On display only until September 23, time is running out to see two original pages of the Civil Liberties Act of 1988, signed by President Ronald Reagan! Currently on view as part of our Common Ground: The Heart of Community exhibition, these pages will soon return to the National Archives in Washington DC.
This past August marked the 30th anniversary of the Act. JANM commemorated this anniversary by reimagining the final gallery of Common Ground to place an even stronger emphasis on the redress movement, its influences, and its accomplishments. With the Civil Liberties Act of 1988, the US government formally apologized for the incarceration of Japanese Americans during World War II and paid monetary reparations to surviving victims of America’s concentration camps. This law came about after many years of activism by the Japanese American community.
Seeing a historic document like this in person moves us in a way that even the best-written article or book cannot. The document is a direct connection to the past and seeing it, one can almost feel the emotions, values, and hard work that culminated in the passing of this legislation. Moreover, the Act reminds us that we must remain vigilant in pushing back against a social and political atmosphere that seeks to marginalize people.
Seeing the document and learning about how this legislation was achieved pushes us to recognize that elements of today’s political landscape harken back to the dangerous and racist thinking of the 1940s that allowed for the creation of America’s concentration camps. If allowed to continue unanswered, then over time, the hard-fought battles of 30 years ago erode, and our democracy may be diminished.
If you are in Los Angeles, we hope you’ll find time to visit us while the original pages are still here. For information about all of our current exhibitions, please visit janm.org
JANM is counting down the days to our Natsumatsuri Family Festival! Join us in celebrating the summer season on Saturday, August 18, for a full day of fun: crafts, bubble making, taiko performances, bon odori dances, tea ceremonies, live music, and so much more. Best of all, admission to this annual celebration and the museum will be free all day.
As in years past, we are excited to bring the Okinawan dango booth back to JANM. Always a crowd favorite, Okinawan dango (also known as saataa andaagii, which translates to “deep fried sugar”) are small Japanese donuts fried to crispy perfection on the outside with a deliciously fluffy inside. Popular at summer obon festivals in the West, these traditional treats will only be available while supplies last, so come early!
After you’ve enjoyed some snacks, we have two taiko performances for your entertainment. A cornerstone of Japanese American summer festivals, the taiko drum is a crowd-pleasing loud Japanese instrument. Use of this instrument during festivals dates back as far as the sixth century. Today, taiko refers to a broad range of instruments and ensembles in a practice that transcends cultural, stylistic, and geographical boundaries.
Two talented taiko groups will get hearts racing. San Fernando Valley Taiko takes the stage at 11:15 a.m. in Aratani Central Hall for a performance and interactive taiko demonstration. Founded by two collegiate taiko experts, San Fernando Valley Taiko offers weekly classes for every skill level at the San Fernando Valley Japanese American Community Center. If you miss that first taiko display, have no fear. At 4:15 p.m., on our Children’s Courtyard, Los Angeles’ very own TAIKOPROJECT will close the day’s festivities. A modern American taiko group, they put on powerful shows that combine traditional forms with innovative aesthetics. The group has appeared at the Academy Awards and the Grammy Awards, among others.
Between the taiko performances, Masayo Young will lead three traditional Japanese tea ceremonies, at 12:00 p.m., 1:30 p.m., and 2:30 p.m. Born and raised in Osaka, Young has practiced these ancient rituals for decades. The quiet performances require a focused and meditative sense of control that place value in the process of mindfully preparing and serving matcha tea. The number of participants for each ceremony will be limited, so sign up early to make sure you get a serving of tea with traditional sweets. Sign-up sheets will be available at the museum survey table.
At 2:45 p.m., say aloha to Kaulana Ka Hale Kula O Na Pua O Ka Aina in Aratani Central Hall. Since 1999, the group has preserved and shared Native Hawaiian and Polynesian cultures. With learning at the center of their practice, they teach many of their haumana (students) how to make their own implements, attire, and leis. Families are invited to hula alongside them during their set, so come ready to dance.
Natsumatsuri Family Festival 2018 will be fun for all ages, from 11:00 a.m. to 5:00 p.m. Free for everyone, JANM invites families to enjoy the entire day, with even more activities including origami workshops, jazz performances, and a scavenger hunt. JANM members get perks throughout the day, including reserved seating and express lines, so join or renew today! More information about all of our Natsumatsuri activities is available on our website.
Now through December 31, 2018, the Heart Mountain Interpretive Center in Wyoming is staging the first significant showing of Estelle Peck Ishigo’s work in nearly 50 years. The Mountain Was Our Secret: Works by Estelle Ishigo includes ten watercolors by the artist on loan from JANM’s Allen Hendershott Eaton Collection and several of the artist’s pencil sketches, courtesy of the Bacon Sakatani collection.
Born in Oakland, California, in 1899, Estelle Peck was raised by a series of relatives in Southern California. In her twenties, Peck attended Otis Art Institute where she met and fell in love with aspiring Nisei actor Shigeharu Arthur Ishigo. Due to anti-miscegenation laws at the time, the pair were unable to marry in the United States, so they wed in Mexico in 1929.
When Japan bombed Pearl Harbor on December 7, 1941, many businesses fired employees of Japanese descent. Estelle, because of her marriage, lost her position as an art teacher. When her husband was forcibly removed and incarcerated at Pomona, and later Heart Mountain, Estelle opted to go with him.
Because of her background as an art teacher, Estelle was recruited as a documentary reporter for the US War Relocation Authority. With this job, it was her responsibility to record the Heart Mountain experience in illustrations, line drawings, and watercolors. As evidenced in her art and writing, Estelle took her official work as a documentarian for the WRA seriously, making sure to accurately document the miserable conditions at the camp. Many of her pieces illustrated the lack of privacy and comfort in living quarters and latrines. Like many Heart Mountain artists, Estelle’s work often depicted the mountain itself, an imposing figure in a desolate landscape.
Estelle first began documenting conditions in the camp by using watercolors. However, she admitted to being frustrated by watercolor’s inability to fully capture the conditions in which Japanese Americans were forced to live, calling the medium too “clean and untroubled.” To remedy this shortcoming, Estelle created more charcoal and pencil drawings, many of which are in JANM’s online collection.
When she was released from Heart Mountain in 1945, all the art that she had created was considered the property of the government and seized. She managed, however, to smuggle out many pieces by hiding them between her and Arthur’s clothing. After the war, the Ishigos returned to Southern California and lived in a trailer park. They struggled to find steady employment. Arthur died in 1957, and Estelle lived hermetically until 1972 when her artwork was rediscovered and included in a California Historical Society exhibition. That same year, she worked with the Hollywood Chapter of the Japanese American Citizens League to publish a book, Lone Heart Mountain, which recounts individual stories as well as shared realities of persons of Japanese descent before, during, and after incarceration.
In 1983, filmmaker Steven Okazaki heard of her story and sought to make a documentary about Estelle. While doing research for his film, Okazaki discovered Estelle was living in poverty and residing in a Los Angeles basement apartment. When he told her about his project, Estelle said, “I’ve been waiting for someone to tell my story. Now I can die.” She passed away in 1990, just before the release of the film, Days of Waiting, which went on to win a Peabody Award and an Academy Award for Best Documentary (Short Subject).
Through her work, Estelle showed the duality of the American concentration camp experience. She had the unique ability to capture both the quotidian, tedious activities required for daily survival as well as scenes of respite, brief moments of joy amidst trauma. An excerpt from her book, Lone Heart Mountain, notes this binary experience: “Gathered close into ourselves and imprisoned at the foot of the mountains as it towered in silence over the barren waste, we searched its gaunt face for the mysteries of our destiny: and some spoke its name with the same ancient reverence, felt for their own mountains in Japan.”
The Mountain Was Our Secret is included with admission at the Heart Mountain Interpretive Center, which is $9 for adults and $7 for students and seniors. Children under 12 and members of the Heart Mountain Wyoming Foundation are free. More information is available on their website.
Dan Kwong is a veteran performanceartist, director, writer, and native Angeleno, based at the 18th Street Arts Center in Santa Monica. He is one of four artists who are currently part of the inaugural +Lab Artist Residency Program, sponsored by the Little Tokyo Service Center. The theme of the residency is Community Control and Self-Determination. The four artists are living in the historic Daimaru Hotel on First Street for three months while creating art projects that involve the Little Tokyo community and speak to this topic.
Dan’s project, Tales of Little Tokyo, involves collecting personal memories and stories about Little Tokyo from seniors (as well as some younger generation folks), and shaping that material into a theatrical piece.
“Little Tokyo is a precious and vibrant community with over 130 years of history,” says Dan. Our stories are at the heart of that history, and collectively they become the voice of our community. This project aspires to give that voice a hearing.”
Through the first week of July, Dan is conducting a series of informal “story-circle” gatherings at JANM. Story-circles happen every Tuesday, Thursday, and Friday, usually from 1 p.m. to 3 p.m., and Wednesdays, usually from 1:45 p.m. to 3:45 p.m. Gatherings happen in JANM’s Araki Community Education Center.
In these story-circles, Dan asks various questions—it’s a bit like an interview—and people share their memories, stories, and anecdotes about Little Tokyo. These are recorded.
In early July, Dan will sort through and edit this material and write a theatrical piece that expresses the significance and value of preserving and sustaining Little Tokyo as a cultural community.
On the weekend of July 28-29, there will be a public presentation (most likely a staged reading) of the piece in JANM’s Tateuchi Democracy Forum.
Please let Dan know if you are interested in sharing your tales of Little Tokyo. He would love to hear from you! Dan can be reached at email@example.com. A maximum of 10 people can share per session so contact Dan in advance to ensure your spot and confirm the time for the day you want to participate. You can also just drop by one of the story-circle sessions if you’d like to listen in; you might still want to contact Dan to confirm the time. Paid admission to JANM is not required, but there are great exhibitions now on view so you may want to take full advantage of being here. Admission is only $12 for adults and $6 for seniors.
For more information about the +Lab Artist Residency Program, check out the LTSC’s press release announcing the inaugural artists.
Now through July 8, 2018, three pieces from the JANM permanent collection by artist Masumi Hayashi are on view at ReflectSpace Gallery at the Downtown Central Library in Glendale. The photocollages, from Hayashi’s “American Concentration Camps” series, are presented as part of the library’s exhibition entitled Accused of No Crime: Japanese Incarceration in America, which weaves a personal narrative through photographs, art, and film to highlight stories of Japanese Americans forced into concentration camps during World War II. Hayahsi’s work is presented alongside pieces from Mona Higuchi and Paul Kitaguki as well as archival images from Ansel Adams and Dorothea Lange, among others. Admission to the library is free. More information about the display can be found here.
Born in the Gila River War Relocation Camp in Rivers, Arizona, just after the war ended, Hayashi spent her childhood in the Watts neighborhood of Los Angeles, where she worked at her parents’ neighborhood market. She briefly attended UCLA before moving to Florida to be with her husband, who had joined the Navy. Hayashi later enrolled at Florida State University where she earned both her BA and MFA.
In 1982, Hayashi joined the Cleveland State University faculty as Professor of Photography. While at CSU, Hayashi received awards and fellowships from a number of institutions, including the Ohio Arts Council, the Civil Liberties Educational Fund, and Arts Midwest. She worked at the university until her death in 2006.
Hayashi developed a systematic photographic style that involved taking multiple exposures of a single subject and assembling them into large panoramic scenes that could be six feet across or larger. She is probably best known for her series “American Concentration Camps,” which centered on the experience of Japanese Americans during World War II.
According to the artist’s statement in 1997, preserved on her online museum’s website, “The viewer can instantly see a 360-degree panoramic view which would otherwise circle around her, thus the viewer becomes both prisoner and guard within the photograph’s memory.” Her work is often described as eliciting contradictory sensations. Former JANM curator Karin Higa in 2003 noted that there is a “suggestion of dysfunction between what you see and what you know—what you can’t find out” in her work. The “American Concentration Camps” series is no different, moving viewers to take in both the beauty of the landscape and the memory of what happened there as well as that which can never be known about either. As Hayashi once remarked, “What we’re living with is not always on the surface.”
Don’t miss the opportunity to see Hayashi’s work and all of Accused of No Crime.
Nikkei Chronicles is an annual theme-based writing project from Discover Nikkei. Its goal is to promote deeper understanding of the histories and insights of people of Japanese descent living around the globe. This year, after inviting submissions from the Discover Nikkei community, Nikkei Roots has been chosen as the theme.
Discover Nikkei invites writers to interpret “roots” in whatever ways they choose; the following questions are offered only to help writers get their thought process going:
What does being Nikkei mean to you?
How does your Nikkei identity reveal itself in your day-to-day life?
What activities do you engage in to maintain traditions from Japan?
How do you stay connected to your roots, whether individually or collectively?
When and how do you really feel like a Nikkei?
To best explore the shared heritage and experiences of Nikkei while recognizing the singularity of each experience, a wide range of texts will be accepted, including academic papers, personal essays and stories, and other prose pieces. (For this installment, poetry will not be considered.) Submissions can be made in English, Japanese, Spanish, and Portuguese. All stories submitted that meet the criteria will be published in Nikkei Chronicles 7: Nikkei Roots: Digging into Our Cultural Heritage on a rolling basis as part of the Nikkei Roots series in Discover Nikkei’s Journal section. Authors may submit multiple entries.
It is hoped that by publishing a wide range of Nikkei stories, Discover Nikkei will help readers enhance their understanding of what it means to be Nikkei. Nikkei Chronicles 7 will be about how Nikkei identity—a connection to roots—is maintained individually or collectively, as a family or as part of a community.
Submissions will be accepted until September 30, 2018, at 6 p.m. PDT. For more details and to submit, click here.
In conjunction with Kodomo no Hi—Children’s Day—in Japan, the JANM Collections Unit presented a Members Only Learning at Lunch session on Saturday, May 5. A group of artifacts from the collection, including Boy’s Day Festival in May, was shared with members. The watercolor painting is one of several donated to JANM in 2002 by Charlotte Opler Sagoff. While the other pieces donated at the time are signed and dated by the artist, this painting alone is not, leaving some uncertainty about its origins. It is stylistically similar to a number of the others donated from Sagoff, making its identification as close to positive as our collections team believes to be possible.
Sagoff taught high school at the Tule Lake incarceration camp while her husband, Marvin Opler, was stationed there for three years as a government anthropologist, social psychologist, and community analyst. Unlike other anthropologists the government assigned to camps, Opler was critical of the incarceration of Japanese Americans during World War II. As Minoru Kiyota notes in Beyond Loyalty: The Story of a Kibei, “Opler regarded the residents of Tule Lake as essentially normal human beings, while [Tule Lake Director Raymond] Best considered them fanatics.” Historian Peter Suzuki holds up Opler as a model for the positive influence anthropologists could have had on the War Relocation Authority.
Opler further criticized the segregation of “loyal” and “disloyal” internees at Tule Lake, and showed a respect for Japanese culture that went against the mores of the time. Sagoff enrolled their son in the Japanese nursery camp at Tule Lake, making him the only white student. Opler’s willingness to think of the Tule Lake prisoners as real, normal people perhaps stemmed from his ability to situate their culture within a wider worldview. He likened the prisoners’ renewed interest in Japanese traditions to when Plains Indians returned to the Ghost Dance religion, calling both reclamations and affirmations of identities too long sublimated to colonizers. Opler had in fact begun his anthropological career observing Native Americans, alongside his brother Morris, in New Mexico. (While Opler was assigned to Tule Lake, Morris was stationed at Manzanar.)
While at Tule Lake, Opler appreciated the artistic work of those imprisoned. According to Sagoff, he hired artist Dick Toshiki Hamaoka to draw representations of life at Tule Lake because they were unable to afford photographers. Boy’s Day Festival in May, with koinobori in the air, barracks housing, and residents going about their daily lives, is plausibly one such work. According to Sagoff, Hamaoka was 17 at the time he was commissioned and was a cartoonist for his high school newspaper. By her account, after the war, Hamaoka repatriated to Japan.
WRA records indicate that there was a Toshiki D. Hamaoka, a kibei Nisei, from Los Angeles at Tule Lake. However, those records show him to be 25 years of age at the time Sagoff would have known him. Moreover, the WRA shows him as being married, with previous military service, and indicate that he was sent first to Santa Anita and then to the Amache camp (also referred to as the Granada camp) in Colorado. A Bulletin from Granada, Colorado, dated October 21, 1942, corroborates all of this: “Alice Misaye Ouye and Richard Toshiki Hamaoka were married at the Lamar courthouse Thursday. The couple, formerly of Santa Anita, were accompanied by Police Chief Stanley Adams. They now reside at 11G-12F.” The couple was moved to Tule Lake in 1943, perhaps because of responses to the loyalty questionnaire. Final Accountability Records show the Hamaokas arriving at there from Granada in September 1943 and leaving for Japan on Christmas Day 1945. Regardless of his age, WRA records list Hamaoka’s qualified occupation as “artist” and “photographer.”
If Boy’s Day Festival in May is indeed by Hamaoka, it may well be one of his final completed piece before repatriating to Japan.
Opportunities to view and hear about artifacts from the JANM Collection, like this Members Only Learning at Lunch event, are a great benefit of membership. Join or renew today!
On Saturday, March 3, artist Mari Inukai will lead a sold-out kokeshi doll workshop in celebration of Hinamatsuri (Girls’ Day), which takes place that day. It’s no surprise that spots in this workshop went quickly, as the popular artist—whose dreamy paintings and animations often depict and are inspired by the lives of young girls—may be the perfect person to lead a celebration of Girls’ Day.
Born in Nagoya, Japan, Inukai came to the United States in 1995 to study art. After attending Santa Monica Community College, she went on to obtain a BFA in character animation from California Institute of the Arts in 2004. Her short animated film, Blue and Orange (2003), has been an official selection at numerous film festivals, including the 2003 Sundance Film Festival, and was the Japan Grand Prize winner at the Short Shorts Film Festival EXPO 2005. In addition to her animation practice, Inukai regularly exhibits her paintings and drawings. She also designs clothes, toys, and other fun products. She now lives in Beverly Hills with her daughter Sena, who is often a subject of her artworks.
According to her website, Inukai’s paintings are “an expression of her desires, ambitions, and hopes for the future, starting from where she stands now. Like water flowing, seeking its path, [she] channels her direction naturally, finding her importance as she travels forward.” We caught up with Inukai via email to ask her a few questions.
JANM: What inspired you to create this workshop?
Mari Inukai: March 3 is a special day for girls in Japan. Americans may be familiar with Hinamatsuri, but in Japan, that day is also known as Momo No Sekku (桃の節句), the peach harvest festival. The day marks the changing of the seasons, and peach blossoms are said to ward off evil; they also stand for longevity. I thought we should celebrate!
JANM: Why was it important to you to encourage collaboration among participants?
MI: In the past, young Japanese girls would celebrate Hinamatsuri (ひな祭り) together by making dolls, eating sweets, and drinking sweet rice sake. I wanted to recreate that spirit in my workshop, so that we can all inspire and help each other and learn something new together and most of all, have fun!
JANM: What is your own relationship to Hinamatsuri? Was it something you regularly celebrated back in Japan?
MI: I have two sisters, so Hinamatsuri was pretty special when we were small. I remember our mom making chirashizushi (a colorful sushi dish), karaage (fried chicken), or tempura and salad. We would have a cute decorated cake with two dolls on top. There was a lot of laughter. No sake though!
JANM: Looking through your extensive body of work, I see that girls are frequently the subject.
MI: Yes. I paint my daughter Sena most, because she is the most inspiring thing in my life. I paint my friends and their children too. I am really fortunate to have great friends!
JANM: Do you think that Japanese traditions, like Hinamatsuri, have influenced your own artwork?
MI: Absolutely. Not just Hinamatsuri, but all Japanese traditions. In fact, I have curated a special MOMO/桃の節句 group show for Giant Robot that is also opening on March 3. I gathered several talented figurative artists whom I really admire and asked each of them to create their own “Momo No Sekku world.” I am doing a mural in collaboration with Audrey Kawasaki, and perhaps Amy Sol too. Amy has her own solo show opening on the same day at Thinkspace Gallery, so she will be in town. As for myself, I am making paintings with Gansai Japanese water color pigments, so they will look really different from my oil paintings. Please join us for the party!
The Japanese American National Museum sits in the heart of Little Tokyo, a fact that we who work at the museum have always been very proud of. Rich in history and yet filled with hip stores, cafes, and restaurants, the neighborhood dynamically bridges past and present, offering a memorable experience for shoppers, diners, and history buffs alike.
The holidays are a great time to come to Little Tokyo, and Go Little Tokyo has come up with this handy Holiday Guide to help you sort through all the choices. You can download it from their website to get a head start on planning, or you can just pick one up when you’re in the neighborhood. We have a stack of them at our front desk!
New Year’s is a big deal here in Little Tokyo, so be sure to check out some of the festivities that will be happening nearby. Again, Go Little Tokyo has helpfully assembled an online calendar for your convenience. And of course, don’t forget about JANM’s own annual Oshogatsu Family Festival on Sunday, January 7—one of the museum’s biggest and most beloved family day events!
As if you needed any more incentive, Go Little Tokyo is also holding a FREE DRAWING for a gift basket filled with $250 worth of treasures from Little Tokyo. To enter, just make a purchase at any of our neighborhood stores or restaurants between now and January 31, 2018. Snap a photo of your receipt and email it to firstname.lastname@example.org. One entry per receipt from a Little Tokyo business. We can’t tell you what’s in the rest of the basket, but we can whet your appetite with the contribution from the JANM Store, pictured below.
This weekend, Glennis Dolce will be leading an exciting new two-day workshop called From Moth to Cloth, which explores the Japanese tradition of silkworm rearing. Participants will work with actual silk cocoons, learning how to reel thread using a traditional silk reeling device (zakuri) and make silk hankies (mawata) out of them.
Legend has it that silk was first discovered in China in 2460 BC by the Empress Xi Ling Shi, who was drinking tea under a mulberry tree one day when a cocoon fell into her cup and began to unravel. She became fascinated with the shimmering thread and proceeded to study it. She soon learned how to cultivate silkworms, reel their thread, and weave beautiful garments out of the material. Silk clothing became the province of royalty for many years, before the popularity of the material slowly became more widespread, eventually reaching across the globe. Empress Xi Ling Shi is now honored as the goddess of silk.
After being kept secret in China for hundreds of years, the silk making process finally found its way to Japan, with various sources dating its arrival between 200 and 400 AD. By the eighth century AD, sericulture was thriving there, with Gumma Prefecture rising to become the country’s principal silk producing region. During the 20th century, the silk industry experienced ups and downs; the advent of industrialization, the invention of nylon, and the popularization of Western tastes finally brought about a decline in the global silk market at the end of the 1970s. Silk remains, however, an important and popular fine fabric, and fascination with the process of sericulture continues.
We asked Dolce, who has traveled to Japan many times to learn about this subject, what silk production there is like today. This is what she told us: “While sericulture in the past was a cottage industry widely practiced by Japanese small-scale farmers in their homes, today there are improved techniques that even small-scale sericulturists practice that allow them to produce large numbers of cocoons. Regional sericulture groups hatch and raise large numbers of silkworms in laboratory-style settings with perfect environmental conditions, and deliver the silkworms to farmers once they have reached their third instar, allowing farmers to finish the process (feeding with fresh mulberry leaf) and the cocooning. This allows farmers to produce up to four readings in a single season. Most of these sericulturists are small-scale operations, with the farmer living near or on the same property.”
“Most commercial silk cocoons come from India and China these days,” Dolce added. “Japan’s production is rather specialized, focusing on domestic and high-end silk. I don’t think they export any silk cocoons at all. I believe that Japanese cocoons are almost exclusively reeled and used in Japan.”
This weekend, try your own hand at reeling silk, making mawata, and crafting and dyeing with silk cocoons. Sign up for From Moth to Cloth here. For inspiration, check out Glennis Dolce’s favorite silkworm website, Wormspit. You can also read about the history of sericulture in California, brought over by Japanese immigrants in the 19th century. And if you can read Japanese, you can learn about Dolce’s teacher in Japan here.