When you were younger, you used to pick at the flesh surrounding your fingernails until you wounded yourself because it gave your hands something to settle on, instead of paging through old story books filled with the histories of your people- sometimes you catch yourself peeling away the layers of your own skin in the fruit section of Ranch 99 reminded of the women before you, Pinang, a young girl turned to the first pina, 100-eyed and flighty Aganhon, her buried heart of sorrow, mango-sweet as youth The unnamed angel to Mang Selo, wise and affable, forever immortalized with her fingerprints upon the bruised and brown skin of lansones They were the true pearls of the orient. You are no longer young, and yet the feeling of stumbling blind into the darkness, arms waving desperately, still follows you into the fray of a well-lit life more than it ever did in childhood. You can recount a million anecdotes- why the piña has 100 eyes, why mosquitoes buzz around our ears, why the cock crows. You can speak of conflicts between gods, of wars between sky and sea but you falter, these days. First at language and second, in shame You are stuck here, in a world of glass-dome privilege where people rarely look up, accumulating a layer of dust on your bones while somewhere, lifetimes away, the hallowed lands where your feet have never touched are crumbling into themselves, folding against each other, and crashing into the sea. You understand they are sacred grounds, and yet, They are not home. You have no right to care. Your mother cries at kitchen tables- she tells you how different life is there she tells you the meaning of suffering Words so foreign that, this time, it’s even harder to keep up It is easy, however, to understand that they are all epithets for death. Tyrant, at least, is a word that translates directly. And your heart, it will burn. It will burn in soil so foreign, under circumstances so acrid and cruel that you can hardly believe the tale of Aganhon you can hardly imagine sweetness sprouting amongst quiet decay even if you share the same broken pieces. You have no right to care for a world so unknown You cannot substitute stories for the feeling of bamboo flooring beneath your heels or crystal-clear waters. You have no right to care, and yet you still do. This is a country less easily shaken, this is a world in which you are among the few with empty rib cages and aching bones that mourn for people an ocean away, your brothers and sisters an ocean away. How is it that you can mourn the loss of something you never had? Only you know that. More than anyone. - Billy Cover art source: https://images.app.goo.gl/VFXKvukFLTPWeLBdA Editors: Sandhya G, Siyean P, Evie F, Sam L.

Dear Asian Youth, We’re surrounded by labels. Labels for our gender, sexual orientation, race, ethnicity, nationality, hobbies, music genres and style choices. Identity is confusing, and labels either bring clarity or cause more chaos. And what about the labels that other people create for you? How do they make you feel? Today, I wanted to talk about a few labels that I myself, and I’m sure many other Chinese people may often hear: 华侨(huá qiáo), 华人(huá rén), and 华裔(huá yì). These three labels are all used to describe “Chinese people”, but they all refer to different things. First and foremost, a 华侨(huá qiáo) refers to a Chinese citizen that currently resides abroad. These individuals still have their Chinese citizenship, but are living in a foreign country for a long period of time. Although they may have permanent residency in a different country, they still retain their nationality as a Chinese citizen. There are normally two types of people that are labelled using 华侨(huá qiáo): Chinese students who travel abroad for education purposes or people who who live abroad for employment purposes. Next, a 华人(huá rén) refers to a Chinese individual who was once a citizen of the People's Republic of China but has now become a citizen of a different country. Since the Chinese government does not allow the existence of dual or multiple nationalities, those who have acquired a foreign nationality and have cancelled their passports are all referred to as 华人(huá rén). These people are usually immigrants who’ve moved abroad in search of a better life with more job opportunities. Last but not least, 华裔(huá yì) simply refers to any individual of Chinese descent. For example, children or grandchildren of Chinese immigrants who have acquired foreign nationality and are living abroad. This term includes a larger population of Chinese people, as it does not consider the proportion of Chinese heritage an individual has. Any individual with Chinese ancestry are classified as 华裔(huá yì). You may have noticed that I’ve placed these labels in order of how “Chinese” person is in a legal sense. But these labels don’t just apply in a legal context, they also apply to social contexts too. In China, a 华侨(huá qiáo) is often considered as “more Chinese'' than a 华裔(huá yì). I always feel uncomfortable thinking about how some people can be seen as less Chinese than others, and how these labels may cause exclusion and segregation. I often feel as though Chinese people residing in China have a certain level of prejudice when interacting with Chinese people abroad. I see this problem as one rooted in nationalism. China has a strongly collectivist culture, which, in simple terms, “creates a society that is supportive and protective of its members while sacrificing personal independence.” This nationalist sentiment of honoring, loving and remaining faithful to one’s country is prevalent amongst most Chinese citizens. This is where division occurs. Many Chinese people view emigration as an act of betrayal and abandonment. Although those who choose to migrate to foreign lands are leaving in search of better opportunities, this isn’t seen as a righteous reason in the eyes of many locals who choose to remain in China. The pride instilled in Chinese citizens has cultivated the belief that you should only make strides in this place you once called home. In fact, some locals do not view third-generation Chinese immigrants in foreign countries as “authentically Chinese” anymore. However, amidst the #stopasianhate movement and other times of crisis, I cannot stress the importance of unity and support. Though I commend my fellow Chinese locals for their dedication and love towards their nation, I plead that they share this love for their people too. The positive essence of nationalism is unity, the very sentiment being ignored. Many Chinese Americans and Asian-Americans alike take strong pride in their ethnic heritage. In fact, the embracement of their heritage is one of the greatest catalysts for the movement as a whole. So to my fellow Chinese, I implore you to forget these labels to stand with me and stand with our people. - Eva Cover Photo Source: YoYoChinese

Last year, I made the decision to stop using skincare products for whitening purposes. After a couple of months, my complexion grew the tiniest bit darker, back to the natural shade I had been born with. The products I had been purchasing from the Korean beauty supply store never altered my appearance much after all. It was a small change that was barely noticeable to anyone except me. When I first bought these products, I felt kinda silly. I had always been darker-skinned, with a more yellowish/olive undertone, and I knew that there was no way I could become the porcelain-skinned beauty standard in East Asian culture. There was never a way for me to become as fair and as translucent as those idolized Korean celebrities or Chinese models. I understood this fact, knew it well, and yet I still decided to buy these products. Maybe it was the model on the label staring back at me, or the advertising on the packaging that promised snow-white results, but at that moment I felt there was something wrong with me for wanting to stay the way I was. It was wrong for me not to chase after that white, clean, and perfect skin everyone seemed so obsessed with. So I bought it and continued buying it for the next three years. It’s no secret that in Asia, the fair was more beautiful. Colorism was and still is still an issue that plagued many, and advertising often targeted these societal standards in every country. Billboards and magazines featured many thin models, all with clear milky white skin, drawing a huge divide between South and Southeast Asian populations with generally darker complexions. I had an endless amount of aunts, cousins, and family friends who subscribed to it, constantly wanting to look like what they deemed perfection. It was hard to not be in that environment and not feel worse about my natural skin tone and by that relation my identity. After I stopped using the product, it bothered me how much the slight difference was affecting me. Logically, I knew that I had not even changed a complete shade in my old skincare routine even after using it for so long. Yet, every morning as I got ready, I couldn’t stop thinking about it whenever I passed by a mirror. You look a bit darker today. At night whenever I was watching some Chinese soap opera or some Korean drama, I couldn’t help but stare at the backs of my hands, thinking about the color of my skin. Why can’t I look like that? What is wrong with me? I was angry at myself for being so shallow, for feeling so distraught. Is this really something I care about? I was unsure of why I had let these thoughts bubble inside for so long or even what exactly I was dealing with inside. Then, one night as I stood in front of my vanity, it hit me like a ton of bricks. ‘Oh,’ I thought to myself. ‘I feel dirtier.’ And then, almost instantaneously something I had always subconsciously disliked about myself, became something I actively hated. And then, I felt uncomfortable in my skin. It was so ironic to me, feeling this burning insecurity because when I was younger I had loved being darker. I grew up in sunny Florida, never more than two hours away from the beach. In a smaller town, my social circle had mostly consisted of white girls, who were obsessed with getting that golden tan. Some even told me I was lucky to be the shade I was naturally, and being envied in this aspect made me happy. It wasn’t until in high school, I started noticing the difference between their beauty standards and the ones I saw assets for my race, that I began questioning what to follow. I wasn’t pretty in America, and I knew this. Pretty American girls were white and blonde, they had big blue eyes with no mono lids, and I was… just different. But as I began to consume more media, I realized how far I was from the Asian beauty standard, neither thin enough nor not pale enough to even be considered close to want-able. For a while, I told myself that this was okay, accepting the fact. Despite being second-rate, being less in both of these areas my life wasn’t just this. I probably have some worth outside my looks, right? I can be smart, I have goals. I buried these thoughts for years under excuses and distractions. Still, insecurity started to consume me slowly. Whenever a family member made a comment on how dark I had gotten, subtly it pooled around my ankles. When I tried using a foundation a tad lighter, it had reached my waist. When I had started to use those skin products, it stopped under my chin, but at least I could breathe. Standing in front of the mirror that night, thinking about how I was never going to be enough, I was drowning. It engulfed me, swallowed me, into nothingness, and I had never felt so ugly, so gross, so flawed. So dirty and worthless. Even acknowledging how much I cared about something so trivial, made me feel stupid. I went to bed hoping to wake up as someone else, someone better, someone that liked themselves, and when I didn’t, I couldn’t help crying my eyes out. So pathetic, I thought bitterly. I wish I could say that there was some life-altering moment that made me feel better, that taught me to appreciate and accept myself for who I was, but there wasn’t. Life doesn’t work so easily like that, and time is the only thing that can heal the mind. I didn’t feel better the next day or in the next week or next month, but found solace in distractions and tried to rebuild my self-confidence in the form of small affirmations. I wrote and journaled constantly, pouring out pages and pages of feelings and emotions. It made me feel good, and I was still insecure, but I could handle it better. Scrolling through social media one night, I saw a post with the quote “My skin color is my identity”. I thought about this idea for a while. The phrase rattled my mind for hours on end. I have never been ashamed of my heritage as a Vietnamese American, but I have seen so many friends and family discount their skin color as something they can and should change in order to fit into the desired beauty standard. So many of us associated darker skin with ugliness and poverty, idealizing the looks of East Asians over those of the South East. Why do we subject ourselves to so much self-hate and criticism? It was frustrating to think about how we have been brainwashed to think of ourselves as second-class, second-rate Asians. The more I pondered this absurd scenario we have placed ourselves in, the more I understand how skin color, personal identity, and perceived identity are interrelated. To the world, your skin determines your perceived identity; it becomes a space for judgment based on appearance, superficial. However, your personal identity (how you see yourself) determines how you see your own skin color. You have control over how you perceive yourself, and you can choose to love your skin rather than hate it. This power is something that an outside influence, whether that be other people, societal standards, or the media, can never take away from you. Your skin is a part of your identity and you can view it in whatever way you want. The small conclusion lifted a huge weight off my shoulders and gave me some sort of empowerment. I won’t say that everything is completely fixed, there are times where I slip and find myself wishing I was just different in some way or another. I had to jump several mental hoops to even get to this thought process after all. I certainly don’t feel good all the time, but it’s never unbearable, and sometimes I even remember to appreciate myself. Still, the battle is only uphill. It takes an everyday effort to build confidence and self-love. It takes daily practice to appreciate my own unique hue and shade. And in this world, it can take some self-actualization to be comfortable in your own skin. In the midst of the #StopAsianHate Movement, amplifying our voices has become important now more than ever. The rise in Asian hate crimes and xenophobia has made me and so many more anxious regarding our identity. I have definitely felt more self-conscious reading hate speech online and watching the news every day. Even as I start the exciting process of beginning a new life in a bustling city, the concerns for my safety almost made me reconsider not going to my dream school. I hope that in sharing my story, I can inspire others to do the same, and help everyone to feel a bit more comfortable in their skin. - Yvon Lu This piece took a lot out of me to write. I’ve always felt insecure about my image, specifically my skin tone. Airing it all out while writing, however, helped me to define my emotions and work through them. I wanted to share this piece in hopes that it could do the same for anyone going through the same struggle. In light of #StopAsianHate I think a lot of us need to appreciate our inherent beauty more, so please read this and remember that your skin is beautiful. Biography: Yvon Lu (She/her) is an aspiring Vietnamese American writer and researcher from Florida, set to attend Columbia University in New York City this coming fall. She loves economics, data science, activism, and story telling. She also enjoys art, cooking, and anime! Follow her on Instagram to see more of her writing @yvon.lu or to message her! She would love to chat you on any variety of interesting topics and would love to become friends! Instagram: @yvon.lu Medium: yvon-lu0711 Cover Photo Source: https://www.scmp.com/lifestyle/arts-culture/article/3080423/skin-whitening-prejudice-against-dark-skin-and-how-class

- Isabel Jo Isabel is a self-taught graphic designer that is passionate about all things creative. She's always been compelled to make illustrations to tell stories and create a personal world, particularly about social and environmental issues, in the hopes of empowering others. She believes that art may be utilized to raise awareness about taboo topics that must be addressed. Biography: Growing up, a lot of models and actors were stereotypes of Asians. This false and unhealthy ideal of "beauty" is propagated via movies, magazine covers, and beauty pageants. Unfortunately, these norms sometimes put people in danger. If you don't have the ideal features, you may be labeled "ugly" or "not Asian enough," and society may dismiss you merely because your appearance does not conform to society's common view or norm. People are therefore pressured to look a specific way and strive to change their appearance to conform to society's expectations. It's necessary to acknowledge that beauty is subjective, and what counts most is what we bring to the table in order to have a positive impact on today's society, not having low self-esteem due to not fitting in with society’s popular opinion. Why fit in when you can stand out? Instagram: @_isabeljo

I remember when I first came to the U.S., People asked for my last name So I said, “Wang” the clerk at the hotel chuckled and said to his colleague, “We spell that with an ‘O’, not an ‘A’. ” But I didn’t understand why my syllables had to accommodate their tongues. I couldn’t grasp why my last name that represents my family Could become the chatter for their afternoon tea. So when they asked, “What is your name?” I told them it is Judy. J U D and Y each letter spelled clear and loud They asked me to say it louder. As if afraid that my brown rice colored skin couldn’t hold a voice loud enough for them to hear. We are people from the mountain, from basins, from deserts to river valleys. We have voices that could tumble out of the Himalayas and give the chilling snow a tremble. We are the people who discovered gunpowder to make fireworks. Who created gifts for human celebrations rather than for human elimination. So when they say: “No, No, No what is your real name?”. I spelled it out for them. HEXUAN. and I repeated it for them, loud. Each fragile letter standing alone Never pieced together as if switching to my birth tongue would have wounded the civility of this conversation. It was me trying to contain each letter within itself So that each character could stop reaching for their other halves So that two pieces of my identity can remain separate, untouched. Once I told someone that I feel Like a margin of two places. A body with knees that had learned to kiss the floor in front of elders, With hands that learned to use chopsticks before a pair of scissors. And a mouth that somehow could speak the foreign words better Than my own. So I stopped accommodating my name for other people I stored it somewhere in a jewelry box. I shielded it from the foreigner’s thirsty tongue and dirty mouth, And cleaned it like a crown, Waiting for a day I am proud enough to wear it. This poem was written as a spoken word for my english class shortly after we read the Poet X. I was inspired by Xiomara's story of her name, and wanted to tell a story of my own. Recalling the daily struggles I face as a Chinese International Student, I centered the story of my name to the question "what is your name?" A simple question for some, for me and many other students with anglicized names, I waver between the two options. Often, I felt like I was betraying a certain part of me by giving out the answer "Judy." This poem, thus, serves as a reconciliation of my rarely used legal name, 鹤轩, and my english name, Judy. Biography: Judy (Hexuan) Wang is a 16-year-old high school student who has recently discovered her new sanctuary -- writing. Having grown up in a family that puts heavy emphasis on the factuality of writing, she decides to diverge from that path in search of a new one. One where she can lift the boulder from her chest as she sorts through the messy knot of her identity as an Asian International Student living in the United States. Instagram: @judywangstudio Website: judywangstudio.com Cover Photo Source:

All boxed in their separate files, I face a screen of sixteen smiles As I zone in and the questions roll in, Out of habit, my face breaks into a grin But how honest, how happy was I within Looking back, these moments felt forced in my skin Hitting the ten minute break, I mindlessly grab my phone to take, The notification, taking my breath away My eyes gloss over the concerning text Panicking, what should I do next? My hands speed straight to the news outbreak To the headings, screaming of anger and heartache During this ten minute break, My mind clings toward the cloudy awake My body soon registers, then turning fake No one braced me for this bad day, No one tapped me, asking if I’m okay Nowhere to escape, thoughts trapped here to stay Becoming one with the separate files I soon resumed to those sixteen smiles Having no closure, finding no peace, I turn off my camera for temporary release Glossy eyes wait for my decision, But tears well up, clouding my vision The burden of my fears Shift my energy to tears Still in session, I close my laptop Please. Just make everything stop. Love, Juliana Hung "Screen of Smiles" is my reaction to the Atlanta shooting when I was sitting in my online classroom. The "screen" refers to the zoom's grid, but the "screen of smiles" refers to how isolated and secluded I felt when my classmates were externally laughing while I was internally crying. The laptop is a symbol throughout the piece because it guides the progression of my deteriorating emotions. This poem is a frozen yet broken scene, and to all Asian Youth, this submission allows me to be open... to be clean. Biography: Juliana is a 17 year old student with a passion for writing to reimagine a story. Along with being an amateur/aspiring poet, she reads Marie Lu, cooks Food Network recipes, and doodles with 6B graphite in her free time. Musicians that inspire her writing are Taylor Swift, Anson Seabra, and Olivia Rodrigo. Instagram: @juliana.k.hung Cover Photo Source: CNN

A fan, low bun, baro’t saya, and a little handkerchief on her hand My grandmother was embrace by grace and small smiles, a bit of patience and full of faith Women before her covered their charms underneath the silk Filipinianas Little chuckles on wits and jokes, no one must heard their voice As a guitar strum and a gentleman sang They hide their beauty behind windows and chamber walls And snuggled on their slumbers after a peek on their lover’s crumpled notes But my grandmother was different. She dressed for her own body and not for anyone to admire it She laugh on silliness and all the funny things her lips would smile upon She stayed behind the curtains as a man confess a love she thought was too bold And she slept with dreams in her mind and courage in her heart Leaving unread love letters and unheard love songs behind She was told to act like Maria Clara — A character every Filipina would admire A story she read not only once but most of her life Maria Clara was feminine and beautiful; docile, quiet; but would smile when her lover’s around; subservient and calm She was born to obey, they must say But my grandmother never came close to her She was too far from perfection But too close to her own self. She never acted like Maria Clara Instead, she became Maria Clara — A woman who is seen beyond what eyes can vision A woman who is described beyond adjectives the author wanted to perceive A woman who is portrayed more than just a perfect Filipina Maria Clara was stubborn; a heroine; teasing and free; smart, courageous; loving and brave; a lost soul, but found herself in strength Like my grandmother, like a Filipina has always been. My grandmother never asked me to act like her, but she taught me to be like her; A woman that is more than just a character — A woman of her own identity. Maria Clara is a character from Noli Me Tangere by Jose Rizal. Her story revolves during the Spanish Colonial era, portraying the lives of every Filipina during the time. Over the years her character is idealized more than just an embodiment of a perfect Filipina and now portrayed as a strong independent Filipina who embraces her own identity. Biography: Devorah is a Filipina, currently studying her pre-medical program at a State University. She is a former Student Council President during high school. A Campus Journalist for 7 years. She is currently a freelance writer, taking academic writing commissions. She is an active leader in her church's Youth Ministry doing religious outreach and programs. Instagram: @devgeuns Cover Photo Source: makandmayamakes on Instagram

Dear Asian Youth, "What is your favorite movie?" As a film fanatic, a myriad of titles always flood my mind at that question. I used to have a need to prove that I am a true film fanatic by referring to the artistic and well-known classics. However, as a person of color, there’s also a need to justify that I am not “whitewashed” or neglecting the importance of adequate representation of minorities in film. In response to that question, I would mention films like “Lady Bird”, “The Godfather”, “La La Land”, “Forrest Gump”, “Good Will Hunting”, “Titanic”, “Dead Poets Society” and “Little Miss Sunshine”. These films are known to be cinematographic masterpieces with excellent screenwriting, well-rounded characters and poignant scores, winning Oscars, Golden Globes, BAFTAs and more. However, these and other Hollywood films lack diversity within their cast and crew. Some of these films don’t feature any people of color in leading roles, and some don’t have any characters of color at all. What is more outrageous is that some films even include racist remarks and racial slurs. But there’s a philosophical question in my mind. Should we, as people of color, feel guilty about liking these films? After investing significant time and effort into contemplating this issue, I have realized that the burden of guilt should not rest upon people of color. We should not blame ourselves for the mistakes which other people have made. It is not our fault when Hollywood does not feature people from minority groups, or when films are offensive to certain communities of people as long as we don’t justify these actions and dismiss them. During the age of the internet and social media, people have been convinced that perfection exists because of many unrealistic standards. But the truth is that nothing is perfect. Not even critically-acclaimed or best picture-winning films are perfect. We are led to believe that enjoying and admiring imperfection is something we should feel guilty about. Calling something out and liking something are not mutually exclusive. I could enjoy a character’s emotional arc or rave over the stunning cinematography, but I can also point out the lack of diversity representation in the film’s cast and crew. For example, in the film “Lady Bird”, the protagonist goes to teenage-girl struggles about friendship, finding one’s identity and sexuality. Although this character arc and narrative is interesting and wholesome by itself, the lack of diversity in the film’s cast does not make the experience relatable to many women of color. It also features an unrealistic lack of people of color in the cast. In the film “Forrest Gump”, a Best Picture-winning and critically-acclaimed film from the 90s, there are problematic issues as well. Although Forrest Gump is one of my favorite fictional characters of all time, he is a privileged white man who becomes a war hero and earns a fortune by just letting life lead the way. He doesn’t comprehend race or the complexities of the Vietnam War, and the film moves further to idolize “skin color blindness” as the solution to the fact that Forrest is the grandson of a Klu Klux Klansman. The film portrays an otherworldly fantasy that does not shed light on the struggles of people of color. If people from minority groups are not allowed to enjoy films that lack adequate representation or films that are not 100% inclusive of every culture, race and sexuality, the film industry would collapse. There is always room for improvement. The film industry has been far behind in its roadmap to inclusivity, but it is getting better throughout this decade. For example, more films by minority groups have been nominated in award shows, and with the globalization of media, foreign films and those made by people of color have become more accessible. I openly call the film industry out for still being stuck in the period of white supremacy and how opportunities for filmmakers of color are much scarcer than those for white people. But due to the activism and strong friendship between minority groups, the industry is gradually stepping out of that period, and moving on to a more modern one. Calling out these films which lack diversity may seem like enough, but it is still far away from achieving full-fledged diversity and inclusion. We need to support and share the work of filmmakers of color. We need to appreciate the art they make, and amplify their voices. This should also apply to other creative fields such as music, literature, and the visual arts. The past is the past. It can’t be changed no matter how problematic it is, but enjoying some aspects of the past is not wrong. The future is still changeable. Let’s elevate the film industry to the diverse globe it should be. Call out the past, but take action to implement changes that will help us build the future we deserve. - Yanitta Iew Editors: Anoushka K Zoe L Nadine R Sam L Cover Photo Source: https://variety.com/2018/film/news/hollywood-diversity-falls-short-ucla-report-1202711370/

Mee Kue Chong, a 67-year-old Malaysian woman, was found dead on June 27 in the town of Salcombe, 200 miles away from her home in Wembley, London after being reported missing on June 10. Her body was found decapitated in the woods off of Bennett Road. Police reported that her body had likely been there for "some days.” Chong, who was also known as Deborah by many within her community, had been living in Wembley for over 30 years. She was described by a fellow church-goer as “a very vulnerable person, ” who also described Chong to be, “very innocent, and very trusting of people.” A post-mortem autopsy report could not find a conclusive cause of her death. But on July 6, 36 year-old Jemma Mitchell from Brondesbury Park was arrested and charged with the Murder of Chong. The police are continuing to piece together the events between June 10, when Chong was reported to be missing, and June 27, when her body was found. Crime scenes remain at residences in North West London (where Chong lived) and the Woodlands in South Devon where Chong was found. Chong’s family, who live in Malaysia, have been contacted and have been working with the police to understand what happened. Since the UK’s first lockdown due to COVID-19, Britain’s East and Southeast Asian (ESEA) communities have seen a 300% increase in hate crimes. These hate crimes are a blatant display of xenophobia towards Asian individuals. This treatment also extends to political rhetoric. Sarah Owen, a member of parliament in the Labour Party, reported that two fellow members of parliament referred to Chinese people as “those evil b----s.” These members are both unnamed. The hatred and bigotry that appears behind these political, power-holding machinations is reflective of how charged and ingrained hatred towards East and Southeast Asians has become. Dear Asian Youth London, a chapter of our organization, has put out the following statement: “We are incredibly saddened to learn about this horrific killing of Ms Chong. Whether racially motivated or not, her initial disappearance for more than a fortnight had not been widely reported. Even now, it is clear that mainstream media outlets have given little to no coverage on this brutal incident that has taken the life of an elderly Asian woman. This highlights the discriminating bias in mainstream media when it comes to reporting. In February 2021, Bennylyn Burke, aged 25 and her two-year old daughter were murdered in Dundee. In March 2021, 16 year old Wenjing Lin was murdered in her family’s Chinese takeaway in South Wales. All of these women were of Asian origin. The brutal murders of these young women were reported on the news, but with very little media coverage. ESEA women being killed should cause widespread outrage and grief, but instead, are not facilitated by the media to get the attention they deserve. With Ms Chong’s case, we need answers. The ESEA community needs answers.” Chong’s murder, set against the backdrop of pernicious anti-Asian rhetoric, is unfortunately just one out of several violent crimes committed against Asian people in the past year. Since the emergence of the COVID-19 pandemic being associated with China and Chinese people, racial discrimination and violent attacks against Asian people have become prevalent, as a result of blatant sinophobia and racial scapegoating. Some of the major headlines in the past year highlight growing violence: Six ESEA women were killed in Atlanta in March of 2021, 19-year old Christian Hall was murdered by police in December 2020 when experiencing a mental health crisis, and Bennylyn Burke and her 2-year-old daughter were murdered in February of 2021. There are still thousands of violent acts of racism perpetrated against Asians that have gone largely unreported in the Western world. The lack of publicity regarding Chong’s case has left the Asian community worried about racial bias in the media. Hau-Yu Tam, chair of End the Virus of Racism, an intersectional campaign against the rise of East and South East Asian hate crimes, wrote, "Why was it not more widely reported when she disappeared?... Because she was an older Asian woman, there didn't seem to be any interest at all.” Tam compared Chong’s story to Sarah Everard, a London woman who was abducted and murdered by a police officer earlier this year. Tam questions if the outcome could have been different if Chong had gotten more media attention. When headlines such as ‘Made in China’ or ‘China kids stay home’ were plastered on numerous high-profile media news outlets such as the Washington Post, BBC, Der Spiegel, and the Daily Telegraph; conspiracy theories on government interference in the source of the virus were consistent topics of discussion, playing into fears of the east, while ignoring their own government’s failures. Consistently perpetuating damaging narratives that endanger the Asian Community while failing to hold adequate space to bring acts of violence and racism to light in the media is concerning. Regardless of the motivation behind Chong’s murder the prejudice in reporting and media has contributed to the normalization of these attacks. While police continue to investigate Chong's murder, we must take a moment to reflect on how things could have been different had there been wider media coverage. There was little reporting even when Chong had been missing for over two weeks, from any major British news outlet. This is in contrast to Sarah Everard’s case, which got widespread publicity from mediums such as the BBC within 48 hours of her missing. Even after Chong’s body was discovered, there was little done by mainstream news outlets to cover the story or bring it to a wider audience. As the ESEA community faces increasing levels of violence in Britain and abroad, little has been done to shed light on their stories. As organizations continue to push for greater reporting and coverage, news and media outlets must rise to the occasion and bring our experiences to light. Devon and Cornwall police have put out a statement: “Anyone with information regarding any hotels or bed and breakfast accommodation that Ms. Chong may have stayed in or why she was in Salcombe should contact the police.” "If anyone has any information which could assist the enquiry, please email 101@dc.police.uk or telephone 101, quoting reference number 0700 of Sunday 27 June." - Current Events Editorial Staff

TW: Death, Shooting, Concentration Camps, Racism, Discrimination. Dear Asian Youth, I was fifteen when the British TV series ‘Humans’ aired on Channel Four. The series had countless posters and advertisements plastered everywhere from bus stops to TVs, which piqued my interest due to the face of the series being Gemma Chan, a British-born Chinese actress. With the Western media’s lack of BIPOC (Black, Indigenous, Person of Color) representation, Chan was a far departure from the usual blonde-haired, blue-eyed celebrities that I was used to seeing. I began to notice that East Asian faces were seldom represented in the media, and during the few times they were, they were often placed in a futuristic setting with mile-high skyscrapers and electronic billboards that could put Times Square to shame. It looked like Tokyo and Hong Kong on steroids. The settings often wilfully provoked a feeling of uncanny; they were supposed to represent a future utopia, but felt more like a dystopia with corrupt dealings underneath neon signs and aggressive fights in dirty alleyways. They were essentially used to prove a point for the sake of the plot, a world that is somewhat similar, but mostly different to the world we live in and inherently more dangerous. It wasn’t until I watched the film ‘Blade Runner’ that I truly began to realise the long-standing history of ‘techno-orientalism’ (the phenomenon of imagining Asia and Asians in hypo- or hyper technological terms in cultural productions and political discourse) in the Western film industry, with the movie being released in 1982 but set in the ‘future’ of 2019. The city itself was exactly as I described prior, with it being so bold in it’s goal of portraying ‘techno-orientalism’ that it included a projection of what seemed to be a Japanese Geisha eating a pill and giving the camera a threatening smile. After watching this film, I subconsciously began identifying similar examples in films like ‘Ex Machina’, where the character of Nathan Bateman owns an AI robot named ‘Kyoko’. As you can guess from the name, Kyoko was an East Asian woman, specifically Japanese. Kyoko is presented as emotionless and only expresses emotion when she is wired to do so, perpetuating the idea of East Asian women as being the ‘other’, which in turns dehumanises them. ‘Otherness’ is a concept which describes the collective and unspoken attitudes of a society or group that perceives an individual as not belonging due to their differences. This could include anything that is ‘other’ from the collective, whether it be physical, cultural, or religious. The perception of an individuals ‘otherness’ can encourage discrimination and mistreatment due to a perceived inferiority to the individual. The character of Kyoko is seen as ‘other’ by not only her creator and the characters of the film, but also by the audience who are watching it. Even as an individual of East Asian descent, I am forced to view Kyoko from a tunneled white lense which further alienates me from her character due to her contrast against the mainly white cast. Furthemore, Kyoko plays the role of a servant to Nathan which reinforces stereotypes of East Asian women as submissive and docile, an attitude that has encouraged many tragic events of violence against East Asian women, including the 2021 Atlanta Spa Shooting. This focus on portraying apocalyptic futures as East Asian can, according to Wired, be “traced back to World War II, when powers like the United Kingdom, France, and the Netherlands were looking at the end of their globe-spanning empires, while simultaneously seeing the expansion of imperialism in countries like Japan. They feared they would be outpaced in both technological and political clout”. The notion that the West should feel threatened by the East is a prevalent pattern in Western society that seems to be exploited in many sci-fi films today and is deeply connected to micro-aggressive opinions on immigrants that people hold. This is particularly shown through attitudes in the Western world towards China due to their ultimate fear of a ‘take over’, especially in the field of technology between the U.S and China over leadership of 5G and AI. It is ultimately due to these tensions between the West and the East in serious and non-serious media that sinophobic attitudes are adopted in the West, leading to racism and violence. A more ‘immediate’ reply to the fear of an Eastern takeover was the U.S Government’s relocation and incarceration of Japanese Americans from 1942 to 1945 into concentration camps. Despite this action being enforced by Franklin D. Roosevelt due to Imperial Japan’s surprise attack on Pearl Harbour, the correlation between Japanese Americans and the Japanese Government was seemingly forced as a way to justify legal racist and discriminatory behaviour. Besides the films and TV shows that utilise this cliche setting, ‘yellow peril’ is a racist ideology that has been around and perpetuated by multiple forms of Western media since the 19th century. It links to a legal immigration period when East Asians, particularly Chinese workers, came to the U.S., Canada, Australia, and New Zealand. We see similarities in the discrimination they faced today through newer immigrant workers, with many in the U.K. adopting the opinion that their “jobs are being taken”. It seems that not much has changed in society's attitudes towards immigrant workers who look or are from cultures that are “different”. Overall, although the use of ‘techno-orientalism’ over the years has become a normal and at times expected aspect of ‘futuristic’ settings, it is not excused from its perpetuation of East-Asians as being ‘dangerous’ and ‘other’. With movements such as ‘Stop Asian Hate’ encouraging discourse on normalised and harmful behaviours in society against Asians, the pattern of including East-Asian ‘aesthetics’ in futuristic worlds only perpetuates a racist ideology amongst the audience and public. As shown by many films in the media, it is entirely possible to include a futuristic world with skyscrapers and flying cars without the need to plaster Japanese words on neon lights everywhere. Despite its status as a ‘classic’ to many as well as its setting in 2019 (which is old news to us now anyway), ‘Blade Runner’ was still released in 1982 and clearly still bleeds with past ignorance. Although I am a believer in traditions and classics, it seems that it may be time for ‘techno-orientalism’ to be left where it became popular: in 1982. - Cathay Lau Editors: Bri Sicam, Sophie Guo, Lydia Lee, and Dilara Sümbül. Writing Sources: https://www.wired.com/story/orientalism-cyberpunk-2077-yellow-peril-science-fiction/ https://thechloegong.com/2019/12/28/techno-orientalism-in-science-fiction/ Cover Photo Sources: https://www.google.com/search?q=techno+orientalism&sxsrf=ALeKk03MMxu0_GO3o6mcBtBj_okXD-18-Q:1625409346064&source=lnms&tbm=isch&sa=X&ved=2ahUKEwid2b7V0cnxAhVQXMAKHU6iAl0Q_AUoAXoECAEQAw&biw=1280&bih=689#imgrc=vHOA8Qaec9ZIyM&imgdii=3MIaj2sOHKyw7M

Trigger Warnings: Fat-shaming, mention of eating disorders and body dysmorphia, implied weight loss, ‘fat’ as a descriptive (for emphasis and rhetoric, not to fat-shame). Content Warnings: Implied dieting and diet culture. Disclaimer I want to make it clear that this isn’t about addressing ‘fat-shaming’ by ‘thin-shaming’ in return; it is not to degrade or belittle those that aren’t plus-size yet still struggle with body confidence, eating disorders, weight loss or weight gain. That is a separate topic that deserves its own time to explore with nuances and perspectives that I simply cannot provide. This piece will explore my opinions on plus-size visibility in health and fitness marketing; it is from the perspective of a plus-sized woman that has not experienced mentally harmful thoughts primarily centred around my weight, nor body dysmorphia. I don’t plan on writing an opinion on something I am not able to provide insight about. With that being said, I’m going to complain (again). Fitting into the aesthetic Have you ever applied to a retail job where you are required to wear their “high quality” clothes, but they don’t carry your size? During my ongoing hunt for employment, I applied for jobs at H&M even though I knew that even the simplest of items from the store, such as a vest top, would be a snugger fit than I would prefer ("Ribbed Vest Top - White - Ladies | H&M GB"). On the H&M section of Indeed, one person stated in a forum response that when it comes to H&M dress code, “H&M loves when you wear their clothes too because it represents the brand and I've gotten compliments from customers on my clothes and could tell them it's from the same store!” ("What's The Dress Code For Workers Like? | H&M | Indeed.com"). This forum response implies that even if you may not be penalised for not wearing clothes from the brand you work for, you benefit from illustrating the style and ‘wearability’ of their tops, jeans and shoes. But what if ‘wearability’ isn’t an option for you because sizes are too small? H&M’s vest tops go upwards to XL, which is technically a snug fit for me, but if I wanted to exhale or move, then I would be scuppered for choice on larger sizes. Not only that, but any body sizes that are above 2XL have no chance of finding a comfortable fit – so, if you are asked to be interviewed at a high-street retail store, you need to be sure that the store is literally the right fit for you. Why does job qualification and skill have to be compromised by a limited ‘work uniform’ size? When I walked into an H&M store for the first time, I should have known that none of their items would fit me comfortably. But then again, I don’t think I have ever truly seen someone with my figure, width and shape in their window advertisements. The first point of contact potential customers may have with retail stores are their window displays and any model photography. However, if plus-size bodies aren’t visible at all in product photos, then it's not feasible for big bodies to buy into the ‘desirable’ aesthetic that these brands want us to ‘achieve’ in the first place. If brands market to customers the idea that achieving a desired ‘goal’ has a recommended retail price, then they should be prepared to market to these target audiences properly. If any advertising or marketing campaign is targeting a specific audience to do something about the wellbeing of their body, then at least make the bodies you are targeting visible. What’s my problem? There is no question that body positivity or body neutrality is more commonly visible in advertising and marketing campaigns, such as SAVAGE X Fenty and the various body types that are hired to model the clothing (instagram.com/p/CPFXRq-rtSz/). My main frustration revolves around any product or service that aims to ‘solve the problem’ of obesity with health and fitness, or promotes weight loss...but chooses not to make ‘the problem’ actually visible. Why tell me to eat healthier supermarket food and lose weight when all the ‘thinny people’ pushing Sainsbury’s carts may not have ever been shamed into healthy eating to begin with? So, what’s my problem? Well, many health and fitness advertising campaigns aim to communicate an ethos that may specifically target plus-size bodies to be proactive about their physical well being, but don’t actively invest in hiring plus-size bodies to model and partake in said ethos. I don’t just mean the one fat person in a group product photo or a specific post dedicated to showing off plus-size bodies, I mean fully integrating big bodies into brand modelling to signify that health and fitness is not exclusive to smaller body sizes. I already have rock-bottom expectations because I’m not confident that my needs and wants are going to be solved, brands fueled by profit aren’t wish-granting lamp genies (although similarly dusty sometimes). However, I want to go into detail as to why health and fitness advertising are part of the problem they aim to ‘solve’ – such advertising can range from school meal campaigns to adult athleisure wear. Biting Back Ever since I taught my mum how to use Instagram, I have had the displeasure of her calling me regularly on the phone just to see her DM message. One of the things she has sent me was a video Jamie Oliver posted on his feed to support the @BiteBack2030 campaign with #BorisKeepYourPromise. I am biased towards celebrity chefs because their cooking shows were a staple of my upbringing; I even have a Gorden Ramsay Royal Doulton pasta dish that I may or may not had decided to claim four years ago when I was moving out of a shared house and it was left behind (no one will know...). With that being said, Jamie’s video aimed to remind Prime Minister Boris Johnson “to keep his promise to protect their health and make sure that all young people have access to nutritious food, no matter where they live” (Oliver). This video consisted of portrait shots cutting from different school kids that have been affected by the pandemic and its lockdowns, acting as a collated message to Boris Johnson so he keeps his ‘promise’ to ensure young people have access to nutritional food (Oliver). I understood the sentiment behind the campaign and also wanted healthy eating to be far more accessible for children, especially for those in low socio-economic households; however, I found one flaw with the video – and no, it wasn’t the young white boy saying he was deeply affected by the pandemic because he missed football. Where are the fat kids? “It’s probably to show that the kids want to stay healthy,” my mum tries to reason. I reply, arguing that yes, the kids may want to maintain a ‘healthy’ weight. But for a public figure to emphasise how child obesity is a ‘problem’ to ‘solve’, and then refuse to make the ‘problem’ visible is short-sighted. Society has frequently criticised fat people for being fat and commented that they should stop being fat through means such as good health and fitness – so why put all this effort into making plus-sized bodies visible to criticism when they are invisible in advertising and campaigns that are dedicated to ‘good health’ in the first place? All this health and fitness rhetoric directed to plus-sized bodies as a target audience – and then not even representing that target market in the campaigns – seems counterproductive to me. Jamie Oliver is known for using his access to television, book deals, and social media, to campaign for access to healthy meals in schools – to make sure that childhood obesity is halved by 2030 in the UK (Oliver). However, if Jamie Oliver cares so much about stopping child obesity, then for me it would be logical to illustrate how the pandemic made it less accessible for families with plus-sized kids to start or maintain healthy meal plans. This short-sightedness isn’t just from one video Mr. Oliver posted on this Instagram, it is also visible how invisible fat bodies are in the “Bite Back 2030” Instagram account. An example of this ongoing invisibility was a photo posted by “Bite Back 2030” that addressed how the British Government voted against an amendment to put their food standards into law and how the campaign for universally healthier eating standards is ongoing. Once again, I have no particular issue with this photo highlighting a diverse community of people that want Britain’s health standards to improve without putting a dent in shopping budgets, especially with how much the pandemic has significantly affected individual and family incomes. This photo aims to communicate that young people are also demanding change from the government, because youth is a powerful force for change when taken seriously. However, the absence of faces with double chins and bodies that are visibly bigger accompanied by the slogan #SaveOurStandards leaves a stale aftertaste when viewed through a plus-size lens. Arguably, the invisibility of fat bodies implicitly signifies that the ‘standard’ “Bite Back 2030” wants to ‘save’ is exclusively thinner – that the standard is thinner. Although this may not be intentional, the idea that big bodies aren’t present in the ‘standard’ highlights the greater discourse about fat people being visibly critiqued for their fatness. Arguably, this perpetuates the idea that fat people do not take healthy eating as seriously as thinner people. Why would we take good health seriously? We’re fat. Why would we express autonomy to improve ourselves on our own terms, despite the continual shame we may experience? We’re fat. We’re fat therefore we are not a concern to campaigns that want to label our fatness as a societal issue. With this whole example trying to illustrate the importance of youth and their wellbeing, what does it say to plus-size youth when their wellbeing isn’t part of the picture? How can a plus-size kid even think about healthy eating without the connotations of ‘fat = bad’ and ‘losing weight means social acceptance’, if public figures like Jamie Oliver don’t amplify the voices of plus-sized kids the same way he specifically chose to amplify non-plus-sized voices? He wants obese kids to not be obese, so where are the fatter body types when these campaigns are most likely designed to ‘solve’ fatness? Discourse about representing body diversity in various media continues like ageing cheese – the longer it exists, the stronger it will be. It is important to keep this topic going to recognise that plus-size bodies aren’t one type of shape, width proportion, height, or ability. However, I want to continue addressing (ranting) about the decisions most western media decides to make about health and fitness advertising, in which target fat people are visibly shamed into idolising athleticism, but make accessible solutions and invisible for campaigns such as athleisure wear. ‘Plus-size’ in retail athleisure It is possible for brands and retailers to carry plus-size options, but what becomes limiting for those that want to wear athleisure is how accessible and visible these options are. JD Sports, a UK sports fashion retailer, exemplifies these limitations. Although JD Sports does provide a ‘plus-size’ category for online shopping, it is only an option to click under the ‘womens’ category** ("Plus Size"). There are two issues with this. The first is the implication that either ‘menswear’ does not need a plus-size category, or that ‘womenswear’ requires a plus-size category to signify that plus-sizing is exclusively marketed as a ‘womens’ concern; let’s not forget how clothes have no inherent gender but are gendered to reinforce insecurity-driven status quos, ones that sustain patriarchal systems and marginalised the LGBTQIA+ community. The second issue is that the idea of a ‘plus-size’ category in the first place suggests that JD Sports acknowledges the need for clothes that fit larger body sizes, but separate it from smaller sizes to implicitly segregate plus-size bodies as ‘other’ in retail shopping. The decision to have a ‘plus-size’ category for online shopping is pointless if JD Sports does not take the initiative to actively advertise that their shopping experience is not exclusive to visibly fit-looking and ‘thinny’ people. Why bother having such a category if you don’t plan on making the option visible in product photos? Even though a ‘plus-size’ category is a back-handed step towards body inclusivity, the amount of specific sizes highlights the fact that a ‘plus-size’ category does not inherently solve the fact that the brands a retailer stocks can carry a limited variety of sizes. These are three charts with data I extrapolated from the ‘Men’s Clothing’, ‘Women’s Clothing’ and ‘Women’s Clothing Plus Size’ pages: Based on the data extracted from two of the major sports retailers in the UK, this further illustrates that potentially possibly perhaps maybe brands and retailers supply largely to a specific ‘mid-range’, meanwhile plus-sizes dwindle the higher the waistline. The fact that there can be a a huge jump from 1042 items for those size 18 to a measly 192 for size 20 in comparison under ‘JD Sports Women’s’ exemplifies how a ‘plus-size’ category in athleisure shopping is as performative as golfers shuffling their feet for alignment – a way to show off but easy for viewers to miss. Good luck to anyone a size 44, there is one item for you in Sports Direct online; a “KJUS Brissago Jacket” that was £209.99 (holy mother of crabcakes) but now to £65.00 (better, but not £2.90 better). I don’t know what’s more astonishing, how ridiculously inconsistent size ranges are for plus-size bodies to select for fitness, or how much that KJUS jacket was…("KJUS | Brissago Jacket Ladies | Full Zip Fleece Tops | Sportsdirect.Com"). In terms of performative visibility, the social media marketing for fitness brands is also a culprit. When you scroll through brands such as Nike, Adidas, Sports Direct or JD Sports and their Instagram accounts, the limited visibility of plus-size clothing and big bodies wearing athletic clothing is the equivalent of finding my mum at a golf course – she was present once on the rare occasion but she was not expected to be actively present regularly. With brands that signify a specific ethos about athleticism and fitness, I can see how there is more investment to market celebrity status athleticism on social media to rile up motivation from target audiences. These images illustrate that ‘with enough willpower, drive and hard work, you too can be the best version of yourself just like these athletes with muscles that bulge out like broccoli stalks.’ This is evident with JD Sport’s centering their company values and branding around “the everyday athlete” ("JD Sports"). The ‘everyday athlete’ may signify that the retailer aims to supply resources for ‘everyday’ people that proactively involve themselves with fitness and athleticism on an ‘everyday’ basis to achieve extraordinary results – broccoli muscle and all. With this in mind, wouldn’t the ‘everyday athlete’ also be applicable for plus-size bodies? It is a statistical fact that even if the commitment to New Year’s Resolutions depletes in February (Murphy), the top common resolutions revolve around losing weight, dieting or going to the gym (Ballard; Ibbeston). Although these resolutions are not size-exclusive, they are often associated with plus-size bodies or general weight gain prior to New Year’s Day (even if you’re like me and think goal setting is for any day because January 1st places a lot of unnecessary pressure with expectation to fail). Therefore, it would make logical sense that for any time of the year, fat bodies have the autonomy to be proactive about physical wellbeing. Multiple retailers and companies have profited from insecurity-driven resolutions to boost sales on weight loss resources, so wouldn’t it be a nice change to see New Year’s advertising with plus-size models that express body autonomy to do whatever is best for their individual wellbeing? Not to shame fat bodies into dieting. Not to shame fat bodies that ‘fail’ their resolutions. But to just acknowledge that there are options and any option is valid for any size. If you want to improve your wellbeing and exercise like an ‘everyday athlete’, then there are brands that can cater to your size to assist the journey at your own pace...Idealistic, isn’t it? Fat people can be ‘everyday athletes’ too but for JD Sports, they only care about highlighting ‘everyday athletes’ with broccoli muscle on social media – because I guess a fat person aiming to be a less-fat person doesn’t maximise ‘double-tap’ potential. This does not help with the fact that these social media accounts utilise body envy to market their brand and company values, but don’t actively solve the problem of body envy for plus-size bodies in a way that makes us feel seen rather than exposed. Let's say you were told to ride a bike, but all the bikes available to you had no wheels – and no one sees why a bike with no wheels is counter-intuitive. Let's say your goal is to hit a hole-in-one, but you have no golf ball or putter – you are immediately set at a disadvantage. Fat bodies being told to go to the gym, with no clothes available for fat bodies to wear at the gym, is counter-intuitive and immediately sets a disadvantage. If people set expectations on plus-size bodies to invest in their health and fitness, we should set expectations on health and fitness campaigns to invest in plus-size bodies too. “Promoting an unhealthy lifestyle” Social media, and media in general, has continued to police the way big bodies are perceived as an ‘unhealthy standard’; an example of this would be when Facebook had to apologise for banning a photo of Tess Holiday (a plus-sized model) because according to its ‘health and fitness’ advertising policy, her body size promoted something that was a violation of their guidelines (Levin). Facebook's initial defense, which they later retracted with an apology, stated that “Ads may not depict a state of health or body weight as being perfect or extremely undesirable”, and “Ads like these are not allowed since they make viewers feel bad about themselves. Instead, we recommend using an image of a relevant activity, such as running or riding a bike” (Levin). Yikes. The mental gymnastics someone would have to go through to bend to a platform’s guidelines, to imply that body insecurity triggered by a photo of a plus-size body can be solved with bikes. An interesting take about policing big bodies – not a good one – but I guess I’ve yet to solve fat shaming with bike helmets and bells so I won’t knock it (accept I will because Facebook’s defense was yikes). This one ‘incident’ has contributed to a greater discussion about how people often project this notion that plus-sized bodies inherently promote ‘an unhealthy lifestyle’ that isn’t suitable for representation in health and fitness campaigns. But surely, that’s counter-productive. “We don’t want to encourage obesity”; okay, but I haven’t seen glamour shots of flabby bingo wings glistening in the sun during a Sunday Funday run. Do glamour shots of fat people partaking in healthy physical activities encourage an unhealthy lifestyle? Do glamour shots of a fat person running in sleek jogging bottoms, that glide any static friction from chub rub, encourage an unhealthy lifestyle? Do glamour shots of someone with wide feet putting on their favourite pair of tennis shoes that fit them encourage an unhealthy lifestyle? Do glamour shots of someone with a protruding double chin enjoying grilled halloumi encourage an unhealthy lifestyle? For goodness' sake, do glamour shots of a plus-size person playing golf encourage an unhealthy life too? What health concerns are there for a sports and fitness company to think a big person can’t swing a high performance supersonic ultimate XXX multispeed titanium wedge? I’m sure there are more than a few high earning or retired people that enjoy playing on the green and have polos larger than Callaway umbrellas. I grew up going to golf clubs for fun (we all have a dark past) and if you are in any way familiar with typical British pub menus, I can guarantee you that none of the blokes at these clubs quenched their appetite with a succulent meal of kombucha and pomegranate couscous. If I remember correctly, beer and battered sausage baguettes are not superfoods of the PGA tour. So, what’s the problem making fat people visible for any sports ad? Not glamorous enough to signify the lifestyle you want target audiences to spend money to achieve? Why are we missing out on health and fitness campaigns when these campaigns so desperately want us to ‘fit in’ the ethos of healthy living? Why are plus-size bodies missing? I don’t need to beat anyone’s head over the established fact that societies of any kind have some level of ‘beauty standard’, something that categories people in ‘accepted’ and ‘not accepted’ according to an arbitrary set of characteristics that change throughout history and culture. Based on the idea of a beauty standard, industries have historically relied on socially accepted visuals to attract viewers with ‘eye candy’ to reinforce this standard as the superior image that you can only attain and maintain if you have the genetics, resources, or money. Especially the money. This means that plus-sized bodies with knobbly wobbly bits have been consistently categorised as ‘not accepted’ according to whatever beauty standard has been established for that decade. Since western society did not associate ‘fat’ in proximity to ‘pretty’, this implied that big bodies were not desirable enough to sell products to a customer – whether it be thigh-hugging jeans or even a potato slicer! In my opinion, another facet to the invisibility of plus-sized bodies in advertising is to target this demographic with the beauty standard, to target fat people with what they should aspire to look like. Robin Givhan and Hannah Reyes Morales argue that “[…] on a powerfully emotional level, being perceived as attractive means being welcomed into the cultural conversation. You are part of the audience for advertising and marketing. You are desired. You are seen and accepted. When questions arise about someone’s looks, that’s just another way of asking: How acceptable is she? How relevant is she? Does she matter?” (GIVHAN and REYES MORALES). Givhan and Morales’s final three questions exemplify why I believe plus-size bodies have been so invisible in advertising for so long. It’s not just about this arbitrary beauty standard, it’s about whether or not society believed that plus-size bodies ‘mattered’ in the public? Do they matter enough to be seen? For a long time and to this day, western societies want fat bodies to do something about their fatness, but only as long as fat bodies aren’t seen during the progress of the changes that societies wants us to make; “I don’t like how you look so I won’t look at you until you are different”. But this can’t possibly be logical if you are a health and fitness brand. You simply can’t expect fat bodies to go away until ‘the problem’ is solved when YOU display yourself as the problem-solver. Why would plus-size people aspire to a body type they already have if they can aspire to a thinner and ‘accepted’ body size? By marketing primarily with aspiration rather than representation, health and fitness advertising can reinforce a societal ‘problem’ without having to actually hire ‘the problem’ as faces of the campaign. What do I want? To summarise my thoughts, feelings and aggravations – health and fitness brands do very little to make the main target of being shamed into ‘healthy living’ feel welcomed in their advertising. Simply put, it is hypocrisy. It is not enough to present expectations and promote a lifestyle or aesthetic as an ‘aspiration’ if the options for big bodies to access a lifestyle to ‘aspire to’ is invisible on public advertising. Whether it be high street retail dress codes, window shopping, online shopping, or politically charged campaigns, health and fitness brands need to swallow a bitter, low-calorie pill that their marketing does very little to actually serve a demographic that may need it the most. Visibility has value; it carries weight. When fat people are shamed for being fat; When fat people are considered a threat to long-term wellbeing; When fat people only have to exist for public criticism about an ‘unhealthy lifestyle’; When fat people are told to do something about their weight to ‘better themselves; When fat people are told ‘go to the gym’; When New Year’s resolutions place an unnecessary expectation to change fatness into ‘fatless’; When brands have made it their mission to market a solution to a problem exacerbated to fat people; When brands say ‘we can provide everyone options to improve themselves, but it’s not fit for everyone’; What are fat people expected to do? How do health and fitness campaigns expect us to run a relay race without giving us the baton? We are set up to expect failure. We are set up to give up. We are set up to continue being the ‘others’ of a ‘healthy’ society. We are continuing to see a decline in the popularity of dieting culture in public discourse, but plus-size bodies continue to be visible to criticism and invisible to opportunity. This isn’t simply about me ‘seeing myself’ in advertising, and it is more than just wanting body inclusivity for diversity. I want brands and campaigns that champion better health and fitness to acknowledge that they are part of the problem. If I am expected to see more McDonald’s chains than accessible gym wear that caters beyond my size – that is a problem. I want any fitness campaign to really think about this question: who are you fit for? Fat people get chewed up by the public expectation, but we bite back. - Hannah G An opinion piece about the hypocrisy of brands advertising health and fitness towards plus-size bodies, yet have exclusively ‘healthy’ looking body sizes hired to model these campaigns. **In terms of the ‘womenswear’ and ‘menswear’ labels, I personally believe that clothes are genderless; such categorisations can reinforce gender stereotypes and do not support gender non-conforming. 'Womenswear' and 'menswear' have been written as such in this piece for consistency when referring to retail labelling, but does not reflect my support to dismantle binary gender labelling in the clothes industry and athleisure. Writer's Sources: "Big And Tall: Plus Size Clothing For Men And Women | Sports Direct." Sportsdirect.com. Web. 18 June 2021. "Biteback2030." Instagram.com. N.p., 2021. Web. 18 June 2021. "Body Image Survey Results - Women And Equalities - House Of Commons." Publications.parliament.uk. N.p., 2020. Web. 18 June 2021. "Callawaygolf." Instagram.com. Web. 18 June 2021. "Chinese Clothing Size Charts - UK Size Charts - Jade Bagua Ltd." Jadebagua.com. Web. 18 June 2021. "Engage, Empower & Support. 🏌️‍♀️⛳️ Join Us As We Celebrate Girls And Women Playing Golf And Learning Skills That Will Last A Lifetime. #Womensgolfday 2W." Instagram.com. N.p., 2021. Web. 18 June 2021. "JD Sports." Facebook. Web. 25 June 2021. "Jdsports." Instagram.com. Web. 18 June 2021. "Just A Bit Of Friday Fun! 😂 You've Seen The Meme Women Laughing Alone With Salad But Have You Seen Men Laughing Alone With Fruit Salad? 🥗 Clearly, Salads Are Just Hilarious Food To Eat And If You Eat Them It Will Give You This Much Joy! 🤣." Instagram.com. N.p., 2020. Web. 18 June 2021. "KJUS | Brissago Jacket Ladies | Full Zip Fleece Tops | Sportsdirect.Com." Sportsdirect.com. Web. 25 June 2021. "Men's Latest Clothing." JD Sports. Web. 18 June 2021. "Nike." Web. 18 June 2021. "Nikesportswear." Web. 18 June 2021. "Plus Size." JD Sports. Web. 18 June 2021. "Ribbed Vest Top - White - Ladies | H&M GB." H&M. Web. 18 June 2021. "Ribbed Vest Top - White - Ladies | H&M GB." H&M. Web. 18 June 2021. "SAVAGE X FENTY | Lingerie By Rihanna UK." Savagex.co.uk. N.p., 2021. Web. 18 June 2021. "Verified Snatchin' Trophies 🏆⁣ ⁣ We Just Snagged 3 #Webbyawards For The #SAVAGEXFENTYSHOW VOL 2. Check 'Em Out At The Link In Bio. Cc: @Amazonprimevideo & @Mojosupermarket." Instagram.com. N.p., 2021. Web. 18 June 2021. "Verified The Honeybeez: Dream Crazier “Any Dream Is Possible. If You Just Want This Crazy Dream To Happen, You Just Have To Put The Work In." ⠀ You Know What Some People Consider A Crazy Dream? A Body Positive World. One That's Full Of Confidence. A World That’S Dripping In Self-Love. ⠀ But That’S The "Crazy” World That Montgomery’S Honeybeez Are Fighting For. #Justdoit." Instagram.com. N.p., 2019. Web. 18 June 2021. "What's The Dress Code For Workers Like? | H&M | Indeed.Com." Indeed.com. N.p., 2020. Web. 18 June 2021. "Womens Plus Size | Jackets, Dresses, Jeans, Underwear, Tees | Sports Direct." Sportsdirect.com. Web. 18 June 2021. "Womens Plus Size | Jackets, Dresses, Jeans, Underwear, Tees | Sports Direct." Sportsdirect.com. Web. 25 June 2021. "Yesterday Didn’T Go Our Way. The Government Voted Against An Amendment To Put Our Food Standards Into Law, So That Any Changes To Them Would Need A Vote. We’Re Disappointed, But We’Re So Grateful For The 46,000 Of You Who Emailed Your MP To #Saveourstandards. This Doesn’T End Here. We’Ll Be Working To Make Sure Child Health Has A Voice In Our Trade Deals. As Our Youth Board Member Rebecca Morgan Puts It “We Stand By The Call To Give ALL Young People The Opportunity To Be Healthy And Have Access To Good Quality Food And Standards No Matter Where They Live, A Call Which We Hope The Government Will Hear.”." Instagram.com. N.p., 2020. Web. 18 June 2021. "“You Just Have To Take A Leap Of Faith. Be Who You Wanna Be, Wear What You Wanna Wear, And Go Big Or Go Home. Whatever You Do, You Just Have To Come Out There Stepping,” @Asuhoneybeez.." Instagram.com. N.p., 2020. Web. 18 June 2021. Ashley, Beth. "What Happened To Plus-Size?." Vogue Business. N.p., 2020. Web. 18 June 2021. Ballard, Jamie. "Exercising More And Saving Money Are The Most Popular 2020 New Year’S Resolutions | Yougov." Today.yougov.com. N.p., 2020. Web. 25 June 2021. Blitzresults.com. Web. 18 June 2021. Chun‐Yoon, Jongsuk, and Cynthia R. Jasper. "Garment‐Sizing Systems: An International Comparison." International Journal of Clothing Science and Technology 5.5 (1993): 28-37. Web. 18 June 2021. DALL'ASEN, Nicola. "Where Are All The Fat People In Beauty?." Allure. N.p., 2021. Web. 18 June 2021. Galassi, Madeline, and Beth Gillette. "We Ventured To Nike To Try On Their New Plus-Size Activewear—But This Happened Instead." The Everygirl. N.p., 2019. Web. 18 June 2021. GIVHAN, Robin, and Hannah REYES MORALES. "The Idea Of Beauty Is Always Shifting. Today, It’S More Inclusive Than Ever.." National Geographic. N.p., 2020. Web. 18 June 2021. Ibbetson, Connor. "How Many People Made New Years Resolutions For 2020? | Yougov." Yougov.co.uk. N.p., 2019. Web. 25 June 2021. Levin, Sam. "Too Fat For Facebook: Photo Banned For Depicting Body In 'Undesirable Manner'." the Guardian. N.p., 2016. Web. 18 June 2021. Marsia, Amanda. "How To Convert Asian Size To US/EU Size (Clothes/Shoe Size Chart)." Chinabrands.com. N.p., 2019. Web. 18 June 2021. Martin, James. "How To Find Your Clothing Size In Europe." TripSavvy. N.p., 2020. Web. 18 June 2021. Oliver, Jamie. "Jamie's Plan To Tackle Childhood Obesity | Features | Jamie Oliver." Jamie Oliver. N.p., 2018. Web. 18 June 2021. Oliver, Jamie. "Tomorrow, The Government Sets Out Their Priorities For The Next Year To Build Back Better As A Nation. All Of The Young People At @Biteback2030 Are Calling On Boris Johnson To Keep His Promise To Protect Their Health And Make Sure That All Young People Have Access To Nutritious Food, No Matter Where They Live. I Need You To Stand Alongside Them. If You Do Just One Thing Today, Please Click The Link In My Bio To Sign The Letter And Add Your Voice. #Boriskeepyourpromise @10Downingstreet." Instagram. N.p., 2021. Web. 18 June 2021. Roach, Andrew. "Convert Asian Sizes To US Sizes – Asian Size Conversion Chart." Oberlo.co.uk. N.p., 2020. Web. 18 June 2021. Vagianos, Alanna. "What The ‘Ideal’ Woman’S Body Looks Like In 18 Countries." HuffPost UK. N.p., 2021. Web. 18 June 2021. Editors: Bri. S, Lee. L, Lin. M. Cover Photo Source: https://media.istockphoto.com/vectors/plus-size-young-women-doing-fitness-pilates-yoga-forward-split-body-vector-id1269853872?k=6&m=1269853872&s=170667a&w=0&h=CIlO9l7pvexkRnCpu4vA22qQr0FlPsY5Vau6c3k3eH4=

Dear Asian Youth, Why do you write like you’re running out of time? — Lin-Manuel Miranda The clock’s hands mean nothing and that pile of handwritten notes taller than my baby brother is just…not tall enough. I’ve spent my hours hunched over a computer, writing out whatever is galloping faster than the treadmills in my mind. There’s nothing left on my list to cross out, yet it never stops growing. It’s one of the typical Kafkaesque days in quarantine. Thailand is under lockdown again, and this pandemic never seems to end. I am living in this never-ending loop of trying to prove to myself and everyone else that I am being productive. In a world where productivity is the most esteemed prize, what does “enough” mean? I am not tired. I can write a lot more, and I should have written a lot more. Does tired mean I have done enough? If not, what does “enough” mean? “Enough” is a paradox. It’s subjective to every individual, but what is enough for me? And for you? At first, I defined “enough” as the time in which I am satisfied with the amount of work I’ve done. But living in this never-ending loop of quarantined days has left me unsatisfied with the amount of work I’ve completed. Recently, I’ve hit a writing roadblock. A creative burnout. And this sinister dark shadow looms over me, screaming, “What if I am not a real writer? What if the choices I’ve made were all the wrong ones?” Then, this feeling of immense dread plunges me into a cycle of binge-watching Youtube videos on “Productivity Hacks”, “Imposter Syndrome”, and “Creative Burnout.” This leads me to more procrastination, and I start feeling horrible about myself. Time is ticking away, but spending time in front of a computer screen all day makes me feel like time stands still, and there will never be an end to this. There will never be enough time, and there will never be enough work done. During one of my adventures within the vast ocean of Youtube videos, I came across a video essay that talked about the word “Kafkaesque.” This word is used to illustrate something that is illogical, bizarre and nightmarish, like the environment found in Franz Kafka’s stories. One of the stories in the video really resonated with me. It is called “Poseidon”, where Poseidon, who is the god of the ocean according to Greek mythology, never had time to explore his own kingdom because he was always overwhelmed with countless piles of paperwork. And the piles never stop growing. If only he allowed someone to help him. At this time, we are all confined within our own homes and forced to stay by ourselves, drowning in the repetitiveness of life, my very own Groundhog Day movie. What if we stopped torturing ourselves and changed things up? I believe the best gift we can give ourselves at this moment is a break. Although browsing through Instagram, Youtube and Netflix doesn’t qualify as productive time, churning out rubbish first drafts and adding tasks to a to-do list isn’t productive time either. The paradox of never enough is something that has been disturbing me for the last few months. However, it doesn’t have to be a paradox, if only we understood where this feeling came from. The fluidity of the ticking clocks and the repetitive routines that pass by while we furiously type on a computer implants the feeling that what we have done today isn’t enough. What if we just take a break and reflect on the tiny achievements that we have accomplished throughout the day, and congratulate ourselves? Maybe the solution to solving this complex paradox is quite simple after all. The jumbled mess of feelings and frustration may be complicated, but sometimes, finding the simpleness within things may be the solution to the whole paradox. Remember to take a break. And stay enough! – Yanitta Iew Editors: Sandhya G, Zoe L. Cover source: Raz Latif / The New York Times