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Blood on Gold Mountain - Special Announcement!

Special Announcement!

10/16/21 • 5 min

Blood on Gold Mountain
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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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

Previous Episode

undefined - Blood on Gold Mountain

Blood on Gold Mountain

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.

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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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undefined - Jianchi/ Perseverance

Jianchi/ Perseverance

Act One of the play Jianchi/Perseverance is based on the outbreak of bubonic plague in 1900 in San Francisco Chinatown, which led to suspicion and demonization of Chinese who were identified with the “China plague,” a term used to describe the bubonic plague.

The history of Chinese in San Francisco is a fraught affair. Drawn at first by mid-nineteenth century stories of riches to be found in “Gold Mountain” (California) just for the working, many impoverished Chinese laborers left home to escape war and famine, and to earn money to send to their starving families. Most arrived too late for the Gold Rush, so many had no choice but to become laborers for the transcontinental railroad, doing the most dangerous and least remunerative work. Little by little the survivors drifted back to cities, to try to build a life for themselves. By 1880, nearly 16% of the population of San Francisco were Chinese immigrants. They experienced daily humiliations, persecution and segregation: the 1882 Chinese Exclusion Act was the first act to ban legal immigration rights to a country on the basis of race.

After killing more than half the population of Europe during the Middle Ages, bubonic plague had taken a break as a pandemic, but it resurged in Asia in the mid-1800s, taking 6 million lives in India and millions more in southern China. Because of San Francisco’s position as America’s foremost Western port, Dr. Joseph J. Kinyoun, the chief quarantine officer of the Marine Hospital Service on Angel Island, anticipated that San Fransisco would be the first American city to experience plague cases before any other. Unilaterally, he instituted a new policy: all ships from Asia or Hawaii would be thoroughly inspected before disembarking in San Francisco. California’s businessmen, newspapers and politicians were derisive. They accused Kinyoun of overstepping his authority and dismissed any suggestion of a potential outbreak as a “plague fake” intended to create a panic that would boost demand for his medical services.

Since ship checks focused on finding infected people, for several months, rats and their plague carrying fleas went ashore from ships onto San Francisco’s streets, concentrating in the city’s most squalid and poverty-stricken neighborhood - Chinatown. In March 1900, the first suspected plague victim died there.

For many upper and middle-class white San Franciscans, the first sign something was wrong in Chinatown on March 7, 1900, were their empty kitchens. Switchboard operators noticed next, as lines lit up with angry callers, demanding to talk to their missing Chinese servants. From there, word began trickling out around the city: Chinatown was locked down. It was only then that white San Franciscans began to remember that they had started seeing dead rats — far more than the regular count — on the streets of Chinatown in January 1900.

“The Chinese were not the only people who had to suffer,” huffed The San Francisco Chronicle. “The white employers of the Chinese awoke to find that there was nobody on hand to prepare breakfast.”

Responding to white outrage, San Francisco Mayor James Phelan ordered a company of doctors to make a sweep of Chinatown to track down and identify every possible plague case. This provoked terror throughout the SF Chinese community, which was well aware that just a few months earlier, 4,000 homes had been burned to the ground in Honolulu’s Chinatown to eradicate a plague outbreak.

After a year of waging a campaign of denunciations and denial, California Governor Henry Gage finally allowed federal officers in to inspect, test and diagnose Chinatown residents, on condition of Dr, Kinyoun’s immediate reassignment out of state. On June 1st 1901, he declared victory over the “China plague.”

The epidemic’s official death toll is recorded as 119, but it’s likely that more cases were hidden, covered up or never discovered.

In 1907, another bubonic plague outbreak recurred among white residents in Oakland and San Francisco. This time, officials jumped into action immediately, spending $2 million to trap and kill rats — the equivalent of over $55 million today. Such measures had not been taken to protect the lives of the Chinese in SF Chinatown seven years earlier. Chinese lives had not mattered except when they put white lives in jeopardy simply through proximity.

What is certain is that Chinese were blamed for endangering white lives by bringing bubonic plague to San Francisco.

Act Two of Jianchi/Perseverance is based on a true incident involving Denny Kim, a South Los Angeles resident. Knocked to the ground and berated with racial slurs and anti-Asian threats, the U.S. Air Force veteran spoke out about the assault in Los Angeles' Koreatown. Los Angeles police are now investigating this attack as a potential hate crime, investigators said.

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