Overlapping Identities: Feminism and Cultural Heritage
<p>Born in Japan and immigrating to the heart of Ohio at the age of four, I’ve always been drawn to making things with my hands. However, it was hard to find depictions of people who looked like me in the media or in the pictures I was consuming. I clung onto anything that felt like it was representative of my background — from iterations of <a href="https://en.wikipedia.org/wiki/Sailor_Moon" rel="noopener ugc nofollow" target="_blank"><em>Sailor Moon</em></a> scribbled into the ends of my jackets or my picture books to the few paragraphs in my Art History 101 class about <a href="https://en.wikipedia.org/wiki/Ukiyo-e#:~:text=Ukiyo%2De%20is%20a%20genre,flora%20and%20fauna%3B%20and%20erotica." rel="noopener ugc nofollow" target="_blank">ukiyo-e</a> prints, a genre of Japanese art which flourished from the 17th through 19th centuries. Literally meaning “Pictures of the Floating World,” <em>ukiyo-e</em> refers to a style of Japanese woodblock print and painting from the <a href="https://en.wikipedia.org/wiki/Edo_period" rel="noopener ugc nofollow" target="_blank">Edo period</a> depicting famous theater actors, beautiful courtesans, city life, and travel in romantic landscapes. </p>
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