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January 24, 2025

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Japan has an old proverb: “The nail that sticks up gets hammered down.” 

While in China, there is a saying, “The higher the tree, the stronger the wind.”

In a critical lens, both idioms illustrate harmony and unity – a vital essence of Asian culture and heritage. Nevertheless, the proverbs also shed light on a contrasting school of thought: conformity and crab mentality. 

Crab mentality refers to the situation one can explore by placing a crab or a collective of crabs in a bucket. A lone crab can inevitably crawl out of the bucket, however, a peculiar scenario would arise if one situates a group of crabs in a bucket. As a crab tries to crawl out, the other crabs will pull it back down. If it tries again, the others will rip its claws off to ensure it can never do so again. Ultimately, no crabs can go anywhere besides the stew pot you are brewing. 

Crab in a bucket scenario (Image source: Microsoft Designer)

Crab in a bucket scenario (Image source: Microsoft Designer)

It is naivety to assume human beings are a unified collective group. History, wars, and jealous conflicts are testaments to human being’s selfishness. Hence, it is arguable that we are inclined to place ourselves above others, even if it means at the expense of our peers. Despite being a precarious thought, this insight opens new dimensions to understanding crab mentality in the human context. 

“Remember your cousin Timmy in China? He has 15 years of experience. He’s nine!” 

Steven He’s dad (played by Steven He) exclaimed.

Terms like “Asian-level difficulty,” “Tiger Moms,” and “Asian parents” have become widely recognized through memes, movies, and other mainstream media, serving as a lens for global audiences to understand and appreciate aspects of Asian culture. Yet, one community still paints a negative view of the Asian community, even discriminating against its individuals – and the answer is ironically the Asian community itself.

The purpose of this work is not to discriminate or criticize any peculiar group but to foster intellectual discourse and encourage reflection on societal dynamics and individual perspectives. The chosen quote embodies this intention, capturing four intertwined facets.

Understanding the concept of face is crucial when discussing Asian culture and heritage. Face serves as a societal construct that governs social interactions and determines one’s standing within a social hierarchy. It is a dynamic measure that can be given, earned, taken away, or lost, often extending beyond the individual to include family and friends. For those unfamiliar with this concept, here’s a simplified explanation:

  • A wife who earns a promotion gains face for herself in front of her boss, while also bringing face to her husband and parents through her achievement. 
  • Conversely, a student who performs poorly on an exam loses face among peers, and their parents, in turn, lose face within their social and familial circles.

Despite being debatable, visualizing face as a form of currency provides an interesting lens through which to examine crab mentality in Asian communities. Much like any valuable asset, currency must be earned, safeguarded, and strategically utilized. Losses, even those meant for long-term gains, are approached with caution and calculation. Consequently, individuals strive to enhance their reputation while using criticism to diminish the face of others.

The concept of face is deeply tied to education and parenting, playing a role in fostering crab mentality. Asian children are often raised to prioritize self-achievement above personal aspirations, adhering to predetermined paths for the “greater good” of the family. This emphasis on collective reputation often comes at the cost of individual dreams, reinforcing a mindset where personal success is weighed against familial expectations.

Parenting can affect mindsets, a reflection on Tiger Moms (Image source: Mims On The Move)

Parenting can affect mindsets, a reflection on Tiger Moms (Image source: Mims On The Move)

Indeed this is a generalized claim that leaves certain minorities for speculation, but the interplay between face and sacrifice is crucial in understanding the environment Asian children grow up. Literary works like Truyện Kiều (Tales of Kieu), a renowned Vietnamese poem, highlight traditional ideals through terms like cầm-kỳ-thi-họa—the four virtues defining a successful woman. Similarly, the stereotype of Asian children being expected to become doctors or lawyers has become a familiar cultural reference in contemporary discourse.

No parents want their children to grow up as bad people. Hence, it would be injudicious to blame parents and the system for a negative societal mentality. Yet, there are certain repercussions to sacrificing a child’s dream in return for a destined path to greatness. This leads to the third facet of crab mentality in Asian communities: A ramification for every child following the same success path means comparison and competition. 

Let’s revisit Steven He’s joke: Timmy is used as a benchmark for comparison. The only way for Steven to save face is by climbing the same ladder and offering Timmy a similar spiteful insult. This vicious cycle of comparison fuels crab mentality within families, peers, and the broader community. True to reality, Asian students often spend countless hours in extra classes and clubs to meet rigorous expectations. Tiger moms push their children to excel in every class as if their lives depend on it. There is no middle ground—you’re either a winner or a failure.

This brings us to the final facet: the absence of praise and apologies. Ironically, according to BBC and Vocal Media, Asia is home to some of the politest people in the world, with countries like Japan and Thailand leading the way. Despite this, hierarchy plays a pivotal role in relationship dynamics. To save face, many Asian parents rarely offer praise to their children. Astonishingly, when it comes to apologies, parents often go to great lengths to defend their actions rather than acknowledge their mistakes. 

A similar response can be seen in Asian workplaces, where higher-ups are more inclined to criticize and are far out of reach from their team members. Individuals will praise their peers and colleagues in hopes of receiving similar treatment instead of actual commemoration. Workers often segregate themselves into teams of interest to promote one another instead of collaborating as a group. These groups create outcasts who, despite their talents, are looked down upon and have their accomplishments taken or snuffed out by negative criticisms. This reluctance to give praise and apologize reinforces a mindset of self-achievement above all else. At first glance, mentality such as these are not wrong, but they leave cracks for detrimental thoughts of arrogance and selfishness – ultimately sustaining the crab mentality.

While this article explores the crab mentality within the Asian community, it is important to recognize that this negative mindset is not exclusive to any one group—it exists everywhere. The concepts of face, self-achievement, competitiveness, community, and sacrifice are what make Asian heritage unique and beautiful. This work argues that these cultural elements are not the root cause of the crab mentality, but rather, insights into why such a mindset may emerge. 

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ARTBOUND Features Giant Robot’s Asian-American Pop Culture Influence In Its Latest Episode

Highlighting the impact of the Asian-American pop culture publication Giant Robot, the debut of the latest episode entitled “Giant Robot: Asian Pop Culture and Beyond” was finally aired last October 26 in the acclaimed arts and culture series ARTBOUND on KCET.

The episode showed Giant Robot’s examination of Sawtelle Boulevard as a Japanese-American neighborhood, sparking interest in Asian and Asian-American popular culture which resulted to a long line of Asian American artists who won recognition on a global scale. 

Established in 1994, Giant Robot was a bimonthly journal that focused on Asian popular culture that soon included works by Asian-American artists including David Choe and James Jean.

Eric Nakamura began publishing Giant Robot as a digest-sized zine. The piece covered a variety of subjects, including trendy Asian American independent filmmakers, Japanese punk rock, and contemporary Hong Kong films. National media sources including the New York Times, Wired, and LA Weekly published the story.

In 2001, Nakamura opened his first store named “Giant Robot Store” in Sawtelle Japantown and expanded in 2003.

Giant Robot co-founder, Martin Wong edited all 68 issues of the glossy magazine on Asian, Asian-American, and new hybrid culture from 1994 to 2010, when it was still a punk zine. His wife Wendy Lau served as Giant Robot’s graphic designer beginning with issue 18. Even today, Martin continues to publish zines and contribute to them.

The popular weekly television program and online site ARTBOUND captures the essence of California’s expanding arts and cultural scene and investigates how it is transforming the state into the world’s creative capital. 

The KCET Original series investigates and clarifies contemporary cultural challenges, offering insightful in-depth study of how the arts and culture impact society.

Image Source: Julie’s Bakeshop

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Dreams Set No Limits To 50-Year-Old Who Started A Bakeshop Now The Philippines’ Most Famous Brand

“In a way, I was poor. I was hungry, maybe not for food but for self-achievement. I thought there must be something more I can do than just being a housewife. I was very determined to succeed, in whatever came my way,” thus said Julie Gandionco as quoted by the Inquirer, the Philippines’ local newspaper.

In January 1981, then-50-year-old Julia Gandionco opened Julie’s Bakeshop to satisfy her thirst for proving that she is more than a housewife.

Julie’s Bakeshop gloriously celebrates being one of the Philippines’ largest bakery chains with more than 500 branches all over the country, which can be traced back to Mandaue City on the Island of Cebu as its place of origin.

In the 1970s, Julie was a canteen concessionaire at a rattan company, and subsequently became a manager of its sister company. She also opened another canteen a year later.

Having these three canteens being managed, she felt the rising demand for bread which made her take the chance of opening a bakeshop, despite having zero knowledge of baking.

Julie stressed that her bakeshop exists because of “a growing need for bread products and a strong trust in God,” and that she desires to encourage and uplift other mothers to dream big and strive for their goals.

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Veteran Actor James Hong Lauds Asian-American Representation In Entertainment Industry

During the Critics Choice Association (CCA)’s Inaugural Celebration of Asian Pacific Cinema & Television, veteran actor James Hong received the prestigious Icon award along with a few other awardees.

The veteran actor reflects on his over 700 roles and how Asian representation has changed: “When I was a kid, ‘The Good Earth’ was played by Caucasian leads that taped their eyes up.”

In his speech, Hong commended Asian-American creatives for “carrying through” work to advance their careers in the entertainment world and emphasized that his ultimate goal was to stop hatred and boost the whole level of Asian-Americans.

“To see an organization collect all these people together and work together and stop this hatred for Asians is our main goal, I think, and just boost the whole level of Asian-Americans,” Hong mentioned to the PA News Agency.

Held at Fairmont Century Plaza, CCA’s celebrity-filled event highlighted both new and experienced talents and featured other notable figures from the Asian film industry.

At the age of 93, the veteran vigorously demonstrated a few martial arts movements for the photographers with a smile on his face during the occasion.

In his more than six decades-old career, Hong is a well-accomplished actor with hundreds of film and television credits who co-founded the East West Players in 1965, making him more than deserving to receive the Icon award.

The actor stated that CCA is perhaps one of the pioneering organizations that promote culture.

Image Source: Fiona Chan

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TikTok Viral Beauty Brand Youthforia Inspired From Asian Roots And Self-Awareness

We spend most of our waking hours trying to care for ourselves, but there’s only so much time in the day. That’s what the makeup brand Youthforia is for — a line of high-quality beauty products that fit seamlessly into your routine. 

Founder Fiona Co Chan accomplished this goal for Youthforia, making it the first East Asian makeup brand to be sold at Ulta Beauty. 

While quarantined in Hong Kong, Fiona realized she should launch a cosmetics line. She also recalled a lesson her Vietnamese refugee mother had taught her early on about the importance of paying attention to what goes into one’s body. Although she didn’t have the best track record with makeup, she was able to consider her interest. 

Before 2020, she worked in technology and visited several highly polluted Asian cities. She realized that her Western cosmetics reacted poorly to heavy pollution, resulting in skin damage. 

This led Chan to work on a gentle formulation and test it out for two months before releasing it to the public on TikTok in 2021. She used the video hosting giant to see if people would be interested in trying out her new makeup creations, such as a liquid blush that adjusts to the skin’s pH. The BYO Blush was a huge success, and Chan’s Youthforia’s TikTok accumulated 40 or 50 million views in its first year.

While the launch of Youthforia on TikTok is undoubtedly cutting-edge, the brand’s core values are founded in the past. This comes directly from Chan’s identity and her upbringing in an Asian San Francisco household where her mother stressed the importance of viewing the body as a whole.