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Broadway Advocacy Coalition Tony Awards Performance 2021

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Broadway Advocacy Coalition Tony Awards Performance 2021

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"What does your silence sound like?"

You can't stop @BwayAdvocacyCo's beat! #TonyAwards

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"What does your silence sound like?"

You can't stop @BwayAdvocacyCo's beat! #TonyAwards https://t.co/Ja07S5hyqM

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Don’t miss what’s happening

People on Twitter are the first to know.

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"What does your silence sound like?"

You can't stop @BwayAdvocacyCo's beat! #TonyAwards pic.twitter.com/Ja07S5hyqM
— CBS (@CBS) September 27, 2021

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"What does your silence sound like?"

You can't stop @BwayAdvocacyCo's beat! #TonyAwards https://t.co/Ja07S5hyqM

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"What does your silence sound like?"

You can't stop @BwayAdvocacyCo's beat! #TonyAwards https://t.co/Ja07S5hyqM

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"What does your silence sound like?"

You can't stop @BwayAdvocacyCo's beat! #TonyAwards

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This is an open-access repository of recent or current projects, organizations and professionals using arts and culture-based approaches to promote COVID-19 vaccine confidence and demand. Designed for public health professionals, explore this repository to find promising practice examples and professional contacts for engaging arts and culture in public health vaccination efforts.

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University of Florida Center for Arts in Medicine | Covid-19

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This is an open-access repository of recent or current projects, organizations and professionals using arts and culture-based approaches to promote COVID-19 vaccine confidence and demand. Designed for public health professionals, explore this repository to find promising practice examples and professional contacts for engaging arts and culture in public health vaccination efforts.

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Juneteenth - Smithsonian National Museum of African American History & Culture

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Juneteenth - Smithsonian National Museum of African American History & Culture

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National Museum of African American History and Culture

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What is Juneteenth?

On June 19, 1865, Union General Gordon Granger arrived in Galveston, Texas. He informed the enslaved African Americans of their freedom and that the Civil War had ended. This momentous occasion has been celebrated as Juneteenth - a combination of June and 19 - for over 150 years.

We will begin this celebration with a rendition of the Negro National Anthem, "Lift Every Voice and Sing."

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On June 19, 1865, Union General Gordon Granger arrived in Galveston, Texas. He informed the enslaved African Americans of their freedom and that the Civil War had ended. This momentous occasion has been celebrated as Juneteenth - a combination of June and 19 - for over 150 years.

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With the Covid-19 pandemic still ongoing, hundreds of pride events have been cancelled across America. But the celebrations will continue online. There will be digital parties but also a range of online exhibitions that trace the history of pride, beyond the parade and rainbow flags.

Performance, Protest & Politics: the Art of Gilbert Baker

We're all familiar with the rainbow flag, but where did this beacon of pride come from? It was designed by Kansas-born artist Gilbert Baker, who created the flag as a symbol of hope in 1978. Baker's rainbow flag led to the mile-long rainbow flag used for New York City's pride parade in 1994, then became an iconic political symbol. This online exhibition is part of the GLBT Historical Society Museum's exhibition in San Francisco, co-curated by Joanna Black and Jeremy Prince, and features a short film by Vincent Guzzone called Love Gilbert, which documents Baker's efforts for gay rights activism. As Gilbert once said: "When all else fails, art is the ultimate weapon."

Robert Gober: Sculpture, Photographs, and Works on Paper 1976-2019

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Page 12 1978-2000. Photograph: Robert Gober, Courtesy Matthew Marks Gallery

As part of an exhibition with the Matthew Marks Gallery, the work of New York artist Robert Gober over the past 40 years is being shared. Among the many artworks, there is banality (a bag of cat litter), political upheaval (bundled newspapers from the 1990s) and sexuality ( drawings of body parts). Many of his pieces are both intimate and yet, emotionally distant. "I couldn't take Gober's work, not at first," Hilton Als, the writer, once said. "The coolness of his palette, the clinical nature of his creations, only made it harder to recover from. The beauty of his line confused me; did it express a distance from or a triumph over the chaos of the times?"

50 Years of Pride

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Rise, Resist, Unite, 2017; photograph by Lenore Chinn. Photograph: Lenore Chinn

Last year was the 50th anniversary of the Stonewall uprising and this year, the GLBT Historical Society in San Francisco has a 50 Years of Pride exhibition, featuring roughly 50 photos from the city's pride parades from the 1970s onward, as well as highlights from the legalization of gay marriage. It's what Terry Beswick, the society's executive director, says is a way to "examine the evolution of our LGBTQ rights and freedoms, as well as our awareness of how our movement intersects with other social justice movements".

Salman Toor: How Will I Know

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Salman Toor, Bar Boy. Photograph: Courtesty of the Whitney and the artist

The Whitney Museum of American Art is hosting an online exhibition showcasing the works of the Pakistan-born, New York-based artist Salman Toor. The artist paints young gay men hanging out in nightclubs, downtown apartments and in bars, often tinged with a green-hued palette (which calls to mind the works of French artist Henri de Toulouse-Lautrec). Toor paints intimate portraits of men taking selfies in bed, zoning out in social gatherings and staring blankly at phone chargers, too. As Ambika Trasi notes in the exhibition essay, the paintings are ruminations on queer south Asian men living in the diaspora, and that his work "acknowledges the precariousness of relying on aspirational beauty - and the accumulation of likes or hearts - for self-love".

Can You Save Superman?

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Jordan Eagles - American Carnage. Photograph: Courtesy of the Leslie Lohman Museum

An online exhibition on the Leslie-Lohman Museum of Art features a project by New York artist Jordan Eagles, who uses blood as an artistic medium. Ahead of World Blood Donor Day on 14 June, it taps into the timeliness of a global blood shortage. Queer men, who have wanted to donate blood during the pandemic, were banned from doing so until April, when the US Food and Drug Administration updated their policy to allow gay and bisexual men to donate blood - if they are celibate for three months. The artist has taken a vintage Superman comic book from the 1970s and repainted it to tell the story of a Superman who needs to be saved with a mass blood transfusion. In addition to this online exhibit, the museum will host a virtual pride party called Lockdown Loft on 28 June, which will feature an array of live performances, screenings and artworks.

Mien

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Work by Naima Green. Photograph: Courtesy of TRNK

TRNK, a New York design studio is featuring queer artists of color as part of their online pride exhibition, Mien, to help benefit the Ali Forney Center, which helps LGBTQ homeless youth. The exhibit, curated by the studio's co-founder Tariq Dixon, features color photos by Dorian Ulises López Macías and Elliott Jerome Brown Jr, among others, and photo prints will be sold through their website until 30 June. It taps into what Dixon calls: "The fury over society's attempt to erase individual experiences, but the fulfillment earned by inspiring others who see themselves in you," he said. "The artworks are strong assertions of their undeniable individuality, but they all join together in celebration of a shared queer identity."

Time-Sensitive

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Jared McGriff - A Passing Ritual II. Photograph: Courtesy of the artist

The Miami gallery Spinello Projects is hosting an Instagram exhibition which features different artists each week, and will be curated in real time, in response to time-sensitive issues. The gallery director, Anthony Spinello, says it's "open to our represented artists and extended family who identify as LGBTQ+, minority, or allies". Some of the works included is My Little Brother's Casket, by Reginald O'Neal, an up-and-coming black painter based in Miami, as well as paintings of black figures by Jared McGriff and a piece by Eddie Arroyo, which depicts a street scene with a sign that reads: End Police Brutality. "Another day, another hashtag, another soul gone at the hands of police brutality and white supremacy," said Spinello. "If black lives don't matter, no lives matter. This show is a virtual rallying cry for justice in solidarity with our black brothers and sisters, and for all those who are deemed other."

Illegal to Be You: Gay History Beyond Stonewall

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The best online LGBT exhibitions for pride month

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With the Covid-19 pandemic still ongoing, hundreds of pride events have been cancelled across America. But the celebrations will continue online. There will be digital parties but also a range of online exhibitions that trace the history of pride, beyond the parade and rainbow flags.

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The rainbow flag received two extra stripes to represent LGBTQ+ people of color.

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By Matthew Harris-Ridker (Community Outreach, GED, & Cultural Intern)

As Americans, we live in a country where activism is everywhere. This year especially, resistance has taken to the streets and caught the attention of citizens all over. Protests against the Dakota Access Pipeline, the Women's March, and #NotMyPresident protests all over the country are just a few of the many activist events that I have both watched and been a part of this year and have proven that when people come together change can happen.

However, while allies and protests can be effective ways of getting a point across, art activism can offer people a more unique, and sometimes, more poignant way to send a message. Throughout time, art has sparked emotion within its viewers - art activism tries to do just that by evoking empathy in the general population so as to garner support for the artists' causes.

According to Buckland, Boyd and Bloch from beautifultrouble.org, artwork creates this emotional reaction in people by inviting viewers/consumers to think rather than telling them what to think. This is seen as one of arts' great powers: if you make art accessible and aesthetically appealing enough, people will want to follow where the thought goes. And, because they're deciding where to go with it, they'll easily connect it to their own experience.

Human banners, artistic vigils, creative disruptions, and diverse social justice theatre performances are just a few examples of how art activism can be used to encourage an audiences' emotional connection to causes that are not taken as seriously as they should be (Buckland). In that vein, the title of this piece is "Philadelphia's Pride Flag: Art Activism in Action" because I think Philadelphia's decision to add the black and brown stripes to their pride flag is a timely example of art activism within the LGBTQ community.

Simply put, the reasoning behind the controversial additional stripes was to better represent people of color within the LGBTQ community and address the myriad of problems surrounding race and ethnicity within the LGBTQ community. Vox reports that people of color within the community have complained about not feeling totally welcome due to a lack of intersectionality within the LGBTQ community and that issues regarding people of color are being overlooked. Examples of this include failure to fully address the escalating violence against transgender people of color, the increased prevalence of and lack of programming for LGBTQ homeless youth and LBGTQ people of color who are affected by HIV/AIDS, and the consistent whitewashing of LGBTQ history. Vox also reports there have been complaints about casual discrimination because there is an "ideal" gay man image within the LGBTQ community that men of color cannot fit into as easily as white men. In many ways, it is harder for non-white LGBTQ people to get the same kind of respect that white privilege grants Caucasian members in the community.

By changing a historic and recognizable symbol within the LGBTQ community, Philadelphia is participating in a kind of art activism called détournement, also known as "culture jamming," which is defined by Zach Malitz of beautifultrouble.org as alteration of an existing media artifact, one that the intended audience is already familiar with, in order to give it a new, subversive meaning... often with the intent to criticize the appropriated artifact. A past use of détournement would be the neo-Situationist magazine Adbusters creation of American flags with corporate logos substituted for the stars, so as to send a message Americans that corporations run this country, not the people (Malitz). Another good example of détournement would be the activist superimposition of UC Davis police officer Lt. John Pike in several famous art pieces (Malitz). To clarify, Pike became a polarizing figure when he was captured on film whilst casually pepper-spraying peaceful protestors; the activists who created the images wanted to call attention to police brutality in America (Malitz). One image had Pike superimposed in the Beatle's iconic Abbey Road cover pepper spraying Paul McCartney in the face; another depicted Pike in Georges Seurat's famous painting A Sunday Afternoon on the Island of La Grande Jatte as he pepper sprayed a woman lounging in the grass (Malitz). Each of these examples showcase ways in which an oppressed group successfully caught the public's eye and demanded social justice through visual art.

Philadelphia is taking similar action by changing a well-known image and altering its meaning to get their point across; the issues surrounding people of color in the LGBTQ community are not being treated as seriously as they should. Amber Hikes, the executive Director of Philadelphia's Office of LGBT Affairs, stated to Vox that this change in the pride flag is, "a push for people to start listening to people of color in our community, start hearing what they're saying...And really to believe them and to step up and say, 'What can I do to help eradicate these issues in our community" (Abad-Santos).\

Obviously, just reading headlines about the rampant mistreatment of people of color are not pushing the LGBTQ community to do more to fix issues like Trans violence, homelessness s, and preferential treatment of white LGBTQ people. Hopefully, Philadelphia's art activism will create an emotional response that causes the LGBTQ community to "wake up" and take action. Changing the symbol that is supposed to represent a community of equality by adding something that symbolizes the reality of inequality in this community could be the push we need to change as a social group. It could very well be the call to action necessary to make more privileged members of the community stop just reading headlines and statistics and start actually doing something. LGBTQ people of color must be supported members because there is no escaping these issues now that they are staring at us in the face as the pride flag waves in the winds of Philadelphia.
Sources:
Abad-Santos, Alex. "Philadelphia's Ew, Inclusive Gay Pride Flag Is Making Gay White Men Angry." Vox. Vox, 20 June 2017. Web. 28 June 2017.

Buckland, Kevin, Andrew Boyd, and Nadine Bloch. "Balance Art and Message." Beautiful Trouble: A Toolbox for Revolution. Beautiful Trouble, Various Authors, n.d. Web. 28 June 2017.

Malitz, Zach. "Détournement/Culture Jamming." Beautiful Trouble. Beautiful Trouble, Various Authors, n.d. Web. 28 June 2017.

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Philadelphia's Pride Flag: Art Activism in Action

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By Matthew Harris-Ridker (Community Outreach, GED, & Cultural Intern) As Americans, we live in a country where activism is everywhere. This year especially, resistance has taken to the streets and caught the attention of citizens all over.

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This article discusses the evolution of art in the LGBTQ+ community from ancient history, to Stonewall, to present-day.

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LGBT+ art has been around for centuries, but with the 50th anniversary of Stonewall this year, it's essential to see how the queer liberation movement has transformed and utilised art.

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Using Art to Drive Social Change - Grace Owen

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Using Art to Drive Social Change - Grace Owen

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Illustrator + Activist Grace Owen on Using Art to Drive Social Change

Even though we're all staying apart, we're sheltering in place, wearing masks, living a completely surreal life - many of us have, finally, come together stronger than ever to dismantle systemic racism. We're united on this front and artists, designers, and creatives are a huge part of this effort. As the world's storytellers, many artists feel that they have a responsibility to move us forward. Grace Owen believes that wholeheartedly and, in this week's edition of Creative Crushin', we'll hear from Grace about social justice, inspiration and her mission as an artist.

Anjelika Temple here, Co-founder and Chief Creative Officer of Brit + Co. I was one of the thousands of people to repost artist Grace Owen's hand-lettered illustration of this poignant Desmond Tutu quote (pictured here). Like many people, it caught my eye and expressed a powerful message that I felt needed to be shared. I immediately reached out to Grace to learn more about her work, her vision and what activism means to her. Now, months later, I'm thrilled to be able to share her story with you.
Anjelika Temple: First off, tell us a little more about your background. Where did you grow up? Where are you based now?
Grace Owen: I was born and raised in Lake Charles, Louisiana, and I'm currently based out of Baton Rouge, Louisiana, two hours east of my hometown. I'm a senior at Louisiana State University studying digital advertising and visual communication. I work as a freelance artist specializing in graphic design, illustration, and lettering. Growing up I always gravitated towards creative/artistic activities and hobbies, but I didn't really see it as a career path until college. Now I couldn't see myself doing anything else - it's a dream come true to be able to call this my job.
AT: Your Desmond Tutu quote illustration (and print) went completely viral a few weeks ago. Tell me more about how it felt seeing your work pop up all over the Internet. What inspired you to create this piece?

GO: When I saw the news about George Floyd, I was feeling shocked, confused, angry, helpless. I was also very moved by the outpouring of support for the Black Lives Matter movement on social media. I wanted to make a statement, but I didn't know exactly what to say. I remember seeing the Desmond Tutu quote somewhere and it really resonated with me. I honestly just started drawing the words on my iPad, not really thinking much about the design or lettering itself, just going with the flow of it. I was originally worried that it didn't look good enough to post.

I think it was so well-received because it completely flipped people's way of thinking. People who otherwise wouldn't have spoken up now realized that this was their opportunity to use their voice and stand up for what's right. It challenged them to think about how their individual silence and neutrality, though seemingly harmless, allows and perpetuates injustice and violence. The poignancy and shareability of it formed a worldwide virtual protest.

GO: I got hundreds of messages from people wanting to use it in protests, so I uploaded the files onto my site for people to print out and post around their areas and use as protest signs. People have sent me photos from around the world of my design being used in protests, taped on telephone poles, plastered on city streets. I started selling it on prints, shirts, and stickers and donating all of the proceeds to organizations supporting and furthering the Black Lives Matter movement.

The response has been unbelievable, I still can't wrap my head around it. It's a message that needs to be spread and I'm glad that I could contribute. We've still got a long way to go in the fight against racism and injustice, and design is by no means the cure, but I think it's certainly making waves and changing the world.

Editor's Note: You can download and print Grace's free flyers here + buy art prints here (proceeds are donated to George Floyd Memorial Fund, NAACP, The Loveland Foundaton, The Bail Project, Sister Hearts Re-Entry Program, and Liberty's Kitchen). AT: Why do you love to make things? What's your north star?
GO: Making things is just what comes naturally to me. It's a way for me to process information and document my thoughts, feelings, and experiences along the way. I look at it as bringing my imagination into reality. My work is the exploration of my human experience; design is a creative outlet that I can use to learn about myself and the world around me. Of course it's not always deep insights, sometimes it's just symbols and icons that I like the vibe of. Regardless of what I'm making, I'm always having fun with it. When I'm working, I try not to think too much about it and instead just focus on getting into a creative flow state. It's really helped me to discover myself and ultimately to be more present and appreciative.
AT: Do you consider yourself an activist as well? Tell me more about how issues of social justice play into your work and life.
GO: My role personally as an artist is to be an activist as well. I think they go hand in hand. We're all responsible for using our talents to move society forward and do what's right. There's no use in sitting around and waiting for someone else to speak up - if you don't, who will? We're waking up to the harsh reality of our corrupt system and we've got a chance to change things; the revolution starts with us. Especially as a designer, I feel called to use what I've been given to give to the greater good. It's so rewarding to see that my work has inspired action and change.

My first real graphic design job was for a senator who was advocating for the ratification of the Equal Rights Amendment in Louisiana. I realized that design, something abstract, can have powerful effects in the real world. It's literally visual communication - the way we use design can communicate something that words alone just can't. Design resonates with people and gives them an opportunity to learn and grow. Especially in the realm of social justice - it can be difficult to introduce to people who are reluctant to challenge their point of view, so presenting information in a way that's inviting and helpful is really beneficial and more likely to have a lasting effect that leads to a change of heart.
AT: It's clear that you love experimenting with unusual color palettes and graphic styles. How would you describe your visual voice and unique aesthetic?
GO: I'd describe my aesthetic as eclectic, magical, optimistic, and free-spirited. It's certainly very "doodly," I rely heavily on a hand-drawn, edgy, imperfect look. There's some spiritual/philosophical tones, yet it's also very playful and quirky. I've definitely developed a personal style, but I'm always experimenting. I don't want to limit myself to a particular color palette or visual aesthetic - I think my style is always changing and evolving, and that's why I love doing it so much. There's always something new to discover in it. I definitely gravitate towards unconventional color palettes, I like to have an unexpected element that's eye catching and stands out from what's expected... also, I'm indecisive and can't decide which version to post sometimes, so I'll post multiple options for different styles. I think people really like that because they get to choose their favorite version.
AT: What artists and designers do you turn to most often for inspiration?
GO: I really look up to Lisa Congdon, Andy J. Pizza, and Austin Kleon - they're all incredibly well spoken and have a lot of wisdom. They provide great resources for creatives and their advice has helped me deal with the ups and downs of working in the field.

Besides those 3, here are some of my favorite designers in no particular order (long list but there are just so many to love!): Brian Kaspr (@bkaspr); Slimy Oddity (@slimyoddity); Kindah Khalidy (@kindahkhalidy); Stephanie Unger (@stephanieunger); Krista Perry (@kristerpelly); Alison Zai (@alisonzai); Jade Purple Brown (@jadepurplebrown); Aaron Lowell Denton (@aaronlowell); Daren Thomas Magee (@realfunwow); Lily McNeil (@lilynilly.art); and Lauren Martin (@laurenmartin_studio).
AT: When you get creatively blocked or burnt out, how do you reset? Do you have tips you can share?
GO: Creative burnout is very real and I struggle with that feeling a lot. I'm incredibly grateful that my passion is also my job, but it can definitely become overwhelming. When I realize I'm in a rut, I try to step away from my screen and take a design detox for a few days. I find it beneficial to remember that while design is a massive part of my life, it's not my entire life, and I can step away from it for a minute to recharge. Get out of the house, ride my bike, discover new music, watch movies or documentaries, read a book - anything that offers new experiences. Then I'm able to process that information, sit with it, and come back to design with a fresh perspective and new inspiration to draw from.

Another tool that's benefitted me when I'm feeling burnt out is to keep up with my Instagram saved photos. Anytime I see a post that really resonates with me, I like to save it for a rainy day. It's helpful to go back and scroll through it when I'm feeling uninspired.
AT: People need people, especially those of us in the creative field. It can be easy to hole up in the work. Tell us more about what your support system and creative community looks like.
GO: My best friend and fellow artist Nina @nina.jal is my go-to gal for pretty much everything. She's my biggest fan and I'm her biggest fan. We're a creative powerhouse when we work together - I don't know what I'd do without her advice, inspiration, and support.

The creative community on Instagram is absolutely amazing. Some artists that I follow feel like they're my close friends because they're so supportive and kind. It's reassuring to know that someone's got your back and will be there to encourage and uplift you. Every like, comment, and share seriously means the world. It can be really scary to go in it alone, but the creative community is so thoughtful and genuinely want to see each other succeed. I'm never hesitant to ask for advice because someone is always happy to help.
AT: In five years, where do you see yourself? What should we be on the lookout for?
GO: I hope to continue working as a freelance graphic designer for amazing people and brands, hopefully someday I'll be an art director. The dream is to move West and someday have my own studio and store. I'll absolutely host more art shows. I'd really love to paint a mural. I've got a lot of dreams so we'll see where the future takes me - for now I'm just riding the wave :)
You can follow Grace on Instagram @stuffgracemade and visit stuffgracemade.com to buy t-shirts, posters and more.

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Illustrator + Activist Grace Owen on Using Art to Drive Social Change

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Even though we're all staying apart, we're sheltering in place, wearing masks, living a completely surreal life - many of us have, finally, come together stronger than ever to dismantle systemic racism. We're united on this front and artists, designers, and creatives are a huge part of this effort.

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UNLOAD is an arts-based initiative seeking to end gun violence. Read more here!

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About #UNLOAD: Arts-Based Initiative on Gun Violence Prevention

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UNLOAD is a Connecticut arts-based initiative that seeks to drive consensus around one of the most divisive issues today: gun violence.

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Amanda Gorman’s Perspective on the Power of Poetry

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Amanda Gorman’s Perspective on the Power of Poetry

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@jamiejchung

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When I was growing up, I didn't have the opportunity to see many Asian-American representations in movies or TV shows, so I held onto every single character and actress I could (and watched a lot of K-dramas and anime to get the representation I craved so terribly). You could imagine my delight when I had to chance to speak with one of my earliest heroines, Jamie Chung, who has recently become the new ambassador for HBO's APAV Visionary Program. Chung has a long career in the film industry, starring in much-lauded shows like Gotham and Lovecraft Country, and has most recently won the Golden Needle Space Award for Best Actress for her performance in Eden. Ahead, we speak about representation, uplifting AAPI filmmakers and actors, and the beauty of embracing your unique story.

Hi, Jamie! Congratulations on your new role as Ambassador for HBO's APAV Visionary Program. Can you tell us a little bit about the program and your role as the Ambassador?

Yes, of course! As the new HBO APAV ambassador, we're helping to promote this competition; it's a great launchpad for young and upcoming filmmakers. And it's really a great opportunity for our group of people to tell a story from our perspective and our narrative. This is the fifth year of the competition. The top three winners will all get a cash prize and have their film premiered on HBO and available to stream on HBO Max following a theatrical screening at the 2021 Los Angeles Asian Pacific Film Festival. It's such a big deal and an incredible opportunity to get their projects seen by a huge audience. We need more AAPIs behind the cameras to tell our stories!

How did you become the new ambassador?

HBO directly approached me! It was Leonard, who is a good friend. HBO actually approached me after playing Ji-Ah in Lovecraft Country. That role made me feel like I finally found the confidence to tell my story, and it was the first time my work fully validated my experience of being Korean American. And I had to do so much research about Korean history for that role, too. Ultimately, I was so proud to be part of the experience of shaping my character. I was talking to Misha Green, who produces Lovecraft Country, about ideas about my character's story, just bouncing ideas off each other. I asked, "Well, how do these ideas serve the Atticus's story?" And she was like, "No, no, no. How does it serve your character's story?"

And I had never thought about it like that before. It was such a revelation. I've always felt like a supporting character, and I always just put my story second to the main story. Hearing that from Misha Green really changed my way of thinking. I can't believe I've been in the business for over a decade and I never thought about that.

That revelation really lit a fire in me. After that job, I learned that my perspective matters, and I pitched my own show! I can't talk much about it, but it was such an awakening and I really want to share that experience and revelation with other Asian-Americans. To show movies and stories about Asian-American experiences, because our stories matter and they're so precious.

It's so incredible that HBO has an established short film competition specifically for filmmakers of Asian and Pacific Islander descent. As an Asian American actor and in light of the past year of rising hate crimes against us, how does it feel to be part of a program like this?

I feel like it's helping to combat anti-Asian hate. I think that hate comes from fear of the unknown, and the more we share our stories, I'm hoping that the bridge between us and the unknown eventually closest the gap. And I think Asian-Americans can relate to suppressing our anger. I'm sure every one of us has experienced racism throughout our lives. And it's healing when you finally recognize that it's not right to be treated that way. It's so liberating to just say, "Yes, this is happening!" And I think art is a great way of expressing that. I think that expressing our stories through art can really be healing. And it's so important to acknowledge that there is anti-Asian hate. It exists! Instead of just brushing it off, until another pandemic hits it, we need to tell our stories. It's such an incredibly powerful way to combat hatred.

This year's short film theme is "Taking The Lead" and Hollywood has historically not represented Asian stories and faces to great detail or accuracy. This is changing, but as an Asian-American actor, how do you wish Hollywood would "take the lead" when it comes to telling our stories?

It's giving us the power to tell our story and to tell our narrative. And this HBO's way of saying "tell your stories!", Instead of having a white person telling the story of the Asian-American experience from his perspective. It's giving us our own shows and stories. And there's quite an appetite for it! Look at Crazy, Rich Asians and To All The Boys! There's a voracious appetite for it! It's literally the business saying like our stories are worth something.

I think Asian-Americans are really rallying with pride and solidarity because of the recent attacks on us, but the more I talk to Asian-Americans, the more I'm learning that so many of us have tried to distance ourselves from Asian culture when we're younger. Can you relate to that experience at all?

Hell, yeah -are you kidding me? When you're teased and bullied for having almond shaped eyes? Of course you wanna adapt and make yourself look more [white]! When I was growing up, there was never anyone on TV who looked like us, it was always a blonde person with blue eyes. And I remember when I was a kid, I was told to draw a picture of myself, and I drew myself with blue eyes and blonde hair. Like, how awful is that? That is what I always wanted to be, and as an adult, it makes me so sad that that's what I felt as a child. In my opinion, there's nothing more American or beautiful than to embrace your own story. What I'm so grateful for, is that the younger generation and role models to look up to, whether in the White House or journalists in the field!

What do you want to tell young Asian-Americans and Pacific Islanders, who want to be creative but feel like it's not a space for them or feel like there's no room for their stories?

No. No. I don't believe that at all. Our time is now, and it's just beginning. Your stories and voice matter. Stop waiting for the perfect opportunity to fall into your lap. Make your own opportunities and tell your stories! It's so important that we have representation everywhere in entertainment-in front of the camera and behind the camera! I encourage everyone to tell their story and to get involved. If not this year, now you know about it! You can prepare yourself for next year!

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Jamie Chung on Overcoming Bullying and Combating Anti-Asian Hate With Art

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When I was growing up, I didn't have the opportunity to see many Asian-American representations in movies or TV shows, so I held onto every single character and actress I could (and watched a lot of K-dramas and anime to get the representation I craved so terribly).

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Riders that enter a bustling Brooklyn, New York, subway station will come across brightly colored portraits with bold phrases aimed at calling out anti-Asian racism.

The art displays are part of " I Still Believe in Our City," a public awareness campaign featuring Asian and Pacific Islander New Yorkers, which first appeared at the Atlantic Avenue-Barclays Center subway station but now appears throughout New York City.

The posters, created by Brooklyn-based artist and neuroscientist Amanda Phingbodhipakkiya, contain messages such as, "We belong here," and, "I am not your scapegoat." They push against the idea of people of Asian descent being treated as a foreigner or being blamed for Covid-19.

The posters went up last fall but have been gaining new attention and traction online with anti-Asian hate crimes having increased nearly 150 percent nationwide last year, while the general hate crime rate has decreased.

The idea for the project began on Phingbodhipakkiya's first few days as an artist-in-residence with the NYC Commission on Human Rights last August. She and a commissioner were on a walk at Prospect Park brainstorming projects to work on. Phingbodhipakkiya said she was thinking about Chinatown and how the stigma had been hurting business in the neighborhood, even before the city went into lockdown last March.

She suggested creating art that would highlight the voices and issues of the Asian American and Pacific Islander community. Her portraits were then strategically placed where bias incidents against the community had occurred.

"It was absolutely a gut punch when I looked at the statistics and it was literally almost every single neighborhood, which is why you see the art everywhere," she said.

Phingbodhipakkiya said a wave of emotions hit her when she came across the video of Vicha Ratanapakdee, an 84-year-old Thai American man who was shoved to the ground in January and later died from his injuries.

The artist grew up in a blended household with a Thai father and an Indonesian mother, so when she saw the video, she said she couldn't help but think that could be her dad and what would happen to him if he was targeted.

Phingbodhipakkiya also believes it's important to understand this violence doesn't come out of no where.

"There has been a long history of anti-Asian racism in this country. From laborers being labeled as 'yellow peril' to many other laws and incidents along the course of history," she said. "Whether it's barring Chinese people from coming into the country or putting Japanese Americans into internment camps, there has just been a long history of 'othering.' That shows up as microaggressions."

During the 19th century, increased anti-Chinese sentiment resulted in the singling out of Chinese Americans through the Chinese Exclusion Act of 1882. The law prohibited most Chinese immigrants from becoming naturalized citizens and limited the Chinese population in the United States. During World War II, approximately 120,000 people in the U.S. that were of Japanese descent were placed in internment camps along the West Coast.

Phingbodhipakkiya said she believes the beauty of public art is that people can take from it what they see. As the art series expands into an installation in the city's financial district and continues to include portraits of Black people as a sign of "standing in solidarity with the Black Lives Matter movement," the artist hopes it raises awareness of the anti-Asian biases that go on in her community.

"I think anyone that passes by, whether it's an ally or an Asian American, can either acknowledge that racism against Asian Americans is real," she said. "And to say that, despite everything that we have endured, despite everything that has happened to us, we are still here and we will continue to fight for our shared future."
In New York City, if you face harassment or discrimination in housing, at work or in a public place, contact the Commission on Human Rights by filling out its online form or by calling 212-416-0197. If you are a victim of or witness a hate crime, call 911.

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'I am not your scapegoat': NYC public art calls out anti-Asian racism

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Riders that enter a bustling Brooklyn, New York, subway station will come across brightly colored portraits with bold phrases aimed at calling out anti-Asian racism. The art displays are part of " I Still Believe in Our City," a public awareness campaign featuring Asian and Pacific Islander New Yorkers, which first appeared at the Atlantic Avenue-Barclays Center subway station but now appears throughout New York City.

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Works by the AAPI Community - Indiana University

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Works by the AAPI Community - Indiana University

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Remembering our Beginnings
Description: In observance of Asian American and Pacific Islander Heritage Month, this video features reflections and stories from Asian American students at IU.

AAA x FAA x VSA Fashion Show 2020
Description: The Asian American Association, Filipino American Association, and Vietnamese Student Association of Indiana University collaborated on a fashion show video for the first time. Watch a creative expression of three AAPI student organizations!

IU ACC Presents: How to Make Dumplings
Description: IU Asian Culture Center student assistant David Sun shares his family's recipe for dumplings in anticipation of Lunar New Year 2021. Find the recipe here.

Spotify Playlist: Asian American and Pacific Islander Musicians
We're celebrating different AAPI musicians each week throughout AAPIHM! Our very own ACCers, Kelly Fan and Anna Mach, are curating playlists and compiling information about these artists and we hope that you give them a listen and support these amazing talents!
This week we'd like to showcase artists of the pop genre so feel free to give them a listen here:

"Classical Covid" by IU Alumnae Liwen Weng (MM '13) and Tracey Jen (BFA '15)
IU alumnae Liwen Weng (MM Piano Performance '13) and Tracey Jen (BFA Painting '15) have recently created a video response to COVID-19: "We hope that music and art can be therapeutic to people during these difficult times." Liwen Weng is an Indianapolis-based musician and piano instructor, originally from Taiwan. After graduating from IU, she went on to receive her DMA in Piano Performance and Literature from University of Illinois at Urbana-Champaign. Tracey Jen is a Taiwanese-American artist, curator, and art instructor, currently based in West Lafayette. After IU, she went on to receive her MFA in Curatorial Practice from Maryland Institute College of Art in Baltimore.

Asian American Studies Creativity Showcase Winner: Karen Cheng
Our web designer, Karen Cheng, submitted a video documenting her first week of online classes as a first-year student at Indiana University Bloomington. Besides talking about studying and classes, the video also offers tips for self-care/routines, clips of my day-to-day life, and brief historical notes. The aim of this video is to provide an entertaining break during these chaotic times while also informing quarantined viewers on helpful lifestyle habits.

Asian American Studies Creativity Showcase Winner: Kevin Phan
Our student assistant, Kevin Phan, submitted a video titled Surveillance to address the competition's theme "Asian Americans, Pacific Islanders + COVID-19."

Asian American Studies Department Creativity Showcase Winner: Tiffany Xie
Our student assistant, Tiffany Xie, submitted a poem titled Fish and Basketball to address the competition's theme "Asian Americans, Pacific Islanders + COVID-19." Read the poem here.
Threnody for the Victims of the Tohuku Earthquake 3.11 covered by Anna Mach

History:

Japanese American WWII Incarceration and Indiana University: History Briefing by the IUB Center for Veteran and Military Students
On Feb. 19, 1942, President Franklin D. Roosevelt signed Executive Order 9066, authorizing the internment of tens of thousands of American citizens of Japanese ancestry. Sharing in the hysteria, the IU Board of Trustees voted on May 9, 1942 to bar the admission of Japanese American students to IU. In this video history briefing, John Summerlot, Director of the Center for Veteran and Military Students at IU Bloomington, talks with IU Alumnus Eric Langowski and explores how Japanese-American veterans played a role in breaking that ban.

Resources on responding to COVID-19 related racism and xenophobia
The Asian Culture Center, with the assistance of other units, has compiled a list of resources for students, faculty, staff, and community members page. This page provides links to report bias incidents and hate crimes, ways to respond and stand against racism, and additional readings.
More resources for IU students, faculty, and staff
We are sharing a list of resources that other organizations located on and off campus have compiled in addressing support for food, shelter, financial and well-being needs for faculty, staff, and students. This page also includes articles about community-engaged classes and programming, virtual volunteer opportunities, and regional resources.
Update on COVID-19
Please visit coronavirus.iu.edu for up-to-date information, but also feel free to contact us acc@indiana.edu.
The doors to the IU Asian Culture Center may be closed, but we are more than happy to assist, chat, and engage with you in a remote fashion.

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Remembering our Beginnings Description: In observance of Asian American and Pacific Islander Heritage Month, this video features reflections and stories from Asian American students at IU. AAA x FAA x VSA Fashion Show 2020 Description: The Asian American Association, Filipino American Association, and Vietnamese Student Association of Indiana University collaborated on a fashion show video for the first time.

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Pride & Design - Jade Purple Brown's Collection

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Pride & Design - Jade Purple Brown's Collection

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NYC Pride's 2020 campaign looks at the future while celebrating the past with a virtual celebration that inspires, educates, commemorates and celebrates the diversity of the LGBTQIA+ community.

The campaign features bold photo-illustrations inspired by 1970s design, revisiting the era of the very first march and acknowledges how far we've come.

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NYC Pride's 2020 campaign looks at the future while celebrating the past with a virtual celebration that inspires, educates, commemorates and celebrates the diversity of the LGBTQIA+ community.The campaign features bold photo-illustrations inspired by 1970s design, revisiting the era of the very first march and acknowledges how far we've come.

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Gallery of 20th-21st Century Visual Art Pieces

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Gallery of 20th-21st Century Visual Art Pieces

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The 25 Most Influential Works of American Protest Art Since World War II (Published 2020)

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Three artists, a curator and a writer came together to discuss the pieces that have not only best reflected the era, but have made an impact.

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Jane Fonda's Golden Globes Acceptance Speech

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Jane Fonda's Golden Globes Acceptance Speech

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Watch Jane Fonda discuss how the arts can inspire change.

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Jane Fonda Receives the Cecil B. DeMille Award - 2021 Golden Globes

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In-Depth Definition of Artistic Activism (C4AA)

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In-Depth Definition of Artistic Activism (C4AA)

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Sometimes we're asked, "what's this artistic activism thing all about?" and "what's the difference between artistic activism and regular activism?" or "why would I use artistic activism in my campaign?" As an answer, we offer this primer.

Why Artistic Activism: Nine Reasons

By Stephen Duncombe and Steve Lambert

1: Artistic Activism Mobilizes Affect and Effect

Artistic Activism is a dynamic practice combining the creative power of the arts to move us emotionally with the strategic planning of activism necessary to bring about social change.

Art and activism do different work in the world. Activism, as the name implies, is the activity of challenging and changing power relations. There are many ways of doing activism and being an activist, but the common element is an activity targeted toward a discernible end. Simply put, the goal of activism is action to create an Effect.

Art, on the other hand, tends not to have such a clear target. It's hard to say what art is for or against; its value often lies in providing us perspective and new ways to envision our world. Its effect is often subtle and hard to measure, and confusing or contradictory messages can be layered into the work. Good art always contains a surplus of meaning: something we can't quite describe or put our finger on, but moves us nonetheless. Its goal, if we can even use that word, is to stimulate a feeling, move us emotionally, or alter our perception. Art, equally simply stated, is an expression that generates Affect.

At first glance these aims seem at odds with one another. Activism moves the material world, while Art moves the heart, body and soul. In fact, however, they are complimentary. Social change doesn't just happen, it happens because people decide to make change. As any seasoned activist can tell you, people just don't decide to change their mind and act accordingly, they are personally moved to do so by emotionally powerful stimuli. We're moved by affective experiences to do physical actions that result in concrete effects: Affect leads to Effect. We might think of this as Affective Effect, or perhaps, Effective Affect. Or, combined in a new word, Æffect (pronounced Aye-fect).

Artistic Activism is a practice aimed at generating Æffect: emotionally resonant experiences that lead to measurable shifts in power.

2: Artistic Activism Thrives in the Contemporary Landscape

The first rule of guerilla warfare is to know the terrain and use it to your advantage. Today, this doesn't mean studying maps of the mountains of Cuba or the jungles of Vietnam. Our modern political terrain is a highly mediated landscape of signs and symbols, story and spectacle. To operate successful on this cultural topography we need to observe, analyze and respond creatively. We need to be Artistic Activists.

We may like to think of politics as a purely rational business, where sensible people logically discuss and debate the issues at hand, come to a reasoned decision, and then judiciously act. Certainly this is how politics has been taught to us in our civics classes. But as recent developments in cognitive science suggest, humans don't think and behave this way: we make sense of our world through stories and symbols that frame the information we receive and then act accordingly. The principles governing civic action are more likely to be found in the worlds of popular culture and entertainment, and artistic expression and reception, than in textbooks of political science.

Acknowledging that the political landscape is also a cultural landscape opens up new terrain to work upon. Whereas art tends to be limited to museums and galleries, and activism to street demonstrations and state houses, artistic activism is at home in town squares and shopping malls, on billboards or through social media...as well as galleries and state houses. This new terrain, neither overtly "arty" or "political" is more familiar and safer to an audience than a museum or a rally, and thus makes artistic activism more attractive, approachable, and friendly than traditional art or activist practices. Artistic activism - as an affective image, performance, or experience - is also well suited for an age of cell phone cameras and social networks. People don't share policy papers, they share things that move them.

3: Artistic Activism Has Been Used Throughout History

While Artistic Activism is particularly well suited for the contemporary moment, throughout history the most effective civic actors have married the arts with campaigns for social change, using aesthetic approaches to provide a critical perspective on the world as it is and imagine the world as it could be. In the struggle for Civil Rights for African Americans in the US, for example, activists drew upon the stories and songs and participatory culture of the black churches, staged media-savvy stunts like Rosa Parks refusing to give up her seat on a segregated bus, played white racist reaction against peaceful protesters as a sympathetic passion play during the campaign to desegregate Birmingham, Alabama, and, most famously, used imaginative imagery (and popular cultural references) in a speech to call America to task for its racist past and articulate a dream of a better future. While Martin Luther King Jr is now largely remembered for his example of moral courage, social movement historian Doug McAdam's estimation of King's "genius for strategic dramaturgy," likely better explains the success of his campaigns.

From Jesus's use of parables to engage his audience, to dramatizing "this is what democracy looks like" in public squares around the world in 2011, working artfully makes activism effective. Many activists know this intuitively, but by naming it "artistic activism" we take what would be a folk art and turn it into a defined practice - giving it the attention and study it demands.

4: Artistic Activism Creates Openings

Art and activism often conforms to expectations - and for many people those expectations are, unfortunately, negative. Artistic activism is activism that doesn't look like activism and art that doesn't look like art.

The ability of artistic activism to surprise us - to show up in unlikely places (e.g. not a gallery) or take on unfamiliar forms (e.g. not a protest march) provides an opportunity to disrupt people's preconceived notions of art and protest, and their predetermined ideas about the messages we are trying to communicate. Artistic activism creates an opportunity to bypass seemingly fixed political ideas and moral ideals and remap cognitive patterns. Surprise is a moment when hearts can be touched and minds reached, and both changed.

Artistic Activism's ability to escape easy categorization is a benefit in societies where protest is commonplace. Whereas traditional forms of protest, like marches, need to constantly increase in size or scope, or descend into violence, to become noticed (and newsworthy), the creative innovation at the heart of artistic activism provides something uncommon, or out of place, that can attract attention and become memorable. The boundary slippage of artistic activism works equally well in repressive regimes where overt political protest is prohibited, yet artistic practices are tolerated. Slipping under the radar, artistic activism is not identified as "politics" to authorities while still being able to communicate a social message to the public.

5: Artistic Activism is Accessible

"I'm not political," is a phrase one hears often; it's a rare person, however, that doesn't express themself through some form of creativity. We go dancing on the weekends, perform songs in our churches, compose raps with our friends, make memes for social media, customize bicycles, assemble scrapbooks, sew quilts, and prepare dinners for the table. While it takes years of professional training to practice (or even understand) law, policy analysis, or governmental lobbying, creativity is a skill we all already possess and can learn to hone and use to great æffect.

Indeed, well-honed cultural creativity and artistic expression is often the possession of those - youth, the poor, people of color, migrants and immigrants - that are most marginalized from formal spheres of politics, law, and education. Artistic activism plays to their strengths.

Even with the best intentions, artists and activists can be paternalistic toward those whom they are trying to assist. They, as "experts," have the knowledge and creativity which they bestow upon "disadvantaged" people. Artistic activism does not work this way. Here the relationship is reversed: it is the people who possess what is valuable. While culture is something we all share, we don't all share the same culture. The building blocks - the symbols and stories that give artistic activism its content and form - differ from people to people and place to place. When it comes to local culture the locals are the real experts.

Activism is foreign to many people, and a bit daunting: it seems to take too much commitment, too much risk, and too much time. (Oscar Wilde once quipped that "the problem with socialism is that it wastes too many evenings on meetings.") But that's why mixing arts and activism works so well. Because we all have a creative life, using the arts - and culture, more broadly - in activist work lowers barriers to entry. Culture, as something familiar, can work as an access point through which organizers can approach and engage people who are otherwise alienated by institutional systems like voting, lobbying, political campaigning, and legislation. Unlike fine arts or political policy, artistic activism takes no specialized knowledge for an audience to "get it." And, as an art form, artistic activism is always open to multiple meanings and, thus, multiple ways for the audience to connect.

Because artistic activism crosses boundaries, it not only opens up multiple access points for creators and audiences, but also for mass media outlets who may cover events in both arts and politics sections, and for funders who can support projects with arts and culture grants as well as through social justice portfolios.

6: Artistic Activism Stimulates a Culture of Creativity

There is an art to every practice, activism included. It's what distinguishes the innovative from the routine, the elegant from the mundane. Creativity is essential to good organizing. It enables activists to imagine new tactics, strategies and goals to keep campaigns fresh and make them more effective. At one time protest marches and mass rallies were powerful innovations; today they are routine. Millions of people may have marched in the streets protesting the American War in Iraq, but public sentiment turned against the war when the mother of a dead soldier - Cindy Sheehan - staged a dramatic encampment outside the president's vacation home. This was artistic activism.

But artistic activism is more than coming up with creative tactics - it stimulates a culture of creativity that extends from tactics through goals to overall campaign planning. Drawing upon creative processes familiar to arts and design, artistic activism encourages blue sky brainstorming, quick sketches, multiple iterations, rapid prototyping, and a spirit of play - as well as risk, and the acceptance of failure. Approached as a creative process, we are more apt to see multiple solutions to problems, and new pathways to attain our objectives. Free to experiment, we may identify and solve problems we didn't set out to solve, end-running the commonplace framing of politics to open up new possibilities for interpretation and action.

Artistic activism, as an art form, is forever doing things and creating reactions that are unintended - what we might call an "abundance of æffect." Rather than seeing these unintended consequences as a detriment to be ignored or controlled, the creative process of artistic activism encourages us to notice, reflect, and be open to new creative and political possibilities.

7: Artistic Activism Energizes People and Organizations

Caring about the world is hard work. We open our eyes to things other people do their best to ignore, and in our work we constantly fight against forces greater than us: ancient prejudices, entrenched institutions, well-funded opposition. As an activist it is easy to get burnt out as our life becomes increasingly defined by "the struggle." As an artist it's easy to get frustrated that the creative work we do has little impact on the issues we care about so deeply. Artistic activism is a way to connect with the artist inside of every activist and the activist within every artist, redrawing connections so that artistic activism generates fun and pleasure rather than sacrifice and guilt and, in the process, reintegrating and re-energizing our lives.

Re-energized people revitalize the institutions they work within. In this way, artistic activism is a form of organizational self-care. The purpose and play of artistic activism can reanimate "dead" cultural and civic organizations like museums, galleries, and NGOs from the inside out - but also from the outside in: creativity is infectious. As fun as artistic activism is for those doing it, it's also exciting for those people on the outside experiencing it.

Artistic activism is not as simple as privileging creativity over clipboards. Petitions still need to be signed and people need to canvass door-to-door, marches need to be planned and politicians lobbied. But making space for creativity makes the necessary drudgery more bearable, and keeps people in the organization longer. And through the practice of artistic activism it just may be possible that a more creative way of canvassing can be discovered.

8: Artistic Activism is About the Long Game

Creating and sustaining lasting change demands a change in values, beliefs and patterns of behavior, that is: cultural change. While changing laws and policies are essential, laws will not be followed nor policies enacted unless people have internalized the values that lie behind them. And while marches, rallies and protests are important, they won't have lasting impact unless the issues resonate with people. Culture lays the foundation for politics. It outlines the contours of our very notions of what is desirable and undesirable, possible and impossible. Culture makes us, as we make it, and culture is the base material of Artistic Activism.

Artistic activism draws from culture, to create culture, to impact culture. An artistic activist might craft an image that prompts people to rethink how we look at reality, or stage a performance which calls into question what values and institutions are "normal" in a society, or create an artifact prefiguring an alternative, better world. In each case, expanding, and prodding what we consider normal, possible, or even conceivable. If artistic activism is successful, the larger culture shifts in ways big and small.

To change the world we need to imagine what a changed world might look like. These "utopian" visions are useful for setting pragmatic goals and concrete objectives, and provide a loadstone to orient our direction so we don't get lost. Most important, these ideas and ideals inspire us to get up and out in the morning to change the world, and attract others to work with us.

Articulating our dreams is not easy, as our very ideas of what is possible are shaped by the culture of the world we want to change. But, as Audre Lorde once wrote "Poetry is the way we help give name to the nameless so it can be thought." Art is a means by which to imagine the unimaginable, and artistic activism is the medium that can suggest it as a possibility. Through sound and image and movement, artistic activism can conjure up a vision of what could be in the future and communicate it to others in the here and now. Art gives us the vision. Activism helps us make the road to get there.

9: Artistic Activism is Peaceful and Persuasive

A final note. Artistic activism, as a cultural approach, is inherently non-violent. Although groups have used creative methods for violent ends (most infamously the Nazi Party) the tactic itself is peaceful. Artistic activism is aimed at hearts and minds, not bodies or buildings. The goal is not to force compliance, which art can never do, but to persuade by creating moving experiences that prompt people to question the world as it is, imagine a world as it could be, and join together to make that new world real. Artistic activism is Æffective power.

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Why Artistic Activism? - The Center for Artistic Activism

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Sometimes we're asked, "what's this artistic activism thing all about?" and "what's the difference between artistic activism and regular activism?" or "why would I use artistic activism in my campaign?" As an answer, we offer this primer. Why Artistic Activism: Nine Reasons By Stephen Duncombe and Steve Lambert 1: Artistic Activism Mobilizes Affect and Effect ...