For 35 years, New York City’s Asian American queer community has organized, resisted, and thrived. Their story is a microcosm of a nationwide movement that transformed queer Asian American activism, art, and acceptance across the nation.

From the West Coast’s Gay Asian Pacific Alliance, founded in 1980, to the Midwest’s Asian American Lesbian and Gay Alliance, established in 1988, communities across the country were mobilizing to address the unique experiences of queer Asian Americans, who often felt marginalized within both the Asian American and LGBTQ+ communities.

At the start of the 1990s, anti-Asian violence surged in New York City and across the nation, increasing by an alarming rate up 680% from 1985 to 1990. Local anti-Asian violence groups created flyers detailing the New York City Police Department’s Bias unit report of 3,254 reported rapes in NYC in 1989. The surge was not isolated; it mirrored a national rise in hate crimes against Asian Americans, fueled by xenophobia and stereotypes.

Mobilization was necessary, and the images pulled for this article reveal the power of coalition building, reflection, and radical joy in the Asian-American struggle for justice and visibility. Their legacy continues to inspire and inform present-day activism, as the recent rise in anti-Asian hate crimes during the COVID-19 pandemic has tragically underscored the ongoing need for solidarity and resistance.

The “Miss Saigon” protests: A watershed moment in queer Asian American activism

In the spring of 1991, New York City became a battleground for a pivotal moment in queer Asian American activism. The announcement that the Lambda Legal Defense Fund and the Lesbian and Gay Center would feature the musical “Miss Saigon” as a fundraiser ignited a firestorm of protest. This seemingly innocuous decision struck a nerve within the community, as the play’s portrayal of Asian women was widely viewed as offensive, degrading, and perpetuating harmful stereotypes.

Leading the charge were two prominent queer Asian organizations, Asian Lesbians of the East Coast (ALOEC – though no longer online, you can learn about ALEOC in this zine) and Gay Asian and Pacific Islander Men of New York. They were joined by a diverse coalition of LGBTQ+ groups and allies who recognized the racism inherent in the play’s casting of white actors in Asian roles (“yellowface”) and its exoticization of Asian women. Their central question was a powerful one: How could these mainstream organizations claim to represent all LGBTQ+ communities while ignoring the concerns of their Asian members?

The most widely cited account of the coalition work on The Heat is On Miss Saigon Coalition describes Miss Saigon as the key fundraiser of the Lambda Legal Defense Fund and NYC LGBT Center, instilling city-wide mobilization against the announcement. What began as a peaceful protest in the form of a request became a series of demands for the play to not be performed in New York City in the name of queer organizing.

The protests began with peaceful dialogue and requests for change. However, when these efforts were met with resistance and a refusal to remove “Miss Saigon” from the program, the coalition escalated their actions. The initial request transformed into a series of demands aimed at preventing the play’s performance in New York City altogether.

The protests culminated in multiple demonstrations, including a major one at the Broadway opening of “Miss Saigon” in the spring of 1991. As Milyoung Cho, a member of ALOEC and co-founder of Committee Against Anti-Asian Violence, explained in an interview, the movement quickly gained traction, drawing widespread media attention and sparking a broader conversation about representation, racism, and solidarity within the LGBTQ+ community. The “Miss Saigon’’ protests marked a watershed moment in queer Asian American activism, demonstrating the power of collective action and the importance of challenging harmful stereotypes in mainstream culture.

The movement also found a platform in the media, notably in the May 1991 issue of Outweek magazine. This groundbreaking issue, titled “Queer N’ Asian issue’’ featured a cover story dedicated to the protests and the broader context of queer Asian activism. Bino A. Realuyo, co-founder of the Asian American LIterary Writers Workshop, and editor of The NuyorAsian Anthology: Asian American Writings About New York City (1999) reviewed the Queen N’ Asian issue, noting how it amplified the voices of queer Asian organizers, artists, and intellectuals, providing a much-needed space for nuanced discussions about race, sexuality, and representation within the LGBTQ+ community. The “Queer N’ Asian’ issue stands as a testament to the power of media in shaping social movements and giving voice to marginalized communities.

Desi queer activism and the India Day Parade

SALGA (South Asian Lesbian and Gay Association) merged as a vital hub for the Desi queer community in New York City, providing a safe space and fostering community for individuals from across the South Asian diaspora, including Afghanistan, Bangladesh, Bhutan, Burma (Myanmar), India, Nepal, Pakistan, Sri Lanka and Tibet as well as people of South Asian descent from countries such as Guyana, Trinidad and Kenya. Founded in 1991, SALGA’s impact extended far beyond its local roots, resonating with the experiences of queer South Asians across the United States and Canada.

Scholar and activist Gayatri Gopinath eloquently captures the significance of SALGA in her book, Local/Express: Asian American Arts and Community. She recounts her first encounter with the group in 1991, a time when a progressive South Asian community was just beginning to coalesce in New York City. Gopinath emphasizes the warmth and inclusivity she experienced at SALGA, despite being the only woman in a room of mostly older, first-generation immigrant men. This encounter underscores the importance of creating spaces where diverse voices within the Desi queer community could be heard and respected.

“I’ll never forget the day I screwed up the courage to walk into my first SAGA meeting at the LGBT Center on 13th Street: I was the only woman in a room full of mostly older, first-generation immigrant men,” Gopinath wrote. “But they were hugely welcoming and resolved there and then to change their name to SALGA. SALGA really came together in the fight to march for the first time in the India Day Parade in 1992″

One of SALGA’s most notable achievements was its involvement in the struggle to march in the annual India Day Parade. This parade, organized by the Federation of Indian Associations (FIA), celebrates India’s independence from colonial rule and serves as a major cultural event for the Indian diaspora in the Northeast United States. However, for many years, the FIA refused to allow LGBTQ+ groups to participate openly, reflecting the broader challenges faced by queer South Asians in navigating cultural and religious traditions.

In 1995, across the nation, parade exclusion fights made it all the way to the Supreme Court. In the case Hurley v. Irish-American Gay, Lesbian and Bisexual Group of Boston, the court ruling against queer organizations. SALGA, along with other activists, played a crucial role in challenging this federal exclusion. Their tireless advocacy and organizing efforts eventually led to the FIA’s decision to allow SALGA to march in the parade in 2000, despite specific rules marking a significant victory for visibility and acceptance.

The SALGA story is a testament to the power of grassroots activism and the importance of creating inclusive spaces within cultural communities. It also highlights the interconnectedness of queer Asian activism across different ethnic and regional groups, as SALGA’s struggles and triumphs resonated with and inspired other Desi queer organizations across the United States and Canada.

The rise of Asian American queer fiction

The mid-1990s marked a turning point in queer Asian literature, as a wave of new voices emerged to challenge stereotypes and express diverse experiences that went hand in hand with the political organizing happening at the time. This literary renaissance was deeply intertwined with the burgeoning queer Asian activist movement, which had gained momentum in the wake of protests like those against “Miss Saigon.” As more and more queer Asian Americans found community and empowerment through activism, they also sought to reclaim their narratives through writing.

By the mid-90s, it was easy to find first anthologies and collections of writers. The first-ever collection of gay male erotica was published by Cleis Press in 1998, titled Queer PAPI Porn: Gay Asian Erotica. This collection spanned 19 fuck fiction pieces introduced by its editor, Joël Barraquiel Tan, as “a sexy, smart, innovative book, stretching the boundaries of sex, race, and desire.” PAPI stands for Pilipinos, Asians, and Pacific Islanders, so though not all contributors are of PAPI descent or identify as exclusively male, the collection places queer PAPI porn at the center.

Mainstream success opens doors for queer Asian filmmakers

The 2000s saw a surge in independent filmmakers, who were less constrained by commercial pressures and more willing to explore marginalized narratives. Mainstream cinema largely ignored queer Asian stories, perpetuating stereotypes or erasing them entirely. When representation did occur, it was often limited to supporting roles or one-dimensional characters. Within Asian communities, homosexuality was frequently taboo, leading to self-censorship and fear of ostracization. However, after Slumdog Millionaire was nominated for 10 Academy Awards in 2009, we saw shifts in opportunities for South Asian filmmakers. As an example, Sonali Gulati was awarded the 2009-2010 Robert Giard award, illustrating the impact mainstream art has on community-based art.

Sonali Gulati’s award-winning film, “I Am,” traces its origins to a moment of profound personal loss. After the passing of her mother, Gulati embarked on a journey back to her childhood home in Delhi, India. The film, which won the 2009-2010 Robert Giard Grant for Emerging Artists chronicles this poignant return after an 11-year absence. In “I Am,” Gulati confronts the unspoken truths of her past as an Indian lesbian filmmaker, exploring themes of love, loss, and the complexities of identity.

Scholarship beyond borders

Though this article is meant to unveil Asian-American histories and narratives, it is important to detail the community connections across the boundaries of US-based Asian-American narratives, as the stories are not in isolation, but connected to a wide-reaching international community.

A testament to this global dialogue is the 1999 issue of “Intersections: Gender, History and Culture in the Asian Context.” This groundbreaking publication, now over two decades old, dedicated an entire issue to exploring the complex intersections of sexuality, gender, and culture across Asia.

Articles delved into diverse topics, from Japanese sexual politics to ancient rituals in the Philippines, queer Korean film to the nuances of naming gayness in Thailand. This issue remains a pivotal contribution to queer Asian history, showcasing the rich tapestry of experiences and expressions across the continent.

The range of historical representation of queer Asian-American history spans landscapes. It honors individuals, organizations, movement building, and representations of community that span diasporic landscapes. This list was never meant to be comprehensive, but it celebrates and pays homage to the work of Asian Americans to forge a mark with queer contexts and queerness, within the realms of Asian-American histories.

By recognizing these interconnected stories, we can gain a deeper understanding of the multifaceted nature of queer Asian experiences and the ongoing struggle for visibility and acceptance on a global scale.

More archival Resources:

• South Asian American Digital Archive – holds over 5,000 items, making it the largest publicly accessible archive of South Asian American stories and their archive of Brown Queer Feelings
• Okaeri Voices project – Los Angeles based resource and support group Okaeri hosts oral history interviews with LGBTQ Japanese Americans all over the age of 60.
• Timeline: Asian American and Pacific Islander LGBTQ History, 1873-2022 chronicles the history of LGBTQ+ people in API communities.
• The Dragon Fruit Project uplifts the stories of queer and trans API leaders and activists through oral histories, zines, a timeline of LGBTQ Asian and Pacific Islander history, and more.
• Interview with Representatives of the Union of Democratic Filipinos at a protest against the Miss Universe pageant held in the Philippines on July 19, 1974 via the Lesbian Herstory Archives.
• Where to Learn the Queer Asian American History You Absolutely Missed in School list of archival projects by Densho.org

Shawn(ta) Smith-Cruz is a Black lesbian archivist and librarian living in NYC. You can find her online at shawntasmithcruz.com.