Cultural Identity

Cultural identity is a complex concept that refers to the ways in which individuals understand and express their cultural background and experiences. This includes things like language, nationality, race, leisure activities, values, and gender². For many Asian Americans, the immigration process has played a significant role in shaping their cultural identities and experiences, especially in regard to the development of their children’s identities and values. According to the U.S. Census Bureau (2020), Asian Americans are the fastest-growing racial and ethnic group in the United States, with over 23 million Americans tracing their roots to over 20 countries in East, South, and Southeast Asia³ . Many of these individuals are immigrants who have faced challenges in terms of navigating their cultural identities and adjusting to life in the United States.

The film Everything Everywhere All at Once touches on themes of cultural identity and self-differentiation as Joy navigates the challenges of balancing their heritage culture with mainstream American culture. Joy’s relationship with Evelyn is an accurate portrayal of the complex and multifaceted struggles related to cultural identity among second-generation Asian Americans. The laundromat scene where Joy brings her girlfriend or just 朋友 (friend) according to Evelyn, depicts how the topic of LGBT among second-generation Asian Americans can be complex due to the intersecting layers of their cultural and sexual/gender identities. Many Asian American cultures traditionally emphasize conformity to traditional gender roles and expectations, which can make it difficult for LGBT individuals to openly express their identities⁴. These challenges can lead to feelings of isolation and a sense of not belonging within their heritage culture. This is why Evelyn is so hesitant to tell her father since she is afraid he will disapprove, further revealing the cultural gap between the two cultures as a result of the immigration process.

Evelyn’s hesitation and Joy’s struggle with self-expression are also related to the concept of intergenerational trauma. Intergenerational trauma is the transmission of emotional and psychological harm from one generation to the next, often as a result of traumatic events or experiences that have occurred within a community⁵. These experiences and events can shape the way in which individuals view themselves and others, especially in regard to family. It is clear that Joy’s grandfather grew up in a country that enforced traditional gender roles and expectations which was then carried over to his perception of Joy. This is a form of intergeneration trauma as the parents’ experience not only contributes to their own sense of cultural identity but influences their children’s sense as well.

For Asian Americans, the immigration process poses the challenge to navigate the demands of their heritage culture and the dominant culture in the United States. This process of cultural negotiation can be particularly difficult for those from collectivist cultures, in which individualism is not highly valued and the needs of the group are prioritized over those of the individual⁴. For example, Korean American immigrants may feel pressure to conform to traditional gender roles and expectations within their heritage culture, while also trying to navigate the more individualistic and gender-egalitarian values of mainstream American culture⁴. This can lead to feelings of conflict and confusion as individuals struggle to reconcile their cultural identities and find a sense of belonging in both their heritage culture and mainstream American culture.

Another aspect of the immigration process that can contribute to struggles for cultural identity is the experience of discrimination and marginalization. Many Asian Americans face discrimination and racism in the United States, which can have a profound impact on their sense of cultural identity and belonging⁶. For instance, Asian Americans, particularly those perceived as being "perpetual foreigners," are often subjected to negative stereotypes and discrimination in the United States⁶. These experiences of discrimination can lead to feelings of alienation and a sense of not belonging in mainstream American society, which can be particularly difficult for those trying to navigate the complexities of cultural identity in the immigration process.

One way in which intergenerational trauma and cultural identity and self-differentiation are related in Fresh Off the Boat is through the portrayal of the main character's parents, who immigrated to the United States from Taiwan. The parents' experiences of discrimination and other challenges as immigrants may have contributed to their own sense of cultural identity and self-differentiation, and these experiences may also have influenced their children's sense of cultural identity and self-differentiation.

In addition, the show explores how the main character's family grapples with the expectations and traditions of their culture, while also trying to assimilate and fit in with mainstream American culture. This process of acculturation can be a source of both pride and conflict for the characters, and can impact their sense of cultural identity and self-differentiation.

Self-differentiation is closely related to cultural identity, as it refers to the process of developing a sense of self that is distinct from one's cultural background and experiences⁷. For many Asian Americans, the immigration process can be a driving force in the development of self-differentiation, as they are often forced to confront the complexities and challenges of navigating multiple cultural identities. One way Asian Americans may seek to differentiate themselves is through the adoption of new cultural practices and values that are more in line with mainstream American culture. This process, known as "cultural distancing," can be difficult as it often involves a sense of loss and a need to negotiate one's cultural identity in the face of discrimination and marginalization. This is similar to the class concept of color-blind racism which “principally operates through the expression of conversations, media, and other forms of communication”. This type of racism refuses to examine racism within a social and historical context and downplays issues with race as matters of isolated individual prejudice, invalidating the existence of a larger socioeconomic racial structure with real economic, social, and political consequences for people of color¹⁷. Research on this issue with second-generation Asian Americans found that elite campus culture, as white institutionalized space, leads Asian Americans who are socialized in this environment to both adopt and resist racialized messages, potentially perpetuating stereotypes like “forever foreigners” or “model minorities”.

However, self-differentiation can also be a positive and empowering process, as it allows individuals to assert their own unique identities and create a sense of belonging that transcends cultural boundaries⁷. For instance, the concept of "cultural hybridity" refers to the ways in which individuals can draw on multiple cultural influences and experiences to create a unique and dynamic cultural identity⁷. This process of cultural hybridity can be particularly empowering for Asian Americans in the immigration process, as it allows them to create a sense of belonging and connection that is not limited by the boundaries of their heritage culture or mainstream American culture. This is touched upon multiple times near the end of Everything Everywhere All at Once when Joy and Evelyn finally reconcile their relationship with each other, choosing to let go of all the pressure and demands placed upon them by the world. Evelyn ultimately proclaims her love for Joy despite their many differences and the film outlines their journey.

Thus, the immigration process can be a challenging experience for Asian Americans in terms of cultural identity and self-differentiation. Navigating the demands of multiple cultural contexts and the experience of discrimination and marginalization can be difficult, but the process of self-differentiation can also be empowering and allow individuals to assert their own unique identities. Further research is needed to better understand the experiences of Asian Americans in the immigration process and the ways in which they negotiate their cultural identities.

Pictured Above:

Jobu Tupaki better known as Joy Wang¹

This visual exhibit focuses on the theme of cultural identity and self-differentiation, referring to examples within Everything Everywhere All At Once in specific, Jobu Tupaki’s Joy’s struggle with cultural identity and self-differentiation, along with other visual representations.

Media Objects and Visual Representations

Bao (2018)

In the Pixar short film Bao, cultural identity and self-differentiation are explored through the story of a Chinese Canadian mother and her son. As the son grows older and begins to assert his independence, the mother struggles to reconcile her own cultural identity and connections to her Chinese heritage along with her desire to hold onto him. As a result, she struggles to let go of her traditional expectations for him. This conflict is depicted through the use of the film's central metaphor: a dumpling that represents the mother's son. The mother's journey towards understanding and acceptance of her son's growing independence and the importance of allowing him to develop his own cultural identity is a central theme of the film. The film ultimately portrays the complexities and challenges that can arise in navigating cultural identity and supporting self-differentiation, particularly in the relationship between a parent and child.

This media object is very representative of Everywhere Everywhere All At Once when Evelyn finally begins to understand and accept Joy’s growing independence and adoption of mainstream American values.

Bao Short Film (2018)⁸

The Farewell (2019)

In The Farewell, the main character Billi struggles to find a balance between her cultural identity and self-differentiation when she goes to China to visit her terminally ill grandmother. As a Chinese American woman who has grown up in the United States, Billi has adopted many aspects of mainstream American culture, but she is also deeply connected to her Chinese heritage. This leads to difficulties in understanding and connecting with her family in China, as she tries to reconcile her own cultural identity with that of her heritage culture.

Additionally, Billi must navigate the complexity of supporting her own self-differentiation while also trying to understand and connect with her terminally ill grandmother. The film portrays the tensions that arise between Billi and her grandmother as Billi struggles to assert her independence while also seeking to maintain a strong relationship with her grandmother. Through its portrayal of Billi's journey, the film emphasizes the importance of finding a balance between these two themes in the face of life's challenges. This is also emphasized in Everything Everywhere All at Once when Joy struggles to connect with her grandpa in the laundromat especially in regard to speaking Mandarin.

The Farewell (2019)⁹

Wing Young Huie's photo essay "The Third Place"

Wing Young Huie's photo essay "The Third Place" portrays the themes of cultural identity and self-differentiation through its depiction of the diverse cultural experiences of Asian Americans in the Twin Cities of Minnesota. The essay features a series of photographs and accompanying text that capture the wide range of cultural backgrounds and experiences of this group, highlighting the complexities and diversity of cultural identity among Asian Americans.

Additionally, the essay portrays the challenges and complexities of navigating cultural identity and self-differentiation through the stories and experiences shared by the individuals featured in the essay. Many of these individuals speak to the difficulties they have faced in reconciling their heritage cultures with mainstream American culture, and the ways in which they have struggled to find a sense of belonging and identity in their new home.

Wing Young Huie¹⁰¹¹

Fresh Off the Boat (2015)

"Fresh Off the Boat" is a television show that examines the themes of cultural identity and self-differentiation through the lens of a Taiwanese American family living in suburban Florida. The show follows the Huang family as they adapt to life in America and try to maintain their traditional Taiwanese cultural practices while also navigating the expectations and norms of American society.

One way the show explores these themes is through the character of Eddie Huang, the protagonist, and narrator of the series. Eddie is a young Taiwanese American boy who struggles to find his place in his new community and to understand his own identity as an Asian American. Throughout the show, Eddie grapples with issues of race and cultural assimilation as he tries to fit in at school and make friends.

Another way the show delves into these themes is through the character of Jessica Huang, Eddie's mother. Jessica is a determined and traditional Taiwanese woman who is committed to preserving her cultural traditions and values, even as she and her family adapt to life in America. Jessica often faces conflicts with her husband Louis and their children as they try to assimilate and adapt to American culture, highlighting the tension that can arise when attempting to balance two different cultural identities.

Overall, "Fresh Off the Boat" uses the experiences of the Huang family to explore themes of cultural identity, self-differentiation, and the immigrant experience in a humorous and relatable manner.

Fresh Off the Boat¹²

The Huang Family¹³

The Joy Luck Club (1993)

"The Joy Luck Club" is a novel that examines the themes of cultural identity and self-differentiation through the relationships between four Chinese American mothers and their daughters. The book delves into the characters' experiences as they struggle to understand and connect with their families and cultural traditions while also navigating their dual cultural identities.

One way the novel explores these themes is through the character of Jing-mei, also known as June, who is the daughter of one of the Chinese American mothers. Jing-mei grapples with understanding and connecting with her mother, who is deeply rooted in traditional Chinese culture, and feels torn between her Chinese and American identities. As Jing-mei learns more about her mother's past and the sacrifices she made for her family, she begins to appreciate and value her cultural heritage more deeply.

Another example is through the character of Lindo Jong, who is also the daughter of one of the Chinese American mothers. Lindo has a strained relationship with her mother and feels pressure to conform to traditional Chinese gender roles and expectations. Lindo ultimately rebels against these expectations and chooses her own path, but also struggles with feelings of guilt and disconnection from her cultural identity.

As Everything Everywhere All At Once uses the relationship between Evelyn and Joy, "The Joy Luck Club" also uses the relationships between the mothers and daughters to explore the complex and nuanced ways in which cultural identity and self-differentiation can influence the experiences and relationships of immigrants and their children.

Woo Family¹⁴

Meeting the Parents¹⁵

Notes

  1. Hsu, S. (2022, April 21). Stephanie Hsu: Everything, Everywhere, All at Once. The New York Times. Retrieved from https://www.nytimes.com/2022/04/21/style/stephanie-hsu-everything-everywhere-all-at-once.html

  2. Su. (2021). Does Family Cohesion Moderate the Relationship Between Acculturative Stress and Depression Among Asian American Immigrants? Asian American Journal of Psychology, 13(2), 141–148. https://doi.org/10.1037/aap0000227

  3. U.S. Census Bureau. (2020). Asian Americans: A diverse and growing population. Retrieved from https://www.census.gov/content/dam/Census/library/publications/2020/demo/p20-084.pdf

  4. Chou, R., & Fejgin, J. R. (2007). The social psychology of stigma. Annual Review of Psychology, 58, 575-604.

  5. Roth, S., Padilla, M. A., & Roysircar, G. (2018). Intergenerational trauma: A review of the empirical literature. Psychological Trauma: Theory, Research, Practice, and Policy, 10(3), 263-274.

  6. Kim, S. (2018). Korean American immigrants' cultural identities: The role of cultural values and gender in identity negotiation. Journal of Cross-Cultural Psychology, 49(2), 313-333.

  7.  Chou, R., Lee, K., & Ho, S. (2015). Love Is (Color)blind: Asian Americans and White Institutional Space at the Elite University. Sociology of Race and Ethnicity (Thousand Oaks, Calif.), 1(2), 302–316. https://doi.org/10.1177/2332649214553128

  8. Saenz, R. B., & Feagin, J. R. (2005). The perpetual foreigner: Asian Americans and the racial hierarchy. Ethnic and Racial Studies, 28(6), 1051-1075.

  9. Wong, P. (2011). The cultural hybridity of second-generation Asian Americans. Journal of Intercultural Communication Research, 40(4), 269-286.

  10. Shapiro, J. (2010). Self-differentiation in couples: An attachment perspective. Family Process, 49(2), 139-153.

  11. The School of Life. (2020, May 15). How to enjoy your own company [Video file]. Retrieved from https://www.youtube.com/watch?v=f5CcgFTO274&t=25s

  12. Scott, A. (2019, July 5). 'The Farewell' review: Awkwafina shines in a poignant, funny family drama. Retrieved from https://www.google.com/url?sa=i&url=https%3A%2F%2Fvariety.com%2F2019%2Ffilm%2Ffestivals%2Fthe-farewell-review-awkwafina-1203117966%2F&psig=AOvVaw0goTTr9uBfGcTYbjAqfvPu&ust=1671332137406000&source=image

  13. Young Huie, W. (2018, September 4). Third place. Retrieved from https://www.google.com/url?sa=i&url=https%3A%2F%2Fverve.place%2Fblog-1%2F2018%2F9%2F4%2Fwing-young-huie-third-place&psig=AOvVaw0g4Eib94CKnJH2HGACQKuh&ust=1671332912557000&source=images&cd=vfe&ved=0CA8QjRxqFwoTCPiH17bW__sCFQAAAAAdAAAAABAh

  14. McKnight Foundation. (2018). McKnight names photographer Wing Young Huie as 2018 distinguished artist. Retrieved from https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.mcknight.org%2Fnews-ideas%2Fmcknight-names-photographer-wing-young-huie-as-2018-distinguished-artist%2F&psig=AOvVaw0g4Eib94CKnJH2HGACQKuh&ust=1671332912557000&source=images&cd=vfe&ved=0CA8QjRxqFwoTCPiH17bW__sCFQAAAAAdAAAAABAx

  15. Comedy Central UK. (2018). Finally getting “White People Lunch” Fresh Off the Boat. Retrieved from https://www.youtube.com/watch?v=0VHxriyAr1o&t=1s

  16. Hinshaw, A. (2020, February 21). 'Fresh off the Boat' finale: How the groundbreaking show changed TV. Retrieved from https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.shondaland.com%2Finspire%2Fa31024430%2Ffresh-off-the-boat-finale%2F&psig=AOvVaw0ToxEgADYI1SSGwxoOqXmK&ust=1671335319941000&source=images&cd=vfe&ved=0CA8QjRxqFwoTCKjh7LLf__sCFQAAAAAdAAAAABAD

  17. Filmforum.org. (n.d.). The Joy Luck Club. [Webpage]. Retrieved from https://filmforum.org/film/the-joy-luck-club

  18. my. (2012). The Joy Luck Club - Meeting the Parents. Retrieved from https://www.youtube.com/watch?v=WhtjwGZlaew&t=66s