 Now, I knew my piece, Red Altar, contained many truths and facts that could be very uncomfortable for some European Americans. Even as I wrote the story of my ancestors, I had to overcome my be nice Asian way of not wanting to offend anyone. But how could I write an historical play without some very uncomfortable facts? The history of the early Chinese who came over in the time of the gold rush is not pretty. Not many know about it either. It is not in the history books. It is not part of our American knowledge base. And so as an artist, I felt I needed to be as specific and revelatory as possible about what was happening on the West Coast to the Chinese. So in my most non-offensive way, I wrote Red Altar, a multimedia storytelling and interdisciplinary performance theater piece. It follows three generations of our Chinese one family that started the fishing industry in the Monterey Bay area. I spent years doing research, interviews, readings, it got feedback. And it's still evolving because when is art ever done? So Red Altar tells the personal life story of how in 1850, 16th, sailed their junk boat from the Pearl River Delta region of Southern China to California heading for San Francisco. But caught in a torrential storm, they were blown south of San Francisco and began an accrasion to Carmel Bay, California. By the Esalen Rumson, they began to build their lives and they were successful, very successful. And they pretty much lived in harmony with the Mexicans in what had been Mexico's territory up until 1848. However, when more Europeans began to move into Monterey, things began to change. Suddenly there was name calling, small violent infractions against the Chinese while just walking down the street. European Americans began to pass laws specifically against Chinese fishermen in order to get rid of them. However, the Chinese proved to be resilient and determined. Their courage and ability to reinvent themselves over and over again became evident and the Chinese remained. For example, the law passed, there was a law passed forbidding the Chinese from fishing during the day. So they fished at night. They built a very successful squid industry. Then a law was passed saying that the Chinese could no longer dry their squid. And if they couldn't dry their squid, how could they preserve it to ship to China or sell to the Chinese communities throughout the West Coast? Well, what they did was they gathered the rotten fish in or dumped on a public beach outside a certain Italian immigrant-owned cannery and turned it into fish emulsion and fish fertilizer selling it to the farmers in the valley. Again, they were very successful. But now, so we not only survived but we thrived until, of course, they burned down our villages. But even then we would rebuild. But the final one finally came in right after the earthquake. But we really thrived. We had Caucasian allies as well. But we really as a community thrived. But the first words of that letter that came, I was deeply hurt and offended by the red altar performance on Saturday night. Can't you ever show kindness and appreciation for all we've done for you? And how could your businesses thrive without the patronage of white people? And then she suggests that we end our play with a loving word to the low funds, the white people. And perhaps end with singing a nice song with the audience. Kumbaya, I don't know. So, you know, she wrote this letter and it was a shock, but it was also very revealing. I'm sure there were other people in the audience that may have thought that but didn't say anything. At least she was willing to be in dialogue. Well, we answered her letter and then she sent another one and we answered that. And then she sent another one and nothing was changing. So here's, I'm gonna skip, skip, skip. You can read it also in the book too. Our final letter before her third letter that obviously she didn't get it still. But my co-director, Robert Kikuchi and Goho, said in the letter, which was very, very wonderful one. Can we agree that this chapter of our immigration story was hurtful and painful for the Chinese immigrants? Can we agree that the important stories of people who have had a direct experience of historic events need to be told and heard, honored and respected? Can we agree that the many stories, uncomfortable and painful, must not be ignored because that would be tantamount to suppression? Can we agree that all allies, progressives for social change, need to be a multicultural, Euro, Afro, Asian, Latino, native coalition? Can we agree that positiveness and happy feelings must not mask over important stories and experiences, right? And ultimately, can we agree that we all aim for a better world of peace, love and understanding? So Red Altar is not offensive, but this woman was offended. These are two very different things. I know I did not make offensive art uncomfortable for some, yes. But being offended is a choice made by the receiver. So in the end, my integrity remained intact. I did not make little of a very horrible era in America's history or pretend all is fine because it's not over. We end our peace with saying exactly that. There is that chance that Chinese must go, the Chinese must go. And we say, no, we're still here, but it's not over. And then we show images of Black Lives Matter and images of those who have been murdered for the color of their skin. And we also show the different protest walks that we've been on to talk about these things that are happening, because it's not over. So all I want to say to everyone is make art that speaks truth to power and have it make a difference in how we all come to live our lives together in peace and harmony. We need more of this. Enough of volatility, though it has its place, we all need to help create balance in a world that is terribly out of balance right now. Thank you. My name is Nancy Wong, and thank you. And I want to thank She's Way and they are two of the most generous people in our community. And their love and their heart for our communities is much appreciated. Thank you.