Sunday, November 6, 2005, 2:00 p.m. –
4:00 p.m.
Ring Auditorium
Hirshhorn Museum and Sculpture Garden
7th Street and Independence Avenue, SW
A family-friendly afternoon featuring three renowned Chinese
American authors, Laurence Yep (Dragonwings, Child of the
Owl, Tiger’s Apprentice), Da Chen (China’s
Son, Wandering Warrior), and Belle Yang (Hannah Is
My Name, Chili-Chili-Chin-Chin) who will read from and
present their diverse works on the Chinese American experience.
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Sunday, February 19, 2006, 2:00 5:00
p.m.
Carmichael Auditorium
National Museum of American History
14th Street and Constitution Avenue, NW
The APA Program is proud to present the Washington
premiere of award-winning playwright, Chay Yews exceptional
play, Question 27, Question 28, starring Dian Kobayashi,
Emily Kuroda, Tamlyn Tomita, and Shannon Holt.
In the wake of Americas entry into World
War II, more than 120,000 Americans of Japanese ancestry were
forced to leave their homes, possessions, and communities
and report to relocation centers and internment camps. This
federal action, authorized by President Franklin Delano Roosevelt
on February 19, 1942 through Executive Order 9066, led to
the suspension of many civil rights of Japanese Americans.
Every February 19, the internment of Japanese Americans is
remembered both for the hardship it caused and the lessons
that can be learned with the hope that history will not repeat
itself.
One lasting legacy of the internment experience
was the so-called "loyalty questionnaire," which
was designed to test the loyalty of the incarcerated Japanese
Americans. Two questions, #27 (willingness to serve in the
U.S. Armed Forces) and #28 (willingness to swear unqualified
allegiance to the United States and forswear allegiance to
any other nation or government), were both disturbing and
confusing to the internees. Using these questions as a focal
point to reveal the unfair treatment of the internees, Chay
Yews Question 27, Question 28 vividly brings
to life not only the experiences of the imprisoned Japanese
Americans, but also of their non-Japanese, Caucasian contemporaries
and how some of them reacted to this violation of their rights.
Told exclusively through the perspectives of women, this play
is based on verbatim excerpts from oral histories and interviews.

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