A4’s Beginnings

How did you first connect with A4?

A4 owes its creation to those who were active participants in the iconic Basement Workshop - the iconic Asian American art & cultural grassroots organization with humble beginnings in a basement at 54 Elizabeth Street in Chinatown, NYC. These artists and activists recognized that the Basement - under the initial leadership of Danny N.T. Yung and later the poet and activist Fay Chiang - had successfully birthed an incredible number of new and diverse AAPI creative ventures. The time had come to create a new organization. One that would be a fierce advocate for AAPI artists and organizations. One that would harness the strength of AAPI artists, activists, cultural heritage organizations, enhancing the AAPI community’s voice and presence. The Basement was something very special at the time it was formed - and it was that kind of spirit of working together to address common issues facing communities of color - that I think clearly motivated the early founders of the Asian American Arts Alliance.

Can you speak to the time period in which A4 was formed and the necessity behind it?

There were so few organizations like A4 when it came together in 1983. The issues that we were dealing with, having a voice in the cultural and arts world, addressing racism, stereotypes in the media, discrimination, anti-Asian violence addressing roles, and addressing stereotypes in the media..all that was nothing new to the activists that were involved in the early history of the Arts Alliance, because these were the common conversations that go back to the time period when the Basement Workshop was founded. I guess you could say A4’s founders were part of the first Asian American movement that included artists, which was very important for the movement. At the time A4 was founded, our AAPI numbers in the City were not large, even if you combined our diverse Asian Pacific communities together. But we were starting to become more visible, you know? This is all a reflection of the change in the immigration laws in 1965. So I guess you could say it took maybe the first 10 years of the late ‘70s and the early ‘80’s, for New York to accumulate and grow a population of families and diverse AAPI nationalities. At the time, when the Arts Alliance was formed, there was a blatant need to address the lack of Asian American artists on and off Broadway and in the media.

What roles have you seen A4 play in the AAPI community over the years and how has the need for an organization like A4 changed during that time?

A4 took on, over time, a variety of roles - surely advocacy, service and offering technical workshops, granting and even some programs e.g. music showcases, national conferences and festivals. With limited staff and volunteers, over time it had to focus on service and advocacy.

I guess I’m reflecting now upon these changes at A4 because we kind of take for granted A4’s existence - as a fierce and reliable advocacy organization - when we have AAPI theater performances, like “The Chinese Lady," currently selling out at The Public Theater. And I think the common thread is that it is only with grit and determination, and working closely with community groups of all kinds, staying relevant. In these last few years where we’ve seen the call for Black Lives Matter and the increase of anti-Asian violence spreading throughout America, I see a need for a stronger, more robust and better resourced A4 than ever!

Do you have any fond memories of your favorite projects during your time at A4?

I really like the concept of the Town Hall... I like the idea of the camaraderie when people of diverse backgrounds come together. And the potluck that comes afterwards is very special! I attended several Town Hall events when I was on the Board and I felt that’s just a good example of bringing together a diverse AAPI community. Some people who attended would have just arrived in New York, and, overnight, discovered a familiar community by immersing themselves in the spirit of the A4 Town Hall.

What are your future hopes for A4 and the AAPI community?

A4, from its inception, has dreamed of a space that could be shared and utilized by under-resourced AAPI art and cultural groups. I visited Dixon Place in Chinatown
and the Lower East Side recently. It has a small theater space, a lovely bar and [an] intimate “show and tell” area with offices for use by other groups. I think some of us - who came out of the Basement Workshop - have had dreams that A4 would one day be able to replicate and surpass some of the exciting aspects of the Basement Workshop- bringing together and uniting AAPI artists, and empowering under-resourced AAPI art/cultural organizations.