Embracing Cultural Heritage and the Power of Elder Stories
Review of Hello Auntie, Hello Uncle: Conversations with Our Elders at The Wing Luke Museum
Written by TeenTix Newsroom writer MIKAYLA SANCHEZ and edited by Teen Editorial Staff member KAYLEE YU
Whether you realize it or not, you've likely understood the impact of Wing Luke Museum’s "Hello Auntie, Hello Uncle: Conversations with Our Elders." Throughout the exhibit, the use of auditory, visual, and tactile art pieces leaves a lasting impression on how we connect with our cultural heritage. The exhibition (which ran from April 5, 2024 to March 9, 2025) forces us to reflect on both why we neglect our relationship with our elders, and what makes their connection to our identities immeasurable.
This intimate reflection on identity and belonging takes us on a journey through interactive installations and deeply personal stories; an invitation to step into the lives of immigrant relatives and explore the complexities of clashing cultural identities.
First entering the exhibit, visitors begin in a familiar space with Maliha Masood’s “Dizzy in Karachi”. This interactive piece invites visitors to sit in a woven seat of reeds, leaves, and bark— the artist’s chair. Though it seems as though the seat will bend and break, it still holds true. I can still remember my own Mama’s woven chair. The base was of plantain leaves and each day she would sit in it, overlooking the porch and mango tree right behind it. You could sit with her for hours, and if you stayed long enough, she would begin to tell stories, weaving her own life into each one. Masood’s piece reminds me of returning home, embracing the pieces of our culture that connect us to both the past and present. For Masood, this continues to ring true with the next piece, her Dupatta. The Dupatta is a cultural garment from Pakistan, vibrant red with beading on its ends and small swirling designs covering it. The cloth represents more than familiarity; it was a tool of oppression, forced upon women to make them cover up. Yet Masood remembers how the Dupatta shielded her from the whipping winds, kept her cool in the summers, and connected her to her family in a way often abandoned by others. The Dupatta is more than a traditional garment—to Masood, it’s a symbol of reclamation. It signifies her ability to navigate the tension between Western assimilation and her Pakistani heritage. This tactile experience explores how cultural markers ground us in our identities, reminding us that belonging often begins with self-acceptance. As we continue, the exhibit resembles a winding path. We are forced to follow it as the speaker overhead questions “Where Do I Belong?". The path itself mirrors the immigrant experience—a twisting, sometimes disorienting path that fosters both uncertainty in the moment, and comfort once you’ve been through it.
Upon entering the second part of Hello Auntie, Hello Uncle, the mood changes. While previously exhibits asked how familial culture could fit into western life, now they question how we can reconnect with familial and cultural ties that Western society often encourages us to forget. Each piece is defined by blending both western and eastern aspects: clothing that uses both European sewing styles and Eastern layering techniques, projections that reconstruct villages that had to be abandoned when immigrating to this country.
One of the most impactful pieces to me comes from artist Ravleen Kaur, who uses his exhibit 22 words to capture the duality of connection and isolation in a recorded conversation with his daughter. In 22 words, he teaches his daughter 22 words in Punjabi. He illustrates that language is more than just a means of communication—it’s a bridge to heritage and a symbol of the cultural legacy he hopes to pass on. Yet, the small lesson is vulnerable. The struggle to teach and learn in a predominantly English-speaking society amplifies feelings of estrangement reflected in many viewers’ own homes. Kaur’s piece is a reminder that belonging is as much about emotional ties as it is about physical spaces. We are guided to question the languages we may have abandoned for being ‘too difficult’, and to reflect on how prioritizing English can stunt our cultural growth and connection.
For myself, though both my parents' first language was Spanish, they refused to teach it to me, fearing that any accent I could gain would ostracize me from my peers. They continued to put western preferences over our familial ones due to the isolating nature of immigration. But abandoning a language removes a chance for connection with our past; we jeopardize our future familial stories, and our elders’ history becomes lost. By blending personal fears and universal themes, 22 Words becomes a mirror for anyone who has ever felt caught between worlds.
Hello Auntie, Hello Uncle is more than just an exhibition—it’s a testament to the resilience of the human spirit and the beauty of cultural hybridity. It celebrates the intersections where Asian and American identities meet, demonstrating that belonging doesn’t require erasure. Instead, it’s about finding joy and strength in the cultural blend, where the echoes of one culture enrich the rhythms of the other.
Whether you’re an immigrant yourself or simply curious about the journeys of others, Hello Auntie, Hello Uncle leaves an indelible mark. Often, we are encouraged to assimilate into western culture and embrace our western identity, yet through the exhibit we are reminded of the strength of our elders’ stories. Each one communicates a new aspect of personal identity, superseding boundaries implemented by countries or states. These stories remind us that belonging is not a fixed destination but an ongoing journey. Hello Auntie, Hello Uncle pleads with us to listen openly with our elders, to embrace our vulnerabilities, and, in so doing, to find strength in our own stories.
Lead photo: Medicine for Seattle's CID Neighborhood, Portraits of Aunties Sue Kay and Karen Akada Sakata, 2023 Monyee Chau & Jae Eun Kim Acrylic on wood, linoleum block prints on fabric. Photo courtesy of Wing Luke Museum.
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