Today we’d like to introduce you to Katherine Leung

Hi Katherine, so excited to have you on the platform. So before we get into questions about your work-life, maybe you can bring our readers up to speed on your story and how you got to where you are today?

I started my journey in the world of independent publishing and community building almost by accident. Growing up, I had mixed experiences with writing and creativity in school. I tried working in the school newspaper staff and applying to our school literary journals with disappointing results. But I always loved to write and share my writing with others, especially through blogs, scrapbooks, and zines. The same with art- I had a very traumatizing experience in advanced art classes while in school. Our art teacher had no business working with children and yelled at us a lot. I spent a lot of time designing graphics for t-shirts and posters for my church, and even got to paint a nursery mural. Those challenging experiences taught me the importance of believing in myself and creating my own opportunities. School and institutions were not just going to let me in easily.

After college, I worked as a teacher for over six years, which allowed me to foster the kind of supportive, student-led creative environments I wish I’d had access to as a young person. I helped a team of fourth graders launch the school’s first literary journal. We designed our own consent-led submission process that included kindergartners in decision-making. As a first grade teacher, my Writing Workshop block of the day became the class favorite because of how affirming and positive the classroom routine was. While teaching art at a middle school, I had a lot of fun supporting students in an entrepreneurial type club that followed a co-op model, facilitating face-painting opportunities for students at local events. Teaching was fun and I couldn’t stop adding more and more commitments to my plate. I loved it and I was invested in the community. I couldn’t help but want to fill the spaces where gaps existed in academics and school life, which ultimately burned me out.

Around this time, I also launched Canto Cutie, an art and literature magazine focused on the Cantonese diaspora. Specifically, when the covid lockdown hit, I finally got time to devote all my energy to this zine.

Canto Cutie has been a deeply meaningful project for me. It’s allowed me to explore my cultural identity, connect with artists and writers around the world, and create a platform for diverse Cantonese voices. We’ve published seven issues so far, featuring work from over 150 artists across more than 10 countries. The magazine reflects the richness and diversity of Cantonese culture and experiences, from Hong Kong to immigrant communities in the US, UK, Canada, and beyond.

It started off as an idea of just being able to publish interviews with Cantonese artists I respected, but it became so much more. It’s evolved into a media platform and now I regularly speak publicly about my experience and expertise with the zine. The zine has opened doors to many other exciting opportunities: a monthly Cantonese club that I co-organize with a UVM professor and a recurring series of community dinners catered by local BIPOC and immigrant owned restaurants that co-organize with a local queer artist in our rural town. These projects are about more than just art or language – they’re about creating spaces for connection, cultural preservation, and mutual support.

My approach to publishing and community-building has evolved over time. I’ve learned to prioritize sustainability, both for myself and the projects I’m involved with. This has meant adapting my funding model, being selective about events and collaborations, and focusing on building genuine connections.

In this work I also realize exactly how much I am tending to the wounds created when I was a kid. That’s why this upcoming volume of Canto Cutie focuses on childhood and youth. I’ve also recently become a mother, welcoming my very own Canto Cutie earlier this year. So these topics of raising children, school, and how I want to adore and support the future generation is on my mind.

We all face challenges, but looking back would you describe it as a relatively smooth road?

The road has certainly had its share of challenges and learning experiences. One significant struggle has been navigating the complexities of cultural identity and representation. As the editor of a magazine focused on the Cantonese diaspora, I’ve had to grapple with the diverse and sometimes conflicting perspectives within our community. It’s been a delicate balance to create a platform that’s inclusive and representative while also maintaining a clear vision and purpose.

I didn’t want my magazine to just be a platform for Asian Americans or people with a connection to HK only. When I say worldwide diaspora, I truly mean that and go out of my way to elevate minority voices. Just a glimpse of how diverse the diaspora is: we’ve published a Brazilian Chinese diasporic artist, a tattoo artist in Portugal and one from Ireland, a Hungarian Hong Konger, an Indian Hong Konger, artists in Malaysia and Taiwan, and writers from Taishanese, Shanghainese, Hakka, and Teochow backgrounds.

Because of the wide range of voices there are people who believe that only certain people can have a claim to the Cantonese identity. Heck, sometimes I feel a bit of imposter syndrome as an American. But for us to fit into nearly defined labels is exactly what imperialists and governments that enact monolingual policies want. Canto Cutie dreams of a future that lets every individual speak the language they want to and live the life they envision.

Another hurdle has been the ever-changing landscape of independent publishing. When I first started, I was relatively naive about the industry and had to learn many aspects of publishing on the fly. This included everything from practical skills like layout design and distribution to more nuanced challenges like building relationships with contributors and readers. Also, it included navigating the security and safety of others given national security and publishing laws that exist in certain countries. So, I learned a lot of legal practices along the way.

Funding has been an ongoing challenge. Initially, I funded the magazine entirely out of pocket, which was not sustainable in the long run. Learning to navigate the world of grants and alternative funding sources was a steep learning curve, but ultimately crucial for the longevity of the project. I’m so thankful to organizations like the Vermont Community Foundation and National Art Strategies who support my vision and have contributed to its success.

Lastly, as someone working to preserve and celebrate a minority culture and language, I’ve faced the ongoing struggle of pushing against the tide of assimilation and language loss. It’s been challenging at times to convey the importance of this work to those outside our community, and even to some within it who may have internalized negative attitudes about their heritage.

Certain powerful entities, as the result of imperialism and global capitalism have shown a strong preference for linguistic and cultural homogeneity, often at the expense of diverse voices and traditions. This push for uniformity has particularly affected communities with unique heritage languages. The promotion of a single, dominant language and way of life has led to increasing pressure on minority groups to conform and assimilate, rather than preserve their distinct identities. Canto Cutie was just one of the many responses to such policies, and one that can exist abroad, inviting the diaspora to have a word in the ongoing conversation as well.

Since the 1990’s but with a resurgence in 2020, a concerning pattern has emerged in Hong Kong. There’s been a noticeable uptick in the silencing of independent voices, particularly those in publishing, bookselling, politics and academia. This heightened pressure on free thought and open dialogue has reverberated throughout the global community connected to this city, causing alarm and distress.

Canto Cutie arose as a response to these unsettling developments. The magazine provides a sanctuary for voices at risk of being muted, aiming to safeguard and honor Cantonese culture and ideas during a period of intensifying constraints. While not overtly engaging in current affairs, Canto Cutie acknowledges that cultural expression inherently intersects with broader societal issues, especially in turbulent times. By featuring diverse viewpoints from the Cantonese diaspora, it contributes to a larger conversation about heritage, personal liberties, and the community’s path forward.

I recognize the zine’s strategic role in being a creative outlet for international artists affected, while navigating the reality that art magazines can never be apolitical. Cultural and linguistic pride, along with just talking about Hong Kong, is a political stance that can be and is already being oppressed. Given my privilege as an American, I use those rights to uplift others that may be silenced elsewhere.

Despite these struggles, each challenge has been an opportunity for growth and has ultimately strengthened my vision for the project. The road may not have been smooth, but it’s been deeply rewarding.

Thanks for sharing that. So, maybe next you can tell us a bit more about your work?

Canto Cutie is an art and literature magazine I founded in 2019, dedicated to showcasing work from the Cantonese diaspora. We’ve published seven issues so far, each over 100 pages long and featuring a mix of visual art, writing, and interviews.

The magazine is published in both digital and print formats. Each issue contains work from numerous artists and writers, typically featuring over 20 contributors per volume. We’ve published over 150 artists in total since our inception. We’ve remained independently published and distributed, and aim to always maintain that model.

One unique aspect of Canto Cutie is our bilingual approach. All interviews are translated and presented in both English and Chinese, making the content accessible to a wider audience and bridging language gaps within the diaspora. It also gives artists a chance to have their work exposed to English speakers and vice versa.

We publish work in standard written Chinese but also from the growing movement of written Cantonese. It’s how so much of the diaspora creates, and Canto Cutie is a perfect platform to share those words. So you’ll find Jyutping, Chinese, Cantonese, English, and even more languages in the magazine. Our proximity to Quebec has also led to some interesting French language submissions.

Our submission process is open to anyone who identifies as part of the Cantonese diaspora. We receive submissions from around the world, with contributors from over ten different countries so far. This global reach allows us to present a diverse range of perspectives and experiences within the Cantonese community.

We distribute the magazine through various channels, including independent bookstores, zine festivals, and direct online sales. I’ve participated in numerous zine fests and book fairs, both in-person and virtually, to promote and sell Canto Cutie.

Each issue has a specific theme or focus. For example, our most recent volume was the Queer Issue, featuring work from over sixteen queer Cantonese artists. This thematic approach allows us to delve deep into particular aspects of the Cantonese experience with each issue.

The volume I’m currently working on is about youth and childhood experiences. Since becoming a mom, I’ve begun reflecting on my own childhood and my relationship to being Cantonese. The newest volume will feature artists and writers in similar and different stages that I am, and together weave a very dynamic narrative about our experiences and identity. I’m so excited about the project and can’t wait to share it as it nears completion.

The crisis has affected us all in different ways. How has it affected you and any important lessons or epiphanies you can share with us?

The Covid-19 pandemic, while challenging in many ways, provided an unexpected catalyst for bringing Canto Cutie to life. The idea had been simmering in my mind for quite some time, but the sudden shift in daily routines and priorities created a unique opportunity. As a public school teacher, the transition to remote learning and the overall disruption to the education system freed up mental space and time that I could dedicate to this passion project. Simultaneously, many artists found themselves with more time to create but fewer outlets to showcase their work, making the need for a platform like Canto Cutie more necessary than ever.

The global crisis also served as a stark reminder of life’s unpredictability and brevity. It pushed me to realize that there’s no perfect time to start a project – sometimes you just need to take the leap. The pandemic’s impact on our sense of community and cultural connection further emphasized the importance of creating spaces for diaspora voices. All these factors converged, turning the challenging circumstances into a powerful motivation to finally transform Canto Cutie from a long-held dream into a tangible reality.

Covid-19 also highlighted the importance of adaptability in the publishing world. The pandemic accelerated shifts in publishing and reader habits, opening up new possibilities for Canto Cutie. With people spending more time at home, digital consumption skyrocketed, making online versions of publications just as crucial as print. Virtual gatherings like our Zoom launch parties became important times for people to collaborate and think aloud. This digital shift improved accessibility, allowing readers from around the world to engage with content instantly. At the same time, the isolation of lockdowns sparked a renewed appreciation for tangible, physical media. Many people rediscovered the joy of receiving something special in the mail, leading to a resurgence in the popularity of print zines.

This dual trend meant we could reach a broader audience through digital platforms while still catering to those who cherish the tactile experience of holding a beautifully crafted magazine. The pandemic is where Canto Cutie was birthed and I’ll always remember March 2020 as a soft time where I got to think, feel, and create.

Contact Info:

• Website: https://www.cantocutie.com/
• Instagram: https://www.instagram.com/cantocutie
• Facebook: https://www.facebook.com/cantocutie
• Twitter: https://twitter.com/canto_cutie
• Youtube: https://www.youtube.com/channel/UCqBAvB058zf_tTJf-W1_Ukg

Image Credits

Images from Wing on Wo, Likely General, Zine Coop, Sally Chen, Ruo Wei, Crystal Lee, and miso.en.place