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Ka-Shue (Letters Home)

Ka-Shue (Letters Home) LYNDA CHANWAI-EARLE Playwright’s Note I am Eurasian by ethnicity, a fourth-generation New Zealander. Based on the Chinese side of my family (the Tung clan of Bak- Chuen), Ka-Shue uncovers some of the last 150 years of a buried history in New Zealand. There has been a noticeable absence of a Chinese voice in this country. Perhaps it is because the Chinese community has been pro- ducing its own work for its own people, but this work has been largely inaccessible to a wider public until now. The material has often been spo- ken in Chinese, and not produced for mainstream audiences. In writing Ka-Shue I have focused on the personal and domestic lives of three generations of a Chinese family. Ka-Shue spans the cultures of New Zealand and China, encompassing a broad sweep of the political events between the two countries as a backdrop for the personal dramas of the characters. This play is dedicated to my family. I am aware that this play is close to the bone as far as my family history is concerned, but I hope in the end that I have attempted a universal story about immigration, about the systematic alienation of particular immi- http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Manoa University of Hawai'I Press

Ka-Shue (Letters Home)

Manoa , Volume 15 (1) – May 19, 2003

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Publisher
University of Hawai'I Press
Copyright
Copyright © 2003 University of Hawai'i Press.
ISSN
1527-943x

Abstract

LYNDA CHANWAI-EARLE Playwright’s Note I am Eurasian by ethnicity, a fourth-generation New Zealander. Based on the Chinese side of my family (the Tung clan of Bak- Chuen), Ka-Shue uncovers some of the last 150 years of a buried history in New Zealand. There has been a noticeable absence of a Chinese voice in this country. Perhaps it is because the Chinese community has been pro- ducing its own work for its own people, but this work has been largely inaccessible to a wider public until now. The material has often been spo- ken in Chinese, and not produced for mainstream audiences. In writing Ka-Shue I have focused on the personal and domestic lives of three generations of a Chinese family. Ka-Shue spans the cultures of New Zealand and China, encompassing a broad sweep of the political events between the two countries as a backdrop for the personal dramas of the characters. This play is dedicated to my family. I am aware that this play is close to the bone as far as my family history is concerned, but I hope in the end that I have attempted a universal story about immigration, about the systematic alienation of particular immi-

Journal

ManoaUniversity of Hawai'I Press

Published: May 19, 2003

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