Perceived ethnic–racial socialization, ethnic identity, and social competence among Asian American late adolescents.

2010 ◽  
Vol 16 (2) ◽  
pp. 169-178 ◽  
Author(s):  
Alisia G. T. T. Tran ◽  
Richard M. Lee
2007 ◽  
Vol 5 (2) ◽  
pp. 33-54
Author(s):  
Chong-suk Han ◽  
Edward Echtle

In this paper, we explore the significance of the Wing Luke Asian Museum (WLAM) in Seattle, Washington as a site where pan-ethnic Asian American identity can be promoted by analyzing the strategies employed by the staff and artists of the WLAM to promote, foster and disseminate a larger Asian Pacific Islander American pan-ethnic identity. We argue that museums are a significant site that can “provide a setting for persons of diverse Asian backgrounds to establish social ties and to discuss their common problems and experiences.”


2019 ◽  
Vol 14 (2) ◽  
pp. 166-182
Author(s):  
Yi-Ju Wu ◽  
Corliss Outley ◽  
David Matarrita-Cascante

The purpose of this study was to explore camp outcomes specialized in ethnic identity among Asian American youth after they participated in a residential cultural immersion camp. In this study, the cultural immersion camp is viewed as a mediating factor that channels other influences in such a way as to guide Asian American youth to commit more expressly and more fully to their perception of ethnic identity. The results obtained from 3 cultural immersion camps located in the Western United States reveals that cultural immersion camp experiences significantly increase perceived levels of ethnic identity among Asian American youth. Implications of cultural immersion camp on the development of Asian American youth are discussed.


2015 ◽  
Vol 1 (3) ◽  
pp. 285-309
Author(s):  
Margaret Rhee

Widely recognized as the first video artist, Nam June Paik’s artistic career from the 1960s onwards is often understood through his pioneering appropriation of technological developments such as the television and video. Paik foresaw not only the aesthetic potential of video, but also other emerging technologies, such as robotics. While his work in robotic art is less commonly analyzed, it sheds significant light on his position not only as a foremost artist of new media but also on discussions concerning his ethnic identity. This essay demonstrates how, in the 1964 creation of robot K-456 and tv Bra for Living Sculpture, the artist deployed the strategy of racial recalibration—a racial formation that occurs through aesthetic tinkering, hacking, and recreating with emergent technologies that re-wires racial knowledge of the Asian American as robot.


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