Visual Communications Evolves with the Times

Founded in 1970, Visual Communications (VC) was the first nonprofit organization in the country dedicated to supporting the creation, presentation, and preservation of media works by Asian Pacific American people. On the eve of the 31st edition of their Los Angeles Asian Pacific Film Festival, taking place April 23–30, we checked in with Francis Cullado, VC’s Interim Executive Director, and Milton Liu, VC’s Director of Programs and Artist Services, about the state of Asian Pacific American media arts today.

Fresh Off the Boat panel at the 2014 Conference for Creative Content (C3), with with moderator Amy Hill (actor), Randall Park (star), Nahnatchka Khan (showrunner), Melvin Mar (executive producer), and Samie Kim Falvey (Executive Vice President, Comedy Development, ABC).
Fresh Off the Boat panel at the 2014 Conference for Creative Content (C3), with
moderator Amy Hill (actor), Randall Park (star), Nahnatchka Khan (showrunner), Melvin Mar (executive producer), and Samie Kim Falvey (Executive Vice President, Comedy Development, ABC). Photo courtesy Visual Communications.

 

JANM: The world of media arts has changed so much since 1970, and of course, VC has evolved along with it. What would you say are the most significant developments or changes that have occurred at VC in the last 10 years or so?

Francis Cullado: Widespread technological advances have empowered more people to become creative artists. At VC, we’ve developed our programs to utilize new technologies and processes to create digital stories. Gone are the days of expensive media, and with greater accessibility, we can create programs to capture and nurture digital storytellers.

Milton Liu: The media landscape has changed drastically in the last 10 years. Now, you can shoot a film on your iPhone and upload content directly to your YouTube/Vimeo page. Because of this, we’ve seen a surge of content that’s available through non-traditional channels, and a decrease in audiences for movie theaters and appointment television. For this reason, VC continues to focus on diverse year-round programs, such as the Armed with a Camera Fellowship for emerging artists and the Digital Histories program of short films created by senior citizens.

The Conference for Creative Content (C3), the premier entertainment media conference that happens as part of the annual festival, delves into a myriad of traditional and nontraditional topics with leading content creators and executives. For instance, past panels have included Sustaining Your Online Audience, Writing for Diverse Characters in TV, and Transitioning from Film to Video Games. Media continues to evolve and we understand the need for Visual Communications to remain at the forefront of this change.

Opening night at the 2014 Los Angeles Asian Pacific Film Festival. Photo courtesy Visual Communications.
Opening night at the 2014 Los Angeles Asian Pacific Film Festival.
Photo courtesy Visual Communications.

 

JANM: APA visibility in the media seems to be growing steadily, getting a big boost recently with the hit TV show, Fresh Off the Boat. What do you think are the important next steps for the community in terms of building and maintaining media presence?

ML: The next steps for the community are to keep pressing to have APAs not only in front of the camera, but behind it. Furthermore, the percentage of APA actors, writers and directors in TV and film still doesn’t come close to matching the percentage of APAs in the American population. Keep fighting to have APAs represented! People of color make up huge audiences that spend our money on film and TV—speak with your wallet!

FC: Keep supporting APAs in media, and keep demanding more! To quote our fellow staffer Abraham Ferrer, for every production highlighting Asian Americans “that crows about diverse casting, there are at least 20 more in which people of color simply don’t exist.” The discourse that Fresh Off the Boat has created and will continue to create has many complexities that revolve around race, ethnicity, and culture, and that’s great. But just because we’ve progressed to a point that is different from where we started, it doesn’t mean that it’s where we want and/or need to be.

For more information about Visual Communications and the upcoming Los Angeles Asian Pacific Film Festival, please visit vconline.org.

Chester Hashizume Helps Japanese Americans Explore Their Roots

Chester Hashizume. Photo: Carol Cheh.
Chester Hashizume, longtime JANM volunteer and consultant

 

Twice a year, JANM offers a workshop called Discovering Your Japanese American Roots, a primer on amateur genealogy specifically geared toward Japanese American patrons. This workshop is JANM’s longest running; it’s been offered since 1992 by Chester Hashizume, a Sansei information technology project manager by profession and genealogy hobbyist.

Born in Illinois and raised in New Jersey, Hashizume’s interest in genealogy began at a family reunion, when one of his uncles shared the beginnings of a family tree. Resources to help Japanese Americans trace their roots were not readily available, and so Hashizume embarked on a personal journey of discovery. He was able to find some information, including immigration records, at a Mormon Family History Center and at the Japanese Cultural Center of Hawai‘i. His most valuable resource turned out to be his mother, who was fluent in Japanese and knew relatives back in the home country. Through her, Hashizume was able to meet family members and gain access to some elusive village records during trips to Japan.

Hashizume moved to Los Angeles in 1988. Seeking to connect with the local Japanese American community, he checked out a 1989 JANM-organized Nisei Week exhibit that featured internment camp records on microfilm. At that time, the museum was still in its infancy, organizing pop-up shows while working to secure a permanent facility. Fascinated by the historical information contained in those records, Hashizume signed up to volunteer with JANM the following year. When the museum opened its doors in 1992, Hashizume began offering his workshop.

Examples and explanation of kamon (Japanese family crests)
Examples and explanation of kamon (Japanese family crests)

 

“I was a Japanese American with no Japanese language skills and no knowledge of my own background,” Hashizume explains. “I wanted to help others like myself.” Having already gone through much of the process of researching his own background, he now wanted to share his findings with others. He found it rewarding to help others go through the same process of discovery that he did.

Hashizume supplies each workshop participant with a binder full of helpful information, including: the basics of constructing family trees, where and how to conduct preliminary research, the unique characteristics of Japanese genealogy, the meanings and origins of Japanese names and family crests, and how to do research in Japan. Hashizume even includes a simple koseki (household registry) request form, written in both Japanese and English, that people can mail or bring with them to present to government officials in Japan.

“You have to go back to Japan,” Hashizume stresses. “This is how you really do research.” Japan, which for much of its history was a feudal society, has no central archive; koseki are maintained by townships and are still, to this day, updated by hand. The language and cultural barriers may seem daunting, but overcoming them is well worth it; Hashizume’s own trips back to Hiroshima and Ishikawa (his maternal and paternal prefectures of origin, respectively) were life-changing.

Additional spaces have been added to this weekend’s edition of Discovering Your Japanese American Roots! Visit janm.org to register.

Fresh Off the Boat Viewing and Panel Discussion Attracts an Avid Crowd

FOB Panel small

JANM’s Tateuchi Democracy Forum was packed full on Tuesday night for a special community viewing of the latest episode of the Asian-American sitcom Fresh Off the Boat. The episode featured a LGBTQ storyline, and the event drew many members of the Asian American media and LGBTQ communities. The viewing was followed by a panel discussion with writer and showrunner Nahnatchka Khan, guest actor Rex Lee, author/comedian D’Lo, and artist/organizer Erin O’Brien, moderated by filmmaker Curtis Chin. The event was organized by Jeff Yang, journalist and father of the show’s young star, Hudson Yang.

The episode, titled “Blind Spot,” kept everyone laughing. It revolved around a visit from mom Jessica Huang’s old college boyfriend, Oscar Chow. Jessica, oblivious to the fact that Oscar is now openly gay, wonders why her husband Louis feels absolutely no jealousy. Louis, for his part, is oblivious to the fact that the person Oscar really loved in college was him, not Jessica. Much hilarity ensues as the couple confronts one another about their respective “blind spots.”

L to R: Curtis Chin, Erin O'Brien, D'Lo, Rex Lee, Nahnatchka Khan. Photo: Richard Murakami.
L to R: Curtis Chin, Erin O’Brien, D’Lo, Rex Lee, Nahnatchka Khan.
Photo: Richard Murakami.

 

The panelists, who were all LGBTQ-identified, engaged in a lively and humorous discussion following the episode. Rex Lee, who played the character of Oscar Chow, said that his favorite thing about guest starring on this episode was getting to know the three child actors, who now send him tweets constantly. Erin O’Brien analyzed the gay subtext in Fresh Off the Boat and other popular shows, jokingly proclaiming that “everything has a gay subtext.” D’Lo, who has had roles on the LGBTQ-themed shows Looking and Transparent, expressed his preference for Fresh Off the Boat, which features people of color.

During the Q&A, one audience member called out the Oscar Chow character for being “stereotypically gay.” Lee responded that as a gay man himself, he felt he was able to play Oscar from the inside, rather than via external gestures. This drew applause from the audience, who for the most part seemed to appreciate a television show capable of showcasing both Asian and gay characters with light but intelligent humor. Audience members also approved of the show’s culturally authentic details, such as this episode’s reference to “white flower oil,” an herbal remedy commonly used by Chinese families.

Erin O'Brien makes an impassioned point. Photo: Richard Murakami.
Erin O’Brien makes an impassioned point. Photo: Richard Murakami.

Throughout the discussion, the panelists spoke most passionately about the hunger for media representation of LGBTQ people and people of color, pointing to the huge turnouts both for that night’s event and an earlier community viewing of the premiere episode of the show as evidence. It was noted that fans of the show comprise a highly diverse demographic that includes Hispanics, African Americans, Asian Americans, and whites. O’Brien asserted, “We really want to see ourselves on TV. And as cultural producers, we have realized that we have to do this ourselves.”

Loud hisses came from the audience at the mention of a recent article on the Deadline website, which offended many by asking if diversity in casting had gone too far, reducing the available roles for whites. (The site has since apologized for the story.) “To see more people of color on the screen, how is this not a great thing?” asked Nahnatchka Khan. Later, when complimented by an Asian American man in the audience for a joke in the episode that alluded to Louis’ “big bones” and thus countered stereotypes of Asian men as under-endowed, Khan responded, “You just have to be committed to the message.”

To watch the complete panel discussion online, visit JANM’s YouTube channel.

East West Players Offers a Platform for New Work by Asian American Writers

JANM has a long history of collaborating with East West Players, the nation’s leading Asian American theater troupe. Among other activities, the museum is proud to host A Writer’s Gallery, a semi-regular reading of new works by Asian American playwrights. On Thursday, March 19, East West Players will present a reading of Giovanni Ortega’s Iyakan Blues (The Criers), a comedy about a group of women who work as professional criers—people who are paid to weep at funerals.

ewp-writers-gallery-logo

On the eve of this latest collaboration, JANM reached out to Snehal Desai, Artistic Associate/Literary Manager at East West Players, and Giovanni Ortega, playwright, to find out more about the series and about Ortega’s play.

JANM: JANM began hosting A Writer’s Gallery way back in 1996. It now occurs roughly semi-annually. Snehal, can you talk about the significance of the series, and how it came about?

Snehal Desai: Lately, the series has functioned as an incubator—a place for the development of works we are considering as part of our season at East West Players. It is immensely helpful for our playwrights to have workshop time to develop their plays and then have a public reading of it, followed by a talkback. We have found that these readings really bring the community and audiences into the process of premiering a new work. The Tateuchi Democracy Forum is a perfect space for this kind of reading and the conversation that follows afterwards.

JANM: How do you go about selecting the writers who get featured?

SD: The writers and the works get selected in a variety of ways. Sometimes they are tied to exhibitions that are being presented at JANM, or they are inspired by dialogues currently happening in the community. Other times, a writer with whom we have a relationship will bring us a play that they are developing and want to read publicly.

Giovanni Ortega. Image courtesy of the artist.
Giovanni Ortega.
Image courtesy of the artist.

JANM: Giovanni, is professional crying really a thing?

Giovanni Ortega: Professional crying is actually a real thing in different countries. It is still done in Chinese, Sardinian, Irish, and Middle Eastern societies, just to name a few. Mourners from Chongqing, China, and Taiwan were recently on the news. The 1993 Indian film Rudaali featured a character who cried at funerals, and going back further, there were professional mourners in Honoré de Balzac’s 1835 novel, Le Père Goriot. The basic concept behind crying at funerals is to allow the person who passed to have a good welcome on the other side. The extent of the wails and cries also shows the reverence and respect this person had while living.

JANM: What inspired you to write Iyakan Blues (The Criers)? Did you draw from personal experience?

GO: The initial inspiration for the play was the women in my family. I was raised by my two grandmothers, and then my mom after I moved to the U.S. [from the Philippines] when I was a teen. Growing up, I was always surrounded and influenced not only by my lolas (grandmas) but also their sisters and my aunts. They were all strong-willed women who had very distinct opinions about life.

Regardless of whatever adversity, burdens, and struggles they had to endure to survive, the underlying force was laughter to get through it all. I witnessed that this was their tool in survival, regardless of how difficult it got. One of my earliest memories was going to the wake of my Lolo [Grandpa] Tute, where tears and laughter went hand in hand. Having such experiences allowed me to realize that I can use the theme of death as a means to laugh, and writing this play was a great opportunity to do so.

There are also very few stories about the Filipino diaspora. There is so much more to our country than Imelda, beaches, karaoke, dancing, pancit [Filipino noodles], and poverty. Ours is a rich culture, not unlike the U.S. in its mixture of race, religion, and cultures. My own heritage being Chinoy (Filipino and Chinese) as well as Spanish and Native American is a testament to our variety. I wanted to share different perspectives that people have in regards to what being Filipino is.

Descanso Gardens’ Renowned Camellia Collection is Rooted in Japanese American History

Image courtesy of Descanso Gardens
A camellia in bloom at Descanso Gardens. Image courtesy of Descanso Gardens.

 

Through a special partnership agreement, all JANM members are invited to visit Descanso Gardens this Sunday, March 1, free of charge. Located 20 minutes north of downtown Los Angeles, Descanso Gardens is a 160-acre nature preserve known for its botanical collections and seasonal horticultural displays. This weekend will be an especially good time to visit as the Gardens will be hosting their annual Camellia and Tea Festival, during which patrons can enjoy the blooming camellias and participate in a variety of celebratory activities.

The camellia collection at Descanso Gardens is said to be the largest in the world; it boasts rare and familiar camellias and has been designated an International Camellia Garden of Excellence by the International Camellia Society. The collection is worth seeing for these reasons alone, however, its origins are also closely tied to Japanese American history, giving it an added significance for members and friends of JANM.

Descanso Gardens started out as Rancho del Descanso, the home and ranch of newspaper publisher E. Manchester Boddy. A horticultural enthusiast with a particular interest in plants of Asian origin, Boddy started a camellia collection in the 1930s with plants purchased from local nurseries, some of which were owned and operated by Japanese Americans.

F. M. Uyematsu, owner of Star Nursery. Image courtesy of Descanso Gardens.
F. M. Uyematsu, owner of Star Nursery. Image courtesy of Descanso Gardens.

When Japanese Americans faced mass incarceration following Japan’s bombing of Pearl Harbor during World War II, Boddy was sympathetic to their plight. He admired Japanese culture and had in fact written a book in 1921, Japanese in America, extolling the contributions of Japanese immigrants. Boddy decided to purchase the entire camellia inventory of the Star Nursery, owned by the Uyematsu family, prior to their removal to Manzanar. He also purchased the Mission Nursery business owned by the Yoshimura family in San Gabriel, continuing to operate it while the family was imprisoned at Gila River.

Unlike many opportunistic investors who offered to buy the nurseries at a fraction of their value, Boddy paid fair prices to the Uyematsus and the Yoshimuras, enabling both families to put their financial affairs in order before being incarcerated. The camellias from Star Nursery were planted in the shade of live oak trees on about 25 acres of Boddy’s property, where they continue to flourish today. After the war, Boddy closed down the Mission Nursery and moved all of its stock to his estate.

F. W. Yoshimura, son of the founder of Mission Nursery and then, after release from Gila River, founder of the San Gabriel Nursery in San Gabriel. Image courtesy of Descanso Gardens.
F. W. Yoshimura, son of the founder of Mission Nursery and then, after release from Gila River, founder of the San Gabriel Nursery in San Gabriel. Image courtesy of Descanso Gardens.

In 1953, Boddy sold his home and ranch to the County of Los Angeles. A volunteer-run support group called the Descanso Gardens Guild, formed in 1957, took over the management and development of the property, eventually turning it into the public institution it is today.

A more detailed version of this story is available on discovernikkei.org. You can also read a history of the Mission Nursery, which was reincarnated after the war as the San Gabriel Nursery and Florist, here.

If you are a JANM member, simply present your current membership card to receive FREE admission to Descanso Gardens this Sunday.

Japan’s Unique New Year

At JANM's 2015 Oshogatsu Family Festival, Kodama Taiko perform a mochitsuki (rice cake pounding) ceremony to ring in the new year. Photo: Russell Kitagawa.
At JANM’s 2015 Oshogatsu Family Festival, Kodama Taiko perform a mochitsuki
(rice cake pounding) ceremony to ring in the new year. Photo: Russell Kitagawa.

 

February 19 marks the official beginning of the Year of the Sheep, according to the most common interpretation of the ancient lunar calendar that has been used throughout Asia for centuries. On that day, many Chinese, Korean, and Vietnamese communities will hold their traditional New Year celebrations. For the Japanese, however, it will more or less be a day like any other.

Japan is unique among Asian countries in that it is the only one that celebrates New Year on January 1, like the Western world. This custom can be traced back to 1872, when the Meiji government decided to abolish the lunar calendar and adopt the Gregorian calendar, believing the latter to be scientifically superior.

The Meiji Era, which lasted from 1868 through 1912, was a period of rapid progress and sweeping Western influence in Japan, as the country began its transition from an isolated feudal society to a modern one of “enlightened rule.” For the Japanese citizens of the time, the lunar calendar was a symbol of the old ways; in fact, the modern Japanese word for Lunar or Chinese New Year is kyushogatsu, meaning “old or outdated new year.” Adopting the Gregorian calendar, which was in use throughout the trading nations of Europe and America, meant keeping in step with the times.

JANM visitors join in on the fun at Oshogatsu 2015. Photo: Richard Watanabe.
JANM visitors join in on the fun at Oshogatsu 2015. Photo: Richard Watanabe.

 

In spite of this outlook however, the Japanese have retained many of their cherished New Year traditions; they simply practice them during the days immediately before and after January 1. JANM’s Oshogatsu Festival, for example, takes place on the first Sunday after January 1. The festival adapts several popular New Year traditions for a large and diverse crowd, including pounding mochi, eating buckwheat noodles, and sampling special New Year dishes like kamaboko (fish cakes) and kuri kinton (puréed sweet potatoes).

JANM wishes everyone a Happy Lunar New Year. We look forward to welcoming you to our museum many times during the Year of the Sheep.

Author Lisa See’s Unexpected Connections to Japanese American History

ChinaDollsCover.final Lisa See’s bestselling novels—which have included Shanghai Girls, Dreams of Joy, and Snow Flower and the Secret Fan—are known for telling compelling stories of human relationships set against the rich backdrop of Chinese and Chinese American history. Her latest novel, released last June, is no different.

Set in San Francisco on the eve of World War II, China Dolls follows three independent young women as they revel in the city’s exciting and glamorous Chinatown nightclub scene. The women become close friends, sharing secrets and supporting one another through struggles and triumphs. When the Japanese bomb Pearl Harbor however, it sets in motion a chain of events that threatens to change their lives forever.

One of the remarkable things about China Dolls is that it captures some key connections between Chinese American and Japanese American experiences. As in much of her work, See draws on her own family’s history to weave some of China Dolls’ narrative. During World War II, See’s grandparents lived in and took care of the home of the Oki family while they were imprisoned in camp. While many Japanese Americans lost everything after the war, the Oki family was able to return to their home and their belongings. In China Dolls, the incarceration of Japanese Americans plays a major role in the book, with vivid passages describing life in the camps.

Hideo Date Where South and North Winds Meet, ca. 1940, watercolor and gouache on paper. Japanese American National Museum, gift of Hideo Date.
Hideo Date, Where South and North Winds Meet, ca. 1940, watercolor and gouache on paper. Japanese American National Museum. Gift of Hideo Date.

 

See’s family history intersected with Japanese American history in other significant ways. In 1935, Eddy and Stella See (Lisa’s grandparents) opened the Dragon’s Den restaurant in the basement of the F. Suie One Company, located in Los Angeles’ original Chinatown. Eddy See commissioned three artists, including his good friend Benji Okubo, to paint murals of mythical Asian figures like the Eight Immortals on the restaurant’s exposed brick walls. See had already been selling artworks by all his friends in a small gallery in the mezzanine. These included works by Okubo, Hideo Date, and Tyrus Wong, who went on to become an influential graphic artist after creating the signature look for Disney’s Bambi movie.

Benji Okubo, Portrait of Sissee See, c. 1927–45. Japanese American National Museum. Gift of Chisato Okubo.
Benji Okubo, Portrait of Sissee See, c. 1927–45. Japanese American National Museum.
Gift of Chisato Okubo.

The Dragon’s Den became a popular gathering spot for artists and actors, and See’s gallery now stands as an important early effort to show the work of Asian American artists. Many of these artists continued to exhibit together, earning a few different nicknames as a group, such as “the Orientalists.” Today, many works by Date and Okubo—along with those of the latter’s sister, Mine Okubo—are proudly featured in JANM’s permanent collection. (Pictured at right is Benji Okubo’s portrait of Lisa See’s great-aunt Florence See Leong, nicknamed “Sissee.”)

This Saturday, January 31, Lisa See will be at JANM to discuss China Dolls and her family’s connections to Japanese American history. She will also take questions from the audience.

China Dolls can be purchased from the JANM Store and online at janmstore.com. For a more in-depth profile of the author, check out this new feature story on Discover Nikkei.

Little Tokyo Markets Explored in Edible Adventures Tour This Saturday

The early Little Tokyo grocery store, Kii Shokai Foods, is commemorated with an engraving on the sidewalk in front of Daikokuya restaurant.
The early Little Tokyo grocery store, Kii Shokai Foods, is commemorated with an
engraving in front of present-day Daikokuya restaurant.

 

When the first Japanese immigrants began arriving in California in the late 19th century, they needed to establish certain infrastructures for themselves in order to facilitate their survival in a new, and often hostile, country. One such infrastructure was the self-sufficient community of Little Tokyo, where a variety of Japanese businesses catered to Japanese needs. Another was the pioneering development of wholesale produce and flower markets.

It is a little known fact that prior to World War II, Japanese immigrants grew and sold 75 percent of all fresh produce consumed in Los Angeles—produce that was sold at such outlets as the venerable Grand Central Market, opened in 1917. Japanese American growers also established the city’s first major flower market, the Southern California Flower Market (popularly known as “the Japanese market”), on Los Angeles Street in 1913. This initial effort eventually gave rise to the Los Angeles Flower District, the largest wholesale flower district in the nation.

Today, Nijiya Market anchors the bustling Japanese Village Plaza in Little Tokyo.
Today, Nijiya Market anchors the bustling Japanese Village Plaza in Little Tokyo.

 

Downtown and Little Tokyo are filled with the ghosts of thriving immigrant businesses from the past. One such ghost can be found just a few steps from JANM. If you look at the sidewalk in front of the busy Daikokuya restaurant, you will see fading gold letters commemorating the establishment of Kii Shokai Foods in 1910. Today, the ethnic market tradition is carried on in Little Tokyo by popular chains like Nijiya and Marukai.

This Saturday, learn more about the fascinating history of downtown’s markets and the pivotal role that Japanese Americans have played in their development. Roxana Lewis, travel agent and history buff, will lead Edible Adventures: Little Tokyo Markets, Then and Now from 10 a.m. to 2 p.m. $40 for members and $50 for non-members gets you an informative tour, lunch, and admission to our core exhibition, Common Ground: The Heart of Community. The tour is limited to 18 participants, but a few spaces are still available!

Imagine Little Tokyo Short Story Contest Seeks Entries by January 31


Far East Cafe, a drawing by Ernest Nagamatsu, first prize winner of the 2014 Imagine Little Tokyo short story contest.
Far East Cafe, a drawing by Ernest Nagamatsu, first prize winner of the 2014 Imagine Little Tokyo short story contest.

Last year, as part of Little Tokyo’s 130th anniversary celebrations, the Little Tokyo Historical Society (LTHS) sponsored the first-ever Imagine Little Tokyo short story contest, inviting the general public to submit short works of original fiction set in the historic neighborhood. Stories could take place in the past, present, or future and were judged on the writer’s storytelling ability and use of the neighborhood as a cultural setting.

The contest was a success, attracting about sixty diverse submissions. Ernest Nagamatsu won the first prize of $1,000 with “Doka B-100,” a sorrowful tale about coping with the grief of war. Rubén Guevara’s “Yuriko and Carlos,” a story of interracial romance set during World War II, won the second place prize of $500 while Satsuki Yamashita took the third place prize of $250 with “Mr. K,” which takes the reader on a heartwarming journey of self-discovery over a series of meals in Little Tokyo. All three of the top stories were published in the print edition of The Rafu Shimpo and online at the LTHS website and at JANM’s own Discover Nikkei project. Twelve additional finalists were also published online.

Inspired by the enthusiastic response to last year’s contest, LTHS decided to make Imagine Little Tokyo an annual event. For the 2015 edition, the categories have been expanded to accommodate Japanese-language and youth submissions. The prizes will be $600 for the best English-language story; $600 for the best Japanese-language story; and $400 for the best story by a writer 18 years old or younger. As with last year’s edition, winning stories will be published in the Rafu Shimpo and on the LTHS website and Discover Nikkei.

Do you have a Little Tokyo tale you’d like to tell? The deadline for submissions is January 31! For complete guidelines, visit the LTHS website.

Members Get Perks at Oshogatsu Family Festival

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It’s almost time for the Oshogatsu Family Festival, one of JANM’s biggest and most anticipated events of the year! On Sunday, January 4, the museum will be alive with festive arts and crafts, food, cultural activities, and performances. The programs last all day, from 11 a.m. to 5 p.m., and are free to all visitors. (Note: admission to Hello! Exploring the Supercute World of Hello Kitty, a specially ticketed exhibition, is not included.)

JANM members enjoy special perks at events like these. If you are a member, be sure to check in at the front desk and get your member sticker so you don’t miss out on the following:

12–2 p.m.: MEMBERS ONLY Osechi-Ryori Tasting
At this exclusive opportunity for JANM members, taste a selection of traditional Japanese new year foods—including various sweets and vegetables—and learn about the symbolism of each dish. Get in line early because the tasting will only last as long as supplies last!

12–5 p.m.: Double Raffle Tickets for Sheep Candy Sculptures
Shan Ichiyanagi will demonstrate the ancient, and now rarely practiced, Asian folk art of candy sculpting, as he makes candy in the shape of sheep. The finished pieces will be raffled off throughout the day. Members get double raffle tickets!

1–1:30 p.m.: Reserved Seating for Taikoza Performance
Taikoza, a group that uses traditional Japanese instruments to create an exciting contemporary sound, will present short performances on koto (zither) and shakuhachi (flute). Get to the Tateuchi Democracy Forum early to take advantage of specially reserved seats for members!

1–4 p.m.: Petting Zoo Members’ Express Line
Meet real live sheep and their goat friends at our Oshogatsu petting zoo, brought to you by Jessie’s Party Animals. Speed your kids through to the zoo by using the Members’ Express Line! (For children only. Line ends at 3:30 p.m.)

1–5 p.m.: Hello Kitty Members’ Express Line
Say “Hello!” and share a hug with Hello Kitty, the star of JANM’s exhibition Hello! Exploring the Supercute World of Hello Kitty. Put smiles on your kids’ faces—our Members’ Express Line will get them to Hello Kitty faster!

3 p.m.: Reserved Seating for UniverSoul Hip Hop Performance
Watch an energetic performance from UniverSoul Hip Hop, a community-based group dedicated to educating and enriching youth by bringing hip hop dance and culture to K–12 classrooms. Members enjoy reserved seating in the Tateuchi Democracy Forum!

These are just some highlights of what to expect at the 2015 Oshogatsu Family Festival. A complete schedule is available at janm.org. To become a member or renew your membership, visit our membership page. See you in the new year!