FALL 2014

RICE MAGAZINE

*

Battle Hymn of the Tiger Cub | Home, Interrupted | My Buddhism | Nip and Tuck |One Boat, One Stroke | The Rise of Pakistani Cinema | Tokyo Cosmetic Fashion Trends

2

Executive Board MembersPresidentNora Asha Gurung

Editor in ChiefNivedita Kutty Vatsa

Vice President of Administrative and Financial Affairs Lucy He

Head of Publicity Julia Sichun Liu

Heads of DesignCyndi Chin & Christopher Cho

A word from the Editor

Editorial PolicyRice Magazine is an outlet for students to explore unique issues concerning Asian cultures, perspectives, and experiences. We reserve the right to edit submissions and publish work as deemed appropriate. All views expressed are those of the authors.

Chinese philosopher, diplomat, and Cornell alumnus, Hu Shih discusses the significance of cultural exchange in The Chinese Renaissance. He writes:

“It is only through contact and comparison that the relative value or worthlessness of the various cultural elements can be clearly and critically

seen and understood.” The team at Rice Magazine agrees with this view which is why we came

together to bring you a collection of perspectives on Asia. Our mission is to provide a platform for people interested in Asian culture to share their personal stories and opinions. In this issue, we showcase writers from different cultural and academic backgrounds who cover a broad range of topics. They write about Pakistani cinema, Japanese fashion, Chinese sport, Korean pop trends, and other issues.

We hope that by sharing their work, we can capture the interest of the wider community at Cornell. As Hu Shih emphasizes, learning about another culture can open our eyes to our own. It is an opportunity for us to empathize with a new viewpoint and in doing so, come to understand how our own beliefs came to be. We believe that this continuous process of exchange and self-reflection is important for strengthening a community that values diversity. And so, we would like to lend our voice to this process. We hope that you are able to relate to our stories and discover something new from them.

Contact Infocornellricemag@gmail.comwww.ricemagazine.tkwww.facebook.com/ricemagazine

3

Home, InterruptedJeanette Si

Battle Hymn of the Tiger CubChristina Lim

My BuddhismShuai Shao

One Boat, One StrokeZhi Jian Lin

Tokyo Cosmetic Fashion TrendsRene Tsukawaki

The Rise of Pakistani CinemaAbrahim Shah

Nip and Tuck: Cosmetic Surgery in the Korean Pop Industry

Alex Ma

4

10

14

20

26

33

37

4

Home, Interrupted

5

RICE MAGAZINE

Home, Interrupted

BY JEANETTE SI

6

On October 14, 2014, conflict broke out between Chinese villagers and workers in

Yunnan Province, resulting in eight deaths and eighteen injuries.

The villagers had been disputing their forced eviction off of 500 acres of land to make room for a corporate logistics terminal outside the provincial capital, Kunming. Thanks to their efforts, construction had been halted since May of 2014 – but on October 14th, a group of workers, armed with police-issue weapons and shields, had driven into the village of Fuyou with the intent of silencing its villagers’ protests. The resulting conflict ended with the deaths of six workers and two villagers, as well as multiple injuries from both sides.

Forced evictions, where people are coerced out of their homes so that the local government can sell the land to developers, are a common phenomenon in China today. Usually, the evictees are given little to no compensation for their losses and fall into poverty shortly afterwards. This practice strikes rural villages as well as urban cities – according to Amnesty International’s 2012 report, “Standing Their Ground,” over 500,000 families were evicted from Beijing between 1991 and

2003. Private homeowners were paid 4.5 billion USD less than their property value, while tenants were cheated out of 7 billion USD. A flawed policy

All land in China is owned by the government: rural and suburban land is owned by “collectives”, an ambiguous term referring to the local village committees – which are, essentially, the government as well.

What is bought and sold instead of land are land-use privileges – “leases” on state-owned land, which typically last 70 years for urban land and 30 years for rural land. The government distributes leases which they can terminate at their will. And so, when a buyer offers to buy a piece of land from the government, the existing tenants may find themselves homeless almost immediately, without adequate compensation.

For collective-owned land, inadequate compensation comes from a small loophole; because the government considers a “collective” to be separate from itself, it decrees that while under lease, the tenants can only keep the land for personal use. They can only live and farm on it, so the price of their land is calculated with an algorithm that relies heavily on the tenants’ agricultural output. However, when

HOME, INTERRUPTED

7

RICE MAGAZINE

the state removes the tenants from the land, the land becomes open for commercial purposes and is no longer subject to the agricultural-use algorithm. Because of this, the land is able to be sold at a higher commercial value. In this way, the local government gets away with paying tenants pitifully little while reaping the full value of the land from the developers. A broken system

Compared to collective land, urban land has a fairer policy for compensation based upon actual market price. But the Communist Party’s practice of evaluating officials based solely upon economic growth has resulted in many instances when officials ignore property policy in order to create more income for their respective local governments. Because of the positive numbers this produces for the economy, the higher government condones these violations.

With little to no punishment for breaking the rules, government officials are free to do anything and everything they can to procure a profit. A declining morality

Amnesty International had examined forty cases of forced eviction from across China. Nine of these forty cases resulted in the

death of one or more people that resisted eviction. For example, on March 21, 2014, villagers of Pingdu in Shandong Province had protested their eviction by erecting tents at the site of their former homes. At 1:30 AM that day, a fire had begun by their tents, eventually killing two villagers and wounding three more. Official reports read that the cause of the fire was unknown and that the villagers had died of strokes; however, villagers at the scene reported the cause as a government-hired arsonist.

In government reports, the villagers have been awarded an adequate amount for their land and the fire damage. However, Geng Fuchun, whose brother had died in the fire, was not compensated for either his brother or his land. His desperate attempts to seek compensation for his family’s loss have fallen upon deaf ears. “I just want to fight for what my brother sacrificed for,” he said. “Other than that, I’m just a farmer, and I have no right to know [the government’s reasons].”

Another instance occurred on December 7, 2012. Two people were killed and three were injured when workers from the Bureau of Urban Construction forcefully tore down the houses of the evictees before the

8

families even had a chance to move out. The angered citizens of Zunyi, Guizhou Province, marched the dead bodies to City Hall the same night as a demonstration of their unjust treatment.

What makes matters worse is that courts rarely accept appeals from evictees, so many are forced to try and appeal directly to the local government instead via protests and demonstrations. However, those aren’t very effective either – some protesters, like 65-year-old Yangming Du, were even arrested for their troubles. Du had been arrested three times for protesting in front of government offices, and was eventually sentenced to eighteen months at a forced labor camp.

These people aren’t activists

and hold no agenda against the government; they’re ordinary people who simply want their basic human right to own property. But in a country where the system is so against them, they can hardly hope to find any sympathetic authority. A failed solution

In 2001, China had agreed to follow the United Nations’ International Covenant on Economic, Social, and Cultural Rights, which explicitly outlines a detailed set of procedures that governments should follow in the case that a forced eviction must be performed. The document refers to forced eviction as a last resort, and requires governments to consult with the evicted and offer alternative solutions to eviction before claiming

“...the existing tenants may find themselves homeless almost immediately, without adequate compensation.”

HOME, INTERRUPTED

9

RICE MAGAZINE

the land and tearing down existing buildings. It also requires its member nations to give evictees reasonable notice of building demolition so that they can be prepared.

As shown in the examples above, China has clearly ignored many aspects of the covenant with little to no resistance

from its other member nations. Without pressure from external sources, China lacks motivation to change its ways, trapping its citizens in a policy and system perfectly apathetic to their concerns. A louder voice

Starting in 2010, evictees have begun an awareness-raising movement called “Maque Huchao”, which loosely translates to “Project Sparrow” in English. This movement was started by Hu Yan who led a three-month-long demonstration in May 2010 outside the United Nations Headquarters in New York City. Hu’s home, along with many other residents’ homes, was torn down in order to make room for Expo 2010 in Shanghai. Following her example, evictees have traveled

to other countries to seek help for their own situations, having organized such demonstrations in Australia, the United States, and Canada.

According to activist Dr. Jianli Yang, “Project Sparrow” has helped put pressure on Beijing and many of its participants were able to receive a fairer government compensation for their land. He hopes that the movement will spread further in China so that more Chinese citizens can be aware of how much the government violates their human rights.

In today’s society, it seems ridiculous that citizens have to appeal directly to other countries in order for their own government to address their concerns. But that is the inconvenient truth for the many Chinese who find themselves reduced to homelessness because of their own government. Although their problem won’t be solved easily, they have found a possible solution – if they can increase their presence in these other countries and have their voices heard in the world, China may be closer to becoming a country where its citizens can finally feel at home.

“...the existing tenants may find themselves homeless almost immediately, without adequate compensation.”

Jeanette Si is a freshman majoring in English in the College of Arts and Sciences.

10

BY CHRISTINA LIM

Battle Hymn of the Tiger Cub

11

RICE MAGAZINE

When I was in e l e m e n t a r y school, I practiced twelve hours of

piano each weekend. My mother enforced the daily six hours using a timer, pausing it each time I paused too long between run-throughs. She limited my bathroom breaks and delayed my dinner to push me to practice more efficiently.

When I was in middle school, my mother stood by my locker everyday after school to usher me to swim practice. She did this to prevent me from delaying going to practice by dawdling after school. Each day, as soon as the bell rang, I would run out of my last class and drag my mother to the car, hoping that my friends wouldn’t see me.

When I was in high school, my swimming teammates knew me by my mother. She sat on the bleachers at every practice, six days a week. In rain or shine, she watched me swim, collecting criticisms to throw at me later. My coaches and teammates

learned to stop asking questions when I regularly came to practice with puffy eyes and a red nose.

High school is also when I first heard about Amy Chua’s book, Battle Hymn of the Tiger Mother, which threw the public spotlight on strict “Chinese” parenting. Chua recounted parenting methods that paralleled my mother’s, and elicited visceral reactions ranging from

horror to defense. While her anecdotes s p a r k e d d e b a t e s regarding the p a r e n t i n g style, less a t t e n t i o n has been drawn to the perspective of these parents’

children. While I can’t speak for every tiger cub, I can see how my mother’s tiger parenting has affected me. Overall, my mother’s iron grip has made me unsure of my identity, but emotionally resilient.“What do you like to do?” This question pops up everywhere, and my answer is that I don’t know. I don’t know what I like to do, because my parents always chose my activities for me—school, swimming, and piano.

“While her anecdotes

sparked debates regarding the parenting style, less

attention has been drawn to the perspective of these

parents’ children.

12

Since all my energy went into these activities, I rarely had the energy to think about what I wanted to do on the side. I remember for a couple of weeks in 7th grade, I pushed my parents to let me join the school track and field team. After weeks of deliberation, my mother approved on the condition that I maintain the effort invested in my existing activities. But I didn’t want to run badly enough to add extra stress, so I forgot about track and field. As Amy Tan wrote in The Hundred Secret Senses, “I learned to make things not matter, to put a seal on my hopes and place them on a high shelf, out of reach. And by telling myself that there was nothing inside those hopes anyway, I avoided the wounds of deep disappointment.” I never gave thought to what I liked to do before coming to college, and I never placed any value in my interests. So the concept of letting my interests guide my collegiate pursuits was foreign to me.

Also due to tiger parenting, I’ve perfected the practice of flying under the radar. My main goal when living with my parents was to avoid scrutiny. I learned to hate school, swimming, and piano because my mother turned them into fodder for criticism. So to avoid conflict, I learned to do as little as possible,

while still seeming like I put effort in. Years later, I can see this affecting me in college, as I’ve perfected the art of estimating how little I can do to yield a satisfactory grade. Sophia Chua-Rubenfeld, Chua’s daughter, thanked her mother for teaching her the value of “knowing that you’ve pushed yourself, body and mind, to the limits of your own potential” (“Why I Love My Strict Chinese Mom”). On the contrary, I found the effect of my mother’s parenting to be the opposite; instead of teaching me the value of hard work, she taught me how to work strategically.

Because my definition of success was flying under the radar, in college, I have found it challenging to redefine my perspective on success. As I’ve movd across the country for college, I’ve found more freedom at Cornell. It is now solely up to me to find motivation—what energizes me, what makes me want to work harder. I am simultaneously inspired and baffled by the drive that fuels many of my friends’ aspirations.

While it’s easy for me to occasionally feel emotionally and professionally stunted because of my upbringing, I can also take strength from my mother’s parenting. Her parenting has taught me that I am strong. Growing up in my parents’ house was no walk in the park, but

BATTLE HYMN OF THE TIGER CUB

13

RICE MAGAZINE

knowing that I pulled through has let me prove my own resilience.

Looking back, I can see how having a tiger mother has affected my mentality. While it’s made me doubt my true aspirations, it has given me grit. Ultimately though, I think my biggest takeaway from growing up with a tiger mother is thankfulness.

I remember picking up Battle Hymn of the Tiger Mother, expecting to finally feel validated in my resentment at having a strict parent. Instead, reading the book let me understand where my mother is coming from. While I don’t agree with her parenting techniques, it doesn’t take away from the fact that she wholeheartedly committed

herself to raising me in the way that she thought was best. After all, there’s something to be said for a parent who is so dedicated that she would put her life on hold to raise her child. My mother quit her job and took a hiatus from graduate school to raise me with 100% of her energy. She spent all of her time supervising my progress, making sure that I wasn’t deviating from what she thought would lead to my success. For eighteen years, she gave up her pursuits to focus on giving me the best head start in life that she possibly could. And if that’s not a sign of dedication and love, then I don’t know what is.

“And if that’s not a sign of dedication and love, then I don’t know what is.”

15

Awakened by the temple bell at 4 in the morning, I put on a casual robe and walked outside my room to a still-dark sky, filled with countless stars. I made it to

the communal meditation hall, sat down among my 100 fellow students, and meditated for 2 hours within a tranquil ambience. To reach the state of meditative calmness I needed, I began by observing the flow of natural breath, and then shifted my attention to the sensations arising within my body – just like I had been instructed. I followed every step of the instructions with the pure and ultimate goal of discovering the same principles that Buddha once did thousands of years ago: I wanted to directly experience the nature of impermanence and achieve radical liberation from any suffering like he had.

This 2-hour morning session marks the beginning of a regular day in the 2-week meditation course that I have attended for the past three years. However, as a child, I was hardly as devoted to any type of meditation as I am now. Before meditation (among other factors) had revolutionized the way that I engaged with Buddhism, this ancient religion had been something entirely different to me.

Born and raised in China, I grew up in a traditional Chinese family that worships gods from Buddhism, Taoism, and other indigenous beliefs. As a result, the first impression that Buddhism left on me was of a series of rituals. At home, I would follow my parents and relatives when they burned incense, put fruits on the niche, prayed for well-being, and kowtowed before Bodhisattva statues. During regular visits to temples

My BuddhismBY SHUAI SHAO

16

with my family, I would conduct similar rituals before statues of multiple Buddhas and gods. While doing so, I often felt a complex mix of curiosity, wonder, intimidation, and even fear when surrounded by all the images, paintings, and decorations in the temple scenario. Since everyone in the family would perform these rituals, I followed suit: I’d ask for good health, better grades, fortune, and all that good stuff. But I never truly understood the meaning of these rituals and worship, and even occasionally questioned the necessity of such performances. Can rituals guarantee well-being? Can I get whatever I desire so long as I pray to Buddha and have a strong belief in him? Does Buddha punish the bad and those who don’t worship him and reward the good and those who do? Are all possessions in my life subject to the manipulation of Buddha? Such doubts and confusions kept me from devoting myself to Buddhism with my whole heart and soul.

Fortunately, a series of events would initiate my journey to explore Buddhism further – a journey which allowed me to think beyond mere rituals and freed me from oversimplified, dualistic views of Buddhism. At the age of 15, I had taken an elective course on Taoism

in high school and marveled at the intellectual realm of Zhuang Zi, an important Taoist figure. I especially admired his uniquely “carefree” attitude towards life and his ability to develop an internalized world of happiness and enjoyment regardless of external situations. My mother had also played an indispensable role in changing my thoughts about Buddhism. She told me about her encounter with Buddhism in her twenties and how her perception of Buddhism changed multiple times over the course of her life. To this day, she still shares her latest insights into Buddhism with me. This discussion with my mother gradually guided my understanding in a new direction.

Perhaps the turning point in my

MY BUDDHISM

17

RICE MAGAZINE

view of Buddhism is marked by an encounter with a book called Almost Buddhist by a Bhutanese Buddhist master and writer. It demystifies Buddhism by denuding it of the component regarding worship and idolization, and unveils the original features of Buddha and Buddhism. In the past few years, all these factors, combined with more books and resources, involvement in some clubs and organizations, meditation, and other great opportunities to know more about Buddhism contributed to transforming my perception of Buddhism in multiple dimensions.

The foundation of my belief lies in history and facts. Gautama Siddhartha, now known as “Buddha”, was a historical figure who truly

existed. He came to this world just like how everyone else did, except for the fact that he was born a prince in a kingdom in ancient India. Throughout his life, he did many things that average people could not or were not willing to do, but were absolutely within the boundaries of physical laws. There was no miracle or supernatural power around him at all. Buddha’s acts were just as simple and pure as his discovery of the radical methods to eradicate suffering and attain internal bliss and enlightenment. After he came to this realization, he devoted his lifetime to teaching people these methods out of compassion and benevolence. He also taught the nature of impermanence and non-attachment among other concepts which were profound yet understandable at the same time.

Siddhartha and his life history were so simple, so natural, so accessible, and most importantly, had nothing to do with supernatural power, miracles, superstition or the encouragement of worship and rituality. Seen as an iconoclast at that time, Siddhartha clearly objected to idolization or fetishism. According to a well-known story, even when a woman desperately asked Siddhartha to save her dead son by performing some miracle or using

18

supernatural power, he did not do so. Instead, he taught her the ideas of impermanence and non-attachment to unpredictable and inevitable loss in life, as well as a method to get rid of inner attachments through meditation.

Therefore, I see Buddha as a spiritual teacher who guides me, inspires me, and educates me as opposed to an omnip otent God, or an idolized figure to exclusively w o r s h i p , s o m e t i m e s for well-being and other times for no reason at all. To me, Buddhism is more of a way of thought and an education than of a religion or mythology. Buddha can show me the path to ultimate liberation from suffering, but cannot walk the path for me. Instead, I have to negotiate the path all by myself without the unrealistic expectation that Buddha would purge all negativities and impurities stocked inside my mind and take me straight to the destination, no matter how long and difficult the path may be.

Unfortunately, the original features of Buddhism have become

less and less visible. They have been modified and even distorted as Buddhism entered and developed in China. Some people seem to be more obsessed with praying for fortune and wellbeing before the statue of Buddha than with watching and disciplining their own deeds, speech, and minds, and cultivating a kind heart. I’m not criticizing the act

of worship in any way; in fact, I regard it as a good way of showing my respect and gratitude to Buddha as a teacher who has imparted

me with precious values and methods. Conducting rituals is a process of cleaning up the impurities and negativities rooted in the mind, cultivating good intentions, developing humility and kindness, forming a cognitive connection with Buddha, and putting down my “ego” – or attachment to self. However, excessive emphasis on rituality can be misleading and confusing. What Buddhism was originally about—the core ideas and precepts—works better than worship in terms of eradicating suffering and attaining

“Buddha can show me the

path to ultimate liberation from suffering, but cannot

walk the path for me.

MY BUDDHISM

19

RICE MAGAZINE

spiritual purity, since worship itself may lead to attachment which goes against the teaching of Buddha.

In the end, I didn’t give up the rituals that I performed when I was a child. However, the radical difference between now and then is that now I know exactly why I’m performing the rituals. When I go to a Buddhist temple again and face the familiar scene, I no longer have the doubts and confusions that once blocked my way to embracing Buddhism with all my heart and soul. I still worship Buddha and other gods with awe and respect, but they now feel more accessible. Free from intimidation and fear, I can feel the tranquility and serenity of my mind, and learn to appreciate the beautiful and charming art painted on the wall, put on the table, or hung up. I can now call myself a “Buddhist” without any doubts, though I just started the exciting journey of being one.

I thank every piece of karma that brought me to know Buddhism and catalyzed the change in my perception of Buddhism. Now, I simply hope to live an easy, relaxed, and happy life by practicing the teachings of Buddha. While there are many ways,

including many religions, beliefs, theories, and ideologies, that one can adopt to achieve happiness, I’m just grateful for encountering the one that proves to be effective for me.

Shuai Shao is a sophomore majoring in Biological Sciences in the College of Arts and Sciences.

20

One Boat, ...

PHOTO COURTESY OF SOUTH CHINA MORNING POST

21

BY ZHI JIAN LIN

...One Stroke

22

It is said that dragon boating originated from the sacrifice of Qu Yuan, an exiled minister and poet from the state of Chu around 278 B.C. After the state of Chu became heavily corrupted, Qu was banished by his foolish king. Nevertheless, his love for his state remained strong;

this allowed him to write some of the greatest poetry in Chinese history, expressing his admiration for Chu. However, upon learning the devastation of his beloved state of Chu by a nearby state, Qu fell into despair. He committed suicide by drowning himself in the Miluo River as a way of protesting against the prevalent corruption. After learning of Qu’s genuine act of patriotism, the common people rushed to the river and desperately

PHO

TO C

OU

RTE

SY O

F G

UIL

IN H

OLI

DA

Y

23

RICE MAGAZINE

rode boats to try to save him. They beat drums to ward off the evil spirits and threw rice into the water to prevent the fish from eating his body. The International Dragon Boat Federation (IDBF) held its first ever championship in 1996 there in celebration in his honor.

Today, the sport of dragon boat is celebrated all over the world as a testament to sportsmanship, unity, and teamwork. So what really is dragon boating? It’s simple. First off, the boat itself is adorned with a dragonhead and a tail. It involves 20 paddlers (10 on each side of the boat), each armored with a life jacket, a wooden or carbon fiber paddle, and a burning heart. Each person paddles in synchrony with one another to propel the boat forward, pushing their limits to be the first boat to cross the finish line. The drummer, sitting at the front of the boat, measures synchrony by beating on the drum when every one of the paddles enters the water. The sound of the drums represents the mindset of the team as well as the heartbeat of the boat. Because the paddles can only be used to move the boat forward, there is an experienced steersman standing at the end of the boat. The steersman ensures the safety of the team and helps steer the hard work of the crew

in the right direction. The drummer, steersman, and paddlers, together with the dragon boat, make up one variation of modern day dragon boating.

Founded by dragon boat enthusiasts who wanted to share the joy of dragon boating, the Cornell Dragon Boat club welcomes paddlers of any experience of any level to paddle in the beautiful and clear water during the blazing summer months. Ever since I was a little kid, I would rush to watch dragon boating whenever the summer months came around. I knew that when I grew older, I would do whatever I could to be a great dragon boat paddler. But as time went by, I slowly forgot about my childhood goals. It was during my sophomore year that I discovered about Cornell’s very own dragon boat team. That summer, I embarked on my own journey to fulfill my childhood love for dragon boating.

The summer began with just three faithful paddlers: the president of the club, a physics graduate student and driver, and myself, heading down to Cayuga Lake for a Saturday morning dragon boat practice. We were about 17 paddlers short of a full boat. Nevertheless, we paddled with the older and more experienced paddlers on the

24

Ithaca Gorges Dragon boat team. It was totally different from what I had imagined. After a few miles in the water, my back started to hurt, my lungs felt tight, and my sweat washed away any possible amount of sunscreen on my body. Somehow I managed to cling on and just kept pushing through the pain and finished practice with everything that I had. No one ever forgets his or her first dragon boat practice. I never forgot my first day because the next morning, I woke up and just could not move. Every part of my body was in pain. It was so bad that I remained motionless for the next 2 hours. I was thirsty, hungry, and tired, but I just lay in my bed smiling. Even though I had to crawl,

roll, and swing myself out of bed, I felt good. I felt alive.

With only three more weeks until Ithaca’s very own dragon boat festival, I went back for more. At each practice session, new paddlers showed up; they were students staying over the summer doing research like myself. I knew neither their name nor their major, but we just kept paddling. We knew each other by the way we paddled: our breathing pattern, our paddling speed, and our motivation to go faster. Dragon boating is not just a water sport; it’s a learning process. The process of learning about each other and bonding over the workout, the sweat, and the determination, define the sportsmanship in this

ONE BOAT, ONE STROKE

PHOTO COURTESY OF LONG ZHENG FROM ISTARTEDSOMETHING

25

RICE MAGAZINE

amazing sport. Unlike swimming or tennis, where a single person swimming or playing is enough, dragon boating requires the skill of 20 paddlers. Teamwork is a result of each and every paddler’s dedication and commitment outside of practice. And unity is simply the culmination of teamwork in the water.

Come time for the festival, Cornell was able to assemble some of the most energetic and open-minded people I had known to partake in the festival. The team was able to demonstrate the spirit of dragon boating wonderfully. However, the competition that year was intense; teams from all over the East Coast came to show off their commitment and determination. Some of those

teams had been paddling for many years, while we had only started in the beginning of the summer. We were out-paddled and outmatched but even when the other boats were way ahead of us, we never thought about surrendering our hard work. We just kept paddling, because that is what dragon boating is about. It’s about not giving up. It’s about not letting the team down and most importantly, not letting your self down. In dragon boating there are neither individuals nor great or bad paddlers. There is only the team. It’s only with a team that we can cross the finish line. Zhi Jian Lin is a senior majoring in Mechanical Engineering in the College of Engineering.

26

BY RENE TSUKAWAKI

People often do not think of Tokyo when they first think of a fashion-forward city, despite the fact that many of the current fashion trends have originated from there. This is because Tokyo was only

just recognized as a major fashion metropolis, back during the early 80’s, although its prominence in the fashion world has been internationally acclaimed ever since. In 2010, the director of the Museum at Fashion Institute of Technology, Valerie Steele, curated the fashion show, “Japan Fashion Now”, recognizing Tokyo as “one of the world’s most exciting fashion cities”. She also acclaimed Japan as the first non-Western country to ever have had “a radical impact on global fashion”.

Tokyo Cosmetic Fashion Trends

PHOTO COURTESY OF THE CURATED OBJECT

28

Even so, many of Japan’s current fashion trends have had some influence from Western culture. These range from colorful graphic tees with English or French phrases, to clothing patterns based on the Union Jack or the Statue of Liberty. The kind of trends that are more uncommon outside of Japan, and its nearby countries such as China, Taiwan, and Korea, are cosmetic ones. These include the trends relating to large eyes, colorful hair, and intricate nail art. The

fascination with large eyes is largely related to the popularity of “halves”, or people of mixed race in Japan. Mixed race models are popular for having Western traits such as fair skin, proportionally longer legs, and of course, larger, double-lidded eyes, while still being partially East Asian. However, it is hard to determine whether the popularity of mixed models stems from the fascination with Western traits, and vice versa. Regardless, it is an undeniable fact that many of the models gracing the

TOKYO COSMETIC FASHION TRENDS

PHO

TO C

OU

RTE

SY O

F TH

E C

UR

ATE

D O

BJEC

T

29

RICE MAGAZINE

current covers of fashion magazines are of mixed race. Sometimes, there are even “pure” Caucasians advertising products as well. Thus, it is not surprising that people of mixed race are an integral part of Japanese fashion and beauty standards.

The biggest fashion trends involving the eyes are circle contact lenses and eyelid tape. Circle contact lenses are the answer to many Japanese people’s biggest fashion dilemma - how to make their eyes seem larger. They are cosmetic

contacts that allow basically anyone who can afford them to enlarge the irises of his or her eyes. Lenses also require minimal effort and zero skill, which give them an advantage over using makeup an enlargement technique. In addition, while Caucasians are known for having multi-colored eyes, it is extremely rare for Japanese people to have naturally-occurring eye colors that are not a shade of brown. Lighter eye colors are therefore another Western trait that Japanese people wish to attain and once again, the lenses provide the solution to this dilemma. With the lenses, one could have virtually any eye color imaginable, ranging from natural shades like light brown, which is lighter than what East Asians usually have, blue, and green, to unnatural colors such as pink and lilac. Furthermore, the options for different kinds of color contacts have grown to include ones that give the wearer white eyes, cat eyes, or even patterned eyes. Most recently, natural colored contact lenses with a subtle floral shape framing the pupil have gained popularity.

The difference in the level of enthusiasm between East Asian races and non-East Asian races regarding the circle contact lenses is only natural - people are more fascinated

with being able to look like something that is foreign to them. Although it can still be exciting, possibly, for a person with blue eyes to be presented with brown colored contacts, (even though brown eyes are the least romanticized of all colors in popular culture), it is not “new”. It is not uncommon for a Caucasian to have brown eyes, or blue or green or anything in between. It is, however, uncommon for East Asians to have any eye color besides brown and so color contacts were revolutionary for East Asians. The popularity of circle contact lenses is now growing even among non-East Asians. This can be attributed to the wide and easy availability of unusual colors and patterns, which receive further promotion from YouTube fashion gurus and Japanese celebrities.

Another cosmetic fashion trend revolving around the eyes is eyelid glues and tapes. These are used to help create or further emphasize double eyelids. Single eyelids are a trait unique to East Asians and the eyelid glue and tape helps East Asians create a more Western look and enlarge their eyes. Without these tools, the double eyelid look would be impossible to achieve, with the exception of cosmetic surgery, which is often too expensive and permanent to be a viable option. Single-lidded East Asians now have the option of having either single eyelids or double eyelids everyday, and thus two different ranges of makeup looks. Although Westerners are all double-lidded, they

PHOTO COURTESY OF DAILY ONIGIRI

can also find use for these trends. For those who have developed loose skin around the eyes or want to achieve a more symmetrical eye shape, eyelid tape is a cheap alternative to cosmetic surgery.

The other fashion trend that is a result of Western influence is related to hair. Although fashion wigs in Japan had been popular for a while, they became even more popular with the rise of creative singers like Lady Gaga and Katy Perry. These artists often have colorful hair of different lengths and styles in their concerts and music videos, which Japanese fashionistas are eager to incorporate into their own personal style. Fashion wigs allow people to enjoy different hair colors, lengths, and styles regularly without having to commit to any of them by actually altering their real hair. For example, Lady Gaga’s multicolored hair was the inspiration for a new product, called hair chalk. Hair chalk allows people to “dye” their hair without making any permanent changes to their actual appearance. Dyeing hair in Japan is common and popular, but since appearing conspicuous in a formal setting is frowned upon, it is difficult to function in society with hair color that is distinctly unnatural. Many schools and workplaces do not allow brightly dyed hair, heavy makeup, or even piercings. Hair chalk, which washes out with water, but colors the hair easily is an ideal compromise: people are able to obtain multicolored hair like Lady Gaga’s, for only as long as they

32

want, without having to actually dye their hair or damage it with toxic chemicals. In American culture, which is less conformative in terms of appearance, hair chalk can also be appreciated. Since hair chalk doesn’t damage the hair as hair dye does, fashionistas who want to play with hair color regularly use it, as do people who want a trial run before actually dyeing their hair.

There are fashion trends that are universal because everyone can understand and appreciate them, and then there are trends specific to certain cultures. For instance, bronzers, a cosmetic liquid or powder applied to the skin to give it color or shine, are a very Western product that are typically used to give the appearance of a suntan or for contouring. In a similar way, circle contact lenses, eye glue and tapes, wigs, and hair chalk are just some of the fashion and cosmetic trends that have been developed for Japanese fashion needs.

As mentioned earlier, Japanese people value uniformity, more so than most cultures, mostly because they are already very uniform in terms of both culture and ethnicity. Thus, Japanese people have a huge need to be up to date with all the latest trends, whether it is in music, food or, of course, fashion. It is

also an undeniable fact that while apparel trends can be appreciated by everyone, since clothing are available in all sizes to accommodate different body shapes, certain makeup techniques or styles work for or look better only on certain ethnic or racial groups. This is another reason that cosmetic trends are more easily popularized nationally, especially in Japan.

Japanese people are so attracted to these cosmetic fashion trends that have had Western influence, because they’re trends. In other words, Japanese people’s initial fascination with Western looks originated because the most internationally appreciated fashion trends and looks were all Western. As Steele said, Japan was the first non-Western country that was influential in the area of fashion. That means that besides its own fashion styles, Japan only has Western styles to look to for new inspirations. When people think of popular culture, after all, they think of Western culture - in particular that of the US - before anything else. When that changes, then the trends, again, will inevitably shift - and perhaps not just for Japanese people.

TOKYO COSMETIC FASHION TRENDS

Rene Tsukawaki is a sophomore majoring in English and Asian Studies in the College of Arts and Sciences.

33

The Rise of Pakistani Cinema

BY ABRAHIM SHAH

As a Pakistani who grew up watching Hollywood and Bollywood blockbusters, I would observe with despair the condition of my country’s movie industry. Pakistani films were shunned by the educated

class of the country which found them boring due to the cheap effects and bad actors that were used and the lack of substance in the plots. The films were, instead, left to cater to audiences that watched these films more for their profanity rather than their plot or the entertainment that they offered. Recent years however, have seen a resurgence of Pakistani cinema as films on par with those produced by Hollywood were finally being produced. These newly produced films appealed to audiences from all strata of Pakistani society.

“Bigotry, prejudice and parochialism must cease to exist in society while a milieu of

acceptance and tolerance must prevail. ”

3440

PHOTO COURTESY OF THEMOVIESDB

35

RICE MAGAZINE

This revival has occurred mainly because of shift in the themes of these films and how they now focus on social issues that plague Pakistan. These new kinds of plots appealed to the educated masses of Pakistan. who now believe that Pakistani cinema is finally living up to its true potential and creating films that are not only aesthetically pleasing, but also carry social messages that highlight issues that we Pakistanis face as a nation. Greater plot development in films has allowed Pakistani producers to grasp the interests of local movie watchers who in the absence of Pakistani films that they could appreciate, had resorted to viewing Hollywood and Bollywood films. This new approach to creating movie plots is the main reason why Pakistani cinema has emerged as a major filmmaking industry in the last five years.

The resurgence of Pakistani cinema largely has to do with how the new Pakistani films raise problems and issues that plague Pakistani society. This change in film themes comes at a time when more and more of the educated Pakistan is beginning to question beliefs and practices that have become deeply ingrained in our society since Pakistan’s independence. This increased social awareness explains

why Pakistani filmmakers have widened the scope of the kinds of films they make. They realized that by incorporating these social problems and making them the focus of their films, they could cater to the interests of the wider Pakistani population. As Pakistanis continue to indulge in self-criticism, locally produced films also continue to bring forth issues that negatively affect our country, thus playing an important role in the social progression of the nation.

It would be reasonable to say that the starting point of the revival of Pakistani cinema was the production and release of the film Waar in 2013, a film that now serves as a benchmark for films produced by the revitalized Pakistani film industry. Waar focuses on the issue of combating terrorism in Pakistan and brings into question the roles of the Pakistani military and intelligence agency, and their relationship with their Indian counterparts. These were all sensitive topics in Pakistan and have been the cause of much controversy in the nation. Therefore, the fact that Pakistan as a country is starting to scrutinize these sensitive issues and the film industry is, in effect, playing a vital role in making the discussion happen is highly commendable

36

and the production of such films must be encouraged. Waar ended up becoming the highest grossing film of all-time in Pakistan which delineates the substantial demand in Pakistan for films with plots that carry social messages and morals.

Recently developed Pakistani films all build upon Waar’s legacy, strongly condemning ill practices in Pakistani society while carrying messages that encourage Pakistanis to scrutinize themselves from within. Dukhtar, another successful Pakistani production, raises the issue of child marriage in the tribal regions of Pakistan, a practice that is on the decline in the country, but still prevalent in some parts. The movie follows the struggle of a woman who was forced to marry a local chieftain as a child and now as a mother, wants to prevent her daughter from having the same fate. This issue is again a highly sensitive one in Pakistan, and thus the film raises the issue of both child and female rights in Pakistan, while attacking patriarchal strands of thought in Pakistani society. Dukhtar has been selected as Pakistan’s entry in the category ‘Best Foreign Language Film’ for the 87th Academy Awards, and its substantial financial success once again shows Pakistanis’ acceptance of films that not only bring social

ills to the limelight, but also critique them in a highly effective manner.

Today’s Pakistan is undergoing a transition that will redefine the country’s existence for years to come. While this is a time when terrorism and bad governance are tarnishing Pakistan’s global image, it also one when Pakistani individuals are beginning to win Nobel Peace Prizes and Academy Awards. The only way this transition can be a positive one is if we Pakistanis, as a people, understand and accept the challenges that our country faces and overcome them successfully. Bigotry, prejudice and parochialism must cease to exist in society while a milieu of acceptance and tolerance must prevail. The fact that the cinema of today’s Pakistan is thriving in a conservative country such as Pakistan shows that Pakistanis are on the right track and that with education, open-mindedness, and a socially aware film industry as centerpieces of this revolution, we can make our country one of the most respected nations of the world.

THE RISE OF PAKISTANI CINEMA

Abrahim Shah is a sophomore majoring in History and Economics in the College of Arts and Sciences.

37

RICE MAGAZINE

Nip and Tuck: Cosmetic Surgery in the Korean Pop

IndustryBY ALEX MA

Fifty cubic centimeters of collagen, one hundred cubic centimeters of Juvéderm, a scalpel, a laser, a drill, and a vacuum pump are all the tools necessary to create “perfection.” Plastic surgery

is a common procedure amongst Americans who desire to preserve their image of youthfulness, and yet it is done surreptitiously. This is because Western culture views plastic surgery as fake and unnatural, and undergoing

such a procedure devalues one’s beauty in the eyes of American society.

In Eastern cultures such as Korea, however, society deems cosmetic surgery as a procedure worthy of praise and envy. In a sense, cosmetic surgery not only represents

a status symbol, revealing one’s wealth, it is also a western influenced standard of

beauty for many Koreans. It is ironic that western society disparages plastic surgery since western popular culture also perpetuates the need to be physically attractive. The influence of Western culture has become so pervasive that it has affected Eastern popular culture and its standard of beauty: big eyes, tapered faces, pale skin, and blonde hair. Western culture deems the attempt to achieve

beauty through artificial means as deceptive, but Eastern culture is willing to undertake the same means in order to be perceived as attractive.

So, why is there such a striking contrast in regards to plastic surgery between

these two places? Eastern culture’s willingness to emulate Western

features through cosmetic surgery can be attributed to Asia being a more collectivistic society. With a strong history of Communism in many Asian countries, prioritizing the welfare of society over the success of the individual is a fundamental characteristic of Eastern society. Thereby, success is not exclusive to the individual who obtains it. An Asian’s success in academics, cinema, music, or sports provides a racial uplift, commonly defined as “Asian Pride.” Bruce Lee, Jackie Chan, Yoyo Ma, Yao Ming, Jeremy Lin, etc. are examples of such successful individuals who have helped empower the Asian community. As more and more Asians become successful in areas typically dominated by Western culture, all of Eastern culture benefits. Similarly, when individuals undergo cosmetic surgery, Eastern culture does not condemn them for their “fakeness” because their new formed beauty allows for western culture to appreciate the East as a whole; hence it is deemed as a racial uplift. Such individuals are respected for their self-determination and effort in destroying Western perceptions of the East as a foreign and exotic place.

Such a desire manifests itself in the Korean pop music industry, where thousands of young individual talents are recruited and remodeled into idols of perfection according to Western standards. Big companies such as Star Museum Entertainment, YG, and Pledis train these young talents for upwards

40

of 10 years until their debut. In this training process, these recruits undergo a transformation in an aesthetic, musical, and performance sense. Although many recruits are talented singers or dancers, they are not physically attractive in a Western sense.

This is where cosmetic surgery comes in. Thousands of individuals have the talent, but they simply do not have “the face” for success. So in a sense, these companies allow these “imperfect” individuals to achieve their dreams by offering them plastic surgery at the price of restrictive contracts. This practice has become ubiquitous in the Korean pop business and every teenager seeking to become a Korean idol understands that it is a tradeoff for fame.

Western culture disparages the Korean pop music industry because of the artificial beauty that its corporations produce. The blog, Fashion Cultures Parsons mentions that common comments circulating the web from Western viewers include “She’s so plastic” and “She’s clearly had work done”. Western culture criticizes the East for not doing things “naturally” or “properly” However, what many fail to realize is that there is no other feasible method for Eastern

societies to conform and assimilate to western standards of beauty, and such conformation is essential for the Korean pop music industry to penetrate the global music market.

In short, cosmetic surgery is a legitimate procedure that should not be discounted because of western popular opinion. The Korean pop music industry is a strongly supported sub-culture in which many people find their singers to be “truly beautiful,” despite having undergone facial reconstruction or liposuction. These idols all have the talent and ability to prosper as entertainers and cosmetic surgery is merely a means to this end. Beauty is a concept that does not require context and meaning; an individual’s past is irrelevant to one’s perception of their present physical attractiveness. I believe that knowing the context of someone’s situation or past leads to criticism, not of one’s aesthetic features, but of their ethics, past decision, and opinions. The method of obtaining beauty should not distort one’s perception of beauty; rather, selective perception is the key to an ideal perception of true beauty.

NIP AND TUCK: COSMETIC SURGERY IN THE KOREAN POP INDUSTRY

Alex Ma is a freshman majoring in ILR in the School of Industrial and Labor Relations.

42

SPONSORED BY STUDENT ASSEMBLY FINANCE COMMISSION

43