The Persistence of Anti-Asian Racism in Vancouver | Part I

Nathan Crompton April 2, 2012

EDITORAL INTRODUCTION | From the start, Vancouver has been marked by a history of racism against Chinese and Asian immigrants, a fact which few commentators can overlook (although not few enough, as this article demonstrates in its sharp critique of Vancouver Courier columnist Mark Hasiuk). Part I of this three-part essay by Nathan Crompton reaches into contemporary Vancouver to find that despite the passage of time, original assumptions and archetypes of race and class have proven indispensable for an ongoing history of scapegoating – a history that has, according to Crompton, reached a peak in today’s discussion of housing in Vancouver. Far from signaling the simple break away from the city’s colonial past, the mystical real-estate economy proves fertile grounds for the re-capitulation of the time-tested logic of political scapegoating. This three-part essay is sure to have an impact not only for its use of historical and empirical research to blow the lid off assumptions that Vancouver’s housing crisis can be explained by Asian capital, but for its direct critique of household politicians and commentators. From Sandy Garossino to Gregor Robertson, few are spared in this militant clarion-call to move beyond the present by clearing out the skeletons of history.

Introduction

At different points throughout the 125 years of its history, colonial Vancouver has blamed its problems on others. The relation between “citizens” and “foreigners” underlying the identity of Vancouver has been at times explosive – as when anti-Asian riots attacked Chinatown and Japantown in 1907. Flashpoints occurred again in the 1880s, the 1900s, the 1930s, the 1970s and 1990s, always with the same result: to draw up new lines of exclusion and discrimination while deepening the political disorientation of the times. At other moments the relationship has been segregated but passive, embedded in the habits and rituals of the city. Today, when it is assumed that xenophobic movements could not gain the same momentum as 100 years ago, the penchant to blame “foreigners” for local problems continues. In an assessment of contemporary Vancouver, Henry Yu once asked presciently, “is Vancouver the future or the past”?[1] If the question reads like a riddle, it is because the answer is equally uncertain. As extreme-right movements today pick up momentum in Europe and elsewhere in the context of financial crisis and long-term economic stagnation, it is now more than ever that we should examine global and local histories of racism and xenophobia.

Fin de siècle Vancouver

There was recently a telling moment when Vancouver Courier columnist Mark Hasiuk used his column to target Vancouver school board trustee, Allan Wong. Hasiuk attacked Wong for a motion put forward at the school board calling on the province to incorporate the history of British Columbians of Chinese descent into the regular provincial curriculum. Curriculum changes were not needed, according to Hasiuk, since there is already too much Chinese Canadian history taught in the secondary curriculum. Hasiuk moreover mocks the Head Tax, the Chinese Exclusion Act and the Canadian Pacific Railway as a “holy trinity” in both the curriculum and cultural memory of Vancouver.

Fabricating the Creative City: In search of a present-tense (3/3)

Graeme Fisher and Andrew Witt March 25, 2012

Today Vancouver is conceived as a monopolizable totality, everywhere placed in circulation for consumption and contemplation. As every square-inch of the city becomes privatized for Vancouver’s capitalist class, the balance of forces veer in favor of profit, enjoyment, and the preservation of crisis. Beating with the mercurial blood of surplus value, the pulse of the city is tightly constricted by the developer-monopoly tourniquet — a tried, tested and true apparatus of monopoly-capitalist development that equilibrates the terms of supply and demand in order to keep housing prices impossibly high.

Gentrification: Moving On Up

Harsha Walia and Dave Diewert February 27, 2012

This piece was originally published in rabble.ca here

In the poorest urban neighbourhood in Canada, Vancouver’s Downtown Eastside (DTES), gentrification has been on the move for decades. Plotting these new developments on a map of the DTES and walking along the now unfamiliar streets reveals gentrification for what it is: a form of structural violence.

Gentrification is the social, economic, and cultural transformation of a predominantly low-income neighbourhood through the deliberate influx of upscale residential and commercial development. Encouraged by municipal development policies, economic incentives for investors, and the mythical pull of the creative city, urban land is purchased and developed at low cost for middle class buyers. As urban theorist Neil Smith writes, “As a generalized urban strategy, gentrification weaves together the interests of city managers, developers and landlords, corporate employers and cultural and educational institutions.”

Despite pockets of low-income housing, the transformation of Gastown and Victory Square into a tourist destination with trendy restaurants and boutique shops is almost complete. On the western edge of the DTES is the massive mixed development at the old Woodward’s site/squat with over 500 condos, SFU campus with an arts center funded by notorious mining giant Goldcorp, and retail stores. This has set off a tidal wave of gentrification within a few blocks, with four new condo developments (Paris Annex, Paris Block, 60 W. Cordova, 21 Doors) and countless restaurants and bars, including those owned by barons Sean Heather (Irish Heather, Salty Tongue, Shebeen, Penn Bakeshop, Everything Café, Fetch Kiosk, Bitter Tasting Room, Judas Goat) and Marc Brand (Diamond, Sharks and Hammers, Boneta, Sea Monstr Sushi, Save on Meats), over-priced coffee shops, and designer stores. In symbiotic fashion, retail stores and cultural sites proliferate alongside new housing, rendering the area more welcoming and familiar for wealthier consumers.

Fabricating the Creative City: The New Monuments (2/3)

Graeme Fisher and Andrew Witt January 10, 2012

In the Vancouver of today, everything adds up to the realization that artistic creation is rendered impossible under the auspices of state sponsorship and ruling class culture. On the balance sheet of recent artistic production, the empty pluralism of public art – ambiguous text-based works, gardening, light projections, and billboard images – is found siding with the medium of the culture industry. All established means in the arsenal of artistic creation, to paraphrase the words of Alain Badiou on “militant art,” are mobilized to sing the praises of conservative institutions, while artistic novelty is inscribed within the continuity of the state.