Chris Lee 李宇春 「Real Love/Only You」

Posted on December 10, 2015 commentaires

Chris Lee 「Real Love/Only You」 - released on December 10, 2015.

Directed by: Kinga Burza
Creative Director: Finn Mactaggart


Chris Lee 「Real Love」【爱有引力】- released on December 10, 2015.


Chris Lee 「Only You」【混蛋,我想你】- released on December 10, 2015.

PC Music has announced a collaboration with Li Yuchun, the Chinese pop star also known as Chris Lee. Li has since released six albums, scored dozens of #1 singles and starred in three films, making her the biggest star PC Music has ever worked with.
They’re working on a 2-song EP called『Duality』, along with a project presented in forms of music, videos and pictures. It’ll be called『REAL LOVE/ONLY YOU』.
According to Finn, Chris Lee is a person who doesn’t conform, so Finn wanted to create something different, so the music video will be divided into two parts with distinct style.
The music video will be about the confronting roles of a celebrity’s ‘real life role’ and ‘virtual role’.
According to A.G. Cook, after he searched through Chris’ biography, 「Why Me」 would be a good topic to discuss, allowing Chris to reflect her role in the music industry, becoming a continuous explorer.

Version bilingue anglais-chinois très sympa aussi :



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Amy Hong 「Veut-on vivre dans une France où l'on doit défendre et justifier son identité française?」

Posted on December 08, 2015 commentaires

Après les attentats du 13 novembre, Angel et son fils Brandon parlant de la France comme de leur maison ont ému des millions de spectateurs. Une interview qu'ils ont donnée ensuite au 「Petit Journal」 a bouleversé Amy Hong, une américano-viêtnamienne qui vit en France. Et elle interroge sur le genre de France dans laquelle on veut vivre.

Quelques jours après les attentats du 13 novembre, mon cousin Trọng  – débarqué en France en tant que réfugié vietnamien à l’âge de 12 ans, en 1981 – a partagé une vidéo du 「Petit Journal」 posant en vedette Brandon, gamin adorable de six ans, qui avait été interviewé avec son père Place de la République deux jours après les attentats.

La vidéo, devenue virale depuis, commence par un extrait de l’entretien original du père et du fils dans lequel Brandon affirme que les terroristes sont « très, très méchants » et craint que sa famille doive changer de maison. « Mais non... c’est la France, notre maison », rassure son père dans une phrase qui a ému tellement de spectateurs.


「Attentats de Paris : Brandon, 6 ans, « Les méchants, c'est pas très gentil »」 - from 「Le Petit Journal」 aired on November 15, 2015 posted on November 22, 2015.

En plateau quelques jours plus tard, expliquant que ce moment poignant, diffusé dans de nombreux pays et sous-titré en plusieurs langues, avait attendri des centaines de milliers de gens dans le monde, Yann Barthès demande à Angel, le père de Brandon, pourquoi ils avaient décidé d’aller déposer des fleurs à République avec son fils ce dimanche-là.

Angel débute sa réponse en déclarant son amour pour la France, où il a grandi à partir de ses trois ans, insistant sur le fait qu’il se sent « complètement français ».
Puis :

« Le problème c’est que » – Angel s’arrête, déglutit anxieusement, et continue avec une voix hésitante, presque comme une excuse : « à première apparence, on voit que je suis d’origine asiatique ». Quelques secondes plus tard, Angel évoque une remarque qu’on lui avait faite, précisant bien qu’elle ne l’avait ni énervé ni choqué, mais plutôt qu’elle l’avait fait « beaucoup rigoler »: « Si c’est Jackie Chan qui représente la France, on est dans la merde ». Sur le plateau, tout le monde rit.

J’ai la boule au ventre.

Que signifie Angel lorsqu’il dit que « le problème » est qu’on remarque immédiatement ses origines asiatiques ? Serait-il vraiment démesuré d'interpréter ce « problème » comme le fait qu’il ne soit pas blanc, rendant donc son identité française suspecte ? Le vrai problème, n’est-il pas qu’Angel, contrairement à ses homologues français blancs, ressente le besoin de défendre et justifier son identité française ?

« Mais vous venez d’où ?»
Vivant parmi les français depuis des années, j’ai été confrontée plusieurs fois à des manifestations de racisme ordinaire, désignées par le terme de « micro-agressions » par le professeur de psychologie Derald Wing Sue de l’université Columbia. Une fois, quand une femme française un peu plus âgée m’a demandé d’où je venais – la Chine ? le Japon ? – je lui ai dit que j’étais américaine. Sa réponse incrédule a été : « Mais vous n’êtes pas américaine – vous ne pouvez pas cacher vos racines !»

En 2010, le premier jour de mon stage au Parlement européen, une attachée de presse française m’a saluée, dans un ascenseur bondé, avec les mots « nĭ hăo » en baissant sa tête. Je venais moi-même de me présenter – en français.

Les fois où j’ai contesté ces types de comportement – en particulier, ceux qui consistaient à me désigner comme chinoise, venant aussi de français jeunes et éduqués – on m’a poliment répondu que pour les français tous les Asiatiques étaient étiquetés ainsi.

Une pratique manifeste dans la comparaison entre Angel, d’origine vietnamienne, et Jackie Chan. Cet amalgame est non seulement révélateur, pour un pays comme la France – qui a une population vietnamienne assez considérable (environ 300.000 personnes) et un passé colonial au Vietnam – mais il souligne aussi l’absurdité de la question obsessionnelle posée régulièrement à n’importe quel français de couleur, après qu’il dise qu’il est français : « Mais vous venez d’où ?»

L'identité française, une identité excluante
Poser des questions sur les origines de quelqu’un de façon bienveillante ne doit pas poser de problème, mais quelle utilité, quand les révélations qui s’en suivent n’empêchent pas les amalgames ? C’est sans doute cette question, tellement assimilée, qui a provoqué cet aveu de la part d’Angel, dévoilant ses origines sans même avoir été questionné.

Justifier la récurrence de ces micro-agressions par l’importance toute relative portée au politiquement correct par les français, particulièrement comparé à leurs voisins américains, ne tient pas. Il n’est pas non plus possible d’expliquer ces comportements par le modèle républicain français, selon lequel les attaches ethniques, religieuses et culturelles doivent disparaître de la vie publique, permettant à tous les citoyens d’être tout simplement français. L’influence de ce modèle se reflète dans les façons différentes dont les américains et les français de couleur s’identifient : alors qu’aux États-Unis, je peux dire que je suis « Vietnamese-American », affirmant ces deux identités avec assurance, sans conflit, en France les identités composées (franco-japonaise, franco-allemand, franco-algérienne) sont réservées à ceux qui ont des parents de deux nationalités distinctes. Par ailleurs, les personnes comme Angel sont considérées comme « français d’origine étrangère », une construction linguistique affirmant clairement la prévalence d’une identité française censée primer sur les origines, quelles qu’elles soient.

En pratique, cette approche produit un résultat ironique : même si les Angel de France sont sommés de s’identifier avant tout comme français, leur identité française est remise en cause. Les français de couleur essaient de se raccrocher à une identité solide, et finissent parfois par minimiser leurs origines afin de souligner à quel point ils sont français. Cependant, le fait de ne pas être blanc reste toujours un « problème », une marque de la non-appartenance. Trọng me l’a un jour avoué : « Je ne me sentirai jamais comme l’un d’eux.»

Cela s’oppose à l’idée d’une intégration supposément forte des Asiatiques dans la société française. Comme aux États-Unis, ils sont considérés comme une minorité exemplaire, appréciés pour leur ardeur au travail et parce qu’ils « ne causent pas de problème ». Examiner cette modestie qui leur est attribuée à travers le prisme du « problème » posé par les origines asiatiques d’Angel nous permet de repenser un autre terme, synonyme de modeste : effacé, ou « self-effacing » en anglais, c'est-à-dire « celui qui sait s’effacer ». Dans ce contexte, il est intéressant de voir la nouvelle signification que peut prendre cet adjectif, qui ne signifie plus alors seulement une admiration pour la modestie des asiatiques en France, mais bien aussi une appréciation pour leur capacité supposée à disparaître de l’espace public.

Tout cela ne change ni la nature émouvante des mots de Brandon et Angel, ni la sympathie et l’affection qui leur ont été montrées par les journalistes et le public du 「Petit Journal」. Mais à un moment où les défis en matière d’intégration font l’objet de débats enflammés dans leur pays, les français auraient des leçons à tirer d’une compréhension plus poussée des expériences de leur « minorité modèle ». Une question essentielle qui se pose est : les français veulent-ils vivre dans une société où le petit Brandon et ses amis non-blancs ressentiront le besoin de qualifier leur apparence et leurs origines comme un « problème », ou bien une société où ils pourront dire qu’ils sont français, un point c’est tout ?

Author: Amy Hong/Date: December 08, 2015/Source: http://www.slate.fr/story/111021/france-identite

「Interview de Brandon et de son père Angel - Le Petit Journal du 20/11」

Amy Hong 「Being French, No Questions Asked」


Amy Hong published this essay on national and ethnic identity in France on Slate.fr under the title 「Veut-on vivre dans une France où l'on doit défendre et justifier son identité française?」. Humanity in Action is pleased to publish the English edition of the essay. Amy Hong is a Humanity in Action Senior Fellow (Denmark 2008).

A week after the attacks, my cousin Trọng – who came to France as a Vietnamese refugee at the age of 12 – shared a video from 「Le Petit Journal」 featuring Brandon, the six-year-old who was interviewed with his father two days after the attacks amid a gathering of flower-laying mourners at Paris’ Place de la République. Bearing the caption “They touched the entire world,” the video starts with a clip from the original interview with the father-son pair, in which Brandon describes the terrorists as “very, very mean” and fearfully says that his family should change homes. No, his father reassures him – France is their home, and even if the bad guys have guns, it’s okay, because they have flowers.

Describing this poignant moment as having captured the hearts of millions, Yann Barthès, 「Le Petit Journal」's host, asks Brandon’s father, Angel, why they visited the memorial. Angel begins with declaring his love for France: arriving in the country as a three-year-old, he feels “completely French.”
But then:

“The problem is” – Angel says, pausing, swallowing, and continuing almost apologetically – “people can tell I’m of Asian descent.” Angel then shares a recent remark directed at him, which he admits to finding neither shocking nor upsetting, but even funny: “If it’s Jackie Chan who’s representing France, we’re all in trouble.” Everyone laughs.

My stomach knots up.

What does Angel mean when he says the “problem” is looking Asian? Would it be that far-fetched to interpret this “problem” as not being white, therefore rendering his Frenchness suspect? Isn’t the real problem that, unlike his French white counterparts, Angel feels the need to defend and justify his French identity?

Having lived among the French for years, I have encountered myriad instances of casual racism, what psychology professor Derald Sue calls “microaggressions.” Once, when an older Parisian woman asked where I was from – China? Japan? – I told her I was American. Her disbelieving response was, “Oh please, you are not American – you can’t hide your roots!” In 2010, on the first day of interning at the European Parliament, a French press secretary greeted me in an elevator full of people, to my shock, with a head bow and the words “nĭ hăo.” This was after having introduced myself – in French.

When I have protested such behavior – particularly being unthinkingly called chinoise, including by young, educated French people at times – I have been politely told that for the French, all ostensible East Asians are simply labeled as such. This perverse practice is evident in the equation of Angel, of Vietnamese descent, with Jackie Chan. Not only is this amalgame striking in a country like France – which boasts a sizable Vietnamese population and a colonial history in Vietnam – it highlights the absurdity of the obsessive question every French person of color has surely been posed at some point after saying they’re French: “But where are you really from?” The same persistent question that compelled Angel to reveal his ethnic roots without even being asked about them.

Chalking up these microaggressions to French people’s reduced concern with political correctness is not enough. Nor can it be justified with the French republican model, under which individuals’ ethnic, religious and cultural attachments should be absent from public life, where citizens are meant to be plainly French. The dominance of this model is reflected in how Americans vs. French people of color self-identify. Whereas in the U.S., I can call myself Vietnamese-American and hold both identities confidently, hyphenated identities in France are reserved for those with parents from different countries – a franco-japonaise is someone with a French parent and a Japanese parent. Meanwhile, people like Angel are considered français d’origine étrangère, a linguistic construction that clearly puts being French first, and ethnic roots second.

In practice, the ironic result of this approach is that people like Angel are asked to identify first and foremost as French, at the same time that their very Frenchness is questioned. They find themselves grasping for a solid identity, at times minimizing their ethnic roots to emphasize just how French they are. But non-whiteness is still a “problem,” a marker of non-belonging. As Trọng once told me, “We will never totally feel like one of them.” This is so despite the fact that Asians in France, like in the U.S., are viewed as a “model minority:” well-liked for their industriousness and “not causing problems.” This modesty associated with them – when examined alongside Angel’s description of his detectable Asian roots as problematic – brings to mind the term “self-effacing,” with the adjective taking on a perverse layer of meaning. Effacer, after all, means “to erase.”

None of this is to deny the moving nature of Brandon and Angel’s words or the goodwill shown to them by 「Le Petit Journal」’s audience and journalists. But at a time when integration challenges are the object of vociferous debate in France, the French could learn from taking a better look at the experiences of its model minority. Doing so reveals a more nuanced picture of the country’s relationship to its different ethnic groups. One key question is: do the French want to live in a society where little Brandon and his friends of color will one day feel the need to characterize their outward appearance as a “problem,” or where they can say they are French, no questions asked?

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CL 씨엘 「Hello Bitches」

Posted on December 05, 2015 commentaires

CL 「Hello Bitches」 Dance Performance Video - released on December 05, 2015.

Director: Parris Goebel
Producer: Parris Goebel
Production Company: Ryan Parma
Choreographer: Parris Goebel
Dancers: The Ladies of ReQuest Dance Crew from The Palace Dance Studio, NZ

CL poursuit sa quête du cool pour s'imposer en occident (∪。∪)。。。zzz
Très bonne critique du clip cliché là : http://noisey.vice.com/fr/blog/cl-hello-bitches-mode-d-emploi-clip-infernal


CL 「Hello Bitches」 Dance Video Making Film - posted on November 23, 2015.

Classy


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BTS 방탄소년단 「Run」

Posted on November 29, 2015 commentaires

BTS 「Run」 - from『The Most Beautiful Moment in Life: Young Forever』released on November 29, 2015.

Les BTS sont de mignons rappeurs, mais ils sont aussi bons lorsqu'ils font des chansons mélodiques, et avec une chorégraphie sexy, c'est encore mieux ;)


La version japonaise :


BTS 「Run」 Japanese Ver.- - released on March 15, 2016.

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Jeff Yang 「Into The Badlands’ Daniel Wu Is the Asian American Action Hero That Bruce Lee Should’ve Been」

Posted on November 25, 2015 commentaires

AMC’s new action fantasy series 「Into The Badlands」 slashed its way to a huge premiere last week, making the most of its lead-in from veteran megahit 「The Walking Dead」 to debut with the highest ratings of any new cable or network series this season. The show, which takes place in a dystopian future America ruled by seven ruthless barons, combines ambitiously expansive worldbuilding with breathtakingly elaborate martial arts combat.

This strange and remarkable fusion wouldn’t hold without the stellar performance of protagonist Daniel Wu as Sunny, a lethal human weapon who has taken over 400 lives for his baron, each marked with a tattooed swash on his back. But his years of loyal service are suddenly tested with the arrival of a young man named M.K. (newcomer Aramis Knight), who may hold the key to a brighter world beyond the bloody Badlands.

Born and raised in San Francisco, and now a marquee superstar in Greater China, Wu has been jetting back and forth between his native and adopted homes, bouncing between promotional activities for Badlands and an ongoing movie shoot with legendary Hong Kong action director Ringo Lam.

Slate caught up with Wu on his most recent trip back to the U.S., to discuss the challenges of bringing martial arts to the small screen, righting the wrongs of cinematic history, and how it feels to be that rarest of creatures: an Asian male romantic action lead in Hollywood.

In 「Into The Badlands」, you pretty much stay away from special effects. The action is legit.

That was the whole goal: Bringing legitimate Chinese martial arts cinema to a production with Hollywood-style budgets. When I was a kid, I loved watching kung fu movies — in San Francisco, we had 「Kung Fu Theater」 on TV on Saturdays, and they’d air old Shaw Brothers movies with English dubbing, things like that. Then one day my grandfather said to me “You want to watch kung fu? Let me show you real kung fu.” And he took me down to the Great Star Theater in Chinatown to watch Jet Li’s first movie, 「Shaolin Temple」. After it was over, he said “That is kung fu.” I was so enamored of it that I wanted to learn it for myself. So at age 11, I started learning wushu.

I was a hyperactive kid, and it took awhile for me to find the right teacher. My master was a Shaolin kung fu teacher, but he also taught tai chi, Chinese medicine, brush painting — he was adept at all facets of Chinese culture. It was great to be a Chinese American kid and absorb all of that. [Orinda,] the town I grew up in, was mostly Caucasian, so learning martial arts really brought me much closer to my roots. And because my master was this renaissance man, I wasn’t just learning a fighting style, I was learning how kung fu permeates all aspects of life, from eating to healthy living to mental state. I learned the philosophy behind it, which is an essential part of martial arts that I think often gets overlooked.

But you never had any intention to become an action star — or even an actor?

Not at all. I took a crazy path to get here. I graduated from university with a degree in architecture, and then ended up doing a series of internships with different firms. And once I was in an office environment, I realized that at school what I was doing was 98 percent creative, 2 percent makework, but in the real world, it was the other way around. I had an older classmate who worked for I.M. Pei. She ended up drawing the same window detail over and over for two years straight.

So I went on a soul-searching mission. It was 1997, and I decided to visit Hong Kong because this historical moment was happening, with the island being handed back to China. I made the mistake of going to Japan first, where I spent all of my money. By the time I got to Hong Kong I was broke. I was in this bar having a drink, depressed that I’d have to go straight back to the U.S., and this guy came up to me and asked if I wanted to be in a TV commercial. I asked how much, and they told me $4,000. And because I wanted to keep traveling, I took the money and did the ad. Well, this director, Yonfan, saw my commercial, and he called me in for an interview, and by the end of the conversation, he asked me to play the lead in his next film. I said to him, “Are you crazy? I don’t act, and I can’t even speak Cantonese!”

That same week, I ran into Jackie Chan at a party, and within a few minutes of talking, he told me he wanted to be my manager. “What, are you serious?” My mind was blown. I went from drinking in a bar to starring in a feature film and having the biggest star in Asia as my manager.

And it would never have happened that way in the United States.

Never. So after things started to take off in Hong Kong, I decided I’d stay there and build my career there as much as possible. I loved the vibe of filmmaking there — it’s much more intimate, you have these passionate people from all walks of life, from blue-collar to highly educated types, all working very closely together. Hong Kong had accepted me, and frankly, I thought I was just going to stay there.

You didn’t think about trying to come back and make it in Hollywood?

I knew from growing up that they wouldn’t put my kind of people onscreen. There were no decent roles for Asians, much less Asian males. Even when Jackie Chan broke through over here and people fell in love with him, they weren’t really seeing him as this iconic, superstar actor — they were seeing him as this cute, funny oriental dude who spoke broken English and did acrobatic tricks. As an Asian American male, what they were in love with is everything you hate, you know?

When they were premiering 「Rush Hour 2」, Jackie invited all of the artists his company managed to come to L.A. for the premiere, and at the premiere party a producer came up to me and said, “Oh, you’re an actor in Hong Kong? But your English is amazing!” And I said, “Oh, I was born here.” “Oh, you’re not from Hong Kong?” And he lost interest in me as soon as he knew I was from America, not Asia. He bought into the stereotype that all Asians are foreigners, that we all speak with an accent.

Well, that’s pretty much the only way Asians were depicted in movies in the ’80s and ’90s.

I grew up with 「16 Candles」, 「Long Duk Dong」, that shit. That character, for our generation, pretty much sealed the idea for a lot of Americans that all Asian people are like that.

Which brings us to 「Into The Badlands」: Sunny is definitely not like that.

It’s a movie that takes place in America. There’s no reason for it. Our goal was to take the typical wuxia film and set it in a future America, giving it a kind of Southern gothic vibe. We wanted to replicate the basic structure — the feudal society, the epic battles, the themes of loyalty and honor — but to do it as a mashup with tropes that people would feel were weirdly familiar.

How did you get involved with the project?

Well, the genesis of project came when Stacey Sher, one of our executive producers, ran into the head of production of AMC [Jason Fisher] at the premiere for the movie 「The Man with the Iron Fists」 [Wu Tang Crew rapper RZA and Eli Roth’s homage to classic Chinese martial arts films]. He told her, “Why isn’t anyone doing this on TV? We should try it.” And because I’ve worked with Stacey before, she gave me a call and said, “AMC wants me to do this thing, but I have no idea how. You’ve done it before. Can you really do this kind of action for TV?” And I told her, “Only if you use a Hong Kong team.

Stephen Fung [an executive producer and the series’ fight director] and I wanted to reference everything we liked growing up. Late ’80s and ’90s Hong Kong action movies—Tsui Hark and Jet Li, Jackie Chan. Some old-school Shaw Brothers stuff. And anime, like 「Fist of the North Star. Samurai films like 「Shogun Assassin」, because we saw the two main characters, Sunny and M.K., as wandering through this world like 「Lone Wolf and Cub」. And of course Bruce Lee. In a lot of ways, we saw this as righting the wrong that occurred when Warner Brothers cast David Carradine over Bruce Lee in 「Kung Fu」.

Casting a white guy who didn’t know martial arts over the Chinese guy who was one of the greatest martial artists in the world.

Yeah. From the beginning, we said that Sunny had to be Asian, and to their credit, AMC was totally down with that.

But you weren’t thinking of taking the role yourself.

No, not at all. I had my producer’s hat on, and I told them we had to find someone in their 20s or 30s, because if this show goes on for five or six years, the amount of fighting that has to be done is incredible — you’d need someone in their physical peak. I’m 41 now. I’ve worked with Jackie Chan, and I’ve seen the injuries he’s had, the pain he’s in. I stopped doing martial arts films in Hong Kong years ago, because as much as I love the genre, I tore an ACL, I broke an ankle — I realized it was not sustainable. So strictly for the show’s sake, I told them we really needed to get a young guy to do this.

[But] as we worked on this and the pilot was written and the character got fleshed out, I really fell in love with it. I finally gave in. And then it was training, training, training — it was hell.

Looks like the training worked.

You want to have legitimate action, you have to commit. And we wanted people to be amazed by how kickass the action was. But that’s just the tip of the iceberg — we knew that the fight scenes are what would draw people in, but the layered complexities of the storytelling, even the spiritual aspect of the plot, we wanted those to be clearly expressed in the show as well.

By spiritual aspect, do you mean the elements drawn from Chinese mythology?

Yes, because the plot is loosely, very loosely, inspired by 「Journey to the West」, the story of the Monkey King, who’s this rebellious, ornery character that eventually transforms into a buddha by the end of the story. The Chinese name for the Monkey King is Sun Wukong — Sunny. And the journey of the title has Sun Wukong tasked with guiding a monk to retrieve the wisdom of enlightenment. M.K. stands for Monk. But the parallels don’t get any more literal than that. 「Journey to the West」 has been adapted so many times that we didn’t want to rehash it — we just wanted to give our story a solid spiritual core. Sunny and M.K. are on a quest to escape the Badlands to reach this legendary city called Azra. Well, originally the city’s name was Nirvana, but we thought that was a bit too obvious.

For a spiritual story, there are some pretty steamy scenes.

Yeah, the relationships are important to the story. And it felt especially important to show an Asian male as having a sensual side. We all know the story of 「Romeo Must Die」, how Jet Li is the movie’s hero, and the whole time you see this connection developing between him and Aaliyah, who played the female lead. And in the last scene, Li was supposed to kiss her, but when they showed the movie to test audiences, people said they found that disgusting. In the version they released, you just see them give each other a hug. So I don’t want to say this is groundbreaking, because we need to make this a success yet, but it’s cool that we were able to right that wrong too. It’s been 15 years since 「Romeo Must Die」, and 40 years since 「Kung Fu」. That’s just ridiculous. But it’s Hollywood, so I’ll take it.

Jeff Yang is a columnist for the Wall Street Journal Online and a regular contributor to CNN, NPR and Quartz, but is best known as Hudson Yang's father.




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Dong Mi Lee 「Q&A: Activist Heezy Yang」

Posted on November 24, 2015 commentaires
Heezy expresses daily injustice.

Photograph: Blair Kitchener

Unfortunately, many sexual minorities are forced to act a different way in order to hide their sexual preferences. Heezy Yang, however, is one young man who couldn’t care less about outside prejudices and strives to fight against the world in his own witty and artistic way. In this Q&A, Time Out Seoul wanted to find out – what exactly is the message he wants to deliver? By Jamie

How would you introduce yourself?

People call me an artist or an activist. I draw illustrations, take pictures and put on various performances here and there. It was never my intent, but doing what I can do with the talent that I have, in a field that I know best, doing the work that I want to do – I naturally ended up in the LGBT scene.

Does that mean you were an art major?

In high school, I studied really hard and got into business school. Being a normal student at a university made me wonder what I really wanted to pursue. Finally, in the end I left my school and decided to walk the path I’m now walking.

What made you start doing street performances?

An organization for teenage [sexual] minorities called Dding Dong was the beginning of my performances. It’s a queer community founded recently to help students who were being bullied at school or kicked out of the house for coming out of the closet. They need finances to keep the place running, but in my opinion, the deeper issue that we need to get to is changing the way people view the LGBT community. That’s how I came up with the performance, 「Unjustifiable」.

What’s 「Unjustifiable」?

It's a street performance that has been featured in Hongdae, City Hall, Myeongdong and other places where lots of people pass by. This performance is expressing the injustice of a child suffering when they are kicked out of their home because of their gender identity.

What gave you the inspiration for the piece?

I wanted to share this message in a friendly, approachable way instead of being all scary and dark. I was inspired by the scene in 「Toy Story」, when Andy throws away Woody because he’s going off to college. It’s my witty way of expressing how unfair it is to abandon a child because they are gay, similarly to how we might toss out a bunny doll because it’s missing an eye. At first, people passing by were worried some haters might attack me or curse at me, but thankfully most of them [have] enjoyed this performance. (If this were to happen in Utah or in a country like India, this story would’ve been featured in the 8 o’clock News and not in Time Out.)

On the other hand, it seems 「Peter」 is a street performance in which you hold Mickey Mouse, Pororo and a rubber duck drenched in what looks to be blood. The Mickey Mouse, Pororo and rubber duck doll represent childhood purity, while the blood expresses the scars that have been inflicted as we live in reality. How would you compare it to 「Unjustifiable」?

「Peter」 was inspired by the fairy tale, Peter Pan. The dolls I hold in my arms represent the purity of childhood and passion that I’m holding on to. The blood that’s splattered all over my body expresses the stress and anxiety that people feel. I had a period when I struggled with depression and panic disorders. Actually, I’m still being treated for it, and because this isn’t just an issue for queers and gays, 「Peter」 can reflect myself as well as anyone who is living in today’s society.

Is there a reason why you are more active in the foreigner gay community rather than the Korean one?

If I think about it now, at the time it was a form of escape. So many people would look at my actions with such prejudice and negativity (because I’ve even received threatening messages through the dating app, Jack’d). So naturally, I migrated over to the community where foreigners, Korean-Americans and artist friends would communicate with an open mind. But now that I feel more confident in what I do, I’m trying my best to spread the message to the Korean community as well!

Do you have any plans for 2016?

I want to exchange thoughts with more people in various kinds of fields. I’m aware of the hurdles I may need to jump over, but that shouldn’t stop me! It’s because I believe that small attempts made by an artist like me can make a big difference to those who are in need of help.

Author: Dong Mi Lee/Date: November 24, 2015/Source: http://www.timeout.com/seoul/lgbt/q-a-activist-heezy-yang


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Marineros feat. Taiki & Hanako 「Cae la noche」

Posted on November 23, 2015 commentaires

Marineros feat. Taiki & Hanako 「Cae la noche」 - from『O Marineros』released on November 23, 2015.

Bon, malgré un clip tokyoïte un peu cliché (ah cette horrible typo) et au scénario bien dark (comme mon cœur), on aime bien cette chanson.

Ouh là, ça rigole pas avec les Marineros

Surtout on remarquera la présence du mannequin japonais Taiki Takhashi qui a fait (ou qui fera, puisque j'antidate les posts de ce blog) le buzz sur internet en s'affichant officiellement sur les réseaux sociaux en compagnie de son petit copain, le mannequin coréen Noah Lee.

Taiki & Noah, qu'ils sont mignons ❤️ (ah ça me donne envie de vomir tout ce bonheur 😖)

Ah et y'a aussi une jolie japonaise dans la vidéo.

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Gavin Blair 「From Tokyo to Taipei, a growing acceptance for LGBT people」

Posted on November 22, 2015 commentaires
Revelers participate in a gay pride parade in Taipei, Taiwan, Oct. 31, 2015. Thousands took to the streets in support of gay pride in Taiwan last month. Chiang Ying-ying/AP

In a region imbued with the Confucian ideals of filial respect and saving face, the toughest battles are within families.

Tokyo – When it come to homosexuality, the Confucian cultures of East Asia can be quite conservative, though they don’t share the religious or moral objections of Judeo-Christian-Islamic countries.

But across a region becoming steadily more urban and cosmopolitan, lesbian, gay, bisexual and transgender people (LGBT) communities are experiencing a changes in attitudes and a greater legal recognition that echoes the trend in the West towards much greater acceptance of equality.

Last weekend some 80,000 people from around East Asia converged on Taipei for the Oct. 31 Taiwan Pride parade, the biggest such event in the region. It was followed by a record 10,000 marchers in the Hong Kong Pride Parade. In Japan, that same November evening saw the broadcast of 「Transit Girls」, the first TV drama here about a lesbian couple.

To be sure, for many LGBTs in a region imbued with the Confucian ideals of filial respect and saving face, the toughest battles remain within families. Still, the overall shift seems clear across this diverse region, and is partly due to the influence of the West, including the legalization of same-sex marriage in the US and Ireland. Local media portrayed these changes as a progressive trend that the rest of the world will inevitably follow.

Rising acceptance among Korean youth
Earlier this year, two districts of Tokyo announced they would issue same-sex marriage certificates; the first couple had their union recognized in Shibuya on Nov. 5. The certificates are not legally binding, but rather recommending a set of greater rights, such as visitation rights to same-sex partners in hospitals and nondiscriminatory treatment by realtors.

South Korea is something of an outlier in the region: Conservative evangelicals groups succeeded this summer in halting a gay pride parade in Seoul, even though the rest of the Korean Queer Culture Festival went ahead.

Still, among youth in Korea, 71 percent of those between 18 and 29 said “homosexuality should be accepted,” according to a Pew Research Center poll this year. That figure is just ahead of the equivalent among US youth, and fewer than the 83 percent of young Japanese who agreed.

The absence of overt gay-bashing or other strident opposition in most of East Asia may actually have slowed down the equality battle, some activists say. “There’s no violent discrimination against us here; nobody throwing stones or trying to kill us,” said Yuki, a gay Tokyoite who nevertheless asked to be identified only by his first name. “There’s never been a law against gays in Japan.”

“A lot of gay men in Japan would rather lead a double life,” Yuki added. “Many Japanese gay men went to Taipei to walk in the parade, but would be afraid to do so here.”

Yuki practices a form of “don’t ask, don’t tell” in his family. His mother has met his boyfriend numerous times, but he has never discussed his sexuality with her.

Masahiro Kikuchi (not his real name) has come out to his parents. But he has not yet confided to his older sister, whose reaction he worries about because she has two sons. Mr. Kikuchi works at a Japanese finance company, where he says it would be impossible to be openly gay.

“They showed a video earlier this year at my office to educate staff about gay issues. It told people to be aware there might be someone gay sitting next to you at work,” said Kikuchi. “I was sweating and just hoping nobody was looking at me.”

China documentary pulled from website
Societal and familial acceptance is a recurring theme for LGBT people. It’s also the subject of 「Mama Rainbow」, a 2012 documentary by Chinese filmmaker Fan Popo, focused on six mothers learning to love their gay children. The film was taken down from streaming sites in China last year, and Mr. Popo is suing the censors over its removal.

Attitudes in China are similar to the rest of the region, according to Popo, with no violent discrimination. But many people refuse to believe there are LGBT members in their family.

“But on LGBT issues, we are influenced more by the US than other East Asian countries. When same-sex marriage was legalized [in the US] it was big news in China, a lot of people changed their social media profiles to rainbows,” said Popo.

Nevertheless, Popo believes that an anti-discrimination law would be more powerful in China than legalization of same-sex marriage.

Across the sea in Taiwan, Jay Lin decided it was time to come out to his parents last year when he launched the Taiwan International Queer Film Festival. He had already lived for two decades as a gay man. Mr. Lin believes that changes in attitudes are more important than legal reform since without an accompanying change in social views it could bring a backlash.

“You need to allow people in families, in which it is so important to avoid shame in Chinese-Taiwanese culture, to come to terms with it,” Lin says. “If a lot of people are not out to parents ... gay marriage is not going to work,” said Lin.

He added that having begun to think about starting a family, the idea of doing so in Taiwan without the acceptance and involvement of parents and grandparents “is farcical.”



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Hana Beach 「‘Banana’ magazine shines a light on Asian creatives」

Posted on November 18, 2015 commentaires
Co-founders Vicki Ho and Kathleen Tso discuss media representation, Aziz Ansari, and what’s in store for issue two.

Cover Artist: Greg Foley

Growing up, Vicki Ho and Kathleen Tso didn’t have many celebrity role models that shared their racial identity. “Kaity Tong, the anchor from old school WB11 evening news. She was bae. Literally the only Asian on TV,” says Vicky. And, when Asians did get leading roles, they often played stereotypical nerds or exaggerated caricatures of their culture. The failure of Margaret Cho’s 1994 sitcom 「All American Girl」 to appeal to a broad American audience left a void of Asian-American representation in the media that ultimately drove Vicky and Kathleen to distance themselves from their Asian heritage. Though New York City and suburban Texas – where the girls lived as kids – are worlds away, Vicki and Kathleen’s similar experiences led them to create『Banana』, a magazine that focuses on being Asian and growing up in millennial America.

The release of『Banana』’s second issue this winter coincides with a breakthrough moment for Asian-Americans in popular culture. Aziz Ansari’s sitcom, 「Master Of None」, just hit Netflix and Eddie Huang’s loved/hated 「Fresh Off The Boat」 began its second season early this fall. The magazine serves the dual purpose of featuring Asian artists, chefs, actors and designers, and also creating a community of creative Asians.『Banana』is a place to embrace, appreciate, and celebrate, in Kathleen’s words, “bomb-ass Asians.”

How do you choose your subjects and contributors?

Kathleen Tso: We’ve had the luxury of a lot of these subjects coming to us. Since the community is equally as passionate as we are, we get amazing pitches all the time. We also reach out to people who are personally inspiring to us as well.

Vicki Ho: What’s special about『Banana』is that it showcases a slice of life that no one really sees in the Asian community – the creative class. So whether it’s who we profile or who contributes to the magazine, we look for talent that will help push this class into the limelight.

Who have you been most excited to feature?

KT: My mom! Stay tuned for issue two.

VH: Wilson Tang, the founder of Nom Wah Tea Parlor in NYC’s Chinatown, whom we profile in issue two. He’s a straight-up boss.

How represented (or not) are Asians in the media right now? And how is that changing, if at all?

KT: It’s pretty obvious that we’re not fully present in the media now. However, with shows like 「Fresh Off The Boat」 and now Aziz Ansari’s 「Master Of None」, we’re making progress.

VH: There’s progress. There are definitely more Asians in the media to look up to now than when we were growing up. The biggest change I see is that Asians who have a place in media don’t need to stick to stereotypes anymore; they can be themselves and their opinions and talent are respected across the board.

There were more models of color on the runway during this most recent New York Fashion Week than in past seasons – how represented do you feel Asian models are in fashion?

VH: I work in the fashion industry so, sure, I see better representation than before. I think runway shows like Made and V Files help push the envelope because they are so full of diversity and different perspectives. But on a national scale and on a consumer level? There’s a hell of a long way to go.

What can we expect from the second issue?

KT: A redesign, more thoughtful content and another fun cover! This may be a little biased, but my favorite feature was written by my sister. It’s about non-Asians hitting on Asian girls. It’s going to be accompanied by a comic illustrated by Louie Chin. It’s hilarious and way too true.

VH: I’m super psyched about our feature on fashion designer Sandy Liang. The images and collection are stunning, and the profile isn’t the typical “what’s your fall inspiration?” story. It’s about Sandy as a person, and as a first-generation Asian-American in this industry.

As first-generation Asian-Americans yourselves, how did you relate to your classmates growing up?

KT: I grew up in a predominantly white suburb in Texas so it was a challenge to relate to my peers. It’s sad but I attempted to shed ties with Chinese culture and focused on American culture to fit in as much as possible. I hated being different. I remember wishing that my name was “Katie Smith,” so I could just blend in. Or I wished that I had been raised in Taiwan (where my parents grew up) so I could feel “normal.” It bums me out that I had these thoughts.

VH: I had a different experience growing up but somehow came to the same struggles as Kathleen. I was raised in Brooklyn in a predominantly Asian community but all I wanted was to stand out from my peers. I also wanted to shed my Chinese culture at one point. I’m super pale and remember I used to lie to people that I was half white so that I could stand out and be “American.”

It was these stories of growing up that brought Kathleen and I together to create『Banana』. We were both so confused about accepting our culture growing up and only now as adults have we become truly appreciative and proud of it. Hopefully『Banana』can help other Asians come to this conclusion way quicker than we did.

You can pre-order the second issue here.

banana-mag.com

Credits
Text Hana Beach
Images courtesy『Banana』

Connect to i-D’s world! Like us on Facebook, follow us on Twitter and Instagram.

Author: Hana Beach/Date: November 18, 2015/Source: http://i-d.vice.com/en_us/article/banana-magazine-shines-a-light-on-asian-creatives



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Neon Bunny 야광토끼 「Romance In Seoul」

Posted on November 17, 2015 commentaires

Neon Bunny 「Romance In Seoul」 - released on November 17, 2015.

Inspired by Jazz greats Ella Fitzerald and Dinah Washington and their 1950's renditions of the song 「Manhattan」, Neon Bunny returns with single 「Romance In Seoul」. Hazy, windswept, elegant and dreaming, the track is a tangle of keys, strings, field recordings and feather-light vocals.

Released by Cascine's singles label, CSCN: http://cascine.us


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Margaret Cho 조모란 「(I Want To) Kill My Rapist」

Posted on November 10, 2015 commentaires

Margaret Cho 「(I Want To) Kill My Rapist」 - released on November 10, 2015.

Directed by Bryan Mir
Co-Director/DP, Ben Eisner
Produced by Briana Gonzales
Executive Producer, Margaret Cho
Assistant Director, Cue Denicki
Editing & Coloring, Betty Allen / Blend Studios
1st AC/Camera Op, Zach Salsman
2nd AC, Brian Glenn
DIT, Amber Nolan
Gaffer, Zafer Ulkucu
Best Boi Lighting, Brooks Heatherly
Grip, Ashley Layne
Grip, Carlos Camacho
Best Boi Grip, Marco Lopez
Makeup, Ashley Gomila
Hair, Irene U
Art Department, Elaine Carey
Ropes Course/Climbing Wall Instructor, Josh Lederach
Ropes Course/Climbing Wall Instructor, Brian Spiegel
Production Assistants: Abigail Eisner, Marcel Alcala

Starring: Margaret Cho, Hye Yun Park, Kate Willett, Selene Luna, Jackson Hurst, Arne Gjelten, Lisa McNeely, Emilia Black, Karen Barraza, Paris Bravo, Emma Wages, Stevie Knapp, Zoe McGaha, Melody Thi, Oceane Rico, Meadow Rico, Akyra Carter, Kimura Carlsten, Sophia Kasbaum, Otto Blackwelder.

Song Written by Margaret Cho, Andy Moraga, and Roger Rocha

Special Thank You to: Andy Moraga, Noelle and Harry Knapp, Kris McGaha, Eban Schletter, Bonnie Wages, Jessica Bravo, Kim Huynh, Christy Rico, Jody Taylor, Roxanne Carlsten, Surbhi Kasbaum, Net Suki, Robert Rivas, Sonny Echevarria, Brooks McCall, Andy Kimmelman, Monica Owen, Chris Neville, Kate Mullen, Stacy Hurst

Original Peony Art: J Bird

Muzak version of Kill My Rapist: Damian Valentine Music

FOR ROSE MCGOWAN


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HUSH 「Same」

Posted on October 30, 2015 commentaires

HUSH 「Same」【同一個答案】- released on October 30, 2015.

Avec cette vidéo très touchante et cette balade, le chanteur-auteur-compositeur taïwanais, HUSH, soutient le mariage gay. Il dit très justement :

“Marriage is not every gay’s choice, and not every gay wants to get married. Let marriage become everyone’s choice, because that’s why marriage equality worth-treasured.”

Les paroles en chinois et anglais :

生命裡潛藏著無數可能
回過頭看重複的日落
永無止盡地讓你做選擇
這一路上有幾片雲經過

親眼見過天空灑下彩虹
你一直是這樣相信著
在那裡會有真正的快樂
讓所有散落的心都結合

那多精采
就讓他們去猜
就讓我們愉快
有誰還能無視愛的存在
就伸出你的手來
擁抱你的愛

也許愛會被試探
也許愛有遺憾
也許那麼一天回想起來
我們都有同一個答案
There are many possibilities in life
Look back at the repeated sunsets
It makes you choose over and over
While some clouds float across the sky

You’ve also seen the rainbow in the sky
Firmly, you always have believed
The happiness is at the rainbow’s end
Let all the separated hearts be together

How wonderful it would be
Just keep them wondering
Just let us be gay
No one can ignore love
Just reach out with your hands
Embrace your love

Love might be tested
Love might be regretful
One day when we recall and question
Our answers will be the same


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Xu Guanyu 徐冠宇 「What It Means To Be Asian and Gay in the Western World」

Posted on October 29, 2015 commentaires
Xu Guanyu, Death In Bath Tub

Xu Guanyu is a 22 year-old originally from Beijing but currently based in Chicago, where he recently earned his BFA from The School of the Art Institute. In his series of photographs 「One Land to Another」, Guanyu uses a mix of self-portraiture and staged photography to hint at his condition as an Asian and a gay man living in the Western world.

Read below Guanyu’s project statement to better understand his ideas behind the pictures and for a more detailed analysis of the images:

My photo-based works are the expression that I have as a result of being a gay man and an Asian in the United States. I use self-portraits, staged imagery and landscapes to explore my struggle of being both a homosexual and a homophobic person. I question the norm set by the hegemony, including race, sexuality and ideology. Raised by a conservative family, a military father and a civil servant mother, I feared to admit that I was gay until I came to the United States in 2014. Fortunately, I grew up in the capital city of China where I had the chance to experience the global vision through the Internet. On the one hand, I learned knowledge of being a gay man, and received the representation from Hollywood movies that white people are ideal and superior in many ways. On the other hand, via the Internet, I witnessed the debates between the Chinese political and cultural ideology and the Western ideology led by the United States. Among these conversations, I found out that I have always been trying to seek and identify a better world, not only as a gay man, but also as a human being.

The self-portraits of my death not only expresses the inequality of gay men in this world, but also reveals my self-denial and self-hating in a problematic society, which includes both China and America.

My photographs of people that I find through online dating apps expose my current situation with other gay men in the States. I examine the racism and discrimination in the white-dominated gay community, the worship of masculine whiteness and the pervasive misogyny in the world. Furthermore, my landscapes of China and America document the paths to finding a utopian space. They juxtapose hope and apathy, which keep shifting back and forth along my changes of geographic location and psychological states. Through my photography practice, I use various subject matters to investigate my identity and interrogate the world.


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Dominique Mosbergen 「Être LGBT en Asie du Sud-Est : maltraitance, survie et incroyable courage」

Posted on October 28, 2015 commentaires
La militante Jean Chong, ici au micro pendant un événement LGBT en 2011, est en première ligne du combat pour les droits des LGBT.

« Personne ne s’intéresse à l’Asie du Sud-Est », affirme la militante LGBT Jean Chong en affichant un sourire forcé, les yeux baissés. « En Occident, ils ont du mal à saisir à quel point nous sommes rétrogrades en matière de droits des LGBT et de droits de l’homme. Ils n’ont pas conscience de la sophistication qu’adopte l’oppression ici. »

Jean Chong milite à Singapour, un des quatre pays de la région où l’homosexualité est illégale. La cité-état, qui fait également partie des quatre tigres asiatiques, est peut-être un des pays les plus riches du monde avec ses gratte-ciels imposants et sa population bien formée, mais ses résultats en matière de droits des LGBT sont effarants. La militante, cofondatrice de Sayoni, une organisation de défense des droits des LGBT, affirme que l’île est devenue un « leader » en matière de restriction – et non de protection – des droits des citoyens.

« Singapour est un cas d’école de ce qui arrive quand le développement économique survient sans droits de l’homme » dit-elle. « Et plus inquiétant, de nombreux pays comme la Chine, le Laos et la Russie veulent aujourd’hui copier le modèle singapourien ».

Sayoni a enquêté sur des cas de maltraitance et de discrimination visant la communauté LGBT ces dernières années. C’est la première fois qu’un tel projet voit le jour dans ce pays, et Jean Chong affirme qu’elle a été « choquée » par ce qu’ils ont découvert.

« Ça nous a vraiment touchés » dit-elle.

Toute de noir vêtue dans la moiteur de cet après-midi de septembre, Jean Chong est d’un abord franc et décontracté. Ses yeux rieurs pointent derrière des lunettes argentées. Elle parle sur un ton neutre, sans animosité, du travail difficile qui est le sien – faire du lobbying auprès des législateurs et essayer de faire évoluer des esprits réticents. À la fin de notre rencontre dans ce café du centre-ville, elle me prend dans ses bras pour une accolade chaleureuse.

Mais quand on lui demande de raconter les histoires de personnes qu’elle a pu rencontrer au cours de ce projet, elle se raidit et sa voix tremble.

« Les cas de maltraitance ne sont souvent pas dénoncés, en particulier lorsqu’ils se produisent au sein de la famille », dit-elle. « Il y a des cas de viols soi-disant ‘correctifs’, ou d’enfants qui deviennent SDF après avoir été rejetés par leur entourage. Une fille m’a raconté qu’elle avait été violée par un ami de son frère, mais que lorsqu’elle l’avait dit à ses propres parents, ils lui avaient répondu qu’elle l’avait ‘mérité’ parce qu’elle était lesbienne. Il y a tout plein d’histoires horribles. La violence est devenue la norme. »

Jean Chong affirme qu’elle est régulièrement victime de discrimination dans l’espace public.

« J’ai l’air d’un garçon manqué, et ici on surveille beaucoup l’apparence en fonction du sexe » explique-t-elle. « Des personnes m’abordent et me disent que je mériterais de me faire tabasser. La non-conformité gêne les gens. »

Ce genre de choses, affirme-t-elle, n’est malheureusement pas propre à Singapour. Le rejet que subit la communauté LGBT est très répandu dans toute l’Asie du Sud-Est (définie, dans le cadre de cet article, comme les 10 états membres de l’ASEAN, l’Association des nations d’Asie du Sud-Est). Ces pays diffèrent amplement dans les domaines politique, économique, culturel et historique – du Vietnam communiste au sultanat de Brunei appliquant la charia ou au Myanmar, qui tente de s’ouvrir au monde extérieur après des années d’un régime répressif – mais ils partagent entre eux au moins une caractéristique problématique.

« Lorsqu’on regarde Brunei, Singapour, la Malaisie, le Myanmar, mais aussi le Laos, c’est très rétrograde en matière de droits des LGBT... mais même dans les autres pays, plus ‘progressistes’, il y a des problèmes. Les femmes trop masculines sont tuées dans certaines zones rurales en Thaïlande, les femmes transsexuelles sont prises pour cible aux Philippines », explique Jean Chong.

À l’heure actuelle, l’homosexualité est encore un crime à Brunei, qui applique strictement la charia, et des pays comme Singapour, la Malaisie et le Myanmar persistent à suivre une loi archaïque remontant à l’époque coloniale, qui interdit les relations sexuelles entre personnes de même sexe. Lorsqu’elles sont appliquées, les peines visant les homosexuels dans ces pays peuvent être sévères, et peuvent aller jusqu’à la lapidation, aux coups de fouet ou à l’emprisonnement.

En dehors de la Thaïlande, qui a annoncé ce mois-ci la promulgation d’une loi avant-gardiste pour l’égalité entre les sexes, les pays de l’ASEAN ne disposent actuellement d’aucune législation anti-discrimination qui garantisse l’égalité des citoyens indépendamment de leur orientation ou de leur identité sexuelle. Et la Thaïlande n’a pour l’heure pas de loi protégeant les citoyens du fait de leur orientation sexuelle. Le nouveau texte ne protège que contre les discriminations fondées sur l’apparence sexuelle.

Le mariage gay est illégal dans tous les pays de l’ASEAN, et aucun d’entre eux n’a adopté de reconnaissance légale ou de protection pour les couples de même sexe, même pas d’union civile. Les couples homosexuels de la région n’ont pas le droit d’adopter d’enfant. Et dans de nombreux pays il est difficile voire impossible à des femmes seules d’avoir accès à une fécondation in vitro et à des traitements ou services liés à la fertilité.

Dans le même ordre d’idée, l’accès à des services comme la chirurgie de ré-attribution sexuelle ou la thérapie hormonale pour les transgenres est limité. Changer d’assignation sexuelle est très difficile dans la plupart des pays de l’ASEAN.

Conséquence de ces cadres législatifs et politiques répressifs, les mauvais traitements et la marginalisation dont sont victimes les LGBT sont omniprésents dans la région.

Un soldat américain est actuellement poursuivi pour le meurtre d’une transsexuelle aux Philippines. Il a avoué l’avoir tuée en l’« étouffant » dans un motel, après s’être rendu compte qu’elle avait des organes génitaux masculins. Le leader de l’opposition politique malaisienne Anwar Ibrahim purge une peine de cinq années de prison après avoir été reconnu coupable de sodomie, un acte illégal dans ce pays. Et en août dernier, un député du Myanmar a affirmé que le gouvernement « prenait en permanence des mesures » pour que « les gays » soit arrêtés par la police.

« Dans la vie des LGBT [de l’ASEAN], la discrimination est un fil rouge », affirme au Huffington Post Edmund Settle, Policy Advisor du Programme des Nations Unies pour le Développement, dont le bureau est situé à Bangkok.

Edmund Settle fait partie des coordinateurs d’un projet d’envergure récemment lancé par le PNUD et l’Agence américaine pour le développement international (USAID), qui a examiné la situation des droits des LGBT dans différentes parties de l’Asie. Certains pays du sud-est asiatique comme le Vietnam, la Thaïlande et les Philippines ont été inclus dans le périmètre de l’étude.

Et les résultats sont inquiétants.

Ils montrent que dans tous les pays étudiés, les stigmates sociaux et la discrimination restreignent les chances en matière d’emploi et d’éducation, et limitent l’accès aux soins pour les LGBT. Ou encore que les agressions et d’autres formes de maltraitance et de harcèlement sont très fréquentes.

« Les pays [de l’ASEAN] contraignent aussi fortement l’espace de la société civile. Ce manque d’espace pour l’engagement citoyen limite la possibilité d’organiser, de mobiliser et de militer », affirme Settle. « Tout ceci freine les efforts pour améliorer la situation en matière de droits ».

Les activistes de la région font valoir que leurs premières priorités sont de faire pression pour une meilleure visibilité de la communauté LGBT et pour l’adoption de législations nationales anti-discrimination par tous les États.

De telles lois sont essentielles ici, affirme Jean Chong, « car jusqu’à présent, dans les pays de l’ASEAN, la promotion et la protection des droits de l’homme sont indigentes ».

Jean Chong fait partie des dirigeants de l’ASEAN Sexual Orientation, Gender Identity and Gender Expression Caucus (Conseil pour l’orientation, l’identité et l’expression sexuelles de l’ASEAN), un collectif militant qui exhorte les dirigeants de la région à intégrer leur réseau aux Mécanismes de l’ASEAN sur les droits de l’homme, y compris à la Déclaration des droits de l’homme de l’organisation régionale. Ce conseil rassemble des associations militantes de tous les pays de l’ASEAN, sauf Brunei et le Laos.

Les groupes LGBT de la région mettent les bouchées doubles pour arriver à faire adopter ces protections juridiques, d’après Ging Cristobal, militante de la Commission internationale pour les droits de l’homme des gays et lesbiennes basée à Manille, elle aussi membre du Caucus. Nous en avons désespérément besoin, dit-elle.

« Je souligne systématiquement que tant que nous ne protègerons pas les LGBT, certains d’entre nous mourront, d’autres s’orienteront vers l’industrie du sexe parce qu’ils n’ont pas de compétences ni la possibilité d’accéder à de meilleurs emplois, et d’autres encore rentreront dans l’illégalité pour pouvoir survivre », affirme Cristobal.

Les défis que doivent relever les militants sont immenses. L’autoritarisme, la corruption et l’instabilité politique sont des marques de fabrique de toute la région, sans même parler d’un mépris bien ancré pour les droits de l’homme.

Il n’en reste pas moins que, comme dans toutes les luttes pour l’égalité qu’a connues l’histoire du monde, ces activistes sont décidés à faire changer les choses.

« Les militants travaillent avec acharnement dans l’ASEAN », dit au Huffington Post Kyle Knight, chercheur spécialiste des droits des LGBT chez Human Rights Watch. « Ils s’attaquent à ces obstacles immenses, qu’ils soient explicites comme les lois de l’époque coloniale ou implicites dans le cas des discriminations. Ce sont des gens incroyablement courageux. »

Cet article, publié à l’origine sur le Huffington Post américain, a été traduit de l’anglais par Mathieu Bouquet.

Author: Dominique Mosbergen/Translator: Mathieu Bouquet/Date: October 28, 2015/Source: http://www.huffingtonpost.fr/2015/10/28/lgbt-asie-sud-est_n_8283652.html

Dominique Mosbergen 「Being LGBT In Southeast Asia: Stories Of Abuse, Survival And Tremendous Courage」


LGBT groups in Southeast Asia are working double-time to bring about change.

This is a 10-part series on LGBT rights in Southeast Asia, which uncovers the challenges facing the LGBT community in the region and highlights the courageous work of activists there. For the next nine days, we’ll be telling the stories of each country in the region. There will be a new one each day. Scroll to read them.

***

SINGAPORE – “No one cares about Southeast Asia,” LGBT activist Jean Chong says, her eyes downcast as she lets out a small mirthless laugh. “The western world – they find it hard to comprehend how backward we are when it comes to LGBT and human rights. They don’t understand the sophistication of oppression here.”

Chong is based in Singapore, one of four Southeast Asian nations where it is illegal to be gay. One of the four Asian Tigers, Singapore – with its towering skyscrapers and affluent, well-educated population – may be one of the richest countries in the world, but when it comes to LGBT rights, it has an appalling record. Chong says it’s become a “leader” in limiting, rather than protecting, the rights of its people.

“Singapore is a case study of what happens when you have economic success without human rights,” Chong, who is a co-founder of the LGBT rights organization Sayoni, says. “And what’s disturbing is how a lot of countries, like China and Laos and Russia, now want to copy Singapore’s model.”

Sayoni has been documenting cases of abuse and discrimination against Singapore’s LGBT community over the last few years. It’s the first time that such a project has been undertaken here, and Chong says she’s been “shocked” by what they’ve uncovered.

“It’s been quite emotional,” she says.

Dressed in black on a sticky September afternoon, Chong has an easy, open demeanor. Her eyes smile behind her silver-rimmed spectacles. She speaks evenly, and without anger, about the challenging work she does – lobbying lawmakers and trying to change unwilling hearts. At the end of our meeting at a downtown cafe, she envelops me in a warm embrace.

Yet, when asked to share stories from the people she met during the project, her shoulders stiffen and her voice quavers.

“There’s so much abuse that’s being underreported, especially within the family,” she says. “There are cases of so-called ‘corrective’ rape, or kids becoming homeless after being kicked out. One girl told me she was raped by her brother’s friend but when she told her parents, they said she had ‘deserved it’ because she was a lesbian. There have been all kinds of horror stories. Violence has just become so normalized.”

Chong says she regularly faces discrimination in public.

“I look tomboyish and there’s a lot of gender-policing,” she says. “I have people who will just walk up to me and tell me I should get beaten up. Non-conformity disturbs people.”

Stories like these, Chong says, are unfortunately not unique to Singapore. The rejection of the LGBT community is endemic across Southeast Asia (defined for the purposes of this article as the 10 member states of the Association of Southeast Asian Nations, or ASEAN). The countries may be vastly different in their politics, economy, culture and history – from communist Vietnam to Sharia-ruled Brunei to Myanmar, which is struggling to open itself to the world after years of oppressive rule – but they all share at least one problematic trait.

“If you look at Brunei, Singapore, Malaysia, Myanmar, and also Laos, it’s very backward when it comes to LGBT rights... but even in the other, more ‘progressive’ countries, there are problems. Butch women are being killed in rural areas in Thailand, trans women are being targeted in the Philippines,” Chong says.


At the time of writing, homosexuality remains criminalized in Brunei, which abides by strict Sharia law, and countries like Singapore, Malaysia and Myanmar continue to adhere to an antiquated colonial-era law that bans same-sex intercourse. When enforced, the punishment for being gay in these countries can be severe, including: being stoned to death, whipped, or thrown in prison.

Other than Thailand, which just this month announced the enactment of a groundbreaking Gender Equality Law, ASEAN countries currently don’t have anti-discrimination laws to guarantee equality of all citizens, regardless of their sexual orientation and gender identity. Thailand still does not have legislation protecting persons based on sexual orientation. The new law only protects against discrimination on the grounds of gender expression.

Gay marriage is illegal in all the ASEAN countries, and none of them has offered legal recognition or protection for same-sex partnerships, including civil unions. Same-sex couples across the region aren’t entitled to adopt children. And in many countries, it is difficult, if not impossible, for single women to access in vitro fertilization and related fertility treatments and services.

Similarly, access to services such as gender-confirmation surgery or hormone therapy for transgender people is limited. Changing one’s gender designation is also a challenge in most of ASEAN.

As a result of these repressive legal and policy frameworks, the abuse and marginalization of LGBT persons is a pervasive problem across the region.

A U.S. Marine is currently on trial for the murder of a trans woman in the Philippines. He has admitted to “choking” her to death in a motel after discovering that she had male genitalia. Malaysian opposition leader Anwar Ibrahim is serving a five-year prison term after he was convicted of sodomy, which is illegal in the country. And last August, a member of parliament in Myanmar said the government was “constantly taking action” to have “the gays” detained by police.

“Discrimination is a common thread, going through LGBTI lives throughout [ASEAN],” Edmund Settle, a policy advisor for the United Nations Development Programme, tells The Huffington Post from his office in Bangkok.

Settle is one of the coordinators of a recent landmark project spearheaded by the UNDP and the U.S. Agency for International Development, which analyzed the state of LGBT rights in parts of Asia. Several Southeast Asian countries, including Vietnam, Thailand and the Philippines, were included in the study.

The findings were alarming.

Social stigma and discrimination were found to be limiting job and education opportunities, as well as access to healthcare for LGBT people in all the ASEAN countries studied. Bullying and other forms of abuse and harassment were also found to be widespread.

“[ASEAN] countries are also really limiting civil society space. This lack of space for civic engagement limits the ability to organize, mobilize and advocate,” Settle says. “This is hampering efforts to improve the state of rights.”

Activists in the region say their main priorities are pushing for greater visibility for the LGBT community, and also for the enactment of national anti-discrimination legislation in all countries.

Such legislation is critical in the region, Chong says, “because so far ASEAN nations have very poor promotion and protection of human rights.”

Chong is one of the leaders of the ASEAN Sexual Orientation, Gender Identity and Gender Expression Caucus, an activist collective that’s urging regional leaders to include the network in ASEAN Human Rights Mechanisms, including the association’s Human Rights Declaration. Except for Brunei and Laos, the caucus includes activist groups from all the ASEAN countries.

Every day we don’t protect LGBT people, some of us die, some of us turn to sex work because we don’t have the skills or access to better employment, some of us turn to illegal work to live.

Regional LGBT groups are working double-time in an effort to push for these legal protections, according to Ging Cristobal, a Manila-based activist with OutRight Action International and another leader of the Caucus. The need is desperate, she says.

“I always emphasize that every day we don’t protect LGBT people, some of us die, some of us turn to sex work because we don’t have the skills or access to better employment, some of us turn to illegal work to live,” Cristobal says.

The challenges facing the activist community, however, are immense. Across the region, there are major issues of authoritarianism, corruption and political instability, not to mention an entrenched disregard for human rights.

Still, as with fights of equality through history and the world over, regional activists are determined to make a difference.

“Activists are working assiduously across ASEAN,” Kyle Knight, an LGBT rights researcher at Human Rights Watch, tells HuffPost. “They’re going up against these great obstacles, either explicit ones in the case of colonial-era laws or implicit in the form of discrimination. These are incredibly courageous people.”

Author: Dominique Mosbergen/Date: October 11, 2015/Source: http://www.huffingtonpost.com/entry/lgbt-in-southeast-asia_us_55e406e1e4b0c818f6185151?88rozuxr=




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