OPINION Page 6 n THE ASIAN REPORTER September 19, 2016 Volume 26 Number 18 September 19, 2016 ISSN: 1094-9453 The Asian Reporter is published on the first and third Monday each month. Please send all correspondence to: The Asian Reporter 922 N Killingsworth Street, Suite 2D, Portland, OR 97217 Phone: (503) 283-4440, Fax: (503) 283-4445 News Department e-mail: news@asianreporter.com Advertising Department e-mail: ads@asianreporter.com General e-mail: info@asianreporter.com Website: www.asianreporter.com Please send reader feedback, Asian-related press releases, and community interest ideas/stories to the addresses listed above. Please include a contact phone number. Advertising information available upon request. Publisher Jaime Lim Contributing Editors Ronault L.S. Catalani (Polo), Jeff Wenger Correspondents Ian Blazina, Josephine Bridges, Pamela Ellgen, Maileen Hamto, Edward J. Han, A.P. 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Back issues of The Asian Reporter may be ordered by mail at the following rates: First copy: $1.50 Additional copies ordered at the same time: $1.00 each Send orders to: Asian Reporter Back Issues, 922 N. Killingsworth St., Portland, OR 97217-2220 The Asian Reporter welcomes reader response and participation. If you have a comment on a story we have printed, or have an Asian-related personal or community focus idea, please contact us. Please include a contact name, address, and phone number on all correspondence. Thank you. MY TURN n Dmae Roberts Tim Dang: Mover & shaker of AAPI theater hen I was writing plays in the ’90s, many ter was his role spearheading the first National were produced in Portland with some Asian American Theater Conference by the Consorti- around the country. One of the highlights um of Asian American Theaters & Artists (CAATA), was a staged reading at East West Players (EWP) in an organization created in 2003 by six theaters. Los Angeles. My director, Tim Dang, served as This fall, the fifth National Asian American Theater EWP’s artistic director for 23 Conference and Festival, also years before he retired. We hadn’t known as ConFest, is scheduled to been in touch since then, but last take place October 1 through 9 in year we connected when he was in Ashland. Hosted by OSF, it has Ashland, Oregon to plan a big the theme “Seismic Shifts: conference and festival to be Leading Change in the American hosted at the Oregon Shake- Theater” in 2016. Dang’s speare Festival (OSF) — more connection to OSF’s current about that event later. artistic director, Bill Rauch, was Dang has had a major influence instrumental to ConFest being on Asian American and Pacific held in Ashland. Islander (AAPI) theater both in ConFest 2016 features six Los Angeles and nationally. Tim Dang. (Photo courtesy of Palma CAATA-presented theater shows During his tenure, he moved EWP Photography) and five new staged readings as from a 99-seat black box where he originally held well as free shows through OSF’s Green Show on my play reading in 1996 to a 240-seat theater. Dang the courtyard stage. If you haven’t ventured to OSF helped make EWP the oldest continually operating this year, I highly recommend Qui Nguyen’s theater of color in the country. Vietgone (which moved me with laughter and tears) In 2042, the U.S. Census projects that people of and Desdemona Chiang’s Chinese-inspired staging color will become the majority of the population in of Shakespeare’s The Winter’s Tale. It’s a good year the U.S. In response to the trend, Dang recently for AAPI theater in Ashland. challenged American theater groups to reflect the ConFest attendees will discuss the future of AAPI community with a bold vision statement — the “51% theater, which Dang believes is dependent both on Preparedness Plan” for American theater — which sustainability through funding and the next gener- urges them to reach a goal of having their artists ation of new leaders. He says with “so many differ- and production personnel be either 51 percent ent voices and so many of mixed heritage,” having people of color, 51 percent women, or 51 percent strong leadership is “even more important.” under the age of 35, by the year 2020. The plan AAPI communities have traditionally not been encompasses those who work onstage and behind connected to local theater because we are rarely the scenes, in all facets of production, including ad- represented. Often times, however, theater is the ministration, performers, playwrights, designers, first exposure young children have to stories that artistic staff, stage managers, carpenters, electri- might appeal to them. As demographics change, I cians, running crew, board recruitment, and more. hope theaters in all communities include AAPIs not Dang says it is important to start thinking about just in the audience, but onstage also. How great it it now so there will be new stories in American thea- is for area AAPIs to have a national festival ter that are more inclusive. The “51% Preparedness featuring theater, dance, and music performances Plan” is part of a larger initiative called the “2042: held in the Pacific Northwest, as well as an See Change,” which aims for American theater to opportunity to learn about the changing faces and better reflect the changing U.S. population. issues of AAPI theater. Dang recently stepped down as EWP’s artistic There’s a long way to go for AAPI actors to be seen director, but he is continuing his diversity work as in both Hollywood and on local stages. Dang is one of co-chair of the Advisory Committee on Cultural many people across the country working to create Equity and Inclusion of the Los Angeles County more opportunities for actors of color. There’s no Board of Supervisors. This past November, the denying Dang has left a legacy with his leadership Stage Directors and Choreographers Society recog- at EWP and through his contributions to CAATA nized Tim with the Zelda Fichandler Award for and ConFest. I hope to see you in Ashland the first transforming the regional landscape of theater arts. week of October! To learn more, visit . Dang’s other big contribution to American thea- W Opinions expressed in this newspaper are those of the authors and not necessarily those of this publication.