The Chinese Immigrant Group

Immigration as a whole can be seen as the foundation of the New York city that we see today. There are people from tons of countries all around the world, each bringing their own culture to the Big Apple. The Chinese were one of the most prominent groups of immigrants early 21st century. They ultimately grew from 33,000 to nearly 500,000 in 50 years. Many of the Chinese did not simply come to New York because of the opportunities; the environment in China also pushed for emigration. For example, Chinas Open Door Policy, as well as fewer emigration restrictions, made it very easy for the Chinese people to leave and come to New York. The rapid growth of the Chinese population in New York City was not always the case. For example, during the Chinese Exclusion Act, which began in 1882, many Chinese laborers were not allowed to enter the country. The ones that were lucky to arrive before this act had a very difficult life, often being forced to take jobs that no one else wanted such as household servants and laundrymen. Although laws such as the Chinese exclusion act and the War Bride act were repealed directly after World War 2, the true “surge of Chinese immigration began in the 1960s due to the passage of the Immigration and nationality act also referred to as the Hart-Celler act of 1965” (page 122). The traditional quotas were lifted and Chinese immigrants coming into New York reached nearly 20% of all of the Chinese immigrants in the United States.

 

Chinese immigration is culturally different than most immigrant groups coming to America. Due to its size, people were emigrating from both sides of China which often caused language barriers as well as cultural differences within the Chinese community in New York City. In addition, because of this, financial backgrounds were very different; some people came with a lot of money and some couldn’t even afford to eat. 

Just like all other immigrant groups, once the Chinese arrived in New York city, they clustered themselves together. People of the same origin like to stick together to preserve their culture and that is exactly what the Chinese did with the Chinatown development. The living conditions in China town were very inferior however it gave them easier access to jobs and services (130). This enclave clustered economy eventually led to social mobility for the Chinese people. The one problem with these types of clusters is that it very hard to move on to a job in mainstream New York City. Although many might think that the finances would hold them back, things like the cultural and language barriers would often restrict the workers in places such as Chinatown. Not everyone decided to move to the clusters. For example, people who came to New York City with more money were able to bypass mainstream clusters and buy their own homes in nicer areas such as Queens and Brooklyn.  

Contrary to common belief, China town was not the only Chinese cluster in the greater New York City area. For example, Flushing clustered many Mandarin-speaking immigrants as well as people from mainland China. In addition, Sunset Park also became a cluster for many Taiwanese people who spoke Mandarin. Through clusters like these, the Chinese people were able to work together to preserve their culture and improve their economic and social status in the community.

RR (Rom)

 

Ethics Of Sacred Spaces (ACT UP)

ACT UP is an organization that works with many members of the LGBT community to fight for unethical issues in our country such as the HIV/AIDS Crisis. The LGBT community, as well as other groups in the community, feel as if there is not enough being done to help prevent and cure the horrendous disease known as AIDS. Millions of people around the world are dying every year and according to them, the government is not doing enough to help.

Sacred space can be interpreted as a place of importance to people whether it be because of religious reasons or general places that the community values and deems sacred. The use of these places to riot and fight for various causes can be seen as very controversial in today’s society. For example, many individuals feel that although the protestors might be fighting for an important cause, rioting in a sacred place is disrespectful and can actually escalate the issue in a negative way.

Throughout the years of ACT UP, they have definitely taken advantage of the importance of sacred spaces in their protests. For example, one of their most famous protests was at St. Patricks Cathedral where more than 4,500 members of ACT UP entered the Cathedral and acted very disrespectfully towards the people of the Church that were praying. Many of them were shouting and laying on the floor, doing anything to draw attention to themselves and what they are fighting for. Ultimately, I do not think that this was the right way to go about solving the issue. The St. Patricks Cathedral was not the best choice because it is a place of utmost respect and worship and as I previously mentioned, many of the protestors were being very disrespectful during the prayers. In addition, going to a place that has many people that heavily disagree with you will not help the issue; the people of the Church are very much against homosexuality due to the Bible and it would be nearly impossible to change their minds. Although I do believe that their choice of sacred space did stir the pot in the media and overall community, I believe that there are far better places that would benefit their cause in the fight for more AIDS treatments and research.

Moreover, one place that was very effective in my opinion was the White House. Thousands of people went right up to the gate of the White House Lawn and disposed of the ashes of their loved ones who perished due to the lack of government actions. This was a much more effective protest because although the White House is considered a sacred space, it has more people that are on the fence about the issue and would consider the change. In addition, the ashes proved to show physical damage that has been done in society rather than just explaining theoretical casualties or plain numbers.

All in all, I believe that sacred spaces can be either positive or negative depending on the situation at hand. These types of spaces have been used by activists since the beginning of protesting and it is important to understand when it is effective versus when it goes overboard and ruins not only the willingness of people to cooperate but also the message that the protestors try to convey.

RR (Rom)

Stronger Together: Artists During Crisis

The Great Depression began in 1929 with the devastating crash of the stock market. This had a massive impact on not only the Big Apple but the country as a whole. It was so devastating that nearly 1/3 of every employed New Yorker was now unemployed. As stated by Jaffe, “The depression hit the arts especially hard. At least 8,000 actors and 4,000 chorus girls and boys were out of work in New York City (179).” Although artists struggle for employment was a nationwide dilemma, much of the emphasis was placed on New York City: “the country’s theatrical heart (Jaffe 188).”

The artists of New York City were tired of their financial situations as well as the government and wanted immediate change. They needed a form of short term financial security to surviving during this terrible financial crisis. Very few people were willing and able to purchase art in galleries so they needed a different way to be compensated. Ultimately, the government provided temporary relief through various different federal programs. For example, the Federal Art Project gave struggling artists opportunities to be employed during the Great Depression. In addition, a program that helped many performers in the theatre industry was the Federal theatre project created by Harry Hopkins to re-employ the performers of the United States. The official goal of these types of programs was to “put unemployed artists back to work, encouraging many different types of art forms that would be appreciated by a large audience, and fostering projects that had a social purpose (Lampert, 151).”

Social change for artists was crucial during this time. Many communist-supporting theatres joined together to fight for their rights. For example, theatres and organizations such as the Workers Dance League began allowing people of the arts (writers and actors) to express their concerns with current politics. In addition, artists from all across the city used the rise of art initiatives to express their political views. Their goal was to eventually cause social change and persuade people to fight for Communism in the United States.

The attempt of social change was not appreciated by everyone. There were a few politicians that did not support the goal of the Works Progress Administration Federal Art Project and other Federal Art Organizations. Politicians would often deem work they simply did not like as “Communism” as well a cut funding for Federal programs which “disqualified the eligibility of more than eighty-five percent of New York artists (Lampert 153)”. The surprising thing about the fight for social change was that at times, leftists themselves did not agree with some of the production. Their claim was that the basic plot of the agitprop performances attracted leftists instead of relating to the labor revolution which appealed to much more people who were on the fence about their political view.

The idea that the government handed over the relief problems out of pure generosity and thoughtfulness is inaccurate; it took the artists a lot of time and effort before even saw a glimpse of financial assistance. The artists of  New York ultimately fought through groups such as the Artists Union and the Unemployed artist’s group to make the relief efforts permanent. This long journey required a lot of lobbying as well as frequent protests to ensure the permanent employment of artists in the community. Contrary to common belief, the struggle for artists employment was not a one time deal; it was an ongoing battle which consisted of many budget cuts from the government leaving artists unemployed for extended periods of time.

Through thick and thin, the artists were able to fight for their rights effectively through their strength in numbers.

-RR