Kearny Street Workshop is the oldest multi-disciplinary Asian American arts organization in the country. It was founded in 1972 by Jim Dong, Lora Jo Foo, and Michael Chin in San Francisco’s Chinatown/ Manilatown neighborhood.  Much of KSW’s art and definition were derived from the struggles and issues surrounding that neighborhood: the struggle for low-income housing; the strikes of garment and electrical union workers; the connection with the tenants of the International Hotel, where KSW was housed until our eviction from the site in 1977.....

The early 1970s was a time of growth for the Asian American Movement; all across the country new groups were forming that addressed issues of health care, identity, history and cultural pride. Artistically, it was a fertile time of exploration. KSW was part of a grassroots art movement that pioneered innovative and influential forms of Asian American art, including Asian American jazz, small press publications, silkscreen posters and large-scale public murals. There was also cross-pollination with the Latino community, which was flourishing with poster and murals....

I came in 1974. That year, we acquired an additional storefront on the Jackson Street side of the Hotel. This space (the old hungry “i”), which we named Jackson Street Gallery, had a performance area as well as meeting space and a gallery space. With the two storefronts, KSW was able to offer weekly classes and monthly exhibitions, as well as poetry readings, tai chi, boxing, and occasional dance performances. There was much interaction with the tenants from the Hotel, and we were part of the struggle against eviction. KSW also offered community service, either by painting murals in the neighborhood or going to nearby schools to teach art and culture to the kids. KSW did several exhibitions on the need for low-income housing, and was the first to do an exhibition about Angel Island. We started attracting a lot of artists from out of town.....

In 1981, KSW started the Asian American Jazz Festival, which was held at various venues in San Francisco before it formed a lasting partnership in the mid 1980s with the Asian Art Museum. For 17 years KSW served as a vehicle for talented artists to showcase and promote their works, and many noted Asian American musicians, writers, and visual artists can trace their career paths back to the jazz festival.....

In April 1995, KSW received its 501(c)(3) status, shortly after I was appointed Executive Director. I strengthened KSW’s infrastructure, redirected the organization’s programming, and expanded its resources. I formed relationships with other community groups within and beyond the Asian American community. At this time, I moved KSW from its cramped quarters above the California Flower Market to South Park, a fashionable mecca for multi-media artists.....After 5 years, however, our lease was up, and we fell victim to the dot-com boom.

What I lacked in management skills, I made up for in passion and perseverance. Working many hours on a half-time salary, I began to rebuild KSW. I had to convince people that KSW was still around; then gather up new energy for the organization. I hired a part-time assistant and a development director under a one-year grant, and moved the organization to South Park to increase its visibility. I formed a Board of Directors and an Advisory Board....

Many of the older members had gone on with their lives. I had to find ways to build up a whole new audience. I started a quarterly newsletter. I started a donor base for KSW in 1996, and built deep relationships with our key funders and supporters. I also got the Board to start doing fundraising events. In July 1998 KSW formed KSW-Next, and in 1999 we started another festival, APAture: A Window on the Art of Young Asian Pacific Americans. In addition, KSW’s website was launched in 1999.

The most important legacy I left was KSW-Next and its showcase festival, APAture, originally intended for ages 18-30, which then stretched to 18-35. In 1998 there were no venues for young Asian Pacific Americans to meet and show their work and exchange ideas. So my assistant Jean Chen and I formed KSW-Next to provide a forum for that age group. KSW-Next launched APAture in 1999 with a film night, exhibit, and an all day expo. 600 people came to that first expo, and now the festival has grown to a 2-week festival and has up to 1500 people attending. The event was curated and planned by the young artists themselves. It’s now in its 11th year (2009), and has provided the organization with leadership and a pool of emerging artists.

Now that other venues have opened up for young artists, KSW has taken away the word “young” from the requirements, so any emerging artist can participate. KSW used an old ideal - self determination in crafting this new program – so the APAture peers do their own planning, fundraising, curating, installing. In other words – they own the event, and eventually that leads into owning the whole org, from the board on down. That ensures the long-term survival of the organization. KSW trained APAture organizers to be leaders in the community. KSW-Next program insures a renewing supply of human resources to KSW. There is now a new generation of artists at KSW.