The Seattle Gilbert and Sullivan Society’s production of comic-opera “The Mikado” has caused controversy due to the nature of the show and the production’s use of White actors to play Japanese characters. LA-based community organizer Sean Miura (@seanmiura) reflects on his experience with the “The Mikado” and the society’s response to the backlash.
I hold a special place in my heart for the people of Seattle.
Seattle is not where I grew up, but Seattle was the closest I had to an Asian American community with the International District, Uwajimaya food court lunches, and the salmon my uncle Tike would catch fresh in the mornings. My mom drove me, 10 years old at the time, from our home in Vancouver to see David Henry Hwang’s “Golden Child” at the Seattle Reparatory Theater, the first time I saw Asian Americans telling our own stories live.
I concluded that while misogyny, masculinity and misogylinity is America’s problem at-large, it is Asian America’s problem, too. In some corners of Asian America, radical misogyny incubates virtually unchecked.
Yesterday, a 23-year-old South Asian American man by the name of Keshav Mukund Bhide was arrested and held on $150,001 bail after posting numerous online comments idolizing Isla Vista shooter Elliot Rodger through YouTube and Google+, the latter through his account name “Foss Dark”. Bhide is a student at the University of Washington.
Bhide posted several comments calling Rodger’s “Day of Retribution” “perfectly justified”, and threatening to follow in Rodger’s footsteps. On May 30, Bhide wrote a comment on his own sharing of a YouTube video, saying that he “would have done exactly the same shit” but that he “would have killed only women”.
In explanation for his misogyny, Bhide cited a trope that again is all-too-familiar within the Asian American community: he rationalized his anger against women for society’s rejection of men who are “short” and who have an “ugly face”.