On May 29, 2016, JANM received the extraordinary gift of an original paper crane folded by Sadako Sasaki, the young Hiroshima-born girl who died in 1955 of complications resulting from radiation poisoning. Before her death, Sasaki folded over 1,000 paper cranes in hopes of recovering from her illness. Because of her efforts, which touched many people, paper cranes have since become a universal symbol of peace, hope, and recovery. The museum is honored to be the only West Coast recipient of one of Sasaki’s cranes, joining such global institutions as the Hiroshima Peace Memorial Museum, the USS Arizona Memorial at Pearl Harbor, the 9/11 Tribute Center in New York, and the Harry S. Truman Library and Museum in Independence, Missouri.
Highlights of the gifting ceremony can be seen in the below video, produced by JANM’s Frank H. Watase Media Arts Center. The moving event included remarks by Clifton Truman Daniel, grandson of US President Harry S. Truman, and Masahiro Sasaki, brother of Sadako. Not included in the video were a song sung by Yuji Sasaki, Masahiro’s son, in tribute to his aunt; and a clip from Orizuru 2015, a short film inspired by Sadako’s story, introduced by director Miyuki Sohara.
This Saturday, August 6, is the 71st anniversary of the atomic bombing of Hiroshima. Be sure to join us at 1 p.m. that day for a special talk by Above the Fold curator Meher McArthur, who will speak about Sadako Sasaki and how her actions influenced the spread of origami practice. The talk, which will take place in JANM’s Tateuchi Democracy Forum, is part of the museum’s Tateuchi Public Programs series. Above the Fold, which looks at contemporary origami practice, is on view through August 21.
JANM is fortunate to have a vast collection of artworks, artifacts, documents, and other historical items pertaining to the Japanese American experience. To help scholars and other researchers navigate its contents, the museum’s Collections Management and Access (CMA) Unit is an active contributor to the Online Archive of California (OAC), a web resource that provides free public access to detailed descriptions of primary resource collections at more than 200 libraries, archives, historical societies, and museums throughout California.
On OAC’s Japanese American National Museum page, you will find a hyperlinked, alphabetical list of collection finding aids. Click on any of the finding aids to access detailed information about that collection, including the scope and nature of its contents; background information and biographies; applicable restrictions; and instructions on how to access the collection. Some of the finding aids feature materials that can be accessed directly, such as digital copies of documents, and all of them offer a downloadable PDF of all the information. The museum regularly adds new finding aids after collections are processed.
JANM’s archivist recently completed the finding aid for the records of the Buddhist Churches of America (BCA), a national organization of the Jodo Shinshu Hongwanji-ha sect and the largest Japanese American Buddhist organization in the country. This collection was transferred to the museum from BCA headquarters and is jointly owned by both organizations. The finding aid represents a significant advance for the study of Japanese American history, since the arrival and growth of the Buddhist religion in America was closely tied to the arrival of the first Issei immigrants.
JANM’s sizable collection of materials dates from 1899, when the BCA was founded, to 2016. It includes correspondence between headquarters in the United States, Jodo Shinshu Hongwanji Headquarters in Kyoto, Japan, and individual temples, along with meeting minutes and conference materials, education-related records, publications, financial records, and audiovisual materials in a wide variety of formats. The collection spans three major periods in the evolution of BCA: establishment and early growth, the World War II incarceration era and its impact, and postwar expansion. Panoramic photographs from the collection are available to view on the museum’s website.
Also recently added was the finding aid for the Stanley Hayami Papers. Born in 1925 in Los Angeles, Stanley Hayami was incarcerated with his family at Heart Mountain and attended high school while he was in camp. After graduating, he was inducted into the US Army and joined the 442nd Regimental Combat Unit. In March 1945, during a tour of duty in Italy, Hayami was killed in action while trying to save another soldier. He was posthumously awarded a Purple Heart for his bravery.
JANM’s Stanley Hayami Papers includes letters from Stanley to his sister Sachiko, letters from Sachiko to her family in Heart Mountain, camp newspapers and newsletters, personal items belonging to Stanley (1945 diary, certificate of baptism, application for life insurance, report cards), items of Stanley’s clothing, photographs of soldiers, and drawings by Stanley. This collection captures his time with the 442nd; those interested in his high school years can go to the OAC website and view the Stanley Hayami Diary (1941-1944), which has been digitized and made available online.
Requests to access JANM’s permanent collection can be made by contacting the CMA Unit at 213.830.5615 or email@example.com. Appointments must be scheduled in advance and documentation as to the purpose of the research visit is required. Fees may apply.
This Saturday, May 7, at 2 p.m., JANM will present a dramatic reading of Moss on the Mirror, a fictional play inspired by the life and work of renowned photographer Toyo Miyatake. Taking place in Los Angeles’ Little Tokyo district in the late 1920s and early 1930s, where Miyatake’s practice flourished before World War II, the play examines the creativity, hope, and optimism, as well as the struggles and challenges, of the Japanese immigrant photographers community.
Although not a literal retelling of actual events, the piece seeks to transport audiences to the feelings and circumstances of those times. Moss on the Mirror was written by Warren Sata, whose paternal grandfather was J.T. Sata (1896–1975), a featured photographer (along with Miyatake) in the current exhibition Making Waves: Japanese American Photography, 1920–1940. To learn more about the play, we conducted a brief interview with Sata via email.
JANM: What does the title Moss on the Mirror refer to?
Warren Sata: The title refers to the notion that we understand ourselves and our communities through reflection, or looking in the mirror. The moss evokes a clouded mirror, alluding to the influence of outside circumstances like poverty and racism.
JANM: What inspired you to write this play?
WS: The story of Los Angeles’ Issei photographers has fascinated me and inspired my imagination since I learned about them from my father some years ago. A conversation with actor/director Chris Tashima, who serves as the play’s director, helped me to recognize the importance of Toyo Miyatake’s journey toward becoming a pillar of the community. I began to understand the value of artistry and responsibility in a different way, which led me to take an interest in sketching the story of Japanese Americans photographers and their interests and practices prior to the WWII incarceration.
JANM: What is your favorite image by a Japanese American photographer, and why?
WS: I am drawn to an abstract self-portrait created by my grandfather, J.T. Sata, which is currently on display in Making Waves. It utilizes triangles and a photographic image of his face. The interplay between a realistic portrait and an abstract prepared background fascinates me; it seems to suggest a doorway between the real world and subjective experience. This allows for a dialogue between these worlds and gives value to the notion of participating in both. I enjoy this because it pushes me to understand the Issei experience and what that might have felt like.
JANM: What do you hope audiences will get out of the dramatic reading?
WS: I hope that audience members will be motivated to honor the contributions of the Issei photographic pioneers, but also to consider what their experiences were like in the 1920s and ’30s—their creativity, their principles, their aesthetics, and the culture and context of the times.
One of my favorite Members Only events here at JANM is the collections-based series, Learning at Lunch. Members can bring a brown bag lunch and sit back as our knowledgeable Collections Manager, Maggie Wetherbee, showcases unique and often unseen artifacts from JANM’s collections. One past session explored JANM’s intricate and beautiful bird pin collection, while another looked at paper artifacts—such as letters, photographs, and menus—that revealed how Thanksgiving was celebrated in the camps and by members of the 442nd Regimental Combat Team.
The most recent edition of Learning at Lunch took place last Friday. It was extra special, as we were joined by Frank Sata, son of photographer J.T. Sata, who is a featured artist in our current exhibition, Making Waves: Japanese American Photography, 1920–1940. Frank, a well-known architect, also has a unique connection to JANM: he was an instrumental part of the architectural team that renovated the museum’s Historic Building.
Frank began his presentation by sharing family photographs and personal stories about his family’s history and journey. He then shared some of his father’s photographs that are in JANM’s collection but not on view in the exhibition.
During this portion, classical music played in the background as a tribute to his father, who loved classical music; Frank also felt that the lyrical images deserved lyrical accompaniment. These photographs were not only breathtaking but also showcased J.T. Sata’s immense skill and artistic sensibility. Some of my favorites are featured here.
We were also treated to slides of J.T. Sata’s other works, including charcoal drawings of the Santa Anita Assembly Center and vibrant paintings from the family’s time at the Jerome concentration camp in Arkansas. Overall, the presentation was truly moving and such a unique opportunity to hear Frank share his personal insights about his father and his father’s work.
Making Waves will be on view through June 26. You can watch a short film about J.T. Sata made by JANM’s Frank H. Watase Media Arts Center here.
Admission to JANM will be free to the public on Saturday, March 12, in celebration of the Smithsonian Institution’s annual Museum Day Live! event. This day is intended to encourage all people to explore our nation’s museums, cultural institutions, zoos, aquariums, parks, and libraries. This year, in recognition of Women’s History Month, the event has a special focus on reaching women and girls of color in underserved communities.
At JANM, we are very fortunate to have some significant pieces in our collection created by Japanese American women, such as the artist Miné Okubo (1912–2001), whose collection has been digitized and can be viewed on our museum’s website.
Okubo was a young woman during World War II. She and her family were removed from San Francisco to Tanforan Assembly Center, and then incarcerated in the concentration camp at Topaz, Utah, for the remainder of the war. Okubo was a keen observer; she made sketches and ink drawings that depicted what life was really like in camp.
In many ways, Okubo was ahead of her time. Her graphic novel, Citizen 13660 (1946), was the first published personal account of the camp experience. Through her pen and ink drawings, readers got an intimate view of what daily life became when Okubo, an American citizen by birth, was reduced to a number: 13660.
On March 19, JANM will hold its annual Gala Dinner, Silent Auction, and After Party at the Westin Bonaventure Hotel and Suites in Los Angeles. A lavish affair that typically attracts over 1,000 guests, this event raises crucial funds that support the museum’s operations throughout the year.
The theme of this year’s dinner is “Moving Images, Telling Stories.” Those who know JANM for its exhibitions exploring various facets of the Japanese American experience, from the World War II incarceration to Hello Kitty and Giant Robot, may not be aware that the museum is home to a groundbreaking collection of home movies and video life histories—the former dating back to the Issei of the early 20th century.
Representing rare footage of Japanese American life taken by Japanese Americans, the home movies are a glimpse back in time, providing an invaluable counterpoint to mainstream media in which Asians were either absent or portrayed unfavorably. The video life histories are in-depth interviews conducted by JANM with a diverse spectrum of Japanese Americans, recording the lives of Japanese Americans in their own words. These compelling first-person resources have helped to portray the Japanese American story as an integral part of the broader American narrative.
This year’s dinner will honor Karen L. Ishizuka and Robert A. Nakamura, who pioneered the museum’s moving image collection and founded its Frank H. Watase Media Arts Center. Nakamura is also a seminal Asian American filmmaker, having made some of the first films by and about Asian Americans. Ishizuka was instrumental in advocating for the historical and cultural significance of home movies, lobbying successfully for the inclusion of amateur footage shot at the Topaz, Utah, concentration camp during World War II on the National Film Registry. Together, Ishizuka and Nakamura will receive the inaugural JANM Legacy Award, established to recognize individuals and organizations that have made a lasting contribution to the museum’s institutional legacy and helped to distinguish the museum as a unique, vital, and valuable community resource.
Also honored will be the acclaimed documentary filmmaker Ken Burns, who has made significant use of JANM’s home movies and other archival materials in three of his highly popular historical sagas, bringing the museum’s resources to a broad national audience. Burns will receive the inaugural JANM Founders’ Award, established to recognize an individual or organization that advances the mission and vision of the museum’s founders in a meaningful way on a national or international scale.
Please visit our newly revamped Gala Dinner website for complete details and to purchase tickets. We hope you can join us for what promises to be a very exciting evening.
Not long after the Japanese bombed Pearl Harbor in 1941, George Hoshida was arrested by FBI agents. Having immigrated from Japan with his family in 1912, when he was only four years old, Hoshida had made a life for himself in Hilo, Hawai‘i. He had married a Hawai‘i–born Japanese American woman named Tamae and gotten a job at the Hilo Electric Company; he had also become active in several Japanese American community organizations, including a Buddhist group and a judo association. It was Hoshida’s position in the community and his perceived influence on others that led authorities to deem him a threat.
Hoshida was forcibly separated from his wife and four daughters as he was sent to a succession of special Justice Department camps, reserved for community leaders like himself: Kilauea Military Camp on the Big Island, Sand Island on Oahu, and a variety of camps in Texas, Nevada, and New Mexico. After a year of separation, Tamae, who was handicapped, found it too difficult to raise the children without George. She made the decision to give up their home and, on the recommendation of government officials, moved with three of their daughters to the Jerome War Relocation Center in Arkansas, where George could be transferred.
Arriving there after an arduous journey, the family would have to wait another year before George’s transfer process could be completed. Tragically, the eldest daughter, who had to be left behind in a facility in Oahu due to a handicap, died while the rest of the family was incarcerated.
During this challenging time, Hoshida and his wife wrote letters to each other every day. Hoshida also kept a detailed journal and made numerous sketches, drawings, and watercolors depicting what he saw around him. These letters, journal entries, and artworks are now considered a rare record of life in the Justice Department camps; the depictions of the Kilauea camp are the only ones known to exist. In 1997, the bulk of these artifacts were donated to JANM, where they now reside in the permanent collection. Many of the items can be viewed online through JANM’s George Hoshida Collection page as well as a special online exhibition website called The Life and Work of George Hoshida: A Japanese American’s Journey.
Earlier this year, a new book was published that tells the Hoshida family’s story through a curated selection of Hoshida’s journal entries, memoir excerpts, letters, and artworks. Edited by Heidi Kim and supplemented with historical background information, Taken from the Paradise Isle: The Hoshida Family Story provides “an intimate account of the anger, resignation, philosophy, optimism, and love with which the Hoshida family endured their separation and incarceration during World War II.”
The hardcover edition of the book is already sold out; the JANM Store and janmstore.com are currently waiting on an order of the paperback edition. The book should be restocked in time for an author discussion event on January 9, in which Heidi Kim will read from and discuss the book. To read more about the Hoshida family’s story, check out this Discover Nikkei article.
Members of JANM’s Board of Trustees, Board of Governors, and staff traveled to New York City for a weekend-long offsite meeting of the Board of Trustees at the end of October. It was a welcome opportunity to escape the hot temperatures in Los Angeles for the cool autumn weather in New York. Most of the weekend was devoted to taking care of business, but time was also set aside for relaxing, networking, and catching up.
The social highlight was the Saturday afternoon reception, held at the Nippon Club in Midtown. In addition to JANM board members, distinguished guests included Yosuke Honjo, CEO and President, Ito En (North America); Masahide Enoki, Vice President, Ito En; Sugu Mike, Executive Chairman, MUFG Union Bank; Yumi Higashi, Vice President of Corporate Communications, MUFG Union Bank; and Osamu Honda, Director General of the Japan Foundation, New York. Delicious food and beverages were enjoyed by all.
At the reception, JANM announced a major gift from the estate of artist Henry Sugimoto, generously made by his daughter Madeleine. The artworks and artifacts span Sugimoto’s entire career and include 240 oil paintings and more than 200 watercolors. This acquisition makes the Sugimoto Collection, which comprises over 700 works of art, the largest collection of paintings at JANM.
Maggie Wetherbee, JANM Collections Manager, made a special trip to New York to bring one of her favorite Sugimoto pieces to the reception for guests to see. It is a carved wood plate created by the artist in the 1980s; it depicts Madeleine Sugimoto at age six, sitting in front of the mess hall at “Jerome Camp” in Arkansas, where the Sugimoto family was incarcerated, in 1943. The tags attached to her and the pieces of luggage surrounding her bore their family number, so that they could be returned to their assigned barrack if they were separated from her parents. Attendees were very excited and appreciative to see this piece up close, and were able to ask Wetherbee additional questions about the collection.
Dr. Greg Kimura, JANM’s President and CEO, gave a short presentation on the latest happenings at the museum, including exhibitions, educational tours, and new technology. Representative Mark Takano of the 41st Congressional District, a longtime supporter of the museum, spoke about what JANM means to him. He mentioned that Riverside City College, which is part of his district, holds a major collection of works by artist Mine Okubo; JANM also has a significant number of works by Okubo in its permanent collection. Rep. Takano also promised to assist JANM in bringing its recent exhibition, Before They Were Heroes: Sus Ito’s World War II Images, to a prominent venue in Washington, D.C.
In addition to the meetings and reception, some board members and their family and friends elected to visit the National September 11 Memorial and Museum, located on the former site of the World Trade Center. The group was given a guided tour by the museum’s founding President and CEO, Joseph C. Daniels, and Vice President for Education and Public Programs Clifford Chanin. In addition to being a deeply moving experience, the intimate tour was an opportunity to build a partnership with an institution with which JANM shares a common mission of commemorating a national tragedy and promoting the messages of hope, transcendence, and tolerance that come out of it.
Another highlight of our trip was enjoying some delicious meals at Hasaki and Sakagura, two restaurants owned by Bon Yagi and his daughter Sakura Yagi, who are longtime friends of the museum. We highly recommend visiting either or both of these establishments the next time you are in New York.
The collections office is where you will find Kyoko Ogawa, one of the museum’s newest volunteers, every Tuesday. Originally from Nagano prefecture in Japan, Kyoko moved to the United States with her husband over thirty years ago.
As a shin-Issei (Japanese national who immigrated to the United States after World War II), Kyoko provides the invaluable service of translation from Japanese to English. In fact, she is currently the only collections volunteer who translates letters, diaries, and other archival materials largely written by our community’s Issei (prewar, first-generation immigrant) pioneers.
“Kyoko is really invaluable in the sense that she is providing a service that has been lacking in the collections department,” says Maggie Wetherbee, JANM’s Collections Manager. “We were so excited when we found out she wanted to volunteer. Most people do not want to do it because it is so tedious.”
Though decades removed from the early Japanese American migrants, Kyoko, with her strong native language skills, provides us with a link to the Issei experience. Her first volunteer project involved translating Buddhist sermons that were read in the American concentration camps during World War II.
Kyoko also volunteers in the Hirasaki National Resource Center, where she helps visitors research their family’s records from the Issei generation to the present. From time to time, she lends a hand as an origami volunteer as well.
“Everyone is just so nice, and their dedication is incredible!” Kyoko says about all the museum volunteers. She is particularly thankful to her volunteer mentors, Marge Wada and Irene Nakagawa, who have helped her transition into JANM’s lively and close-knit volunteer community.
One key take-away from her time at JANM has been the importance of sharing diverse lived experiences—a concept she did not grow up with in a largely homogeneous Japan. With every passing week, she cheerfully asserts, “I am learning something new!”
Please note Kyoko Ogawa is not available for general translation requests. Her volunteer services are currently limited to the needs of JANM’s Collections and Management Access Unit.
This post was researched and written by Sakura Kato, JANM’s summer 2015 curatorial and collections intern. Kato, who just graduated from the University of Southern California with a degree in history and pre-law, conducted the interview with Ogawa in Japanese.
This week, JANM openedBefore They Were Heroes: Sus Ito’s World War II Images, the first exhibition in Sharing Our Stories, a new series drawn from JANM’s extensive permanent collection. The exhibition looks at WWII photographs taken by Susumu “Sus” Ito while on a tour of duty through Europe as a member of the 442nd Regimental Combat Team’s 522nd Field Artillery Battalion.
While Ito participated in such dramatic events as the rescue of the Lost Battalion and the liberation of a sub-camp of Dachau, the majority of the photographs capture the humble daily lives of a group of young Japanese American soldiers. In the essay below, JANM Curator of History Lily Anne Yumi Welty Tamai, PhD, takes an in-depth look at one of the images featured in the exhibition. Read on for a riveting account of the rescue of the Lost Battalion and its aftermath, as experienced by soldiers who lived through it.
“We were in a number of dangerous situations. But the five days that I spent with ‘I’ Company and this mission, were really the most memorable. It was five days where I didn’t remember days from nights.” —Sus Ito, from JANM oral history interview, 2014.
In the last week of October 1944, after ten days of fighting to liberate Belmont, Biffontaine, and Bruyères in northeastern France, the segregated all-Japanese American 442nd Regimental Combat Team received new orders. Without rest or time to recuperate, they were sent on a mission to rescue the 1st Battalion of the 141st Infantry Regiment, made up of men from Texas. The soldiers of the 141st were trapped behind enemy lines and surrounded by German troops in eastern France with very little food, water, and medical supplies. Two other units had tried to rescue the so-called Lost Battalion without success; the Germans had a tremendous advantage in terms of position, and ambushed the American troops from their sniper nests.
There were no real roads in the mountains, just trails, and most were too narrow for large tanks. The forest was so dense in some areas that they had little to no visibility. Veteran George Oiye of the 442nd’s 522nd Field Artillery Battalion, “C” Battery, remembered the conditions: “The rain, snow, heavy clouds, dark fog, and the huge carpet of pine trees overhead made it hard to tell day from night.” It took six days of intense fighting to rescue the Lost Battalion. Out of the 800 Nisei soldiers who fought, around 600 suffered casualties in the process of rescuing 211 men.
“I saw so many wounded and dying fellow soldiers. There were friends holding their comrades in their arms. I ran into ‘I’ Company, which at that point only had four guys with a PFC (private first class)—Clarence Taba—in charge … the fighting had been that fierce.” —S. Don Shimazu, veteran of the 522nd Field Artillery Battalion, Headquarters Battery.
General John Dahlquist had sent the Japanese American unit on this mission knowing the odds for success were slim. Years later, as told in the book Japanese American History (edited by Brian Niiya), U.S. Senator and 442nd veteran Daniel K. Inouye recalled: “I am absolutely certain that all of us were well aware that we were being used for the rescue because we were expendable.” Despite these circumstances, they all fought valiantly.
Sus Ito did not take many photographs during the actual rescue of the Lost Battalion. However, he did take one of Sgt. George Thompson (above) after the battle was over. Thompson was not even supposed to fight on the front lines, but he had begged Ito for an assignment so he could see what war was really like. Ito agreed, allowing George to carry an extra set of radio batteries for the unit.
Reflecting on this striking photograph, Ito said: “George Thompson didn’t put his hands in front of him because he was down, or because he hated the thought of war. He was just trying to hide. Maybe he was trying to erase some of the images of what the Lost Battalion mission was like.”
When remembering the mission to rescue the Lost Battalion, Ito said: “We were fighting against an enemy we could not see. To this day when I walk into a dark forest on a bright day—or even when I think about it—I get goose bumps.”
To hear more of these stories and learn more about our exhibition, be sure to catch Dr. Lily Anne Tamai’s Behind the Scenes Lecture on July 25. The program is free with museum admission, but RSVPs are recommended here.