Racism is the belief in the superiority of one race over another, which results in discrimination and prejudice towards people based on their race or ethnicity. The use of the term "racism" does not fall under a single definition; the ideology underlying racism includes the idea that humans can be subdivided into distinct groups that are different due to their social behavior and their innate capacities, as well as the idea that they can be ranked as inferior or superior. Historical examples of institutional racism include the Holocaust, the apartheid regime in South Africa and segregation in the United States, slavery in Latin America. Racism was an aspect of the social organization of many colonial states and empires. While the concepts of race and ethnicity are considered to be separate in contemporary social science, the two terms have a long history of equivalence in both popular usage and older social science literature. "Ethnicity" is used in a sense close to one traditionally attributed to "race": the division of human groups based on qualities assumed to be essential or innate to the group.
Therefore and racial discrimination are used to describe discrimination on an ethnic or cultural basis, independent of whether these differences are described as racial. According to a United Nations convention on racial discrimination, there is no distinction between the terms "racial" and "ethnic" discrimination; the UN convention further concludes that superiority based on racial differentiation is scientifically false, morally condemnable unjust and dangerous. It declared that there is no justification for racial discrimination, anywhere, in theory or in practice. Racist ideology can manifest in many aspects of social life. Racism can be present in social actions, practices, or political systems that support the expression of prejudice or aversion in discriminatory practices or laws. Associated social actions may include nativism, otherness, hierarchical ranking and related social phenomena. In the 19th century, many scientists subscribed to the belief that the human population can be divided into races.
The term racism is a noun describing the state of being racist, i.e. subscribing to the belief that the human population can or should be classified into races with differential abilities and dispositions, which in turn may motivate a political ideology in which rights and privileges are differentially distributed based on racial categories. The origin of the root word "race" is not clear. Linguists agree that it came to the English language from Middle French, but there is no such agreement on how it came into Latin-based languages. A recent proposal is that it derives from the Arabic ra's, which means "head, origin" or the Hebrew rosh, which has a similar meaning. Early race theorists held the view that some races were inferior to others and they believed that the differential treatment of races was justified; these early theories guided pseudo-scientific research assumptions. Today, most biologists and sociologists reject a taxonomy of races in favor of more specific and/or empirically verifiable criteria, such as geography, ethnicity, or a history of endogamy.
To date, there is little evidence in human genome research which indicates that race can be defined in such a way as to be useful in determining a genetic classification of humans. An entry in the Oxford English Dictionary defines racialism as "n earlier term than racism, but now superseded by it", cites it in a 1902 quote; the revised Oxford English Dictionary cites the shortened term "racism" in a quote from the following year, 1903. It was first defined by the Oxford English Dictionary as "he theory that distinctive human characteristics and abilities are determined by race". By the end of World War II, racism had acquired the same supremacist connotations associated with racialism: racism now implied racial discrimination, racial supremacism, a harmful intent; as its history indicates, the popular use of the word racism is recent. The word came into widespread usage in the Western world in the 1930s, when it was used to describe the social and political ideology of Nazism, which saw "race" as a given political unit.
It is agreed that racism existed before the coinage of the word, but there is not a wide agreement on a single definition of what racism is and what it is not. Today, some scholars of racism prefer to use the concept in the plural racisms, in order to emphasize its many different forms that do not fall under a single definition, they argue that different forms of racism have characterized different historical periods and geographical areas. Garner summarizes different existing definitions of racism and identifies three common elements contained in those definitions of racism. First, a historical, hierarchical power relationship between groups. Though many countries around the globe have passed laws related to race and discrimination, the first significant international human rights instrument developed by the United Nations
Pat Suzuki is an American popular singer and actress, best known for her role in the original Broadway production of the musical Flower Drum Song, her performance of the song "I Enjoy Being a Girl" in the show. Suzuki is a Nisei or second-generation Japanese American, was born Chiyoko Suzuki, to Chiyosaku and Aki Suzuki, as the fourth of their four daughters. Aki was a musician; when she was growing up, she was nicknamed "Chibi", Japanese for'short person' or'small child', as the youngest sister. Suzuki lived with her family in California. In February 1942, a few months after the United States entered World War II, U. S. President Franklin D. Roosevelt signed Executive Order 9066. Under XO 9066, the Suzuki family and more than 110,000 other Japanese American residents of the U. S. Pacific coast states were forced to enter American concentration camps; the Suzukis were sent to the Merced Assembly Center and the Granada War Relocation Center in Colorado. The Suzuki family left Granada to work on a sugar beet farm and returned to California after the war.
During the early 1950s, she attended five colleges, graduated from San Jose State University, earning teaching credentials for elementary and secondary schools. After deciding against a career in education, she decided to travel to Europe, but ran out of money in New York, so she obtained a part in a touring production of the play, The Teahouse of the August Moon. While touring with the company, Suzuki took on gigs singing in nightclubs to cover her expenses, ended up becoming a local celebrity at the Colony Club in Seattle in 1955, appearing for three years and more than 2,000 consecutive performances. Bing Crosby attended one of her shows at the club in 1957, her singing so impressed Crosby. She recorded several albums for RCA Victor, including her 1958 eponymous debut album, Pat Suzuki, went on to win the Downbeat National Disc Jockey Poll award for "America's best new female singer" that year, she received national exposure after appearances on several network television programs, including her television debut on The Lawrence Welk Show, The Frank Sinatra Show on ABC and Tonight Starring Jack Paar.
After appearing on Jack Paar, Richard Rodgers called Suzuki to offer her the role of Linda Low, one of the leads in the Rodgers and Hammerstein Broadway production of the musical Flower Drum Song in 1958. She turned down the role at first, for which she won the Theatre World Award for an outstanding New York City stage debut performance, in 1959. Suzuki's rendition of "I Enjoy Being a Girl" is deemed to be the definitive recording. Suzuki and Flower Drum Song costar Miyoshi Umeki were photographed by Philippe Halsman for the December 22, 1958 cover of Time. However, Suzuki did not appear in the 1961 film version of Flower Drum Song. Actress Nancy Kwan performed the role in the singer B. J. Baker dubbed her singing voice. Suzuki had married photographer Mark Shaw on March 28, 1960 and had given birth to their son David shortly before the film was being shot. In 1960 Suzuki was nominated for a Grammy Award in the Best Female Pop Vocal Performance category, for her album "Broadway'59"; when Shaw was serving as the photographer for John F Kennedy, the couple became close friends with the Kennedys, Suzuki performed at Kennedy's inaugural ball in 1961 as a Hawaiian politician in a stereotypical accent, which Suzuki described as "pretty corny".
However, Suzuki had retired from show business after David's birth. She returned to touring nightclubs in 1963, performed on The Red Skelton Show in early 1964. Shaw had returned home one day to the New York apartment they shared with their son and, after describing his exciting fashion shoot earlier that day, enquired about Suzuki's activities, prompting her to launch the nightclub tour. Suzuki and Shaw divorced amicably in 1965. Throughout the 1970s, Suzuki appeared on stage, she played the role of Ma Eng in the off-Broadway production of Frank Chin's The Year of the Dragon. She appeared in Pat Morita's short-lived television sitcom Mr. T and Tina, the first sitcom starring an Asian American family. In 1999, Taragon Records released The Very Best of Pat Suzuki on compact disc; the compilation album collected recordings made for her first four albums on RCA Victor, including a performance of "Love, Look Away", the torch song for the character of Helen Chao in Flower Drum Song issued on her 1959 album, Pat Suzuki's Broadway'59.
Her original LPs are on display at the Experience Music Project in Washington. Suzuki continues to act on stage in small and major venues such as Lincoln Center, she has supported Asian American civil rights, together with Sab Shimono, hosted the 2018 podcast Order 9066, which detailed the history of Executive Order 9066 with first-person accounts. Suzuki's haunting studio cover version of "How High the Moon" was released on her eponymous debut album in 1958; the cover is featured in the motion picture Biloxi Blues during the opening credits and in a dance scene between the characters Eugene Jerome and Daisy. Although the recording fits nicely
Asian Americans are Americans of Asian ancestry. The term refers to a panethnic group that includes diverse populations, which have ancestral origins in East Asia, South Asia, or Southeast Asia, as defined by the U. S. Census Bureau; this includes people who indicate their race on the census as "Asian" or reported entries such as "Chinese, Indian, Japanese and Other Asian". Asian Americans with other ancestry comprise 5.6% of the U. S. population, while people who are Asian alone, those combined with at least one other race, make up 6.9%. Although migrants from Asia have been in parts of the contemporary United States since the 17th century, large-scale immigration did not begin until the mid-18th century. Nativist immigration laws during the 1880s–1920s excluded various Asian groups prohibiting all Asian immigration to the continental United States. After immigration laws were reformed during the 1940s–60s, abolishing national origins quotas, Asian immigration increased rapidly. Analyses of the 2010 census have shown that Asian Americans are the fastest growing racial or ethnic minority in the United States.
As with other racial and ethnicity-based terms and common usage have changed markedly through the short history of this term. Prior to the late 1960s, people of Asian ancestry were referred to as Oriental and Mongoloid. Additionally, the American definition of'Asian' included West Asian ethnic groups Jewish Americans, Armenian Americans, Assyrian Americans, Iranian Americans, Kurdish Americans, Arab Americans, although these groups are now considered Middle Eastern American; the term Asian American was coined by historian Yuji Ichioka, credited with popularizing the term, to frame a new "inter-ethnic-pan-Asian American self-defining political group" in the late 1960s. Changing patterns of immigration and an extensive period of exclusion of Asian immigrants have resulted in demographic changes that have in turn affected the formal and common understandings of what defines Asian American. For example, since the removal of restrictive "national origins" quotas in 1965, the Asian-American population has diversified to include more of the peoples with ancestry from various parts of Asia.
Today, "Asian American" is the accepted term for most formal purposes, such as government and academic research, although it is shortened to Asian in common usage. The most used definition of Asian American is the U. S. Census Bureau definition, which includes all people with origins in the Far East, Southeast Asia, the Indian subcontinent; this is chiefly because the census definitions determine many governmental classifications, notably for equal opportunity programs and measurements. According to the Oxford English Dictionary, "Asian person" in the United States is sometimes thought of as a person of East Asian descent. In vernacular usage, "Asian" is used to refer to those of East Asian descent or anyone else of Asian descent with epicanthic eyefolds; this differs from the U. S. Census definition and the Asian American Studies departments in many universities consider all those of East, South or Southeast Asian descent to be "Asian". In the US Census, people with origins or ancestry in the Far East, Southeast Asia, the Indian subcontinent are classified as part of the Asian race.
As such, "Asian" and "African" ancestry are seen as racial categories for the purposes of the Census, since they refer to ancestry only from those parts of the Asian and African continents that are outside the Middle East and North Africa. In 1980 and before, Census forms listed particular Asian ancestries as separate groups, along with white and black or negro. Asian Americans had been classified as "other". In 1977, the federal Office of Management and Budget issued a directive requiring government agencies to maintain statistics on racial groups, including on "Asian or Pacific Islander". By the 1990 census, "Asian or Pacific Islander" was included as an explicit category, although respondents had to select one particular ancestry as a subcategory. Beginning with the 2000 census, two separate categories were used: "Asian American" and "Native Hawaiian and Other Pacific Islander"; the definition of Asian American has variations that derive from the use of the word American in different contexts.
Immigration status, citizenship and language ability are some variables that are used to define American for various purposes and may vary in formal and everyday usage. For example, restricting American to include only U. S. citizens conflicts with discussions of Asian American businesses, which refer both to citizen and non-citizen owners. In a PBS interview from 2004, a panel of Asian American writers discussed how some groups include people of Middle Eastern descent in the Asian American category. Asian American author Stewart Ikeda has noted, "The definition of'Asian American' frequently depends on who's asking, who's defining, in what context, why... the possible definitions of'Asian-Pacific American' are many and shifting... some scholars in Asian American Studies conferences suggest that Russians and Israelis all might fit the field's subject of study." Jeff Yang, of the Wall Street Journal, writes that the panethnic definition of Asian American is a unique American construct, as an identity is "in beta".
Scholars have grappled with the accuracy, correctn
Chinese Americans are Americans who are descendants of Chinese ancestry, which includes American-born Chinese persons. Chinese Americans constitute one group of overseas Chinese and a subgroup of East Asian Americans, a further subgroup of Asian Americans. Many Chinese Americans are immigrants along with their descendants from mainland China, Hong Kong, Taiwan, as well as from other regions that include large populations of the Chinese diaspora Southeast Asia and some Western countries like Canada, the United Kingdom, New Zealand and France; the Chinese American community is the largest overseas Chinese community outside Asia. It is the third largest community in the Chinese diaspora, behind the Chinese communities in Thailand and Malaysia; the 2016 Community Survey of the US Census estimates a population of Chinese Americans of one or more races to be 5,081,682. The Chinese American community comprises the largest ethnic group of Asian Americans, comprising 25.9% of the Asian American population as of 2010.
Americans of Chinese descent, including those with partial Chinese ancestry constitute 1.5% of the total U. S. population as of 2017. According to the 2010 census, the Chinese American population numbered 3.8 million. In 2010, half of Chinese-born people living in the United States resided in the states of California and New York; the first Chinese immigrants arrived in 1820, according to U. S. government records. 325 men are known to have arrived before the 1849 California Gold Rush, which drew the first significant number of laborers from China who mined for gold and performed menial labor. There were 25,000 immigrants by 1852, 105,465 by 1880, most of whom lived on the West Coast, they formed over a tenth of California's population. Nearly all of the early immigrants were young males with low educational levels from six districts in Guangdong Province. In the 1850s, Chinese workers migrated to the United States, first to work in the gold mines, but to take agricultural jobs, factory work in the garment industry.
Chinese immigrants were instrumental in building railroads in the American west, as Chinese laborers grew successful in the United States, a number of them became entrepreneurs in their own right. As the numbers of Chinese laborers increased, so did the strength of anti-Chinese attitude among other workers in the American economy; this resulted in legislation that aimed to limit future immigration of Chinese workers to the United States, threatened to sour diplomatic relations between the United States and China. The Chinese laborers worked out well and thousands more were recruited until the railroad's completion in 1869. Chinese labor provided the massive workforce needed to build the majority of the Central Pacific's difficult route through the Sierra Nevada mountains and across Nevada. American objections to Chinese immigration took many forms, stemmed from economic and cultural tensions, as well as ethnic discrimination. Most Chinese laborers who came to the United States did so in order to send money back to China to support their families there.
At the same time, they had to repay loans to the Chinese merchants who paid their passage to America. These financial pressures left them little choice. Non-Chinese laborers required much higher wages to support their wives and children in the United States, generally had a stronger political standing to bargain for higher wages. Therefore, many of the non-Chinese workers in the United States came to resent the Chinese laborers, who might squeeze them out of their jobs. Furthermore, as with most immigrant communities, many Chinese settled in their own neighborhoods, tales spread of Chinatowns as places where large numbers of Chinese men congregated to visit prostitutes, smoke opium, or gamble; some advocates of anti-Chinese legislation therefore argued that admitting Chinese into the United States lowered the cultural and moral standards of American society. Others used a more overtly racist argument for limiting immigration from East Asia, expressed concern about the integrity of American racial composition.
To address these rising social tensions, from the 1850s through the 1870s the California state government passed a series of measures aimed at Chinese residents, ranging from requiring special licenses for Chinese businesses or workers to preventing naturalization. Because anti-Chinese discrimination and efforts to stop Chinese immigration violated the 1868 Burlingame-Seward Treaty with China, the federal government was able to negate much of this legislation; the Chinese population rose from 2,716 in 1851 to 63,000 by 1871. In the decade 1861-70, 64,301 were recorded as arriving, followed by 123,201 in 1871-80 and 61,711 in 1881-1890. 77% were located in California, with the rest scattered across the West, the South, New England. Most came from Southern China looking for a better life, escaping a high rate of poverty left after the Taiping Rebellion. In 1879, advocates of immigration restriction succeeded in introducing and passing legislation in Congress to limit the number of Chinese arriving to fifteen per ship or vessel.
Republican President Rutherford B. Hayes vetoed the bill because it violated U. S. treaty agreements with China. It was still an important victory for advocates of exclusion. Democrats, led by supporters in the West, advocated for all-out exclusion of Chinese
Charlie Chan is a fictional character created by Earl Derr Biggers. Biggers loosely based Chan on Hawaii detective Chang Apana; the benevolent and heroic Chan was conceived of as an alternative to Yellow Peril stereotypes and villains like Fu Manchu. Chan is a detective for the Honolulu police, though many stories feature Chan traveling the world as he investigates mysteries and solves crimes. Chan first appeared in Biggers' novels was featured in a number of media. Over four dozen films featuring Charlie Chan were made, beginning in 1926; the character, featured only as a supporting character, was first portrayed by East Asian actors, the films met with little success. In 1931, for the first film centering on Chan, Charlie Chan Carries On, the Fox Film Corporation cast Swedish actor Warner Oland. After Oland's death, American actor Sidney Toler was cast as Chan. After Toler's death, six films were made. Readers and movie-goers of America greeted Chan warmly, seeing him as an attractive character, portrayed as intelligent, heroic and honorable in contrast to the racist depictions of evil or conniving Asians which dominated Hollywood and national media in the early 20th Century.
However, in decades critics took a different view of the character, finding that Chan, despite his good qualities, reinforces condescending Asian stereotypes such as an alleged incapacity to speak idiomatic English and a tradition-bound and subservient nature. Many found it objectionable. Due in large part to this reappraisal of the Character, there has not been a Charlie Chan film made since 1981; the character has been featured in several radio programs, two television shows, comics. The character of Charlie Chan was created by Earl Derr Biggers. In 1919, while visiting Hawaii, Biggers planned a detective novel to be called The House Without a Key, he did not begin to write that novel until four years however, when he was inspired to add a Chinese-American police officer to the plot after reading in a newspaper of Chang Apana and Lee Fook, two detectives on the Honolulu police force. Biggers, who disliked the Yellow Peril stereotypes he found when he came to California, explicitly conceived of the character as an alternative: "Sinister and wicked Chinese are old stuff, but an amiable Chinese on the side of law and order has never been used."
It overwhelms me with sadness to admit it... for he is of my own race, as you know. But when I look into his eyes I discover. Why? Because he, though among Caucasians many more years than I, still remains Chinese; as Chinese to-day as in the first moon of his existence. While I – I bear the brand – the label – Americanized.... I traveled with the current.... I was ambitious. I sought success. For what I have won, I paid the price. Am I an American? No. Am I a Chinese? Not in the eyes of Ah Sing; the "amiable Chinese" made his first appearance in The House Without a Key. The character was not central to the novel and was not mentioned by name on the dust jacket of the first edition. In the novel, Chan is described as walking with "the light dainty step of a woman" and as being "very fat indeed … an undistinguished figure in his Western clothes." According to critic Sandra Hawley, this description of Chan allows Biggers to portray the character as nonthreatening, the opposite of evil Chinese characters, such as Fu Manchu, while emphasizing Chinese characteristics such as impassivity and stoicism.
Biggers wrote six novels in which Charlie Chan appears: The House Without a Key The Chinese Parrot Behind That Curtain The Black Camel Charlie Chan Carries On Keeper of the Keys The first film featuring Charlie Chan, as a supporting character, was The House Without a Key, a ten-chapter serial produced by Pathé Studios, starring George Kuwa, a Japanese actor, as Chan. A year Universal Pictures followed with The Chinese Parrot, starring Japanese actor, Kamiyama Sojin, as Chan. Again as a supporting character. In both productions, Charlie Chan's role was minimized. Contemporary reviews were unfavorable. In 1929, the Fox Film Corporation optioned Charlie Chan properties and produced Behind That Curtain, starring Korean actor E. L. Park. Again, Chan's role was minimal, with Chan appearing only in the last ten minutes of the film. For the first film to center on the character of Chan, Warner Oland, a white actor, was cast in the title role in 1931's Charlie Chan Carries On, it was this film that gained popular success.
Oland, a Swedish actor, had played Fu Manchu in an earlier film. Oland, who claimed some Mongolian ancestry, played the character as more gentle and self-effacing than he had been in the books in "a deliberate attempt by the studio to downplay an uppity attitude in a Chinese detective." Oland starred in sixteen Chan films for Fox with Keye Luke, who played Chan's "Number One Son", Lee Chan. Oland's "warmth and gentle humor" helped make films popular. By attracting "major audiences and box-office grosses on a par with A's" they "kept Fox afloat" during the Great Depression. Oland died in 1938, the Chan film, Charlie Chan at the Ringside, was rewritten with additional footage as Mr. Moto's Gambl
George Hosato Takei is an American actor, director and activist. He is best known for his role as Hikaru Sulu, helmsman of the USS Enterprise in the television series Star Trek, he portrayed the character in six Star Trek feature films and one episode of Star Trek: Voyager. As of April 2018, his Facebook page has over 10 million followers since he joined in 2011, the account shares photos with original humorous commentary. Takei is active in state and local politics, he has won several awards and accolades in his work on human rights and Japan–United States relations, including his work with the Japanese American National Museum. Takei's work on the Broadway show Allegiance, as well as his own internment in a US-run internment camp during World War II, has given him a platform to speak out against government rhetoric about immigrants and immigration policies. George Hosato Takei was born Hosato Takei on April 20, 1937 in Los Angeles, California, to Japanese-American parents Fumiko Emily and Takekuma Norman Takei, who worked in real estate.
His father named him George after King George VI of the United Kingdom, whose coronation took place in 1937, shortly after Takei's birth. In 1942, the Takei family was forced to live in the converted horse stables of Santa Anita Park before being sent to the Rohwer War Relocation Center for internment in Rohwer, Arkansas; the family was transferred to the Tule Lake War Relocation Center in California. Takei had several relatives living in Japan during World War II. Among them, he had an aunt and infant cousin who lived in Hiroshima and who were both killed during the atomic bombing that destroyed the city. In Takei's own words, "My aunt and baby cousin found burnt in a ditch in Hiroshima." At the end of World War II, Takei and his family returned to Los Angeles. He attended Mount Vernon Junior High School and served as Boys Division President at Los Angeles High School, he was a member of Boy Scout Troop 379 of the Koyasan Buddhist Temple. Upon graduation from high school, Takei enrolled in the University of California, where he studied architecture.
He transferred to the University of California, Los Angeles, where he received a Bachelor of Arts in theater in 1960 and a Master of Arts in theater in 1964. He attended the Shakespeare Institute at Stratford-upon-Avon in England, Sophia University in Tokyo. In Hollywood, he studied acting at the Desilu Workshop. Takei began his career in Hollywood in the late 1950s, providing voiceover for characters in the English dub of the Japanese monster films Rodan and Godzilla Raids Again a.k.a. Gigantis the Fire Monster, for which he recalled, "here was one word that we had tremendous difficulty getting the meaning of and finding an English word that fit the lip movement; the Japanese word was'bakayaro', which means'stupid fool'". The director, Takei said, had him use the phrase "banana oil." He went on to appear in the anthology television series Playhouse 90 and the Perry Mason episode "The Case of the Blushing Pearls". He guest starred in the third season fifth episode of Hawaiian Eye as Thomas Jefferson Chu.
He originated the role of George in the musical Fly Blackbird!, but when the show traveled from Los Angeles to Broadway the west coast actors were forced to audition and the role went to William Sugihara instead. Sugihara had to give up the role and Takei closed out the show's final months. Takei subsequently appeared alongside such actors as Frank Sinatra in Never So Few, Richard Burton in Ice Palace, Jeffrey Hunter in Hell to Eternity, Alec Guinness in A Majority of One, James Caan in Red Line 7000 and Cary Grant in Walk, Don't Run, he featured in a lead role in "The Encounter", a 1964 episode of The Twilight Zone in which he played the guilt-ridden son of a traitor who signaled Japanese pilots during the bombing of Pearl Harbor. He guest-starred in an episode of Mission: Impossible during that show's first season in 1966, he appeared in two Jerry Lewis comedies, The Big Mouth and Which Way to the Front? In 1969 Takei narrated the documentary The Japanese Sword as the Soul of the Samurai. In 1965, producer Gene Roddenberry cast Takei as astrosciences physicist Sulu in the second pilot for the original Star Trek television series.
When the series was accepted by NBC, Takei continued in the role of Sulu, now the ship's helmsman. It was intended that Sulu's role be expanded in the second season, but Takei's role in The Green Berets as Captain Nim, a South Vietnamese Army officer alongside John Wayne's character, took him away from Star Trek filming and he only appeared in half the episodes of that season. Walter Koenig as Pavel Chekov substituted for him in the other episodes; when Takei returned, the two men had to share a single episode script. Takei admitted in an interview that he felt threatened by Koenig's presence, but grew to be friends with him as the image of the officers sharing the ship's helm panel side-by-side became iconic. Takei has since appeared in numerous TV and film productions, reprising his role as Sulu in Star Trek: The Animated Series from 1973 to 1974, in the first six Star Trek films. Today, he is a regular on the science fiction convention circuit throughout the world, he has acted and provided voice acting for several science fiction computer games, including Freelancer and numerous Star Trek games.
In 1996, in honor of the 30th anniversary of Star Trek, he reprised his role as Captain Hikaru Sulu on an episode of Star Trek: Voyager, appearing as a memory of Lt. Tuvok, who served on the USS Excelsior under Sulu, during the events of Star Trek VI: The Undiscovered Country. Takei is
A Sinophile or a Chinophile is a person who demonstrates a strong interest and love for Chinese culture or its people. It is commonly used to describe those knowledgeable of Chinese history and culture, non-native Chinese language speakers, pro-Chinese politicians, people perceived as having a strong interest in any of the above. Chinese cuisine Chinese architecture Varieties of Chinese Chinese calligraphy and artwork Chinese astrology or horoscopes Ancient art of feng shui Daoism Chan Buddhism Chinese philosophy – Confucianism Martial arts, such as variants of kung fu Politics of China, the Communist Party of China, socialism with Chinese characteristics, Dengism, one country, two systems, the Mass Line, politics of Taiwan Traditional cultural Han Chinese clothing, Manchu-influenced Chinese clothing Chinese tea culture Chinese wine culture and baijiu The Chinese arts, encompassing poetry, literature and cinema, as well as Chinese traditional forms of theatrical entertainment such as xiangsheng and operas Enver Hoxha, leader of the communist Albanian Party of Labor.
Kevin Rudd, the 26th Prime Minister of Australia. Morris Cohen, Jewish-Canadian soldier and adventurer. Note that Chloe Bennet nee Wang, is American born and half Han Chinese making it questionable that she can be called a Sinophile. One would need to restrict Sinophelia purely to nationality in orde