‘A Red Dragonfly and Birch Beer’ illustration by J. J. Dunn | Rawls says, “This red dragonfly landed on a single upright branch of a small apple tree in my yard. His face was so expressive, I couldn’t resist including him in my story. Birch beer (non-alcoholic) was a staple of my New England childhood and later visits.” / Photo courtesy of M. G. Rawls
Rawls graciously invites me for lunch followed by a short interview for a second article about her books (read first article here). I mention that each of the three books became increasingly longer, and ask if she planned it that way or if more ideas just came to her as she wrote.
“My initial thought was always to have three books but the audience would start at 5th grade and they would mature as I went along,” Rawls replies. “At the same time, it would help me, since I was a new writer, to be able to write in a way that I was comfortable with with each book. So you can see my progression through my work – it starts out simpler, then gets more complicated. I was always hoping that the reader who liked the book in 5th grade would like the next in 6th, and so on, as they were reading. I was writing it for middle schoolers and older.”
“With the exception of a few supporting characters, the main people in Henry’s Hopes were already part of the first,” Rawls adds. “One of the comments I received from readers is that there are so many to keep track of, so I included a list and description of characters at the beginning of each book.”
Rawls kept to a fixed idea about how each book will flow. She explains, “Consistent with I told you in the first interview, the concept was the same with all three books. I created the chapter titles first and then built the story for each section. And what I wrote inspired me as I fleshed out that chapter. I pretty much stayed with the same titles I started out with; I made very little deviation from them.”
Chapter 3 ‘Till Death Do Part’ illustration by J. J. Dunn| Rawls claims, “This one is pure fantasy. Thankfully, no one I know (except for Sparkle Bitters) ever sliced off the tail of a marine iguana.” / Photo courtesy of M. G. Rawls
I then ask if she has a favorite character in her books, and Rawls responds, “You had a similar question the first time you wrote an article about The Sorts of Pasadena Hollow and my answer is: if I did, I wouldn’t say. Although each book has its own unique characters. In the first, there’s Hannah, the young adult girl with the emotional constraints within her. In the second, there’s Tony, who’s somewhat reckless; I meant for Tony’s Tales to be a boys’ book; and in the third – the adult book – there’s Henry, the Tongva spiritual leader. He wants the best for everybody but he doesn’t necessarily go about it the right way; he tends to be Machiavellian.”
“Did the idea to write a book set in your neck of the woods happen organically or was there a particular moment or instance when it occurred?” I query. Rawls replies, “The inspiration for this series came from an article in the L.A. Times – which I included in Hannah’s Fires – about an engineer who was convinced there were half-lizards living deep under the ground with a cache of gold and arranged to dig for it. I was so intrigued by that article and it motivated me to create these characters.
“Besides that, we live next to a creek and I can hear the water running – especially when the door is open at night. Most (not all) of the animal events in my books have their genesis in reality. In the first book, for example, there’s a raven who tries to steal Hannah’s bracelet and pretends he hurt his wing to try to get sympathy from her because he likes her. About 10 or 15 years ago, my husband found what he thought was an injured juvenile raven. We took it in for the night and the next morning there was such a squawking outside, it woke us up. Dozens of ravens were on our fence and across the street staring at us – it was clear what they wanted. We brought out the juvenile and he flew off unhurt. My daughter named that raven Nicky and she would look for it at her school. I later heard that ravens are very smart and will sometimes feign injury to get attention.”
“As I said during your first interview, I had been nurturing this story in my mind since we moved here in 1988. When the idea to write these books happened, all the stories that have accumulated over the years living here started coming back to me,” she continues. “In 2019, I began writing them as notes on my iPhone in the early morning and they got longer and longer. Finally I started pruning it out and thought ‘Oh, this is interesting.’ It gave me comfort – it was a world I could escape into.”
Chapter 11 ‘The Jeweled Koi’ illustration by J. J. Dunn | Rawls states, “I had a number of goldfish growing up including one named ‘Goldy’ who lived for several years until one day she jumped out and the consequences were tragic. The jewels were inspired by a book I read where the rulers kept giant kois in ponds and they attached precious jewels to their tails.” / Photo courtesy of M. G. Rawls
Unlike some popular fantasy young adult books set in dystopian worlds, the Sorts live in a utopian society. Rawls intentionally created an inclusive world where everyone is accepted. Without calling attention to it, she ensured there was representation for people of diverse race, age, and sexual orientation.
While some authors say they wish they had written something differently, Rawls stands by what she has created. “I’m fine with how they all turned out. If there was something I put in the book that sent me on a different path, I went along where that led me. That’s not to say I abandoned an idea or that I didn’t have a particular destination – I had the chapter titles to guide me – but the road wasn’t restricted.”
The ending to her third book wasn’t planned in advance. Rawls reveals in jest, “A writer I know once told me that every story needs to have an arc. Until she said that I hadn’t heard of the word. I didn’t know what it meant; I think I had to look it up because I was embarrassed. So I worked on my arc. Seriously, though, I had an idea how I wanted it to end, but not the specifics. It only came to me as I got there.”
Chapter 33 “Wedding of Sorts’ illustration by J. J. Dunn | Rawls describes, “I thought the Tongva phrase ‘My heart is with you’ was appropriate for a wedding book. J. J. Dunn based her painting on her husband’s German family book. I added the stink bug and hibiscus from my yard.” / Photo courtesy of M. G. Rawls
When I ask her to describe how she felt after completing the last book in the trilogy, Rawls simply answers, “These characters have taken a life of their own – my job is done!”
At the end of Henry’s Hopes, we find Lydia as the voice for the characters and the narrator of events we’ve been following. It comes as a surprise. And yet it’s because she isn’t a Sort – not in spite of it – that makes her the logical storyteller. As Rawls says, “The events that happen are everyday occurrences for the Sorts so they don’t find them interesting. But they’re not normal activities for Lydia so she’s fascinated by them. Being an investigative reporter, she thinks of them as a mystery to be unraveled.”
Rawls’s characters grow with her as she matures in her writing. While she starts out tentative in Hannah’s Fires, she gets more confident in Tony’s Tales, and reaches her stride in Henry’s Hopes. In the same vein, a reader slowly gains insight about them and inevitably becomes invested in Hannah, Tony, Henry, and all the Sorts in Pasadena Hollow… and feels sad that there won’t be another book to look forward to. But Rawls also leaves a huge gap where a reader can infer that events will have transpired, leaving the possibility open for her to pick up where she left off.
As with painters and other artists, authors cede control of their work once it’s out there for the public to make of it what they will. So we can imagine for ourselves milestones happening during that gap – or
Originally published on 10 April 2023 on Hey SoCal
The third panel speakers and The Huntington’s Yinshi Lerman-Tan (far right) | Photo by Brianna Chu / Hey SoCal
For Asian Americans, who have been largely ignored by society, the events of the past three years that threw them headlong into the spotlight were too overwhelming to contemplate. Surely invisibility would have been preferable to being widely hated and reviled. While racial slurs and violence directed against Asians and Asian Americans didn’t happen only recently, the anti-Asian rhetoric and crimes that erupted during the pandemic were so alarming that they became the catalyst for movements, including Stop AAPI Hate.
Alice Tsay, Director of Special Projects and Institutional Planning, declared that this series of lectures was two years in the making. Indeed in the two years since The Huntington embarked on this series until it actually transpired, stories related to Asians have dominated headlines.
Simon Li | Photo by Brianna Chu / Hey SoCal
In his introduction and opening remarks, Simon K. C. Li, Huntington trustee, talked about the Monterey Park massacre on the eve of the Lunar New Year, and said, “Reaction among Asians who have witnessed racism is disbelief that we are capable of such violence. Another mass shooting perpetrated by the same man in Alhambra reinforced the thought. Still, it’s a reality — Asians in America live with a sense of vulnerability.”
Li then brought up two issues. The first involves the name Asian American — does it do a disservice in obscuring the wide diversity of the many Asians to reduce the knowledge and complexity that will otherwise lead to great understanding? He said in 1992 the terms Chinese American and Japanese American were much more commonly used. But it didn’t save Vincent Chin, the Chinese American beaten to death in Detroit by two bat-wielding white auto workers angry about the popularity of Japanese cars.
The other issue is about the role of representation in helping minority communities. Li said it’s a common complaint that we don’t see enough faces like ours in movies, on TV, or in government and politics in the news. But he contended that he’s seen plenty of representation for both Asian Americans and non-American Asians making their name in U.S. politics, in movies, and on television. And he wondered, “Do such talents, such contributions, such celebrity really redound to the ‘normalization’ of Asian communities in America?”
At the end of his remarks, Li asked the panelists to answer two questions and suggest new answers going forward for Asian Americans: “What does it mean to be American? Who has the right to wear that title and to share fully in the promise it implies?” (read Brianna Chu’s response article here)
Gordon Chang | Photo by Brianna Chu / Hey SoCal
The first panel — Historical Roots (pre-1965) — focused on the origins of Asian experience, and anti-Asian racism, in California, with presenters drawing extensively on The Huntington’s Pacific Rim collections.
Gordon Chang, whose talk ‘Beyond Promontory: Chinese Railroad Workers and the Rise of California,’ continues the story of the Chinaman as railroad builders and what happened to them after they finished the transcontinental railways. He touched on the construction of the Tehachapi Loop in 1874.
An interesting revelation was when Chang debunked the myth that the railroad workers were docile. “In March 1875, the entire workforce tunneling in the Tehachapis went on strike for higher wages just as they did in 1867. They took advantage of the monopoly they had on railroad labor and demanded for improved working conditions.”
Naomi Hirahara | Photo by Brianna Chu / Hey SoCal
Naomi Hirahara’s presentation was “Torri Gate Welcoming Empire: Japanese Immigrant and Nisei Cultural Workers and Pasadena Landscape and Life.” She spoke about her lived experience as a Japanese American in Pasadena. Her father, Sam Hirahara, was a gardener. She said, “Many Japanese American men after World War II were gardeners. A lot of men who were released from the detention camps found it was easy to come over — all they had to do was push a lawn mower and they were in business.”
She also talked about George Turner Marsh, a businessman from Australia who had spent several years in Japan and learned the language. “He went to San Francisco and opened an Asian arts business in the late 1800s. He installed a Japanese house in the 1893 Chicago World Fair in the area that the Japanese government funded, which one of the architectural partners of the firm Greene & Greene saw. Frank Lloyd Wright also saw it as a little boy. This was the introduction to a Japanese aesthetic that perhaps made a lasting impact among American architects.”
Jean Chen Ho talked about the Los Angeles Chinatown Massacre of 1871, the culmination of anti-Chinese sentiment leading to racially motivated violence and for which a memorial is being built.
“According to stories, in the late afternoon of October 24, 1871 a gunfire broke out between two Chinese men from rival tongs on Calle de los Negros, now Los Angeles Street, feuding over a young woman,” Ho began. A white rancher was caught in the crossfire that caused his death. A vigilante mob then gathered to exact revenge for the slain Anglo man and went on to murder 17 Chinese men and one 15-year old boy. The mob also raided a number Chinese businesses of goods and cash, and destroyed property by fire. Newspaper accounts by L.A.’s elite often demonized ‘ruffian and disreputable class’ for the massacre. But what combined these two social sets on that night was white vigilantism that enabled the massacre. This incident put the blame back on the Chinese for the violence they suffered.”
An account of this massacre that night was written 50 years later in his memoir by Robert Maclay Widney who witnessed what happened and was later the presiding judge during the trial of the rioters. But Ho questioned the credibility of his story where he painted himself a hero, “Where do we place someone like Robert Maclay Widney who had the power to narrate his own story and have its social and material integrity preserved? What about the distorted, destroyed, or otherwise absent narratives from the victims of the massacre as well as those who survived that night of violence? The work that I’m taking up now is to reckon with the speculative possibility that Asian American lives have been previously only seen visible at the very moment they were suddenly extinguished by violence. My next project — a novel — now requires the intellectual and emotional capaciousness to imagine all that cannot be verified by the archive in order to tell a story about lives that exceed the archive in their sublime and impossible beauty.”
Marci Kwon | Photo by Brianna Chu / Hey SoCal
Marci Kwon’s presentation centered on the Asian American Art Initiative at Stanford University, an effort to collect and preserve histories and works of Asian American artists which reflect some of the subjects discussed by the other panelists. It’s a joint effort between the Canter Art Center and Stanford Library’s Special Collections which started in 2016. It came about because when she was trying to put together a syllabus for an Asian American Art history, she couldn’t find one. Thus her challenge was to collect 1,000 pieces of artwork by AAPI artists by 2026.
The second session – Shaping the Present – covered the period from 1965 to the present.
Wendy Cheng, called her talk “Assimilating into Difference: Multiethnic and Multiracial Histories of the San Gabriel Valley.” As Li did, she began her presentation with the Monterey Park mass shooting, “In the days after the shooting, Monterey Park was listed as an Asian American hub. It was a place of possibility for Asian immigrants to make lives and build community. Indeed in 1990, it became the first majority Asian city in the Continental United States; its population is 65% Asian today. But what this characterization can sometimes gloss over, is the incredible multi-ethnic and multi-racial richness of Monterey Park’s history and present — which came about through multiple generations of shared history of struggle and place-making.”
Cheng’s map of the San Gabriel Valley | Photo by May S. Ruiz / Hey SoCal
“In the near 70 interviews I conducted for my book ‘The Changs Next Door to the Diazes’ between 2006 to 2012, I found that those who grew up in Monterey Park and the western San Gabriel Valley developed a distinct regional consciousness about race,” disclosed Cheng. “They usually understood the particulars of each other’s identity. This region’s distinction as an Asian American place is one of its legacies — a home for immigrants and for those who are historically excluded or vilified elsewhere by those who don’t look exactly like them.”
Jane Hong spoke about “Asian American Evangelicals and Southern California Histories” and how they became an important voting bloc for the Republican Party. She attributed this to a couple of developments: the first was the diversification in U.S. population that resulted from the Immigration and Nationality Act of 1965. Japanese Americans made up the majority of Asian Americans for much of the 20th century; Chinese Americans became the most populous by the 1980s; Filipino Americans became the second largest Asian American group in 1990; and, very recently, Indian Americans surpassed the Filipino Americans as the second largest Asian American population.
Hong’s Asian American Evangelicals pie chart | Photo by May S. Ruiz / Hey SoCal
The second development was the marriage between white Evangelicals and the Republican Party. This can be traced to the Moral Majority, a political lobbying group formed in 1979 between Jerry Falwell Senior, the founder and president of Liberty University, and Ronald Reagan. They joined forces around a shared set of issues — opposing abortion, traditional family and marriage defined as between a man and woman, etc. And their influence grew within the Republican Party in the 1980s.
“Late 1960s and 1970s phenomenon Jesus (Free) Movement were largely young, white Americans,” Hong explained. “At the same time, Movement Activist was inspired by Asian American movement whose major tenet is ‘there’s strength in solidarity.’ So instead of calling themselves Japanese, Chinese, Filipino, it was a political act to call yourself Asian American to denote your belief, community, and shared interest. So this is what it means to be Asian American and Christian — integrating racial and individual identity.”
Oliver Wang’s topic was “The Nisei Week Cruise: Japanese American Car Culture in the 1970s and 80s.”
“So much of our car history has been written by white men so the Nikkei community has been largely forgotten or overlooked,” stated Wang. “A major goal of the exhibit is to write the Nikkei Community back into the stories and histories about how cars have transformed the cultural, economic, and social landscape of the Southland.”
Fred Jiro Fujioka featured prominently in Little Tokyo | Photo by May S. Ruiz / Hey SoCal
“Nisei Week began in Little Tokyo in 1934 as a way to encourage cultural pride in community economic development by an emergent second generation of Japanese Americans — the Nisei — who wanted to stake out a space for themselves within a community that up to that point had been largely dominated by their Nikkei parents and their generation,” continued Wang. “It quickly grew to become an annual celebration of the Japanese American community and further anchored Little Tokyo as the center of the Nikkei community in Southern California.”
Wang reported that Nisei Week cruise began to form in the early 1970s. “By the 1980s Nisei Week Cruise became the ‘king of cruises’ and continued to grow in popularity for the next 15 years until the summer of 1988 when it was shut down. But it left a lasting impression — for the people who grew up at that time, cruise was fundamentally a social experience that connected young people with one another. To attend the cruise was to participate in a cultural experience that helped define what it meant to be young and Japanese American for an entire generation.”
Linda Trinh Vo talked about the Vietnamese population in Orange County. She stated, “I titled my talk ‘Crafting Community’ because ‘crafting’ is purposeful – it needed a skill not just ad hoc. There’s an assumption that America rescued the Vietnamese refugees and other Southeast Asians. There’s a whole other discussion we can have about America and their intervention in the war in Vietnam that led to our displacement and then led to our migration or forced migration as asylum seekers and refugees. But our argument is that we saved ourselves. We had social agency — we had to figure out a way to survive, to get out of Vietnam and get resettled in the U.S. At times, we’re looked at as passive victims rather than seen as social agents helping ourselves.
Vo’s slide of Little Saigon | Photo by May S. Ruiz / Hey SoCal
“Today, the Vietnamese population is the largest of Asians in Orange County and also the largest population outside of Vietnam,” declared Vo. “Pre-1975 the only ones here were war or military brides, international students, and military personnel training during the Vietnam War. When the Vietnam War ended, about 120 of them were settled in Camp Pendleton, one of four U.S. camps where refugees settled. But they needed some place to live permanently so they had to find sponsors. Individuals, charities, religious organizations helped to sponsor and settle them in the city of Westminster (and later expanded to Garden Grove) which is today’s Little Saigon.”
The third session – Future Provocations – envisaged the future of Asian Americans from the perspective of the panelists’ field of expertise.
Manjusha P. Kulkarni‘s presentation was “Resistance and Resilience: Asian Americans’ Response to Hate.” She disclosed that since the beginning of the pandemic, Stop AAPI Hate received over 11,467 reports of discrimination. She said, “Policies drive much of the hate — mass deportation of Southeast Asians, programs like the China initiative, the 911 surveillance and profiling of South Asians. What that has led to is the blame game — one in five reported incidents include this kind of scapegoating, like public health which we saw during the bubonic plague where Chinese Americans were blamed for the disease. National security was blamed for the Japanese incarceration and 911 profiling. And economic insecurity and anxiety was the cause of the horrible beating of Vincent Chin.”
“As populations are growing, we begin to see ourselves as racialized,” continued Kulkarni. “Civil Rights leader and scholar Lani Guinier wrote about the social ladder when whiteness is at the top and blackness at the bottom. So where does that put Asian Americans in terms of the outsider framing, idea of perpetual foreigner.’ So where are you really from?’ are the questions we get even when we’re third, fourth, and fifth generation. And that leads to questions of loyalty — are we actually Americans?”
Kulkarni then discussed civic engagement, “Since 2020, we are more enthusiastic about voting than we ever had; we see that we play a role in the margin of victory. So it’s absolutely critical that we vote; and engage civically — write to your congressperson, go to meetings at city hall, and run for office. We need more representation across our land if we are to have a powerful voice. I want to leave you with this quote from Grace Lee Boggs, ‘You cannot change any society unless you take responsibility for it, unless you see yourself as belonging to it and responsible for changing it.’”
Jimenez’s installation at Coachella | Photo by Brianna Chu / Hey SoCal
Artist Jimenez Lai showed some photos of the work he’s done over the years. He represented Taiwan at the Venice Biennalle; his works have been displayed at museums and public events, including Coachella. One of his installations in front of City Hall, at Grand Park, is a collaboration with a musician and they conceived a structure like an oversized instrument. They embedded an amplifier so people could whisper their sorrows into it which then get distorted into nonsense — a confession booth of sorts.
Karin Wang spoke about “Asian Americans: Racialization & Privilege.” She began with a slide on Anti-Asian Hate which mirrored Kulkarni’s visual on the number of hate incidents. “What’s interesting is that at the same time that we were being racialized and targeted for violence and hate, Asian Americans are also occupying important spaces of privilege in two professions — Law and Medicine,” she declared. “We need to recognize where we have power and privilege. Lawyers are among the most powerful members of our society — not just lawyer lawyers, but judges, elected officials, people running government agencies.”
AAPI’s reports of discrimination against Asian Americans | Photo by Brianna Chu / Hey SoCal
Wang added, “There are a lot of stereotypes about Asians, one of them being that they are mostly in Medicine. And it is another sector that’s economically and socially advantaged in our society. There are improvements in the number of people of color in medicine on the national level but the majority of doctors are white; the next largest group is Asian and Pacific Islanders; Latinos and blacks are two populations that are underrepresented. It is becoming more racially diverse over time, although it is actually Asian Americans who are taking up a lot of that space.”
“Asian Americans are obviously not white and have never been viewed as white. Yet, we do have some privilege here as a community. So what is the provocation for the future as we move forward as Asian Americans? How are we going to think of ourselves in terms of where we fit in the American racial landscape? What are we going to do to use our positions of privilege in these places where we have it, and advance racial justice and equity not just for Asian Americans but for other communities of color as well,” Wang asked in conclusion.
The last speaker was Jeff Chang, who started his presentation by saying, “I was provoked by what Simon Li asked us to examine. The first: what is the desirability of being called Asian American especially given the anti-Asian violence we’re living through? And, second, the role of representation. We know that there is representation, but we also recognize that we are nowhere near what the culture industry calls for, which is to create narrative plenitude – the diversity of stories out there.”
“Can we create a narrative of Asian American that can take us to the next 50 years? Chang asked. “Narrative plenitude doesn’t just seem like a call to the white-dominated culture industries and social institutions. But it seems also for us to make better sense of the full diversity of our stories. But at the same time, violence is bringing us all back together. But it’s not that the violence makes us all Chinese, the violence makes us all Asian American. So when we say ‘Stop Asian hate, stop anti-Asian violence!’ we can call this a negative narrative. We’re saying ‘Stop, no more of this!’ But this narrative also has its limits. There’s a danger that we actually lose people to the fears. Is there a positive narrative of Asian American that can bring us together?”
Chang ended his presentation by yet posing these questions: “How do we form this new narrative that’s not just saying ‘No,’ but what can we all say ‘Yes’ to? How do we recognize the harms being perpetrated against us and not re-harm others because of that? But how does that help us think about what we might move to that can lift us all up together?”
Photo by May S. Ruiz / Hey SoCal
This symposium resonated deeply with me. As an Asian American, I related with the experiences some of the panelists described. I’ve lived here for 41 years and, every once in a while, I’m still asked where I’m from. I usually respond “I’m from Pasadena but originally from the Philippines.” Sometimes, though, I turn what might otherwise be an awkward exchange into a subtle teachable moment about the Philippines and Filipinos, and our historical ties to the United States.
As to Simon Li’s parting questions, there are as many answers as there are perspectives. And here’s mine: those of us who aren’t Americans by birthright but who legally immigrated to this country to build better futures also have the right to be called Americans. Most of us rose above our circumstances not in spite of being ‘foreigners’ but because of it. Most of us were born and raised in places of poverty and hardship and we were taught that education and industry were the means to success.
Because we didn’t come from places of wealth and abundance, we didn’t take for granted the opportunities that were available to us, as most immigrant accounts attest to. The possibilities became seemingly limitless and within reach because we were willing to work hard for them. Failure wasn’t an option — we wanted to ensure that our children didn’t go through the struggles we had to endure.
But being American comes with responsibility. We have to give back to the country we now call home by engaging with our community and actively seeking out how we can contribute to society. In areas where we have influence, we have to advocate for all people of color and use our voices to speak for those who can’t. At the very least, sharing our stories might help others understand that while we don’t look like them, we have similar hopes and dreams, and are striving for the same happy outcomes.
Originally published on 10 March 2023 on Hey SoCal
Masters of Taste returns to the Rose Bowl on April 2, 2023, commemorating its sixth year raising funds for Union Station Homeless Services. About 100 restaurateurs and beverage company owners come together for this event, and from 3 to 7 p.m. they serve food and drinks to approximately 3,000 attendees.
Homelessness has always been heartbreaking. But it becomes deadly when severe weather adds to homeless people’s plight. During winter, there’s a race to make sure they are housed before temperatures dip to near freezing. From November through March 1. Pasadena had over 27 inches of rain, rendering the homeless population in worse circumstances.
An L.A. Times article published on Feb. 23, 2023, reported that “Homeless services providers were struggling with shortages of shelter space Thursday as a rare winter storm raised the danger level for thousands of people living outdoors, with a forecast of three days of rain, freezing temperatures, blizzard-strength wind and low-elevation snow.”
On March 1, 2023, Masters of Taste held its media night (read Brianna Chu’s article about what to expect at the event) in the locker room of the Rose Bowl. As always, there’s excitement among the individuals behind this annual event and the people covering it. But there’s also a sense of great urgency to support Union Station in their relentless work of providing shelter for the homeless population who are now, more than ever, in dire need.
Masters of Taste founder Rob Levy | Photo by May S. Ruiz / Hey SoCal
Masters of Taste is the brainchild of Rob and Leslie Levy, owners of The Raymond 1886 in Pasadena and Knox & Dobson. He recalls what drew him to this endeavor, “This goes way back in my childhood. My oldest friend in the world started an organization in Chicago called ‘Inspiration Café,’ delivering sandwiches to the homeless when she was working as a cop. Then she ended up opening a restaurant for the homeless where they could come in, order off the menu, be served with dignity, and leave with no check to pay. If they were a good client, they were invited to work there and learn a trade. That grew into something huge, with multiple restaurants and cafes, cookbooks, and job training. She did this for 20 years and never took a paycheck — she did it for the love of it. She worked as a massage therapist to pay the bills while she grew this multimillion-dollar organization. It gives me shivers just thinking about her and what she has accomplished — she’s quite a remarkable individual and the most positive person you could ever meet in your life.”
“When the former CEO of Union Station asked me to be on the board, I immediately agreed,” continues Levy. “Then we thought we had to change the way we raise funds — we had been to one too many galas where nobody wanted to go, but got dressed up and went anyway because we felt obligated to. We figured we needed to create an amazing event where people aren’t thinking it’s a charity affair and Leslie came up with this idea of getting other chefs to gather for a cause. And what better place to do it than on the field of the Rose Bowl. Thus, Masters of Taste was born.
“We reached out to other chefs that we had done events with over the years and also through Lawrence Moore, of Lawrence Moore and Associates (one of the original founders, Moore is the person responsible for getting media coverage for Masters of Taste). When we explained what we were trying to accomplish, everyone agreed to participate. And they were absolutely thrilled when they learned that it was going to be at the Rose Bowl field. The first year that we did Masters of Taste, participants were incredulous when we told them to be on the field for the load-in because events are usually held only at the perimeter. One guy serving for a brewery had played football in college and played on the Rose Bowl field; it was his first time back there since. He actually got teary-eyed at the recollection because now he was there for a reason other than football.
“That same year, a spontaneous line dancing broke out on the field — DJs played music and in the middle of everything, there must have been 100 people line dancing. It was a delightful occurrence that was totally unanticipated. That was when we knew we were on to something.
“Then we had one year when it rained which, unbelievably, made it an even better event. Nobody left — 3,000 people on the field and they all stayed through the rain. It was the most memorable year we had. We set out to create an event that was like having a great Sunday afternoon out and it has taken on a life of its own. People want to do good — helping other people is now a movement.”
Ann Miskey, Union Station CEO | Photo by Meg Gifford / Hey SoCal
Anne Miskey, CEO of Union Station, reminds that while this annual spring festival at the Rose Bowl is the foremost food event in L.A., it serves a more important role — Masters of Taste celebrates the heart that’s in Los Angeles.
“The work we do is hard; we know homelessness is a major crisis here — there are so many vulnerable people on our streets and we work tirelessly at Union Station,” Miskey states during the media preview. “But we truly could not do it alone. And what you are doing by being here and supporting Masters of Taste is incredibly inspiring and helps us keep going because it shows that people do care, that people do want to make a difference. And I cannot tell you how much of a difference you make. We’re all enjoying the food and the wine but at the heart of that is giving back.”
“We work with thousands of people every year and sometimes it becomes this massive homelessness issue,” Miskey says further. “But it makes a difference if we put names and faces to it. So I want to tell you a little bit about Jose. He is a 74-year old gentleman from Puerto Rico. He had a job and was just living a normal life there and then he got very ill with heart problems during the major hurricane. Puerto Rico was in shambles; he was desperately ill and he couldn’t get help, so he came to Los Angeles for medical services. After his heart surgery, he was told that the hospital didn’t take his insurance and he left the hospital with a huge debt. He then lived in his car and struggled to survive. And then COVID hit. During that time everyone was being told to stay home to stay safe — and he didn’t have a home. Union Station stepped in with Project Room Key; we took some hotels where we were able to put people in.”
“My staff happened to meet Jose in his car and brought him into a warm hotel room, with his own bathroom, and three healthy meals a day,” adds Miskey. “But more than just a room, a bathroom, and food, he had people surrounding him who cared and wanted to make a difference in his life. After we worked with him and got to know him, we got him an apartment. He now lives in his own apartment — he has a living room, a kitchen, and a bedroom.”
One of the things Union Station staff does is to pay a visit to the people they’ve helped house to interview them and capture some of their stories. Miskey relates, “Jose went out and bought a gift for our staff because he said, ‘My mama taught me to never have someone come to your home without giving them something to take back with them.’ So here’s a man who had nothing and he’s making sure that he’s giving back to us. If you see Jose now, you see a man with smiles on his face and his life is back together again.”
Miskey concludes, “As you eat these amazing food and drink these amazing beverages, remember what you’re doing. You’re helping people like Jose, Quintana, and Mary — people who have lives and families but who, for health reasons and other circumstances, had ended up on the street. It’s a fun event and we all enjoy it, but behind it is saving people’s lives. And for that, I thank each and every one of you. I want you to leave tonight knowing that your heart and compassion are making a huge, huge difference.”
Host chefs Michael and Kwini Reed of Poppy + Rose and Poppy & Seed will continue the Masters of Taste’s tradition of making a difference through successful fundraising for Union Station.
Preview of what attendees will enjoy at Masters of Taste 2023 | Photo by May S. Ruiz / Hey SoCal
Michael is a classically trained chef and restaurateur, who has spent 19 years as a chef for restaurants across New York and Los Angeles. Born and raised in Oxnard, California, Michael grew up around the barbecue and the smell of fresh, home-made pies. His family cooked every day, pulling ingredients straight from the garden which went on to inspire his passion for food and hospitality.
Kwini is a Southern California native, wife, mother, and entrepreneur. She comes from a large family that values community, generosity, and a strong work ethic – traits that have helped her succeed in her career and personal endeavors. A graduate of California State University, Fullerton with a Bachelor of Science in marketing, she has over a decade of experience in business, finance, and human resource management, having worked at companies throughout LA, including The Standard Hotel, Band of Gypsies, and Brandy Melville USA.
The Reeds are the co-owners of two Los Angeles restaurants, Poppy + Rose of Downtown and Anaheim’s Poppy & Seed. Additionally, they run an upscale catering company, Root of All Food. As if their culinary accomplishments aren’t enough, they’re also in the process of developing a nonprofit to help convey the importance and potential of food to younger generations by coordinating lessons with local chefs, internship programs, and more.
Attendees at this year’s Masters of Taste are assured of having a fantastic time. As Vanda Asapahu, last year’s Masters of Taste host chef, declares “Kwini and Michael are inspiring human beings and together they make a dynamic team.”
So put on your party hat and get ready to eat and drink to your heart’s content as you help Union Station celebrate its 50th anniversary at the 50-yard line at the Rose for Bowl for Masters of Taste 2023! See you there!
Originally published on 1 February 2023 on Hey SoCal
Avid bike riders will have the chance to participate in the 45th Annual L.A. Chinatown Firecracker Run (LACFR) to be held on Saturday and Sunday, Feb. 18 and 19, 2023. One of the largest and oldest running races in the U.S., this year’s event incorporates a 40-mile bike ride through Pasadena which starts and ends at the Chinatown Plaza on Broadway. The bike ride route includes Linda Vista Avenue, Woodbury Road, New York Drive, Huntington Drive, Sierra Madre Boulevard, Mission Road, Altadena Drive, among other streets in the San Gabriel Valley. More information is available at firecracker10k.org/bike.
If you’re not a bike-riding enthusiast, though, there are still events you can join, like a 5K or 10K run/walk; even children and dogs can be part of the fun with the 1K kiddie and PAW’er dog run/walk. Registration is open on RaceJoy App and the fee is $30 to $65; participants can attend in person or virtually.
Each registered participant receives a commemorative 2023 Firecracker race bib, exclusive collectible finisher’s medal, limited edition commemorative t-shirt, goody bag, and much more. Additionally, participants and their guests will enjoy the Lunar New Year Celebration in the heart of historic Chinatown with an opening ceremony filled with lion dancers and the traditional lighting of 100,000 firecrackers. The Firecracker post-race expo includes vendors and booths as well as a new Chalk Art Festival and Boba Garden.
L.A. Chinatown Firecracker Run | Photo courtesy of L.A. Chinatown Firecracker Run
An article in the Belmont High School Alumni News in 2022 chronicles LACFR’s humble beginnings in 1978 when Belmont High School (Home of the Sentinels) alumnus Edmund Soohoo (class of 1966) and Helen Young, founding member of the Echo Park Lotus Festival, put their heads together to figure out what else they could to do celebrate the Lunar New Year besides the Golden Dragon Parade already being held annually. She suggested a marathon or a bike race but he thought Chinatown’s streets are probably too hilly for a full marathon, but a 10K would probably work. So he ran with the idea; he started researching and asking who could help organize such an event.
It’s not an exaggeration to say that it took a village to get the first event off the ground — as the Alumni News article recounts. Soohoo contacted a colleague, Fred Honda, who was head of municipal sports for Recreation and Parks; Honda introduced Soohoo to Bob Burke, director of the LAPD Police Olympics, a runner on the their long-distance relay team, and a founding member of the California Police Athletic Federation Board of Directors. Burke (1932-2015) then connected Soohoo to Andy Bakjian and Mel Schlossman (1925-1980). Bakjian (1914-1986) was the head track coach at Jefferson High School and led his team to the 1964 CIF California State Meet team title. He later became the Commissioner of Officials for the So Cal Association of the AAU in 1969, and he chaired the panel that selected the officials to work the 1984 Summer Olympic Games in L.A. Schlossman taught at Fairfax High School and coordinated cross country and track and field events for LAUSD. The four of them began organizing the first Firecracker 10K.
After a year of planning, Soohoo and his crew were ready to launch the race. To spread the word about the new run, volunteers made and distributed leaflets, putting them on car windshields and handing them out to participants at local runs and small races. Wilbur Woo (1916-2012), president of Chinatown’s Cathay Bank, gave Soohoo his personal check to cover the cost of the first t-shirt order.
L.A. Chinatown Firecracker Kiddie Run | Photo courtesy of L.A. Chinatown Firecracker Run
For that initial 10K in 1979, just over 1,000 runners lined up at Chinatown’s Central Plaza. Over the years, additional events were added to encourage participants of all ages and interests. Today, Firecracker events include a 5K run/walk, a bike ride, a kiddie run, and a PAW’er dog walk. Participation has grown to nearly 10,000. The event is no longer just a local one; every year, Firecracker L.A.-sponsored events attract hundreds of newcomers to Chinatown.
LACFR volunteers continue to donate their time and energy to organize and stage events and programs that promote healthy lifestyles, fitness, cultural awareness; support education; and encourage community participation. Through registration fees, donations, and sponsorships, they have endowed over one million dollars to the community. They support local elementary schools by supplementing academic, music, and physical fitness programs.
This year’s sponsors include ABC Laboratories, Young Engineering & Manufacturing, Inc., Longo Toyota Lexus, Payden & Rygel, CXN Freight Systems, Inc., Phoenix-PDQ, Inc., RSM, ZWIFT, LANDSEA, Assam Beverages, Kaiser Permanente, Los Angeles Chinatown Corp., RMJ Property, AEC Consultants, Inc., VCA Engineers, Inc., The Wonderful Company, Angel City Brewery, Canton Food Co., LA Central City Optimist, City of Los Angeles, The Lab @Chinatown, GoGo Squeez, Asian Pacific Community Fund, Bicycle Angels, among others.
Interviewed by email, LACFR’s secretary and founding board member Edmund Soohoo talks about the organization’s initial membership to its present day goals. While Belmont High School’s 2022 student population is made up of 87 percent Hispanic and LatinoAmericans, with Asian Americans making up the second largest group at 7 percent, he clarifies, “At the time of the organization’s founding the student body was more diverse — with whites, Japanese, African Americans, Chinese, Italians. The initial committee grew to include Latinos, whites and Japanese as well. We were friends of friends. All of us belonged to community organizations that included members from other races and cultures, as well as their other community advocates supporting each other.”
Asked if promoting a healthy lifestyle was the common thread that connected the founders or if they were all friends outside of this event, Soohoo responds. “Yes and no. Yes, many were friends outside of the event and/or became friends because of their work together. They all strived to coordinate an event our community could be proud of; to share our culture and traditions; and attract people to visit our community — Chinatown. It was always to coordinate the best events possible and share any proceeds with our communities.”
The Firecracker Run attracted attention from the beginning. Soohoo states, “The event drew a wide, diverse audience from day one. It was an opportunity for the greater running community to experience running in a historic community through the scenic and hilly route in Elysian Park.”
L.A. Chinatown Firecracker PAW’er Dog Walk | Photo courtesy of L.A. Chinatown Firecracker Run
In time, what started as a 10K run expanded to what it is today. Soohoo explains, “The kiddie run came about organically. We grew as our runners started families and wanted to involve their children as well. The PAW’er walk came about much later, as many of our committee members had pets, dogs, and thought it would be a good addition to support healthy lifestyles.”
And soon, the event also attracted some corporate sponsors. “There was not a specific turning point, more the evolution and growth of our participant base — size matters. And social media is critical, as well as bringing on board a person dedicated to supporting corporate sponsorships,” Soohoo declares.
As for food attractions being part of the event, Soohoo states, “There have always been simple refreshments for the participants; however, we support local business so we want our participants and spectators to patronize our local restaurants and eateries.”
Having witnessed the evolution of the event, Soohoo recalls some of the memorable high points in its 45-year history, “Highlights include the VIPS who have joined us to start the races; working through some rainy weekends; 100s of volunteers working together; growing the event to nearly 10,000 participants; listening to the drumbeats of the lion dancers; popping of the firecrackers; the roar of the runners; and knowing you did it again — for the runners and our Chinatown community; donating money to the schools and community organizations; and knowing your efforts made a difference.”
Are all the founding members still actively involved and do their children continue the legacy? Soohoo discloses that until late 2021, there were two founding members still actively involved but there’s only one now. Their children aren’t currently involved but they had been in the past.
Soohoo anticipates a bright future notwithstanding, “Each generation — including millennials and Gen Zs — finds their way to events that promote healthy lifestyles, in historic communities, that are authentic with real people from the community and fun for the entire family. Through more marketing, social media, and building upon our assets, we will expand this event. And allowing the next generation to take responsibility to grow Firecracker in their own creative ways!”
It’s heartwarming how a simple idea that a handful of Sentinels conceived came to blossom into such a hugely successful event. Being fit and healthy has never been more fun!
The Laurabelle A. Robinson house | Photo courtesy of AbilityFirst Food and Wine Festival
This Sunday, June 5, AbilityFirst’s famed Food and Wine Festival returns at the historic Laurabelle A. Robinson House in Pasadena from 5 to 8 pm. Sponsored by CHUBB, it marks the first time the outdoor gourmet food and drink event will be held in person since the pandemic began.
Nearly 400 guests are expected at this year’s event, which features more than 20 restaurants, cocktail bars, wineries, and breweries. The restaurants and dessert shops include Alexander’s Steakhouse, El Cholo Café, Gale’s Restaurant, Mi Piace, Porto’s Bakery, Ruth Chris Steak House, Tam O’Shanter, We Olive, Lark Cake Shop, Poppy Cake Bakery Company, Nothing Bundt Cakes, among others. Beverages featured include Cocktails and Spirit Tastings from 1886 at The Raymond, Dulce Vida Tequila, Krafted Spirits, JuneShine, and Golden Road Brewing, along with specially curated Wines. Pasadena’s very own Cerveceria Del Pueblo will also be pouring their distinctive beers showcasing flavors and aromas from South America; Califia Farms and PepsiCo will be serving non-alcoholic beverages.
Proceeds from this year’s Food & Wine Festival will directly benefit AbilityFirst which has targeted programming to help an individual successfully transition from childhood to adult life; providing employment preparation, training, and experience; building social connections and independence; and offering both their participants and their caregivers an opportunity to refresh and recharge through various recreational activities.
Guests at AbilityFirst Food and Wine Festival | Photo courtesy of AbilityFirst Food and Wine Festival
How the food and wine festival evolved into the spectacular event that it is today is quite a heartening story. Rebecca Haussling, Senior Director of Communications, relates. “A support group called Crown Guild created the first food and wine festival in 1953 with a wine tasting at the Langham Huntington, Pasadena (then known as the Huntington Hotel). Each Crown Guild member would invite ten to twelve friends and they would all be responsible for bringing a bottle of wine for the tasting. It branched out to Crown Guild members homes, and then onto friends of members’ homes, until they got local restaurateurs and beverage companies involved. It lent a casual outdoor environment where our guests could mingle and chat over food and drinks. Through the years, AbilityFirst has built strong relationships with restaurants, wineries, and breweries as we enthusiastically encouraged our guests to support these establishments.”
“It grew to its largest event in 2018 and 2019 with over 500 guests and raised more than $300,000,” Haussling says with great pride. “The pandemic brought with it several challenges, but we quickly adjusted. During 2020 and 2021, we held a virtual program with small private dinner parties with catered dinners in more than a dozen homes in Pasadena and the Los Angeles areas. We are delighted to be back ‘in real life’ for 2022 and return at the Laurabelle A. Robinson home, where homeowners Phaedra and Mark Ledbetter have hosted this unique food and wine tasting off and on for more than a decade.”
AbilityFirst was established as the Crippled Children’s Society of Southern California in 1926 by members of the Los Angeles Rotary Club, to assist kids with polio. In 2000, it adopted the name AbilityFirst to better reflect their broader mission of helping children and adults with physical and developmental disabilities reach their full potential by providing recreational and socialization programs, employment, accessible housing, and camping.
Fifty years ago, AbilltyFirst opened the Lawrence L. Frank Center in Pasadena and Long Beach; it is named after Lawrence L. Frank, of Lawry’s Restaurants fame, one of the original founders. From 2016 to 2017, the number of children and adults with developmental disabilities in these communities grew by 1,000 people, 66 percent of whom are between the ages of 6 and 51 years old – the target age for AbilityFirst’s programs.
His grandson, Richard Frank, continues to preserve his grandfather’s legacy by being on AbilityFirst’s board of directors. He co-chaired the Capital Campaign to help raise over $6M to initiate several programs to fit the burgeoning needs of the individuals they serve. And mindful of carrying on with their regular activities during the pandemic, AbilityFirst immediately responded to the lockdown restrictions.
(Shown left to right): Teresa, Maya, and Coach are participants in AbilityFirst’s College to Career program
Haussling discloses, “We were quick to pivot to remote and virtual programming for all of our programs and centers. Within less than two weeks AbilityFirst programs were able to get back up and running on Zoom with daily programs for our participants that included everything from exercise and yoga to arts and crafts, drawing classes, movie nights, book clubs, and much more. This helped lessen the feelings of isolation our participants felt during the pandemic and created space for social interaction – and FUN.”
“By August 2021 we were continuing with our remote programming and alternate programs where we were able to offer services out in the community and at local community venues such as parks, libraries and other safe, outdoor venues,” adds Haussling. “And by the end of 2021 we were safely delivering most services in person while utilizing our person-centered approach to maintain remote services as needed. Our person-centered approach (person-first) showcases and values diversity, inclusion and belonging.”
“Today, we are devoting our resources to providing the best services to those who are referred to us and actively seeking out those who have historically experienced barriers to receiving our services,” Haussling states.
Introduced a few years ago is College to Career, a community-based program for students who want to go to college and gain the skills, training, and education they need to achieve their academic and career goals. Additionally, the program emphasizes independence and personal choice in using community resources for daily living and future employment. This multi-year program begins with a self-discovery and community exploration component to help students to identify and develop a plan to achieve goals. Upon completion of the academic component, individuals may transition to community jobs, internships, or volunteer programs as they launch their career paths. The Lawrence L. Frank Center, AbilityFirst’s flagship location in Pasadena, houses the expanding College to Career program.
“AbilityFirst has six community centers offering several new adult programs including ExploreAbility, DiscoverAbility and PossAbility,” informs Haussling. “Our after school enrichment program includes homework support, outdoor activities, arts and crafts, cooking and more!”
Darreyon, in PossAbility Los Angeles, is prepping food for the Dream Center | Photo courtesy of AbilityFirst
ExploreAbility is an adult day and community integration program currently being offered at the AbilityFirst Joan and Harry A. Mier Center in Inglewood and the AbilityFirst Lawrence L. Frank Center in Pasadena. A licensed program, its objective is to identify what is important to each individual, to develop the skills necessary to achieve their goals, and to be involved in their communities through volunteering and community activities. Individual support and small-group activities promote interaction and learning. The program is designed to help individuals access their communities in their daily lives, work, recreational and leisure activities. It incorporates volunteering, community activities, independent living and skill-building, using a small group model.
PossAbility, offered in Pasadena and Los Angeles, is intended for adults who want to enhance their skills and independence, and to participate in their communities. Individuals in the program are empowered to set and pursue personal goals with an emphasis on employment readiness and increased community connections, including volunteering.
AbilityFirst has two group homes in Pasadena for adults and seniors – Crown House and Sierra Rose.
Debbie baking at Camp Paivika | Photo courtesy of AbilityFirst
According to Haussling, Ability First closed their work centers in December 2019. “We have since launched several new adults programs (mentioned above) and we have an expanding Supported Employment Program. In 2021 we completed a merger with FVO Solutions and we now run their manufacturing program as part of the acquisition.”
This merger gave AbilityFirst the capability to provide equipment and material storage, and to service a wide variety of assembly needs with a dedicated work-force, including: kit assembly; prototype to high volume runs; finished products and sub-assemblies; re-work; mechanical assembly; point-of-purchase displays; gluing and heat sealing; metal frames; and parts salvaging. They work with customers across many markets including government, commercial, consumer and industrial.
Rounding out AbilityFirst’s programs is Camp Paivika (a Native American word meaning “Dawn”) in the san Bernardino Mountains. It was begun in 1946 by the Rotary Club as one of the first full-accessible camps in the United States and has been in active operation since. It is maintained through endowments from donors and fund-raising efforts by community members.
Going to summer camps helps children develop social and communications skills as they participate in activities with other kids. It helps individuals build character and gain self-respect as they become responsible for their own safety and survival in a setting outside their comfort zone.
Camp Paivika offers this same independence and self-reliance for children, teens and adults with physical and developmental disabilities. Specially-trained members of AbilityFirst staff provide assistance and guidance as campers enjoy all the fun activities available to them – archery, arts & crafts, campfires and cookouts, nature hikes, horseback-riding, swimming. It is fully accredited by the American Camp Association.
Kelly (second from left) at City of Hope | Photo courtesy of AbilityFirst
In its 96 years of existence, AbilityFirst has touched thousands of lives and has made it possible for people with disabilities become productive, participating members of society. One successful ‘alum’ is Kelly who was in AbilityFirst’s College to Career program. On May 16 this year, she joined four other interns in the first Project SEARCH internship program, an AbilityFirst partnership with City of Hope and the San Gabriel Pomona Regional Center. An internationally known training model, it is designed to provide vocational training in a natural work setting to individuals with disabilities. It involves an extensive period of skills training and career exploration, innovative adaptations, long-term job support, and continuous feedback from on-site supervisor and trainers. The goal for each program is competitive employment.
What a supremely gratifying outcome! The founding Rotarians would have been so pleased to see how their foundation has grown to become ever more responsive to people’s needs. And with this year’s return of the AbilityFirst Food and Wine Festival, the organization is certain to reach its centennial with an impressive array of programs to help individuals with disabilities enjoy fulfilling lives.
It has been nine weeks since The Blue Boy left The Huntington Art Museum’s Thornton Portrait Gallery for a journey back to its birth home. On January 25, 2022, one hundred years to the day the painting left England forever, The National Gallery in London opened an exhibition of the works of celebrated English painter Thomas Gainsborough called ‘Gainsborough’s Blue Boy: The Return of a British Icon.’
For the gallery, it was a much-anticipated event that was years in the making. In the catalog of the exhibition, The National Gallery Director Gabriele Finaldi, writes that initial negotiations about the possible loan of the painting held between Lord Rothschild and representatives of The Huntington began in 2015 – three years before either Karen Lawrence (The Huntington Library, Art Museum, and Botanical Gardens president) and Christina Nielson (The Huntington’s Hannah and Russel Kully Director of the Art Museum) assumed their current posts.
‘Gainsborough’s Blue Boy’ exhibition catalogue | Photo by May S. Ruiz / Hey SoCal
The Huntington hired its first conservator, Christina O’Connell, in 2013 and one of her initial projects was a survey of the art collections. In 2017 she planned and undertook ‘Project Blue Boy,’ the first technical examination and conservation work that was done in public view. A special satellite conservation studio was set up in the west end of the Thornton Portrait Gallery for the year-long exhibition, from September 22, 2018 to September 30, 2019. More than 217,000 people – many of whom traveled several miles – came to see it. Several habitués to The Huntington speculated that the possible loan was the impetus for the conservation work.
That The Blue Boy has reached an iconic stature is demonstrated by how much attention and scrutiny it invites … and how people react to any news about it. In 1921, when British citizens learned that the second Duke of Westminster sold The Blue Boy to an American industrialist, protests broke out in the streets. When it was on view at the National Gallery for three weeks in January 1922, approximately 90,000 people – some of whom wept – queued to see it for the last time.
Visitors view Thomas Gainsborough’s The Blue Boy at The Huntington in the 1930s | Photo courtesy of The Huntington Library, Art Museum, and Botanical Gardens
The National Gallery’s then director, Sir Charles Holmes, nostalgically inscribed ‘Au Revoi, C.H.’ at the back of the painting. O’Connell, when she worked on ‘Project Blue Boy,’ very thoughtfully made sure it was also preserved. While that wish was granted a century later, Nielsen assures that it didn’t influence The Huntington’s magnanimous loan. “Strictly speaking, we agreed to lend only after lengthy consideration of a number of factors. But it makes part of a great story!”
In a reversal of events, when The Huntington announced in July last year that The Blue Boy was traveling to England for an exhibition, a wave of comments and views erupted. Art enthusiasts and museum-goers – some of whom didn’t have professional art experience – had as strong an opinion on the matter as art critics and experts. L.A. Times art critic Christopher Knight expressed incredulity that The Huntington went against the advice of the very experts the institution consulted. He said conservation experts believed the painting was too fragile to make that arduous journey. The Huntington, just as quickly, issued a response that refuted Knight’s claims. In the letter, Lawrence and Gregory A. Pieschala, The Huntington’s Chair of Board Trustees, mentioned that the institution convened a second panel of conservators and curators in 2019 when most of the conservation work was complete and it advised that the painting could be lent safely.
On both sides of the Atlantic, news that The Blue Boy will be back in its home country for a 16- week exhibition – from January 25 through May 15, 2022 – garnered extensive publicity. Articles were written about The Blue Boy’s storied history and how its image has been used and appropriated.
A Cadbury Company chocolate tin depicting Blue Boy, ca. 1920 | Photo by Aric Allen / The Huntington Library, Art Museum, and Botanical Gardens
The exhibition is expected to draw large crowds as well. While the National Gallery will not release visitation data until the exhibition has closed, Christine Riding, curator of the ‘Gainsborough’s Blue Boy,’ provided an anecdotal report. “The Blue Boy is proving incredibly popular with National Gallery visitors. From the very first day the exhibition opened, with a long queue of people keen to be the very first to say hello to him on his return, we’ve experienced large amounts of people each day eagerly making their way through the Gallery to see this exceptional loan.”
However, much like many renowned works of art, The Blue Boy’s popularity came long after the painter’s death. Riding writes in the exhibition’s catalogue, “One of the ironies of art history is that Thomas Gainsborough’s Blue Boy attracted little public attention (as far as contemporary sources relay) when it was first shown at the Royal Academy in 1770. Yet 150 years later, when it was sold to the American tycoon Henry E. Huntington, it was one of the most famous paintings in the world.”
Indeed, images of the Blue Boy has appeared on everything from chocolate tins to folding screens, as fashion historian and curator Kimberly Chrisman-Campbell chronicles in a blog titled ‘Blue Boy Mania: How Gainsborough’s Masterpiece Colored Pop Culture.’ In it, she records the painting’s history and its appeal to advertisers, entertainers, and interior decorators.
The New Renaissance Society, ‘Baroque n’ Stones’, Hanna Barbera Records, 1966. Blue Boy, wearing shades, graces the cover of this album of Baroque-style musical treatments of such Rolling Stones classics as ‘Get Off of My Cloud’ and ‘(I Can’t Get No) Satisfaction’ | Photo by Aric Allen / The Huntington Library, Art Museum, and Botanical Gardens
Anyone who has seen The Blue Boy identifies with it in some ways. And just like beauty being in the eye of the beholder, the painting stirs a different feeling or emotion in each of us. Leading up to the exhibition opening at The National Gallery, articles published in the U.K. demonstrated this. Matthew Wilson wrote in BBC Culture about its appropriation (or misappropriation) as a symbol for gay pride. Meanwhile, art historian Dan Ho paid a tribute to it in February for LGBTQ+ History Month. Jonathan Jones shared his jaded view in The Guardian that ‘it’s as a hokey vision of English art as a Disney cartoon of a fox hunt.’
Asked by email if the disparate sentiments expressed in the articles make people curious to see The Blue Boy, or if they take away from its mystique, Nielsen replies, “The painting has captivated audiences since it first went on display in 1770. It means something different to everyone who sees it, and that is part of its magic.”
Stories about The Blue Boy will be written in the decades and centuries yet to come. This gorgeous boy, who has inspired countless interpretations and conjured just as many images, could very well signify something else altogether to the generations after us. Some of the ways people relate to him and the painting may not be what Gainsborough originally intended. In Wilson’s BBC Culture article, he cites an art history professor saying “artists cede control of their creations once they are absorbed into the public arena.”
And, in essence, that’s the greatest gift artists could leave behind – for people to make of their artwork what they will. At the same time, it’s an assurance that their artwork will continue to be relevant.