
Blood on Gold Mountain
07/14/21 • 67 min
By some lights, this episode is what Blood on Gold Mountain is all about. The Massacre.
This episode has been very difficult in every way. How do you make something good or beautiful out of a mass murder? How do you take the experience of being a perpetual foreigner, persecuted and exploited, mocked and belittled, and turn it into something redemptive?
This episode has taught me the answer: You don’t. You just do what you have to do.
This episode is about love, and loss. It’s about the people who have everything torn away by the casual cruelty of others, the people who step outside their own front door and find themselves at the end of a noose. Certainly, it’s about the victims of the 1871 massacre, but the fate of these characters is not unique. It’s about everyone who has suffered in the same or similar situations, yesterday, today, and tomorrow. Who knows which of us will join that company? This episode is an ode to those who do, and to those they leave behind. It is an act of grieving, and of validation, through which we acknowledge that though their fate is hideous, these people are fundamentally no different from you or I.
It is also an act of sacrifice. I have chosen to put a significant amount of life energy, which we can call Qi, and spirit, which we can call Shen into this story. It has also cost me in fundamental essence, Jing, which I would have preferred to keep, and which cannot be recovered once lost. We must give of ourselves to those who came before us, because we are one with them. They and We belong to each other.
Our bond goes far beyond the scope of mere genetic kinship. We and They are different cells in the same creature, different nodes in a vast, four-or-more-dimensional network of interconnected consciousness. Our ways, which we take for granted, they established and invented. Our hopes and dreams would not be possible without their hopes and dreams, which were sometimes fulfilled, and sometimes perished with them in dust and despair. When Isaac Newton said he stood on the shoulders of giants, he was referring to a concrete (if technically metaphysical) reality, which is the underpinning principle of what the Gwailo call Ancestor Worship.
I love these characters. They are strangely real in their fictionalized incarnation, and I hope that those of you who have stuck with this story to the end feel the same way. They are historical figures, resurrected from the traces they left behind, but they are also people I know and love; spirits that used me as a stepping stone on their way to their new homes in this story. Some of them used some of you as stepping stones before they reached me.
The story is told, and will be told again and again. The energy, which has been pressurized under the weight of broadly enforced oblivion for 150 years has been released, at least in part. This is how we balance the scales that abide in our justice-loving hearts despite the injustice of reality. This is how we reckon the cost of human evil. By giving of ourselves, whatever it takes. With love.
Thank you all for being a part of this process. I hope it has done something for you, whatever that something may be. We have all given a long-awaited gift to these spirits, and they will not forget us. In our time of need, in our darkest hour, they will be there to help us, to hold us, and to guide us either back to safety, or onward to the other side.
They will be there for you. I have been with them, spoken to them, given to them what I had to give. You have given them your attention, your sympathy, and, hopefully, your love. They are with you now, waiting in the darkness, and they will be there for you when you call.
I promise.
Micah Huang
If you have questions, thoughts, your own family stories, or historical context to share, please send us a message at @bloodongoldmountain on Facebook or Instagram.
-----
Blood on Gold Mountain is brought to you by The Holmes Performing Arts Fund of The Claremont Colleges, The Pacific Basin Institute of Pomona College, The Office of Public Events and Community Programs at Scripps College, The Scripps College Music Department, The Entrepreneurial Musi...
By some lights, this episode is what Blood on Gold Mountain is all about. The Massacre.
This episode has been very difficult in every way. How do you make something good or beautiful out of a mass murder? How do you take the experience of being a perpetual foreigner, persecuted and exploited, mocked and belittled, and turn it into something redemptive?
This episode has taught me the answer: You don’t. You just do what you have to do.
This episode is about love, and loss. It’s about the people who have everything torn away by the casual cruelty of others, the people who step outside their own front door and find themselves at the end of a noose. Certainly, it’s about the victims of the 1871 massacre, but the fate of these characters is not unique. It’s about everyone who has suffered in the same or similar situations, yesterday, today, and tomorrow. Who knows which of us will join that company? This episode is an ode to those who do, and to those they leave behind. It is an act of grieving, and of validation, through which we acknowledge that though their fate is hideous, these people are fundamentally no different from you or I.
It is also an act of sacrifice. I have chosen to put a significant amount of life energy, which we can call Qi, and spirit, which we can call Shen into this story. It has also cost me in fundamental essence, Jing, which I would have preferred to keep, and which cannot be recovered once lost. We must give of ourselves to those who came before us, because we are one with them. They and We belong to each other.
Our bond goes far beyond the scope of mere genetic kinship. We and They are different cells in the same creature, different nodes in a vast, four-or-more-dimensional network of interconnected consciousness. Our ways, which we take for granted, they established and invented. Our hopes and dreams would not be possible without their hopes and dreams, which were sometimes fulfilled, and sometimes perished with them in dust and despair. When Isaac Newton said he stood on the shoulders of giants, he was referring to a concrete (if technically metaphysical) reality, which is the underpinning principle of what the Gwailo call Ancestor Worship.
I love these characters. They are strangely real in their fictionalized incarnation, and I hope that those of you who have stuck with this story to the end feel the same way. They are historical figures, resurrected from the traces they left behind, but they are also people I know and love; spirits that used me as a stepping stone on their way to their new homes in this story. Some of them used some of you as stepping stones before they reached me.
The story is told, and will be told again and again. The energy, which has been pressurized under the weight of broadly enforced oblivion for 150 years has been released, at least in part. This is how we balance the scales that abide in our justice-loving hearts despite the injustice of reality. This is how we reckon the cost of human evil. By giving of ourselves, whatever it takes. With love.
Thank you all for being a part of this process. I hope it has done something for you, whatever that something may be. We have all given a long-awaited gift to these spirits, and they will not forget us. In our time of need, in our darkest hour, they will be there to help us, to hold us, and to guide us either back to safety, or onward to the other side.
They will be there for you. I have been with them, spoken to them, given to them what I had to give. You have given them your attention, your sympathy, and, hopefully, your love. They are with you now, waiting in the darkness, and they will be there for you when you call.
I promise.
Micah Huang
If you have questions, thoughts, your own family stories, or historical context to share, please send us a message at @bloodongoldmountain on Facebook or Instagram.
-----
Blood on Gold Mountain is brought to you by The Holmes Performing Arts Fund of The Claremont Colleges, The Pacific Basin Institute of Pomona College, The Office of Public Events and Community Programs at Scripps College, The Scripps College Music Department, The Entrepreneurial Musi...
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Heathens
In this episode, we are introduced to Christianity through the eyes of Yut-Ho’s Gwailo marriage to Lee Yong in a Christian church. Can you imagine being married in the holy place of a foreign religion without having any context for the iconography all around you? Understandably, Yut Ho is horrified by the sight of Jesus nailed to the cross, “his head hanging down in an attitude of infinite pain and weariness.” She understands the pendant cross hanging from his neck as the Chinese symbol for the number ten. And in Mother Mary, she sees Guan Yin, goddess of mercy and serenity. By this connection, she is deeply comforted and feels protected to continue with the marriage. For further reading on the connection between Guan Yin and Mary, read The Bodhisattva Guanyin and Virgin Mary.
In late 1800s California, only Gwailo court-sanctioned marriages were seen as legitimate in the eyes of the law. Chinese “ritual” marriages were not readily acknowledged, and this was the very loop-hole that Yo-Hing used against Sam Yuen to lawfully kidnap Yut-Ho.
After their escape, Yut Ho and Lee Yong take refuge at the residence of Dr. Tong and his wife Tong You. Yut Ho is shocked to see Tong You’s bound feet, or as she calls them, her Lotus feet.
Foot binding originated in China during the 10th century and continued through the start of The People’s Republic of China in 1949 (Footbinding, Encyclopedia Britannica). It served as a right of passage for young women and conveyed status.
In Western culture, foot-binding is understood as an oppressive practice, which confined Chinese women to lives of immobility and great suffering. We hear stories of young girls being forced to bind their feet, just as they are forced into being subservient to men. Wang Ping’s eye-opening book, “Aching for Beauty,” paints a much more complex picture. She describes her own childhood desire to bind her feet as being intricately tied to her close female relationships. She explores the connection between pain and beauty that resurfaces in myriad ways across many cultures.
After all, it is socially celebrated for Western women to cut their bodies for breast implants, genital reconstructive surgery, and nose jobs, just to name a few. While the ideal of beauty changes, the insistence on painfully altering the female form to fit a more perfect image of beauty resurfaces again and again.
In our story, Yut Ho learns that Tong You bound her feet by choice, to gain social status. Born into a low class family, Tong You was mesmerized by the luxuries of the upper class. Binding her feet brought her a path to a more luxurious existence, and for her, it was worth the sacrifice.
If you have questions, thoughts, your own family stories, or historical context to share, please send us a message at @bloodongoldmountain on Facebook or Instagram.
-----
Blood on Gold Mountain is brought to you by The Holmes Performing Arts Fund of The Claremont Colleges, The Pacific Basin Institute of Pomona College, The Office of Public Events and Community Programs at Scripps College, The Scripps College Music Department, The Entrepreneurial Musicianship Department at The New England Conservatory, and our Patreon patrons.
Blood on Gold Mountain is written and produced by Yan-Jie Micah Huang, narrated by Hao Huang, introduced by Emma Gies, and features music composed by Micah Huang and performed by Micah Huang and Emma Gies. A special thanks to Chi Wei Lo, Jonah Huang, and Muqi Li for their musical contributions, Kusuma Tri Saputro for the amazing artwork, Sheila Kolesaire for her critical PR guidance, Shayna Krizan for her Instagram wizardry,
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Special Announcement!
Hi Everyone, Thank you for sharing the journey of Blood on Gold Mountain with us. This month, October, marks the 150th anniversary of the LA Chinatown Massacre. We couldn’t let this historic moment pass by quietly, so we’ve partnered with UCLA, The Chinese American Museum, and some of our favorite music and movement artists to create ‘A Chinatown Elegy.’ This commemorative performance will be happening this Sunday October 17th at 2pm on the very ground where the massacre happened 150 years ago. We invite you all to join us for the live-stream. To register, go to http://lachinatownmassacremusic.eventbrite.com (lachinatownmassacremusic.eventbrite.com). As a special thank-you for sticking with us, we’d like to share a song from the performance. It’s called Darkest Hour, by The Flower Pistils- the same group who created the music for Blood on Gold Mountain. Thanks for listening and we hope to see you “virtually” this Sunday! Support this podcast
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