Monthly Archives: November 2016

Lara Everly: revealing humanity with laughter

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It’s a priceless little tool to be able to take a situation that doesn’t feel good and just take all the weight off of it and bring it into perspective – to laugh about it.
 – Teresa Parmely, from “Free to Laugh”

Actress and director Lara Everly.

Actress and director Lara Everly (photo credit: John Sutton).

Lara Everly made “Free to Laugh,” one of this year’s LUNAFEST films, as part of a web series distributed by Oprah.com called Gratitude Revealed. “I had complete autonomy as the director/creator of my episode, and my task was to show how creativity helps you be grateful,” the writer, director, and actress explained. “So I wanted to bring creativity to an at-risk community that was starved of creativity.” Lara’s background in comedy set the tone, and she knew immediately which community to highlight – incarcerated and formerly incarcerated women. According to a June 2014 Public Policy Institute of California report, California has one of the highest recidivism rates in the country, with approximately 65 percent of those who are released from the California State prison system returning in less than one year. “I feel like culturally we’re dancing around the topic with ‘Orange is the New Black’ and ‘Making a Murderer,’ but the authentic voice of female inmates and former inmates is still an underrepresented one,” Lara pointed out.

Finding freedom and confidence in comedy, from "Free to Laugh."

Finding freedom and confidence in comedy, from “Free to Laugh” (photo credit: Alexander Falk).

The setting for “Free to Laugh” is Los Angeles-based Amity Foundation, which housed women recently released from prison on parole or probation and supports marginalized people with community-building services. Lara hired two teachers and together they created a three-day comedy workshop and brought it to Amity to shoot. The version showing in LUNAFEST film festivals runs eight minutes; however, the version playing at other festivals is 15 minutes long. While audiences still embrace the big heartedness of the shorter version, the original film enables the women to share more of their often-heartbreaking life stories.

A reflective moment in "Free to Laugh."

A reflective moment in “Free to Laugh” (photo credit: Alexander Falk).

Gaining the trust of these women to talk about their lives was something that worried Lara the most going into the shoot, especially since she was going to interview them directly. “Who the hell am I to ask them to share their crimes, their childhood, their hopes with me?” she remembered asking herself. A meet-and-greet event prior to shooting served as an ice-breaker. “I also think the teachers, Samantha Jacks and Gerry Katzman, did an incredible job in bonding with the women,” Lara noted. In addition, the acting skill of being a good listener served her well. “I tried really hard to be completely present and compassionate, so they felt comfortable sharing their stories with me. That said, the biggest credit goes to the women in the film who were brave and vulnerable in opening up to us,” she said.

Just wondering....from "Free to Laugh."

Just wondering….from “Free to Laugh” (photo credit: Lara Everly).

About five of the 19 women in the program are doing “really well,” Lara reported. They have gotten jobs and apartments to call home, and some of them have gotten married. While the rest are struggling and are “still part of a broken system,” according to Lara, the women who have overcome all odds have attended the local film festival screenings and are keeping in touch.

Women supporting one another in "Free to Laugh."

Women supporting one another in “Free to Laugh” (photo credit: Alexander Falk).

‘Comedy with an underbelly’
As a child, Lara was shy and sensitive. “I discovered early on that my humor and wit was not only a way to entertain, but also a way for me to work through my emotions,” she said. “Comedy has been cathartic in helping me cope with my own sensitivity.” And Lara – plain and simple – likes to make people laugh. She has written and directed across myriad types of media, from short films and television to web series, music videos, and commercials. Whatever the media, her approach remains constant. “The connective tissue is championing women in comedy both behind and in front of the camera,” Lara explained. “I like to straddle intelligence and irreverence. I love dark humor, strong female characters, and raw storytelling – comedy with an underbelly.” The other constants are female friendships, finding your voice, and coming into your own.

A scene from "Trumped" - Awkward!

Lara in the main role from a scene from “Trumped” – Awkward!

Two comedies, in particular, expose that underbelly. In “Timmy,” two competitive sets of parents who are trying to one-up one another at a dinner party are put in their place by the host’s outwardly awkward, late-blooming child. While parents may laugh, for many it’s a knowing or uncomfortable laugh. And – who knew? – in “Trumped,” Lara creates a dystopia in the OBGYN’s patient room that chillingly foretells of the impending war over a woman’s body. Lara got a lot of Facebook views for this get-out-the-vote pro-women’s reproductive rights video. “As I was watching the election, I was also watching the comments pour in [about the video], and a lot were negative from conservatives,” she said. “And while many were low-brow attacks, I felt like, ‘Okay, well, I made something that elicited strong reactions.’ I am glad I’m part of the conversation.”

Behind the camera, directing on the set of "Me, You, a Bag & Bamboo."

Behind the camera, directing on the set of “Me, You, a Bag & Bamboo” (photo credit: Patrick Eccelsine).

Ultimately, Lara pointed out, she wants people to feel something. “My job is to create something funny that is true, something authentic to human nature,” she said. “And the goal is people walking away feeling something – happiness, sadness, anger – whatever it may be. I think our only hope is that our work has an impact.”

Directing the two actors on the set of "Me, You, a Bag & Bamboo."

Directing the two actors on the set of “Me, You, a Bag & Bamboo” (photo credit: Patrick Eccelsine).

Speaking out, being disruptive
Another issue Lara has tackled is the gender discrimination that women filmmakers have historically faced in the industry. “I deal with it by writing and by being a part of the genesis of material,” she said. “And by speaking up against sexism in the industry and about offensive stereotypes in stories. But mainly, I deal with it by sticking around, by not going anywhere, even though it can be really uphill as a woman.”

Summer camp like you've never seen it, from "The Patriettes."

Summer camp like you’ve never seen it, from “The Patriettes” (photo credit: Mark John Frank).

Lara recently contributed her thoughts on the topic for the blog section of a website called Or Die Trying, whose tagline is “Dreams are worth fighting for.” In an excerpt of her blog, Lara talks about gender discrimination: “I witness daily the walls women directors encounter that men don’t. My best weapon to gender disparity is to write and keep sharing the female perspective. There is a systemic lack of trust of women in the film industry. Only 8% of directors are female. I didn’t choose this career because I get a high off the gender imbalance, I chose it for the love of the craft. That said, because female directors are such [a] steep minority and we don’t get equal pay, my job inherently makes me political. As women in film, we have a responsibility to not only hire other talented women but to tell our stories. So much of mainstream media is created under the male gaze. Film and comedy are powerful tools, and with it we can disrupt the way women are seen.”

Duking it out in "Baby and Me Yoga."

Lara takes a shot in the melee that is “Baby and Me Yoga” (photo credit: Allison Bird).

Lara’s current projects reflect how she’s wielding her weapons of the pen and camera – and humor. As a new mom, she has been doing “mom-centric comedy.” “As an artist, your work is always going to be a reflection of where you are in your life,” said Lara. “For me right now, that’s exploring the joy and upheaval of being a mom.” She is collaborating with Refinery29’s comedy channel RIOT on a series of sketch comedy, which debuted with the release of “Trumped” in early November. The second in the series was released in mid-November. “Baby and Me Yoga,” pokes fun at two mothers whose recent birthing hardships turn a mother/baby yoga class into a wrestling match over mommy righteousness and entitlement, throwing Namaste out the window. The final installment, “Sugar Babies,” was released November 29th.

Behind the camera on the filming of "The Patriettes."

Behind the camera on the filming of “The Patriettes” (photo credit: Mark John Frank).

In addition to the videos, Lara’s pilot presentation, “The Patriettes,” a musical comedy about a mock government summer camp for teenage girls, is currently in post-production. She’s in talks with the California Institute for Women about the CIW Film Project, which mentors work with inmates to help them create a film made inside the women’s prison. And lastly, Lara is writing a feature film, which she is setting her sights on as her “next big venture.”

Note: You can see Lara’s short film at LUNAFEST East Bay’s screening on Saturday, March 18th, 7:30pm, at the El Cerrito High School’s Performing Arts Theater. For more information, click here.

#GivingTuesday poem

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Today was a long day. I’ve yet to participate in #GivingTuesday. Until then, here is a poem for us all.

Isabella and me at the Holding Hands around Lake Merritt event, November 13th, Oakland, Calif. (with Kelly, Kara, Lisa, Kim, Estella, and Ethan) (photo credit: Kelly Whitney).

Isabella and me at the Holding Hands around Lake Merritt event, November 13th, Oakland, Calif. (with Kelly, Kara, Lisa, Kim, Estella, and Ethan) (photo credit: Kelly Whitney).

When Giving is All We Have

By Alberto Rios, inaugural state poet laureate of Arizona

One river gives
Its journey to the next. [epitaph]

We give because someone gave to us.
We give because nobody gave to us.

We give because giving has changed us.
We give because giving could have changed us.

We have been better for it,
We have been wounded by it—

Giving has many faces: It is loud and quiet,
Big, though small, diamond in wood-nails.

Its story is old, the plot worn and the pages too,
But we read this book, anyway, over and again:

Giving is, first and every time, hand to hand,
Mine to yours, yours to mine.

You gave me blue and I gave you yellow.
Together we are simple green. You gave me

What you did not have, and I gave you
What I had to give – together, we made

Something greater from the difference.

Veena Rao: connecting people through film

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“I never was a dancer, but I can dance in water.”
 – member of The Harlem Honeys and Bears, from “The Honeys and Bears”

In Veena Rao’s LUNAFEST-selected short film, “The Honeys and Bears,” a group of women share their feelings of freedom in the water as part of synchronized swim team for seniors 55 years and older. “I wanted to make something fun, which reflected the joy that these ladies get from the water and from being on a team together,” said the Brooklyn-based filmmaker and producer. “Once I met the team, I really fell in love with them and looked forward to filming with them every time I had the chance.”

Freedom in the water. From "The Honeys and Bears."

Freedom in the water, from “The Honeys and Bears.”

Tchaikovsky’s “Dance of the Reed Flutes” from The Nutcracker Suite complements the women’s movements in the pool. One interesting thing is that while Veena conducted on-camera interviews, she left the footage on the editing room floor. Instead, she decided that “a chorus of voices under their routines made a more visually cohesive film.” And thematically, Veena pointed out, since they work as a team during their routines, each person’s role has equal importance. “It made sense to me to not focus on an individual, but rather create a portrait from different voices who all feel strongly about being on the team,” she explained.

Under water with members of the synchronized swim team.

Under water with members of the synchronized swim team.

Uncovering human motivation
Like “The Honeys and Bears,” many of Veena’s short films are documentaries. “In real life and when making films, I am interested in what drives people, what they feel passionate about, what brings them meaning, because it is the way I, and hopefully those watching my films, can connect to someone on a deeper level,” she revealed.

Sharing Abbas Sheikh's passion in "Mambai Mornings."

Sharing Abbas Sheikh’s passion in “Mambai Mornings.”

When you watch Veena’s documentaries, which are all accessible on her website, you see her subjects opening up about their dreams and fears, fully trusting the filmmaker behind the camera. In “Mumbai Mornings” (2015), Veena captures the world of Abbas Sheikh, who finds purpose in life as an ultramarathoner and hopes his success in running enables him to quit his 12-hour-a-day/six-to-seven-day-a-week job as a jewelry polisher in Mumbai.

In “Carla & Cecil” (2014), New York City-based performer Carla Rhodes related that as a nine-year-old she was mesmerized by ventriloquist Shari Lewis and her puppet Lambchop. While she dreams of one day making it big – she was featured in a local magazine about up-and-coming comedians – Carla airs the difficulty of being a ventriloquist in today’s show business. Along with her circa 1920s puppet Cecil Sinclair, she admitted, “I’m an outsider.” But through Veena’s lens, we view Carla with empathy and poignancy.

Veena behind the camera.

Veena behind the camera.

Veena has chosen diverse subjects for her documentaries – two women find joy in entering plus-size beauty pageants (“There She Is,” 2013, co-directed with Emily Sheskin), artist Heather Dewey-Hagborg exhibits masks of strangers she has created based on genetic material left behind (“Traces,” 2013, also co-directed with Sheskin), a nudist tries to practice his beliefs in an urban world (“Hangin’ Out,” 2010), an art collector struggles with the knowledge that artists’ works are going unseen in his private collection (“Not on View,” 2009), and an art dealer in New York City finds symmetry in his life as an Aikido instructor (“The Art of Balance,” 2008).

The key to drawing subjects out in documentaries is listening to their stories, according to Veena.

The key to drawing subjects out in documentaries is listening to their stories, according to Veena.

“I think the key to gaining the trust of someone you are filming, is to really listen to their story and be in the present moment with them,” Veena explained. “I think this is really hard to do, because you are constantly thinking of what you need to film, what questions you want to ask, but you really need to listen when you are making a documentary. And this is something I’m constantly trying to get better at.”

Many emerging filmmakers will agree that they want to be accepted into the best festivals, get backing to be released, and receive favorable reviews, Veena noted, “I think fundamentally, I want to make films that are deserving of the trust that the people I film with grant me. The reason I make documentaries is to connect to people, and experience their world for a little bit of time, and so truly representing their truth and point of view is so important to me.”  She went on, “I don’t believe that I can make an objective film or that objective films even exist, but I do believe in making films that give power to a character’s point of view and situation, and make the audience feel with those behind the screen.”

Memorable lines from "The Honeys and Bears": “The best part about getting old, you come to grips with many of the things you used to worry about when you were younger. And you’ve figured it out. That’s what I love about being a little older. I’ve figured a lot of things out.”

Memorable lines from “The Honeys and Bears”: “The best part about getting old, you come to grips with many of the things you used to worry about when you were younger. And you’ve figured it out. That’s what I love about being a little older. I’ve figured a lot of things out.”

From the seeds of creativity to the future
A high school photography class sparked Veena’s interest in filmmaking. “I loved the power of a photograph to connect you so deeply to a moment,” she said. “When I discovered film my freshman year of college, the possibility of creating the same connection with moving images and sound fascinated me, and I have been hooked ever since.”

Veena's second-grade teacher and he subject of her short film, "Mrs. Henderson's Kids."

Veena’s second-grade teacher and he subject of her short film, “Mrs. Henderson’s Kids.”

As a senior at New York University’s Tisch School of the Arts, she made a short film entitled “Mrs. Henderson’s Kids.” In her 2008 documentary, Veena’s former second-grade teacher shared the screen with her collection of more than 2,000 dolls and spoke of her love of teaching. “It’s one of my favorites because I think it reflects how she feels about her teaching career and her collection, and it also felt personal to me,” Veena explained. “It made me realize how deeply influential many teachers have been in my life.”

A photograph of Veena as a second grader in her short film, "Mrs. Henderson's Kids."

A photograph of Veena as a second grader in her short film, “Mrs. Henderson’s Kids.”

Her most recent work is the documentary “So You Think You Can Vote?” (2016), which incorporates animation, interviews, and archival footage. The short film was part of We the Voters: 20 Films for the People, a nonpartisan digital slate of 20 short films “designed to inform, inspire and activate voters nationwide with fresh perspectives on the subjects of democracy, elections and governance” leading up to the 2016 elections.

Veena, who is a member of the Brooklyn Filmmakers Collective and the New York Women in Film & Television Documentary Committee, is currently in production on a short documentary about two friends who are both 100 years old and whose friendship of 73 years and running dates back to when they met as nurses during World War II. And if that weren’t enough to keep her busy, she’s also in the research/pre-production phase on two films – one on a miniaturist and the other about a prisoner and his relationship to meditation.

Veena at the San Francisco premier of LUNAFEST in October 2016.

Veena at the San Francisco premier of LUNAFEST in September 2016.

“So far I’ve only made short films, so I’d love to make a feature documentary, and maybe a fiction film down the road,” Veena said. Another goal of hers: “I also want my voice to be strong and clear in my work, which I think is something that often takes time to achieve, and is something I’m working towards.” If her prolific filmography, created in a short period of time, is any indication, Veena is well on her way.

Note: You can see Veena’s short film at LUNAFEST East Bay’s screening on Saturday, March 18th, 7:30pm, at the El Cerrito High School’s Performing Arts Theater. For more information, click here.

Seattle book tour in review: Part 3, Yakima Valley

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The origin of the name remains unknown, though there are legends that describe the derivation of the city’s name. The most popular legend explains that the daughter of a Native American chief from Moxie ran away breaking tribal rules and settled on the Yakima River. In this legend the name Yakima means “runaway.” Another derivation of the name is what the Native Americans used to refer to Yakima as, “Beginning of Life, Big Belly, and Bountiful.”
– Yakima Valley Museum

The last leg of my Seattle book tour, along with Emmy Award-winning filmmaker Marissa Aroy, was in Yakima Valley. Our tour was sponsored by numerous generous organizations, including Pinoy Words Expressed Kultura Arts (KWEKA), Alaskero Foundation, El Centro de la Raza, the Meaningful Movies Project, Filipino American Students Association (FASA) of the University of Washington, 4 Culture, Office of Arts & Culture (Seattle), Filipino American Community of Greater Yakima Valley, Imperial Gardens, Filipino American National Historical Society (FANHS) Chapter 26, and the FANHS National Office.

The perfect time to be visiting Yakima Valley.

The perfect time to be visiting Yakima Valley.

Amazing blue sky with cirrus clouds, fog in the hills, and fall across the valley floor.

Amazing blue sky with cirrus clouds, fog in the hills, and fall across the valley floor.

Not bad for taking photos through the window of a moving car! I wish I had time to stop and enjoy the scenery. Next time.

Not bad for taking photos through the window of a moving car! I wish I had time to stop and enjoy the scenery. Next time.

Maria Batayola served as our wonderful host for our book tour. She showed me a side of Seattle I had never seen (see my two previous news posts “Seattle book tour in review: Parts 1 and 2”), and for that, I am deeply grateful. On Saturday morning, October 22nd, my good friend John, who, along with his partner Kris, had welcomed me into their home for my stay in Seattle, dropped me off in Factoria, Wash., where I met up with Maria and Marissa, and away we drove to eastern Washington.

Layers of sky, cirrus clouds, foothills in fog, and forest.

Layers of sky, cirrus clouds, foothills in fog, and forest.

Just another photo of the spectacular sky.

Just another photo of the spectacular sky.

And mountains that will soon be covered with snow.

And mountains that will soon be covered with snow.

I’ve visited Seattle a number of times, but I’ve never been to the eastern part of the state. I had read David Guterson’s 1999 novel, East of the Mountains, and understood that where Seattle was lush, the eastern part of the state was arid. However, I was also told that the region would remind me of California’s Central Valley because it was rural farming land dotted with small communities.

Huge trees in Ellensburg, Wash.

Huge trees in Ellensburg, Wash.

Close-up of the blazing leaves.

Close-up of the blazing leaves.

The drive took some two and a half hours. Along the way, we saw some amazing landscape – clear streams meandering through different varieties of trees in spectacular gold, orange, and red. Bodies of water were low enough to reveal stumps of trees. And then we entered vast farmlands and signs for Honeycrisp apples. While Yakima Valley is the bread basket for numerous fruits and vegetables, the region is well known for its apples. Eastern Washington is home to more than 175,000 acres of apple orchards, with Yakima Valley being the largest apple-producing region in the state.

If you find yourself in Ellensburg, Wash., eating a meal at the Yellow Church Cafe is a must-do.

If you find yourself in Ellensburg, Wash., eating a meal at the Yellow Church Cafe is a must-do.

The interior of the restaurant.

The interior of the restaurant.

One of the best BLTs. Ever. Hands. Down.

One of the best BLTs. Ever. Hands. Down.

We stopped for lunch at this charming and popular restaurant called The Yellow Church Cafe (111 S. Pearl Street, Ellensburg, Wash. 98926, 509.933.2233), which, as you can guess, is a converted church. The food is heavenly, no pun intended. Whenever a BLT appears on the menu, that’s what I order. What was special about this BLT is that it made with their special bread, which tastes like a fluffy asiago cheese bagel, and instead of the tired mayonnaise, it had an aioli sauce. The chai latte was not overly sweet. The place was hopping. Afterwards, we wandered over to a brightly decorated house a few blocks down inhabited by happy artists. Ellensburg proved to be a quaint and beautiful town.

Entrance to the colorful and cheerful house at 101 N. Pearl Street.

Entrance to the colorful and cheerful house at 101 N. Pearl Street.

Beyond the colorful fence is a yard full of mischievous characters, including this runaway bear.

Beyond the colorful fence is a yard full of mischievous characters, including this runaway bear.

Art lives - indeed - and it also nourishes, brings beauty, gives hope, empowers, enables dreams, and so much more.

Art lives – indeed – and it also nourishes, brings beauty, gives hope, empowers, enables dreams, and so much more.

Key details and a hand waving hello and goodbye.

Key details and a hand waving hello and goodbye.

Found art of bicycle wheels makes a lovely tree.

Found art of bicycle wheels makes a lovely tree.

When we arrived in the town of Wapato, we were first met by Kuya Ray Pasqua, president of the Filipino American Community of Yakima Valley (FACYV). Kuya Ray is a leader in the community, but he also worked with Filipino American labor leader Larry Itliong during the years of the Delano Grape Strike and the United Farm Workers Union. It was an honor to meet him and to hear his stories of those difficult but very important times. FACYV’s Filipino Hall in Wapato, Wash., is the first Filipino Hall built in the United States. FACYV was preparing for its 60th anniversary the following evening, which is a big event that was anticipated to feed some 600 members of the community. It was too bad that Marissa and I would be leaving for home the following morning.

The first Filipino Community Hall in the country.

The first Filipino Community Hall in the country.

Let the 60th anniversary celebration begin!

Let the 60th anniversary celebration begin!

The Filipino Community Hall had a nice display of FACYV achievements through the years.

The Filipino Community Hall had a nice display of FACYV achievements through the years.

The Saturday evening event comprised a short reading from my novel, the screening of Marissa’s documentary, Delano Manongs: The Forgotten Heroes of the United Farm Workers Movement, and a panel discussion with Kuya Ray, Marissa, Maria and me, moderated by local reporter Ryan Yadao. Although attendance was light, the community members who showed up were very engaged in the subject and some had been involved in the farm labor movement, which was great to learn about and to meet them after the event. I can’t say it enough: It was an honor for me to hear of their sacrifices in the fields and across the country in the name of social justice for farm workers.

Group photo of some of the wonderful community members in Yakima Valley.

Group photo of some of the wonderful community members in Yakima Valley.

After the Q&A and book and DVD signing, we were invited to the home of FACYV members Fred Fontanilla, who is a retired chemist, and Bob Plummer, retired professor at Heritage University, for a wonderful dinner, which included great conversation among the 12 of us. And then FANHS Chapter 26 members Dori Peralta Baker and her husband Geoff Baker hosted us for the night. In the morning, we were treated to gorgeous views of Yakima Valley. Dori related the activity of casually counting the bald eagles and salmon in the streams, and how the hills are covered in snow in the wintertime. Dori had put together a display of local Filipino Americans who served in the Vietnam War. She told us the sobering news that Yakima Valley bearing the burden of being the region in the country with the most soldiers of color who fought in the Vietnam War. I should not be surprised, but I was still shocked by the fact that the high school counselors advised the Native American, Filipino American, and Mexican American boys to join the armed forces and serve in Vietnam War because they were not college material. I’m sure this practice was rampant across high schools in America at the time and to this day, but to have your home region bear that awful distinction is heartbreaking.

The beautiful view from our host's backyard.

The beautiful view from our host’s backyard.

Beautiful morning, looking for bald eagles.

Beautiful morning, looking for bald eagles. The hills in the background will be white with snow in the wintertime.

The canal feeds into the river, which I am assuming is the Yakima Valley River. Stunning.

The canal feeds into the river, which I am assuming is the Yakima Valley River. Stunning.

We left Yakima Valley early Sunday morning to return home. I learned so much while on this book tour and I met so many wonderful, giving people. And I saw another beautiful part of Washington State. I hope to return to Seattle and Yakima Valley in the near future – to this wonderful community that I now claim as part of my Filipino American home.

Heading back to Seattle and its fall foilage.

Heading back to Seattle and its fall foilage.

Mt. Rainier bids adieu.

Mt. Rainier bids adieu.

Seattle book tour in review: Part 2

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The sky in Seattle is so low, it felt like God had lowered a silk parachute on us.
– Maria Semple, American novelist and screenwriter

As part of Filipino American History Month, I embarked on a book tour in Seattle and Yakima Valley. Here is Part 2 of my chronicles of my time there.

Breakfast crepe and mocha at the Eastern Cafe in the International District.

Breakfast crepe and mocha at the Eastern Cafe in the International District.

While in Seattle, I stayed with my good friends, John and Kris. My husband, David, and John have known each other since pre-school. John was one of our groomsmen, and he is also the godfather of our son, Jacob. Friday morning, October 21st, John dropped me off at the Eastern Cafe in the International District, where I would later meet up with Marissa Aroy and our tour host Maria Batayola. a few doors down from the Eastern Cafe was the Eastern Hotel, which has a small Carlos Bulosan exhibit. It’s no longer a hotel, but apartments. I was able to get in and take pictures when one of the residents was leaving the building.

The Alps Hotel is now an apartment building, but the sign remains as a historical marker for being one of the hotels where immigrants stayed when they first arrived in Seattle.

The Alps Hotel is now an apartment building, but the sign remains as a historical marker for being one of the hotels where immigrants stayed when they first arrived in Seattle.

The historic Eastern Hotel.

The historic Eastern Hotel.

The modest sign at the Eastern Hotel, with my reflection.

The modest sign at the Eastern Hotel, with my reflection.

I was excited to see that the Carlos Bulosan quote on the wall of the Eastern Hotel is the quote that opens my novel.

I was excited to see that the Carlos Bulosan quote on the wall of the Eastern Hotel is the quote that opens my novel.

More historic photos in the Carlos Bulosan Museum Exhibit at the Eastern Hotel.

More historic photos in the Carlos Bulosan Museum Exhibit at the Eastern Hotel.

Eliseo Silva's Carlos Bulosan mural at the Eastern Hotel, 1999.

Eliseo Silva’s Carlos Bulosan mural at the Eastern Hotel, 1999.

Marissa Aroy and I met up at the Luke Wing Museum of the Asian Pacific American Experience (719 S. King Street, 206.623.5124) in the International District, upon recommendation by and as guests of Maria Batalyola, with Pinoy Words Expressed Kultura Arts (PWEKA) and the Filipino American National Historical Society (FANHS) National Office, who were also some of our sponsors for the trip.

The Wing Luke Museum in the International District, Seattle.

The Wing Luke Museum in the International District, Seattle.

Looking in from the outside.

Looking in from the outside.

"A Mend: a Local Collection of Scraps from Local Seamstresses and Tailors" by Aram Han Sifuentes, who explores the politics of what she describes as "immigrant sweated labor" in the U.S. "Constructed from denim remnants gathered in recent years from garment workers in the Chicago area, the piece introduces the challenges many women working in such employment face today: low wages, language barriers which limit employment options, tedious hours, and unregulated working conditions without union or collective bargaining protections."

“A Mend: a Local Collection of Scraps from Local Seamstresses and Tailors” by Aram Han Sifuentes, who explores the politics of what she describes as “immigrant sweated labor” in the U.S. “Constructed from denim remnants gathered in recent years from garment workers in the Chicago area, the piece introduces the challenges many women working in such employment face today: low wages, language barriers which limit employment options, tedious hours, and unregulated working conditions without union or collective bargaining protections.”

A close-up: "Sifuentes, who is of Korean origin and the daughter of a seamstress, gathers stories along with these textile scraps, the remnants of blue jeans, a garment inextricably linked to American identity. Calling her final pieces 'quilts,' Sifuentes challenges expectations further. While quilts are typically made by sewing a layer o batting between a top and bottom layer, here Sifuentes uses gaps - perhaps a metaphor for untold stories - as a middle layer."

A close-up: “Sifuentes, who is of Korean origin and the daughter of a seamstress, gathers stories along with these textile scraps, the remnants of blue jeans, a garment inextricably linked to American identity. Calling her final pieces ‘quilts,’ Sifuentes challenges expectations further. While quilts are typically made by sewing a layer o batting between a top and bottom layer, here Sifuentes uses gaps – perhaps a metaphor for untold stories – as a middle layer.”

I’m grateful that such a museum exists. It’s a beautiful building and space, but more importantly it celebrates so many underrepresented and underappreciated ethnic groups who made lasting and continuing contributions to American history and culture. The Wing is “dedicated to immersing you in uniquely American stories of survival, success, conflict, compassion and hope. Through our guided tours and ongoing exhibitions, you can experience real life stories of the Asian Pacific American community.” An exhibit on Bruce Lee and a sobering and harrowing history of Cambodia’s “killing fields” and emigration from the country are currently being shown.

Letter Cloud by Susie Kozawa (b. 1949) and Erin Shie Palmer (b. 1957), 2008. Reproduced archival letters on paper and audio of letters being read: "here is this place of immigrant stories, the view of the sky recalls the expanse of ocean crossed to reach this new home in America, a crossing that must now be made by words o love and longing sent to those back home."

Letter Cloud by Susie Kozawa (b. 1949) and Erin Shie Palmer (b. 1957), 2008. Reproduced archival letters on paper and audio of letters being read: “here is this place of immigrant stories, the view of the sky recalls the expanse of ocean crossed to reach this new home in America, a crossing that must now be made by words o love and longing sent to those back home.”

Me amid "Letter Cloud": "The cloud cover of paper floats these words across tie and space in the form of letters - tegami - hand-written carriers of hope and dreams, stories of daily life and connection between family and friends. And here, amidst sounds of the open sky and sea, are soft voices speaking words that are carried in the letters home."

Me amid “Letter Cloud”: “The cloud cover of paper floats these words across tie and space in the form of letters – tegami – hand-written carriers of hope and dreams, stories of daily life and connection between family and friends. And here, amidst sounds of the open sky and sea, are soft voices speaking words that are carried in the letters home.”

One of the main exhibits honors Asian Pacific Islanders Americans who emigrated from their home countries in search of a better life.

One of the main exhibits honors Asian Pacific Islanders Americans who emigrated from their home countries in search of a better life.

Poster instructing local Japanese Americans of mandatory internment.

Poster instructing local Japanese Americans of mandatory internment.

A miniature bunkhouse in a local internment camp.

A miniature bunkhouse in a local internment camp.

One room is dedicated to Filipino Americans.

One room is dedicated to Filipino Americans.

A Filipino American collage and timeline.

A Filipino American collage and timeline.

In the afternoon, Maria gave us a mini tour of historic sites in the International District. Maria was instrumental in the creation of the Filipino American Historical kiosk, “Honoring Filipino Americans in Chinatown International District, 1911-2010,” at the corner of S. Weller Street and 6th Avenue South. The kiosk will be formally dedicated in early November.

Filipino American Historical kiosk.

Filipino American Historical kiosk.

The other side of the kiosk - a history lesson.

The other side of the kiosk – a history lesson.

Marissa's a pro with selfies.

Marissa’s a pro with selfies.

Later, we crossed the José Rizal Bridge, which “carries 12th Avenue South over South Dearborn Street and Interstate 90 in Seattle, connecting the International District to Beacon Hill.” One of the first permanent steel bridges in the City, the beautiful verdis green bridge was originally called the 12th Avenue South Bridge or the Dearborn Street Bridge before it was renamed in 1974 in honor of the Filipino patriot and national hero José Rizal. The bridge was listed on the National Register of Historic Places in 1982, however, under its original name. Dr. José Rizal Park, on the west side of Beacon Hill boasts a view of south downtown, Elliott Bay, Safeco Park – home of the Seattle Mariners MLB team – and the Seattle Seahawks’ CenturyLink Field. The 9.6-acre parcel of land was purchased by the Parks Department in 1971 and dedicated in 1979.

Bust of Jose Rizal.

Bust of Jose Rizal.

"East is West" by Val Laigo, 1981: "This tryptich is dedicated to all of Filipino persuasion the residents and denizens of Beacon Hill instead anyone who still enjoys and exercises a sense of humor and good will...." - Val Laigo.

“East is West” by Val Laigo, 1981: “This tryptich is dedicated to all of Filipino persuasion the residents and denizens of Beacon Hill instead anyone who still enjoys and exercises a sense of humor and good will….” – Val Laigo.

Maria also gave us a tour of the historic Panama Hotel, located in the International District. Designed by Japanese-American architect Sabro Ozasa and built in 1910, the Panama Hotel, a National Historic Landmark and National Treasure, housed a Japanese bath house, businesses, restaurants, and sleeping quarters for residents and visitors. Jan Johnson, who is the third owner of the hotel, restored the building to its condition before the Japanese in Seattle were evacuated. From what I understand, a number of Japanese American families stored their belongings in the basement of the Panama Hotel, with the hope of returning home, which many did not. Johnson closed off the basement that holds the belongings of the Japanese families to the public, and has installed a glass panel in the floorboards for visitors to view the artifacts from above. It’s quite moving.

The entrance of the historic Panama Hotel.

The entrance of the historic Panama Hotel.

A very cool retro look at the stairs from the entrance of the hotel.

A very cool retro look at the stairs from the entrance of the hotel.

The National Historic Landmark plaque.

The National Historic Landmark plaque.

The lower level of the Panama Hotel's cafe boasts historic black-and-white photos on the brick walls and comfortable tables for coffee and tea.

The lower level of the Panama Hotel’s cafe boasts historic black-and-white photos on the brick walls and comfortable tables for coffee and tea.

The window to the basement: the contents belonging to interned Japanese-American families have never been touched since they were left there during WWII. A chilling and sad sight.

The window to the basement: the contents belonging to interned Japanese-American families have never been touched since they were left there during WWII. A chilling and sad sight.

Black-and-white photos chronicling the times when Japanese American families thrived in Seattle before WWII.

Black-and-white photos chronicling the times when Japanese American families thrived in Seattle before WWII.

A close-up black-and-white photograph depicting life in Seattle in the Japanese-American community.

A close-up black-and-white photograph depicting life in Seattle in the Japanese-American community.

The inside of the storefront window showcasing artifacts.

The inside of the storefront window showcasing artifacts.

The inside of the storefront window showcasing artifacts.

The other exhibit in the storefront window of the Panama Hotel.

Farewell, Panama Hotel! Next time we will have to stay longer and have a pastry and cup of tea.

Farewell, Panama Hotel! Next time we will have to stay longer and have a pastry and cup of tea.

We made my first trip to the FANHS National Office (810 18th Avenue, #100, 206.322.0204), located within Lake Washington Girls Middle School. Although I saw Dorothy Cordova, Executive Director and Co-founder, with her late husband, of the Filipino American National Historical Society, at the 2016 FANHS Conference in New York City, this meeting represented my first introduction to “Auntie” Dorothy. I presented my novel to Auntie Dorothy as a gift to the FANHS Library.

Auntie Dorothy and me with my novel (photo courtesy of Maria Batayola).

Auntie Dorothy and me with my novel (photo courtesy of Maria Batayola).

Collage with a group picture of Joan May Cordova, Marissa, Auntie Dorothy, Maria, and me.

Collage with a group picture of Joan May Cordova, Marissa, Auntie Dorothy, Maria, and me.

Marissa and I enter the "Catacombs" (photo courtesy of Maria Batayola).

Marissa and I enter the “Catacombs” (photo courtesy of Maria Batayola).

Marissa and I were treated to a visit to the FANHS archives, also known as the “catacombs,” where specially built shelves house hundreds of boxes of files on Filipino Americans. While Marissa looked through her file, I doubted that I had a file on me. To my surprise, I found two files – under Patty Enrado and Patricia Enrado – with correspondences that I had written to FANHS in 2005-2006, among them requesting contact information for a project on the Filipino Manilamen, which I ended up abandoning. I also sent a link to my short story, “We Are Thinking of You,” which had won an award in 2002 from Serpentine e-zine, and a journal that had published one of my other short stories. I didn’t save the online short story as a pdf, which was a shame because at some point this year the site was taken down and the link broken, forever erasing the existence of the story as is (I had various revisions of the story but no final Word version that matched the printed version). I was ecstatic, therefore, to take pictures of the printed story, and now I’ll have to figure out a way to get it up on my author website.

A letter I wrote to FANHS nearly 17 years ago!

A letter I wrote to FANHS nearly 17 years ago!

Boxes and boxes of files in the catacombs.

Boxes and boxes of files in the catacombs.

Political posters of every Filipino American candidate for office in the U.S. on the walls.

Political posters of every Filipino American candidate for office in the U.S. on the walls.

Originally, Maria was going to treat the three of us to dinner at Kusina Filipina (3201 Beacon Avenue S., 206.322.9433), but the place closed just as we walked up. The silver lining, however, was choosing Bar del Corso (3057 Beacon Avenue S., 206.395.2069, www.bardelcorso.com), a pizzeria, restaurant on Beacon Hill, as our backup destination a block away. Maria let us know that the wife who owns the restaurant with her husband, Jeff Corso, who is chef and general manager, is Filipino. Auntie Dorothy pointed out that a framed Filipino family photograph hangs in a hallway in the restaurant. Gina Tolentino Corso, the marketing and creative manager, is a freelance graphic designer, a painter and illustrator, and “lover of good food.” Her artwork – big, bold, and colorful paintings – hangs on the walls of the restaurant. Maria had announced to our waiter Auntie Dorothy’s presence and her title. So it should not have come as a surprise that Gina came to our table and said, “You must be the table of Filipino American women.” She was a delight to meet. When told of my book, she expressed interest in reading it. And although I didn’t ask where she was originally from, she attended UC Davis. Ah, the Aggie connection again in the Pacific Northwest!

Fall in the International District, Seattle.

Fall in the International District, Seattle.

I have to talk about the food because it was phenomenal – simply and deceptively prepared but complex and flavorful in taste. We ordered two salads, one of which had bits of crunchy savory crackers. We also ordered Polpettine (house-made meatballs in tomato sauce), Vongole Alla Marinara (Manila clams, garlic, controne pepper, cherry tomatoes, white wine, extra virgin olive oil, and parsley), Grilled Octopus (with corona beans, lacinato kale, spicy ‘Nduja salame, and extra virgin olive oil), and a pizza – Funghi, with crimini mushrooms, house-made sausage, cherry tomatoes, pecorino, and fontina. Family-style serving enabled us to sample everything. We ate everything and were happily sated. The next time I’m in Seattle, I’m returning to Bar del Corso.

Friday evening, as part of Celebrating 2016 Filipino American History Month, Marissa screened her film and I read a short excerpt at the Centilia Cultural Center at Plaza Roberto Maestas (1660 S. Roberto Maestas Festival Street, Seattle). The center recently opened after restoration of an old school house and the building of affordable housing and community-use buildings. What a beautiful project El Centro de la Raza took on! El Centro de la Raza, “the Center for People of All Races,” is “a voice and a hub for the Latino community” as they “advocate on behalf of” its “people and work to achieve social justice.” The evening’s theme reflected the mission of the nonprofit. Maria and Estela Ortega, executive director of El Centro de la Raza, welcomed the audience. Estela related that she had worked in the fields in Texas and was active in the United Farm Workers union but never knew that the Filipino American farm workers initiated the Great Delano Grape Strike of 1965 and were instrumental in the formation of the UFW. One of the goals of the evening of reading and screening was to highlight Filipino-American contributions to the farm labor movement, strengthen ties among Filipino and Latino workers, and honor Larry Itliong’s Northwest labor leadership and contribution with the local IBU salmon cannery workers.

A panel discussion followed, which included Auntie Dorothy, Marissa, Ray Pascua, farmworker organizer and President of the Greater Yakima Valley Filipino American Community, and Rick Guirtiza, Vice President of the International Boatman’s Union Local, Maritime Division of ILWU. I met the University of Washington students who are members of the Filipino American Student Association (FASA) and a handful of audience members who were interested in my book. Maraming salamat to Alaskero Foundation, 4Culture, Seattle Office of Arts & Cultural Affairs, FANHS National and PWEKA, who sponsored the Friday evening reading.

(to be continued….)