Hinamatsuri: Celebrating Girls

A HInamatsuri display in a Tokyo hotel lobby. Photo by David Wiley via Flickr.

As we look forward to the advent of spring on March 20, one of Japan’s most beloved holidays helps us get into the spirit. Hinamatsuri, or Girl’s Day, occurs on March 3, just as the chilly climes of winter begin to show signs of receding.

Hinamatsuri celebrates and nurtures the promise of young girls. It does this primarily through an elaborate display of dolls dressed as members of the imperial Japanese court. In addition to being a favorite toy of many girls, the display represents the family’s hopes that their little girl will be as beautiful, graceful, and fortunate as the little dolls.

A Hinamatsuri display at home. Photo by nansei via Flickr.

A typical Hinamatsuri arrangement consists of multiple tiers, with the Emperor and Empress perched on the top tier, followed by descending ranks of servants: samurai, ladies in waiting, and children. Also included are accessories for the dolls, such as tea sets, dressers, and even bathtubs. A full Hinamatsuri set can be very elaborate and very expensive, and many have been passed down through generations. Hinamatsuri celebrations also include eating special foods, such as hina arare (sweet rice crackers) and sakuramochi (mochi wrapped in cherry leaves).

For the most part, Hinamatsuri is celebrated privately, as a domestic ritual, although public displays and ceremonies do occur. Each family typically brings out their set a few weeks before the holiday, displaying it in the nicest room of the house until the holiday is over. They must take care to put it away promptly, however, as an old superstition dictates that a girl who tarries too long with the dolls will have difficulty finding a suitable marriage.

A close-up of the Emperor and Empress dolls. Photo by hirotomo t via Flickr.

The word hina means small and lovely object, while matsuri is the Japanese word for festival. Historians trace the origins of Hinamatsuri to the reign of the Shogun Tokugawa Iemitsu (1623-51), when ministers presented a set of hina dolls to the shogun’s eldest daughter on her seventh birthday, thus beginning a practice that became popular among the noblemen of the day. However, the basic idea of a spring festival to nurture new energy and ward off bad luck dates as far back as ancient China.

At JANM, we’ll be celebrating Hinamatsuri with an origami workshop on Saturday, March 4, at 1 p.m. Longtime museum volunteer and origami enthusiast Ruthie Kitagawa will show you how to make Hinamatsuri-themed cards for your family and friends. The JANM Store also has several Hinamatsuri-related products to help you celebrate; check out, for example, this cute solar-powered Hina doll display, or this beautiful rabbit Hinamatsuri pop-up card.

The Great Unknown Captures a Spectrum of Japanese American History

The Great Unknown: Japanese American Sketches is a collection of biographical portraits of extraordinary figures in Japanese American history—men and women who made remarkable contributions in the arts, literature, law, sports, and other fields.

Recovering and celebrating the stories of noteworthy Issei and Nisei and their supporters, the book highlights the diverse experiences and substantial cultural, political, and intellectual contributions of Japanese Americans throughout the country and over multiple decades. Included in these pages are Ayako Ishigaki, Issei feminist and peace activist; Milton Ozaki, mystery writer; Bill Hosokawa, journalist; Wat Misaka, basketball star; Gyo Fujikawa, children’s book artist and author; and Ina Sugihara, interracial activist, to name just a few examples.

JANM’s Discover Nikkei project recently published a two-part feature on the book and its author. Written by Edward Yoshida, the feature reviews the book at length, as well as the author’s current activities. Robinson is a professor of history at Université du Québec à Montréal. The Great Unknown is a compilation of his columns for Nichi Bei Times and Nichi Bei Weekly, along with selections from other publications.

As Yoshida notes, the collection stands out for the breadth of its content; not only does the author present material from a broad span of Japanese American history, he also manages to draw out little-known nuggets of information about such major figures as Eleanor Roosevelt and Alan Cranston, both of whom were allies to Japanese Americans. In addition, the book explores the substantial support offered to the Japanese American community by prominent African American writers and activists, including Paul Robeson, Erna P. Harris, Layle Lane, Loren Miller, and Hugh Macbeth. To read Yoshida’s article, click here.

This Saturday, February 25, at 2 p.m., Greg Robinson will appear at JANM for a discussion about his book. The program is free with museum admission; click here to RSVP. Members are also invited to an exclusive meet-and-greet one hour prior to the discussion; email memberevents@janm.org or call 213.830.5646 to RSVP. You may purchase the book at the JANM Store or janmstore.com.

Executive Orders Then and Now

On February 18, JANM will open Instructions to All Persons: Reflections on Executive Order 9066. Presented in conjunction with the 75th anniversary of the signing of Executive Order 9066, which paved the way for the World War II incarceration of 120,000 people of Japanese ancestry, Instructions to All Persons is an educational and interactive exhibition designed to engage visitors in critical discussions of the Japanese American incarceration experience.

Original documents, contemporary artworks, and documentary videos will form the substance of the exhibition. Through May 21 only, the exhibition will include two pages of the original Executive Order 9066 and the original Presidential Proclamation 2537, a key precursor to EO 9066 that required aliens from the enemy countries of Germany, Italy, and Japan to register with the US Department of Justice. Both documents are on loan from the National Archives.

Page one of Executive Order 9066. National Archives, Washington, DC.

Awareness of the impact of executive actions—including executive orders, presidential memoranda, and presidential proclamations—is particularly high right now. During his first two weeks in office, President Trump issued 22 executive actions, ranging from an order to build a wall along the US-Mexico border to a ban on travel from seven majority-Muslim countries. Some of these actions caused widespread consternation, with the travel ban most notably causing significant disruption in the daily lives of many Americans.

Executive actions are handed down from the executive branch of government without input from the legislative branch. While they can only be given to federal or state agencies, citizens are often affected by the results. Executive orders are the most prestigious of the three types of actions; they are assigned numbers and published in the federal register, similar to laws passed by Congress. Presidential memoranda basically outline the administration’s position on a policy issue, while presidential proclamations are often ceremonial in nature (with the Emancipation Proclamation being a notable exception, along with the aforementioned Presidential Proclamation 2537).

A look at the history of executive actions reveals that they are a way for presidents and governors to flex their power, ostensibly for the good of the nation, and sometimes in the face of great criticism. Trump’s rapid series of actions is generally seen as an effort by an “outsider” president to quickly establish power and begin following through on campaign promises. In comparison, President Obama famously resorted to more executive orders during his second term when he was unable to pass legislation through a particularly intransigent Congress.

President Franklin D. Roosevelt, the author of EO 9066, issued more than 3,700 executive actions—by far the highest number in American history. With a prolonged presidential term that spanned both the Great Depression and World War II, Roosevelt’s aggressive use of executive actions could be seen as an ongoing form of crisis management. For example, his very first executive order on Inauguration Day ordered the closure of all banks for four days to begin restructuring the financial system under the New Deal. Later, he issued an order to seize factories, mines and other privately owned industrial facilities for wartime production.

How justified were Roosevelt’s sweeping orders? While some are credited with establishing policies that were beneficial to the stability of the American people, others, like EO 9066, have been discredited. When do presidents overstep their boundaries? Which of Roosevelt’s orders would you support today, and which would you be inclined to question or even protest? How will Trump’s and Obama’s orders be seen 75 years from today?

Instructions to All Persons aims to provide a space for questions like these. Come see the exhibition to examine the social impact of language and consider the lessons of the past and how they continue to be relevant today.

Mikado Hotel Preserves a Slice of Little Tokyo History

Guests mingle at the grand re-opening of the Mikado Hotel in Little Tokyo.

On Wednesday night, the Little Tokyo community was invited to a grand re-opening party for the Mikado Hotel, located on First Street in the historic heart of the neighborhood. This was no ordinary re-opening—the Mikado Hotel is a historic piece of architecture, built in 1914, and it has essentially lain dormant since the end of World War II. Capital Foresight finally purchased the building in 2014, and got to work on a restoration that would be faithful to the building’s history while updating it with contemporary touches. The result is quite remarkable.

The building’s façade has been restored to look the way it did in 1932. Visitors must first walk down a long corridor to reach the stairs and elevator at the back of the building; the corridor is decorated with a collage work and text panels recounting the history of Little Tokyo. The second and third floors are where the guest rooms, now called “micro-suites,” are located. On the second floor is a beautiful new open-air courtyard; the builders created this space by reducing the sizes of the individual rooms. In the past, the rooms were larger, but the space between them was practically nonexistent. The micro-suites continue on the third floor.

A peek inside one of the Mikado Hotel’s new micro-suites.

The suites are indeed microscopic—each one is about the size of a small bedroom. However, care has been taken to furnish them with all the necessary conveniences, including a kitchenette, full private bathroom (the original hotel had shared bathrooms), and storage cupboards. The style is decidedly hip and modern. A total of 42 suites will be available to rent starting in a few weeks, with leases that can run from one day up to one year. The price range is expected to be $1,160 to $1,500 per month.

Also new and hip is a rooftop lounge, featuring two comfortable seating areas. Guests can look down on the courtyard and balconies from here. The original hotel was enclosed, so the open-air effect is a welcome new addition, adding vibrancy to a small space.

The Mikado’s ground-floor corridor features a long collage capturing the history of Little Tokyo.
The collage contains a mix of images from different periods in the neighborhood’s history.

The building was designed as a hotel by the California architect Alfred F. Priest. It is said to be typical of the commercial architecture that populated American main streets of the early 20th century, with its glazed white brick entrance and buff brick upper stories. Prior to World War II, it was known as the Mikado Hotel. While the Japanese American community was incarcerated, Little Tokyo became an African American enclave known as Bronzeville, and the Mikado morphed into the Shreveport Hotel, featuring a well-known soul food restaurant.

The ribbon cutting ceremony, viewed from the Mikado’s rooftop lounge.

Gentrification is a contentious subject throughout Los Angeles, and Little Tokyo has not been immune to its effects. Critics bemoan the appearance of soulless condominiums, constructed quickly in the interest of profits, with no regard for the area’s history. A project like the Mikado Hotel seems to strike the right balance, respecting the lineage of the property while making it appealing to new audiences.

Comedy InvAsian Serves Up Live APIA Talent

Promotional poster for Atsuko Okatsuka’s performance on February 11 at JANM.
Courtesy of Comedy InvAsian.

The 2017 Oscar nominations came out this week, and much was made about how diverse the nominees were. Out of the 20 acting nominees, seven are people of color; six of African descent and one of Indian descent. While this is encouraging, it is clear that much work still needs to be done to promote the visibility of Asian and Pacific Islander American (APIA) talent. As this blog has argued in the past, APIA talent is not in short supply, but opportunities for them often seem to be.

This February, JANM will host live tapings of a new series aimed at providing a platform for exciting APIA comedic talent. Comedy InvAsian presents six APIA actors and comedians doing one-hour standup sets in front of a live audience. Each set will be professionally filmed for later digital television broadcast.

The series will kick off on Friday evening, February 10, at 9 p.m. with a set from Paul “PK” Kim, a regular at Hollywood’s Laugh Factory and founder of the APIA networking group Kollaboration. It will end on Sunday, February 26, at 7:30 p.m. with a performance by Amy Hill, a longtime film and television actress known for her roles on 50 First Dates, Seinfeld, All-American Girl, King of the Hill, Crazy Ex-Girlfriend, and Amazon Studio’s Just Add Magic, among many other credits. For a complete schedule, with links to purchase tickets, visit this page.

Comedy InvAsian was founded by writers/directors Quentin Lee and Koji Steven Sakai (the latter was also formerly JANM’s Vice President of Programs). As the two state on their website: “In our filmmaking career, we have met and become friends with so many talented comedians of color, from producing Dwayne Perkins in Take Note to directing Randall Park in The People I’ve Slept With to working with Paul Kim in the Comedy Ninja Film Festival to directing Amy Hill in White Frog and The Unbidden. Comedy InvAsian will celebrate the talent and comedy of a group of select and diverse Asian American comedians which should prove to be just the tip of the iceberg.”

The two already have a distributor, Viva Pictures, and are vying to get on a popular digital platform like Amazon, Hulu, or Netflix. The latter recently produced Ali Wong: Baby Cobra, which became an enormous hit for the longtime comedy writer and standup artist. Lee and Sakai hope that Comedy InvAsian will also become a hit, so that they can continue to spotlight the many great APIA comedians that they know. Come support them by attending a live taping at JANM in February!

What Does the Japanese American Experience Tell Us About the Proposed Muslim Registry?

L to R: Hiroshi Motomura, Ali Noorani, Lane Ryo Hirabayashi, and Ann Burroughs.

On January 18, JANM was pleased to partner with Zócalo Public Square and UCLA to present a panel discussion addressing the question, What Does the Japanese American Experience Tell Us About the Proposed Muslim Registry? JANM’s own Interim President and CEO, Ann Burroughs, moderated an extensive talk that featured Lane Ryo Hirabayashi, UCLA’s George and Sakaye Aratani Chair in Japanese American Incarceration, Redress, and Community; Ali Noorani, Executive Director of the National Immigration Forum; and Hiroshi Motomura, UCLA’s Susan Westerberg Prager Professor of Law and author of the award-winning books Immigration Outside the Law (2014) and Americans in Waiting: The Lost Story of Immigration and Citizenship in the United States (2006).

The panel discussion, organized as part of the museum’s Tateuchi Public Program series, addressed a topic that has been important to JANM’s work since the 9/11 terrorist attacks. Quickly recognizing a dangerously hysterical political climate that threatened the civil rights of innocent Muslim Americans—eerily similar to the climate that led to the imprisonment of 120,000 innocent Japanese Americans during World War II—JANM’s leadership reached out to Muslim Americans in the months following 9/11, building strong coalitions with community representatives, sharing resources, offering counsel, and helping them to establish the Arab American National Museum in Dearborn, Michigan.

Recent public statements by President-elect Donald Trump and several of his supporters have again raised the idea of a registry tracking all Americans with ties to the Muslim religion. Disturbingly, some of them have even cited the Japanese American incarceration as a “precedent” for such an action. Statements like this reveal a gross ignorance of history; as part of the Civil Liberties Act of 1988, the US government formally apologized for the incarceration, admitting that it was “motivated largely by racial prejudice, wartime hysteria, and a failure of political leadership,” and awarded monetary compensation to each incarcerated family.

Last night’s discussion confronted the question of a Muslim registry head on, examining it in light of the historical perspective afforded by the Japanese American experience. Burroughs opened the discussion by noting that the idea of a Muslim registry is commonly framed as a tactic designed to keep citizens safe; she asked the panelists if such registries do, in fact, keep people safe. The answer was a resounding no. Hirabayashi noted that numerous registries were kept of Japanese Americans, but none of them turned up evidence of espionage or other wrongdoing. Motomura pointed out that the Bush administration created the National Security Entry-Exit Registration System (NSEERS) in 2002, which turned out to be, in his estimation, an ineffectual “immigration sweep.” Noorani added that although President Obama rescinded the registry in December, it could easily be reinstated by the Trump administration.

The rest of the discussion weighed various aspects of current and past public policy, and lessons that can be extracted from history. As with all Zócalo Public Square programs, the event was recorded in its entirety and will be available for viewing on their website soon. In the meantime, as noted by Zócalo writer Reed Johnson, a key takeaway from the discussion was to be prepared for the very real possibility of a “trigger moment” occurring—like the bombing of Pearl Harbor, which led to the US’s entry into World War II—that will likely set existing security apparatuses into motion and activate questionable public policy.

Although the discussion was at times foreboding, Motomura tried to strike a positive balance by recognizing that much progress has been made in the last 75 years; ideas that were considered “exotic” back then, such as LGBTQ rights, are commonplace now.

Kagami Mochi Brings Good Luck, Health, and Prosperity in the New Year

Simple kagami mochi decorate this altar in Japan.
Photo by Tamaki Sono via Flickr Creative Commons.

A new year is here, and this Sunday, JANM will be celebrating Oshogatsu (Japanese New Year) along with the rest of Little Tokyo. Our free Oshogatsu Family Festival will welcome everyone with Year of the Rooster-themed activities, crafts, and performances.

Oshogatsu is widely considered the most important holiday in Japan, and there are many time-honored traditions that go with it. We’ve explored a few of those traditions on this blog: mochitsuki, Daruma dolls, and osechi-ryori. Today, in anticipation of Sunday’s festival, we will look at kagami mochi, a traditional Japanese New Year decoration. Among the many exciting things we have planned is a craft activity in which participants will be able to construct and take home their own replica of a kagami mochi.

Kagami mochi basically consists of a large round rice cake (mochi) topped with another, slightly smaller rice cake, which is then topped with a small bitter orange (daidai). The two rice cakes symbolize the year that just passed along with the year that is to come, while daidai is a homonym for the phrase “generation to generation.” Thus, the arrangement celebrates long life, the bonds of family, and the continuity of generations.

Hisako Hibi, New Year’s Mochi, 1943. Hisako Hibi Collection,
Japanese American National Museum.

An additional meaning harkens back to an ancient Japanese myth. The word kagami means mirror, and the round shape of the rice cakes is said to resemble the mirror of the sun goddess Amaterasu. According to legend, the earth went dark when Amaterasu retreated from the world and hid in a cave. She was eventually drawn out with a mirror, restoring light to the world. Thus, kagami mochi also symbolizes the renewal of light and energy that occurs at the start of a new year.

Each family decorates kagami mochi in their own way; variations include a sheet of kelp to symbolize pleasure and joy. It is recommended that several kagami mochi are placed in locations throughout the house, in order to please the various Shinto gods that are believed to dwell there.

An especially elaborate kagami mochi arrangement, made in Peru. Photo by the Japanese Peruvian Association (APJ) via DiscoverNikkei.org.

Kagami mochi are set out around the end of the year, and remain on display until kagami biraki day (kagami breaking day, or “the opening of the mirror”), which usually takes place on or around January 11. On that day, the kagami mochi are broken into pieces with a hammer—never cut, as that would symbolically sever family ties—and cooked and eaten, often as part of a traditional soup called ozoni. This is considered the first important Shinto ritual of the year.

Come celebrate with us on Sunday, January 8, and increase your good fortune for 2017!

To learn more about kagami mochi and other Japanese New Year traditions, we recommend the following articles on our Discover Nikkei site: “Mochi Making Then and Now”; “Oshogatsu Traditions in the United States”; “Mochi Food of the Kami”; and “Happy New Year! Reminiscing about Oshogatsu with Mochi”.

Only the Oaks Remain is an Especially Relevant Display Right Now

Bunk room at Tuna Canyon Detention Station. Photo courtesy of the Merrill H. Scott Family.

Over the weekend, JANM opened a new special display, Only the Oaks Remain: The Story of Tuna Canyon Detention Station. Organized by a grassroots group called the Tuna Canyon Detention Station Coalition, the display tells the true stories of those targeted as dangerous enemy aliens and imprisoned in the Tuna Canyon Detention Station, located in the Tujunga neighborhood of Los Angeles, by the US Department of Justice during World War II. The detainees included Japanese, German, and Italian immigrants who were considered spiritual, educational, and business leaders in their communities, along with Japanese and other individuals who had previously been forcibly removed from Latin America.

As noted by Hyperallergic magazine, this display is especially relevant right now, in light of some current political rhetoric that favors creating a database of all Muslim Americans in response to terrorist threats. The public hysteria that has led to the targeting of millions of innocent Muslim Americans is eerily similar to the WWII hysteria that quickly led to the incarceration, without due process, of 120,000 people of Japanese descent—most of whom were American citizens, and all of whom were innocent of any crimes.

Thanks to the Japanese American Redress Movement, the US government formally apologized for its actions during WWII, admitting that they were “motivated largely by racial prejudice, wartime hysteria, and a failure of political leadership.” As part of the Civil Liberties Act of 1988, monetary compensation was awarded to each family that was incarcerated. Because of these official actions, Japanese Americans and others felt that the incident had been sufficiently exposed and denounced in the public arena.

A guard in a control room at Tuna Canyon. Photo courtesy of the Merrill H. Scott Family.

Just this past week, however, a Los Angeles Times article exploring the history lessons offered by various national parks, including the Tule Lake Unit and Manzanar National Historic Site, was met with two letters published in the newspaper’s travel section insisting that the WWII incarceration of Japanese Americans was entirely justified. The publication of the letters caused an uproar, particularly among the Japanese American community—this was addressed by the Times via their Readers’ Representative Journal blog. Former JANM staffer Koji Steven Sakai also appeared on KPCC’s Take Two show on December 14, explaining to listeners why the letters were so offensive to his community, and offering some historical context.

The Japanese American National Museum is committed to sharing the history of Japanese Americans in order to promote understanding and appreciation of America’s ethnic and cultural diversity. An important focus of this mission is ensuring that what happened to this group of individuals during WWII never happens again, to any other group of people.

In addition to Only the Oaks Remain, on view through April 9, the museum is currently featuring Uprooted: Japanese American Farm Labor Camps During World War II, on view through January 8, as well as the ongoing exhibition, Common Ground: The Heart of Community, which traces 130 years of Japanese American history.

Shibori Girl Has a Passion for Handmade Crafts

The fruits of a recent shibori class at JANM. Photo by Dr. Tsuneo Takasugi.

As “Shibori Girl,” Glennis Dolce offers several shibori (resist cloth dyeing) workshops a year at JANM. If you’re not familiar with the art of shibori, check out our earlier blog post on the history of the craft. Dolce’s workshops are always very popular; in fact, this weekend’s Indigo Vat Making and Shibori Technique workshop is completely sold out. We decided to sit down with Dolce to learn more about her background and her practice.

JANM: You’ve said that you think of Japan as your first home. Can you explain your connection to that country?

Glennis Dolce: I grew up in Yokohama, Japan, as a result of my father—a naval architect—taking two back-to-back assignments at the Yokohama Naval Shipyard. We lived there from 1965 to 1972. We lived both on and off the base and had the opportunity to take in many wonderful locations, absorbing the enriching culture and beauty of Japan. I went to the two base schools in Yokohama (Richard E. Byrd Elementary and Nile C. Kinnick High School) as well as St. Maur International School. In 1995, I went back to Japan for the first time after moving away and realized that I had come back “home.”

Glennis Dolce leads a shibori class at JANM, flanked by samples of resist cloth dyeing.
Photo by Tokumasa Shoji.

JANM: How did you first encounter shibori? What captivated you about it?

GD: I must have seen and even worn some shibori as a child at summer festivals in Japan, where we dressed in yukata (summer kimono) with obi age (sash), but back then I did not know what it was. During the late 1990s, I was a vendor at the Houston Quilt Festival, and it was there that I started to pick up small bits of Japanese textiles. Later, I realized that most of what I had collected was shibori. I was intrigued by its unique patterning and the texture that was sometimes imparted to the cloth by the process. I wondered to myself, how was it made? And that’s how it all started. I studied the fabrics, read many books, and eventually began practicing on my own. As I learned and practiced more, my love for shibori grew with the understanding that each piece is unique and has limitless possibilities. This in itself is a view of life that I enjoy passing along when I teach.

Glennis gives advice to a workshop participant. Photo by Dr. Tsuneo Takasugi.

JANM: Describe your artistic training.

GD: I was fortunate to attend a new and experimental high school in Virginia that was very progressive and had full-on art studios in painting, sculpture, ceramics, metals, textiles, and printmaking. It was fantastic. I had access to materials and equipment, and I had a passion for working with my hands. Following that, I attended UC Davis and CSU Long Beach as a ceramics major in the late 70s. I chose ceramics because I thought I could make a living with clay and I wanted to work with my hands. I started a porcelain company while I was at CSULB and worked in porcelain for over 30 years until I closed the company around 2002. I consider my primary training to be the ongoing day-to-day operation of my business, my love for materials and process, and the challenge of making a living outside the constraints of being “normal.”

A workshop participant examines his work. Photo by Dr. Tsuneo Takasugi.

JANM: Besides teaching, you also run an online store. Can you tell us more about the store?

GD: Yes, I actually spend more time making and selling my work than teaching; I enjoy both. I have been blogging since 2006 and over time have created a following for my work. I have always enjoyed making and selling things that others can incorporate into their own work—being a craft supplier if you will. My online store often features my unique silk shibori ribbon that people all over the world buy to use in their own creative projects. I also sell indigo and plant-dyed cloth for others to incorporate into their own work.

I believe that making things by hand is valuable and even necessary for people. It can provide stress reduction, increased life satisfaction, and even improved brain function, according to some studies linking motor skills with cognitive processing. I enjoy creating things that make people wonder. As a child, I realized that making arts and crafts made me feel better. It still does. I started teaching as a way to educate people about my own work as well as encourage them to incorporate hand-making into their own lives.

Another happy customer. Photo by Dr. Tsuneo Takasugi.

JANM: Do you have other creative pursuits besides shibori?

GD: I do like to share my interest in Japan and silk textiles with others in the form of my Silk Study Tour to Japan, which I offer every other year. It is a tour devoted to seeing Japan through the eyes of a silkworm; understanding the industrialization of Japan and its connection to the silk trade as well as the many textile, craft, and cultural traditions there. I get lots of enjoyment from sharing the beauty and grace of Japan with others through this tour.

I have many creative interests—gardening, cooking, writing, marketing, sewing, watercolor painting, calligraphy, and more. I believe that we can inject creativity into almost anything we do!

The next available Shibori Girl workshop at JANM will be Shibori Mandalas, taking place Saturday–Sunday, February 4–5, 2017. Be sure to reserve your spot early!

Members Only Learning at Lunch Looks at Pioneering Animator Iwao Takamoto and His Peers

On Friday, November 18, JANM members brought a brown bag lunch and joined the museum’s collections staff for a look at the work of the late animator, TV producer, and film director Iwao Takamoto, who had a distinguished career at Disney and Hanna-Barbera, and two of his Japanese American peers who also worked in the Hollywood film industry: MGM art director Eddie Imazu and Disney animator Chris Ishii.

Below you will find a few photos highlighting the event, which was part of JANM’s Members Only Learning at Lunch series. If you are a current JANM member, watch for your December e-newsletter, which will include an exclusive link to JANM’s professionally produced video of the event. JANM members now get exclusive first-viewing privileges on selected JANM program videos; in the last two months, members have enjoyed advance access to a talk with Los Angeles Dodgers manager Dave Roberts and a World War II panel discussion with Five Nisei. The new video will include fascinating tidbits about the lives of the three artists, including a personal reminiscence from an audience member who knew Takamoto as a child.

Not a JANM member? Click here to purchase a membership for yourself or a loved one—gift memberships at the Family/Dual level are 20% off, now through the end of the year. And be sure to provide your email address so we can notify you of new videos available for viewing!

JANM Collections Manager Maggie Wetherbee holds up a limited edition Scooby-Doo print signed by Iwao Takamoto, Joe Barbera, and Bill Hanna.
While at MGM, art director Eddie Imazu worked on an early movie about the renowned all-Japanese American 442nd Regimental Combat Team called Go For Broke (1951). Here, we see casual snapshots he took of the actors while they were on set.
This comic strip was done by Chris Ishii, another animator who worked at Disney, while he was incarcerated at Santa Anita assembly center. Li’l Neebo was his contribution to the Pacemaker, Santa Anita’s community newspaper. Ishii, who graduated from Chouinard School of Art (now California Institute of the Arts), was known for working on Dumbo and may have paved the way for Takamoto, who was a bit younger than he was.