Download Assimilation and the Gendered Color Line: Hmong Case Studies by Pao Lee Vue PDF
By Pao Lee Vue
Vue explores and analyzes segmented assimilation at the flooring utilizing Hmong case stories of hip-hop and import racing. His paintings sheds gentle on how moment iteration youngsters are positioning themselves in the U.S. racial order. Findings point out that the colour line, notwithstanding blurred, continues to be very powerful within the U.S. and buildings how kids of immigrants comply with American lifestyles. via their encounters with exclusion, racism, or even brokers of social keep watch over, Hmong male individuals have interaction in resistance and create identification by utilizing their cultural "tool kits," together with the preferred practices of hip-hop and import racing.
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Extra resources for Assimilation and the Gendered Color Line: Hmong Case Studies of Hip-Hop and Import Racing
Sample text
2008) and Pickerill et al. (2009) make is that they have also included analyses of racial groups that were mostly absent in the literature, including Asian Americans. 51). Mosher et al. point out that using statistics alone is insufficient in explaining this Asian “street racing” phenomenon and suggests that a more qualitative approach is needed. One of the contributions of the current study is to provide a more experiential account of how the “street racing” phenomenon is occurring and affecting Asian drivers.
Actual interview questions varied slightly with regard to style but retained equivalent content. The ethnographic data for both the hip-hop and import racing case studies were primarily gathered from a large metropolitan city in the Upper Midwest. The ethnographic sites for Hmong hip-hop8 included a monthly “open mic,” a hip-hop/spoken word poetry class at a low-income 8 Anonymity is not maintained in the case of hip-hop for the following reasons: (1) hip-hop artists want to be acknowledged for their behavior; (2) hip-hop artists are not engaging in any criminal activities and therefore revealing their Getting In 29 housing project, and hip-hop shows at various locations.
Import racing (note the references in Plucky’s song to “Honda Civics” and “whips built for the chase” above) and hip-hop are but a couple of many tastes that Hmong palates have acquired. It just so happens that the palates of young Hmong males happen to be reflective of the racial circumstances that confront them. Plucky raps about ethnicity – that is, being Hmong. Having ties to the culture of their parents and the old world is an equally prevalent theme within the song. References to “old faces that we once knew – Buried underground in bold cases,” “mom’s medicine cabinet,” and a “Hmong knife” serve as metaphorical bridges, despite the symbolic nature of the references, connecting the new generation with the old.