Marriage, Dating, and Sexuality-Based Intergenerational Conflict in Asian American Immigrant Families

Current literature explores the experience of those navigating a bicultural identity, and how their two value systems come together. As younger generations of Asian American families incorporate more western values during this acculturation process, there becomes more and more dissonance between the first(parents) and second(children) generations. This difference in acculturation causes parent-child conflict in Asian American immigrant families. For Asian American immigrant families, conflict often stems from different values surrounding dating, marriage, and sexuality as the Western and Asian values and traditions are highly contrasting. We see this in The Bick Sick, when Kumial wants to marry an American, but his parents insist they marry a Pakistani woman. Kumail must decide between love and family. These identity challenges faced by second generation Asian American immigrants as well as inter-family cultural dissonance are narratives represented across media platforms, and reasons and ramifications for these challenges are presented by current literature. 

Dive Deeper

  • Further Context

    1) Intercultural Relationships: Can They Work?

  • Media Representation

    1) Turning Red

    2) Gilmore Girls

    3) Everything Everywhere All At Once

    4) Rupi Kaur Poetry

Further Context

The Big Sick introduces one story of parents-child conflict in immigrant household based on conflicting value when it comes to dating and marriage. The following media object helps us to understand this conflict in a broader sense.

NPR Interview: Intercultural Relationships: Can They Work?

  • The NPR podcast “Intercultural Relationships: Can they work?” ¹ is an interview with Anita Malik, the founder and editor of East West magazine, which focuses on telling stories through an Asian American lens². This interview was about intercultural relationships, which Malik explored in the article she published, but also has experience with in her personal life³. They discussed tips for successful intercultural relationships, as well as the common challenges – specifically with Asian American immigrant parents – that come with relationships of that nature.

  • The NPR Podcast brings up themes of marital/dating expectations in Asian American families, the same themes are seen in The Big Sick which culminated in Kumail’s parents essentially telling him he is not a part of the family anymore if he chooses to not to engage in a marriage with a Pakistani girl.⁴The podcast specifically focuses on the conflict that can arise between parent and child when the child engages in an intercultural relationship. In the podcast, Malik states, “Asian immigrant parents typically have a very set view of who their children should marry. It's a different type of relationship, but every family has their own traditions, and sometimes a lot of that becomes very, very specific to what the parents want. And it's just a very different child-parent relationship, and so it gets a little bit more tricky. And so it can be difficult.”⁵ This quote highlights how the expectations of first and second generation immigrants differ – specifically when it comes to romantic partners – causing this Marriage/Dating, Gender, and Sexuality-Based intergenerational conflict between generations in Asian American Immigrant Families.

  • Research has been conducted on some of these themes from the NPR interview. The strict expectations of Asian American parents for their kids’ partner – whether that is having a career they deem respectable, being of the same culture as their family, or engaging in an arranged marriage with their child – is explored further in a study titled, Cultural Intersections: A Qualitative Inquiry into the Experience of Asian Indian-White Interracial Couples⁶ published in the psychology journal called Family Process. The researchers found that most of the interracial couples interviewed in this study experienced initial resistance to the marriage based on differences in family and cultural values.⁷ Once again we see the parents’ expectation of the child’s partner causing conflict. There is also a factor of gender, in that females experienced more disapproval, and were more likely to speak about it during interviews.⁸ The study found that AI (Asian Indian) females in these intercultural marriages faced disapproval from their parents not just based on differing race or culture, but specifically due to their partner’s lack of social status or highly respected job.⁹

Logo for National Public Radio, where Relationships: Can They Work was published¹¹

Media Representation

The following four media objects give examples of this dating/marriage/sexuality-based intergenerational conflict, reinforcing the prevalence of this conflict in Asian American immigrant families.

Turning Red

  • Turning Red is a story about a thirteen-year-old Mei, a Chinese-Canadian girl who is torn between being the perfect child her mom wants her to be, and exploring all the temptations that come with being a teenage girl.¹² All of this pressure eventually leads to her turning into a Red Panda. As she works to figure out how to deal with her situation, she learns to take pride in her identity, and comes to understand the amount of pressure her mom is also under.¹³ Themes of generational trauma and the challenges of coming of age.

  • This movie explores the importance of family, and the challenges of forming a bicultural identity. Mei butts heads with her mother, and their relationship undergoes some turmoil due to a difference in values and views relating to dating, pop-culture, and gender roles. While Ming, being in middle school, does not face marital conflict, differences in values and acculturation when it comes to boys exploring sexuality tell a similar story of dating/marriage/sexuality-based conflict between generations caused by differences in acculturation between parents and child. In this movie — similar to The Big Sick — we see conflict in an Asian American family caused by parental expectations conflicting with the desires of the child. Mei struggles with wanting to please her mom and meet her high expectations, but also wanting to explore her sexuality through obsessing over boy bands and drawing pictures of her with her crushes (which her mother strongly disapproves of).¹⁴

  • Those like Mei who are navigating a bi-cultural identity (most second generation immigrants) grapple with differences in sociocultural, sociocognitive and socioemotional factors between their two cultural identities as they form their bicultural identity.¹⁵ Cultural conflict (defined as feeling torn between one's two cultural identities) has been found to be caused mainly by interpersonal challenges in acculturation including feelings of social rejection, mistreatment, and pressure due to cultural membership.¹⁶ These interpersonal challenges are faced by second generation immigrants as they go about their social lives interacting with people on both sides of their cultural identities.¹⁷ In this research conducted on Chinese-American individuals navigating a bicultural identity, they found most subjects found “I have had disagreements with people of my own cultural/ethnic group (e.g., friends or family) for liking American ways of doing things.” to be a stresser in their life.¹⁸ This connects back to Mei’s desire to follow the very American boy band with her friends and the conflict it causes with her mother who is against her obsession. Similar themes can be seen in The Big Sick when Kumai wants to take a more American approach to marriage and not marry a Pakistani woman, causing massive conflict in the family.

Mei and her mother speak one last time before she transforms¹⁹

Gilmore Girls

  • The TV show Gilmore Girls was written in the early 2000s about a small town and has themes of family and friendship.²¹ The show features an Asian American character named Lane, who is the notably rebellious best friend of the main character Rory.²² Lane grew up with a very overprotective mother, and spent as much time with Rory as possible to avoid her strict rules.²³ Lane’s mother is also very devoted to their family antique shop, and works hard to provide for their family.

  • In the show, Lane meets a boy, Henry, who she really likes but she must date in secret due to her mom’s opposition to her dating instead of focusing on “more important things” like their business and her studies. Lane always must come up with an elaborate plan to talk to Henry and eventually he decides it is too much and ends things with Lane, leaving her devastated.²⁴ This is a demonstration of conflict based on different values in different generations when it comes to dating. Lane has a more progressive view of dating while her mother absolutely forbids it unless she approves. This conflict between Lane and her mother leads to her eventual move out of the house.

  • Digging deeper, Lane’s story connects to a theme of filial obligation and gendered familial obligation brought out in “A Mother Who Leaves is a Mother Who Loves: Labor Migration as Part of the Filipina Life Course and Motherhood”.²⁵ The article discusses how Filipina women feel that labor migration is the best and potentially only way to support their families — they feel a familial obligation to fulfill the gendered role that “women are innately responsible for familial uplift”.²⁶ The article details the internal conflict that this causes, stating how mothers feel good about providing for their children but still feel like they are still “failing at some needs”.²⁷ One mother states that “leaving her child was one of the hardest things she had ever done”.²⁸ Part of Lane’s storyline includes her mom pressuring her to help out with their family business, and Lane — grateful for the support she has gotten from her mom through the years — feels a sense of filial obligation to fulfill these duties. Lane’s mom is clearly also experiencing this same familial obligation to fulfill the gendered role that “women are innately responsible for familial uplift”. Additionally, the internal struggle that the Filipina moms experiences is reflected in Lane’s mother’s behavior. While a mother leaving her child might be looked down upon by some, these mothers are providing for their children in the way they see fit and the way that is culturally normative. Some may look down upon how Lane’s mother is overbearing and strict, but this is the way her mother truly believes will help Lane reach her potential.

Keiko Agena as Lane and Emily Kuroda as Mrs. Kim on ‘Gilmore Girls.’ ²⁹

Everything Everywhere All At Once

  • Everything Everywhere All At Once³⁰ is a film about, “An aging Chinese immigrant is swept up in an insane adventure, in which she alone can save the world by exploring other universes connecting with the lives she could have led.”³¹ Evelyn comes to terms with generational trauma which has not only impacted her life but also her daughter’s(Joy). ³²

  • Evelyn has expectations for her daughter that don’t align with her daughter’s values, and it leads to the demise of their relationship until they can come to understand each other. The plotline that connects back to our theme of intergenerational conflict based on differences in views on dating, marriage, and sexuality is Evelyn’s disapproval of her daughter dating a girl.³³ While Evelyn uses her father as an excuse to not speak openly of the relationship, Joy knows her mother disapproves. This disapproval has caused conflict and distance in their relationship which Evelyn eventually comes to realize after a movie of shifting universes to save her family.³⁴

  • In the movie, Evelyn and Joy have a very complicated relationship. Evelyn has more traditional values, but Joy has grown up in the United States, and has acculturated more to Western culture and values. We see these differences in views and values come out, as Evelyn is resistant to accepting her daughter Joy’s girlfriend.³⁵ This shows Evelyn’s more traditional and less western views, as, “Scholars have suggested that the intensity of heterosexism is much stronger in Asian and Asian American cultures than in the dominant U.S. culture because homosexuality violates many traditional Asian values such as harmony and complementarity (e.g., the concept of Yin-Yang in China) that promote het-erosexuality as the only viable form of intimate and/or sexual relationships (Chung & Katayama, 1998; Kimmel & Yi, 2004).”³⁶ Yet again we see a cultural value conflict driven by disagreement on the subject of dating/marriage/sexuality. Just like in The Big Sick, Everything Everywhere All At Once tells a story of the younger generation pushing more towards western views of autonomy and specifically openness of sexuality, while the older generation stands by more traditional views and traditional family roles.

Michelle Yeoh(Evelyn), Ke Huy Quan(Waymond Wang), and Stephanie Hsu(Joy) gather to fight as a family in Everything Everywhere All at Once (2022) ³⁷

“thanks dad” Rupi Kaur

  • This poem, “thanks dad” ³⁹ is by a trending poet named Rupi Kaur, from her book “The Sun and Her Flowers”. With a large social media following and fan base, Rupi is a famous Asian American (Indian specifically) second generation immigrant. Her poems are often found on social media, and she is currently on a world tour performing her work. ⁴⁰

  • This poem highlights our overall theme of marriage/dating/sexuality expectations of Asian American parents, and the conflict it can create with their children. This is an example of this theme being addressed in the media by a second-generation Asian American immigrant, showing how prevalent this experience is for that demographic. The poem even states, “… to push marriage on us / this has been the narrative for / the women in my culture for hundreds of years…”⁴¹ speaking to how many Asian and Indian American women like herself have the traditional gender roles and values of marriage that have been pushed on them. At the same time, this provides a somewhat opposing side to the marriage/dating/sexuality expectations placed by Asian American parents, as Rupi is conveying that her father strayed from this stereotype. She writes, “instead he pushed education / knowing it would set us free / in a world that wanted to contain us”.⁴² Her father did not have traditional Indian/Asian expectations of her daughters when it came to their dating/marriage/sexialty, but rather pushed more Western progressive values.

  • The differences between American and Indian cultural norms as it pertains to marriage and gender norms contribute to the conflict and challenges between second generation immigrants and their parents. As Rupi speaks to in her poem, for “hundred of years” Indian and Indian American women have been expected to follow strict gender norms and roles that emphasize prioritizing marriage and family goals, while the men are expected to bring in the primary income and make family decisions. It is traditional that big decisions for women, specifically marriage, are influenced by parents (perceived as overprotection compared to Western norms). These traditional Indian values contrast with the Western values of individualism and egalitarianism, thus creating intensified cultural value conflict for second generation Indian-Americans.⁴³ A study conducted on Asian Indian women living in America found that their high maternal control, second-generational status, and high cultural conflict are all correlated with higher depressive symptomatology.⁴⁴ Research focused on how arranged marriages are perceived by second generation Pakistani Muslim women living in the US and and Canada and how these marriages have been influenced by Western Culture found that a majority of the women interviewed preferred a self-choice system of marriage, and values love as a prerequisite to marriage.⁴⁵ This goes against the Pakistani tradition of arranged marriages. Additionally, it was found that the number one reason for participation in arranged marriages was parental obligation. ⁴⁶

  • The article “Love Is (Color)blind: Asian Americans and White Institutional Space at the Elite University”⁴⁷ talks about the importance of counter-narratives as a tool to work against systems and societal ideas that uphold power imbalances.⁴⁸ Rupi Kaur’s father is developing a counter-narrative, working against dating/marital traditions and structures that have restricted choice and autonomy in Indian American women. This is shown in her poem when it states, “instead he pushed education / knowing it would set us free / in a world that wanted to contain us / he made sure that we learned / to walk independently.”⁴⁹ One quote from the Love Is (Color)blind article about the importance of counter-narratives states, “Don’t give a shit about what white people think you are supposed to do. Asians are not ‘supposed’ to do anything. We operate with all the same rights, freedoms, desires, fears, sexual urges, despair, anger as white people—and, yes, even in dating and hooking up. You can have as much sex or as little sex or no sex with whomever you want. Asian women are just as beautiful as white women. Asian men are just as sexy as white men. Believe it, live it.”⁵⁰ Just like Rupi’s father's encouragement reinforces the same values of autonomy as Rupi’s father.

Rupi Kaur's poem, thanks dad photographed from her book, “The Sun and Her Flowers”⁵¹

Notes:

  1. “Intercultural Relationships: Can They Work?” NPR, NPR, 15 May 2007, https://www.npr.org/templates/story/story.php?storyId=10184979.

  2. Hansen, Kristena. “‘East West’ Magazine Returning to Print after Two-Year Hiatus.” Bizjournals.com, https://www.bizjournals.com/phoenix/stories/2009/09/14/story14.html.

  3.  “Intercultural Relationships: Can They Work?” (see footnote 1)

  4. Nanjiani, Kumail, The Big Sick, Directed by Michael Showalter (2017)

  5.  “Intercultural Relationships: Can They Work?” (see footnote 1)

  6. INMAN, ARPANA G., et al. “Cultural Intersections: A Qualitative Inquiry into the Experience of Asian Indian-White Interracial Couples.” Family Process, vol. 50, no. 2, 2011, pp. 248–266., https://doi.org/10.1111/j.1545-5300.2011.01358.x.

  7. Ibid.

  8. Ibid.

  9. Ibid.

  10. “NPR Podcasts.” YouTube, YouTube, https://www.youtube.com/channel/UCuVaB0t5qJRxP55gEl6TuKQ.

  11. Shi Cho, Turning Red, directed by Domee Shi (2022)

  12. Shi Cho (see footnote 10)

  13. Shi Cho (see footnote 10)

  14. Benet-Martinez, V., & Haritatos, J. (2005). Bicultural Identity Integration (BII): Components and psychosocial antecedents. Journal of Personality, 73(4), 1015–1050. 

  15. Ibid.

  16. Ibid.

  17. Ibid.

  18. Ibid.

  19. Radulovic, Petrana. “Our Pandas, Ourselves.” Polygon, Polygon, 27 Mar. 2022, https://www.polygon.com/22996520/turning-red-panda-meaning.

  20. DisneyPixar. “Turning Red | Official Trailer.” YouTube, YouTube, 17 Nov. 2021, https://youtube.com/watch?si=EnSIkaIECMiOmarE&v=XdKzUbAiswE.

  21. Sherman-Palladino, Amy, Gilmore Girls, directed by  Amy Sherman-Palladin (2000) 

  22. Sherman-Palladino (2000)

  23. Sherman-Palladino (2000)

  24. Sherman-Palladino (2000)

  25. Francisco-Menchavez, Valerie. “A Mother Who Leaves Is a Mother Who Loves: Labor Migration as Part of the Filipina Life Course and Motherhood.” Journal of Asian American Studies 22, no. 1 (2019): 85–102. https://doi.org/10.1353/jaas.2019.0008. 

  26. Ibid.

  27. Ibid.

  28. Ibid.

  29. Webber, Stephanie. “Gilmore Girls' Emily Kuroda Looks Back on Lane, Mrs. Kim's Complex Relationship.” Us Weekly, 15 Oct. 2021, https://www.usmagazine.com/entertainment/news/gilmore-girls-emily-kuroda-analyzes-lane-mrs-kims-complex-relationship/.

  30. Kwan, Daniel & Scheinert, Daniel, Everything Everywhere All At Once, Directed by Daniel Kwan and Daniel Scheinert (2022)

  31. “Everything Everywhere All at Once.” IMDb, IMDb.com, 25 Mar. 2022, https://www.imdb.com/title/tt6710474/.

  32. Everything Everywhere All at Once. (2022)

  33. Ibid.

  34. Ibid.

  35. Ibid

  36. Szymanski, Dawn M., and Mi Ra Sung. “Minority Stress and Asian American Sexual Minority Persons' Psychological Distress.” PsycEXTRA Dataset, 2010, https://doi.org/10.1037/e615392010-001.

  37. “Everything Everywhere All at Once.” IMDb, IMDb.com, https://www.imdb.com/title/tt6710474/mediaviewer/rm3345148929?ref_=ttmi_mi_all_sf_8.

  38. A24Films. “Everything Everywhere All at Once | Official Trailer HD | A24.” YouTube, YouTube, 14 Dec. 2021, https://www.youtube.com/watch?v=wxN1T1uxQ2g. 

  39. KAUR, RUPI. The Sun and Her Flowers. Page 204. SIMON & SCHUSTER AUSTRALI, 2022.

  40. Rupi Kaur, https://rupikaur.com/. 

  41. KAUR, RUPI. The Sun and Her Flowers.

  42. KAUR, RUPI. The Sun and Her Flowers.

  43. Varghese, A., & Rae Jenkins, S. (2009). Parental overprotection, cultural value conflict, and psychological adaptation among Asian indian women in America. Sex Roles, 61(3-4), 235–251.

  44. Ibid.

  45. Ibid.

  46. Dugsin, R. (2001). Conflict and healing in family experience of second-generation emigrants from India living in North America*. Family Process, 40(2), 233–241.

  47. Chou, R., Lee, K., & Ho, S. (2015). Love Is (Color)blind: Asian Americans and WhiteInstitutional Space at the Elite University. Sociology of Race and Ethnicity (ThousandOaks, Calif.), 1(2), 302–316.

  48. Ibid.

  49. KAUR, RUPI. The Sun and Her Flowers.

  50. Chou, R., Lee, K., & Ho, S. (2015). Love Is (Color)blind

  51. Thirtyfourflavours. “Review: Rupi Kaur 'the Sun and Her Flowers' and 'Milk and Honey'.” Thirty Four Flavours, 10 Sept. 2018, https://thirtyfourflavours.wordpress.com/2018/09/10/review-rupi-kaur-the-sun-and-her-flowers-and-milk-and-honey/. 

  52. Rupi Kaur, https://rupikaur.com/.