Come celebrate the Year of the Boar at the 2019 Oshogatsu Family Festival at the Japanese American National Museum on January 6! Activities will run from 11a.m. to 5 p.m. and admission is free. Whether you enjoy traditional Japanese new year foods, art, or live performances, bring the whole family for a day full of cultural activities!
There are a number of things available to do all day
long. For the youngest attendees, there will be a scavenger hunt around the
museum. Find all the items and win a prize! Crafty kids (and adults) can head
over to Ruthie’s Origami Corner to learn the art of paper folding and make
their own origami boars. Everyone can strike a pose with some props at the Nerdbot
Of course, what Year of the Boar festival would be complete without a pig pen? Here’s the twist: at the Oshogatsu Family Festival, the pen is made up entirely of plushie pigs and boars. This is one pig pen where you’ll want your kids to jump right in! The coloring station is there, too.Also open all day is the Toddler Room, where the littlest festival-goers can play with people their own size while supervised by an accompanying adult.
Traditional activities will be at designated times so be sure to plan for the ones you’re interested in. Early in the day (11:30 a.m.) and again at 1 p.m., catch a live collaborative performance from Kuniharu Yoshida and Walter Nishinaka that combines the calligrapher’s dance performance and taiko beats. Foodies can enjoy build-your-own sample-size soba noodle bowls from 11a.m. to 3 p.m. Kids, and kids-at-heart, won’t want to miss the demonstration of the ancient art of candy sculpting, with finished pieces given away as raffle prizes for kids. From noon to 4:30 p.m. there will be a tasting of traditional Japanese new year foods, osechi–ryori, which includes sweets and vegetables. And don’t miss the mochitsuki (rice pounding) demonstrations (2 p.m. and 4 p.m.); make sure you stay to the end for yummy mochi samples.
As a special treat, artist Mark Nagata will be giving a talk at 12:30 p.m. about his latest special edition sofubi toy figure—an homage to the character played by Gerald Okamura in the movie Big Trouble in Little China. Nagata and Okamura will then sign toy figures and special prints of the toy’s header art. Fair warning: there are only 45 toys available for purchase so act fast. You’ll also want to buy a fukubukuro (lucky grab bag) while you’re in the store.
Throughout the day, JANM members receive special perks such as reserved seating at performances and artist talks, express lines, and extra raffle tickets. Join today!
Inspired by Louisa May Alcott’s classic American novel published in 1869, the play Little Women (A Multicultural Transposition) features four sisters and their Japanese American family living in post-World War II Los Angeles. Playwright Velina Hasu Houston keeps the names and personalities of the original March sisters—Meg, Jo, Beth, and Amy—but in this tale, they are the Mayeda sisters. The novel and play have noticeable parallels, with the March and Mayeda families facing many of the same types of troubles. However, Houston’s transposition adds a dimension of racial prejudice that the March family never had to consider.
The Mayeda sisters and their mother, Marmee, move in with their Aunt Ming after spending time during the war in an American concentration camp in Colorado. Their father, Makoto, is a war hero, but he returned from the war with post-traumatic stress disorder and a drinking problem. In the recently integrated Los Angeles neighborhood to which they return, they find much-appreciated diversity in their African American neighbor, Mr. Lawrence, who is a retired hematologist, and his half-Italian grandson, Laurie. Aunt Ming, however, feels that her “old money” status is above the “new money” status of her new neighbors. Thus, Houston reveals how prejudice is present even among different minorities that have each had injustice wrought upon them.
Completing Houston’s diverse cast are Mr. Bhat, Laurie’s tutor from Calcutta, and Professor Briones from Mexico City, Jo meets on her journey to New York in act two of the play. The supporting male characters in the play including Laurie, Mr. Bhat, and Professor Briones, each take an interest in one of the Mayeda sisters. However, the drama is heightened when Beth, the shyest of the four, has an unfortunate accident, which sends the whole family into a panic. The audience will remain captivated throughout the conflict, climax, and conclusion of the play.
There have been many adaptations of Alcott’s Little Women, but Houston’s depiction of the classic is unlike any other. This time period was significant for Japanese Americans and many others seeking to overcome the racial prejudices of World War II. Houston successfully depicts how the story of Little Women can be any family’s story, and yet in this particular version, there’s much more being said about the simmering social strife that is right beneath the surface.
Houston is a professor of dramatic writing at the University of Southern California School of Dramatic Arts. She is also a well-known writer with many produced commissions, both in theater and opera. She is a Fulbright Scholar, and her current projects are with the Los Angeles Opera, The Pasadena Playhouse, Theatre Works (Palo Alto), Playwrights’ Arena/Center Theatre Group, Now Africa Playwrights’ Festival, and National Public Radio. One of her most famous plays to date is Tea, which is an internationally presented play about the experiences of Japanese women.
See Little Women (A Multicultural Transposition) at JANM on Saturday, December 15 in the Tateuchi Democracy Forum. Members are invited to an exclusive pre-event reception with Velina Hasu Houston. RSVP HERE.
In celebration of real-life heroes as well as the fictional characters of our Kaiju vs Heroes: Mark Nagata’s Journey through the World of Japanese Toys exhibition, JANM welcomed more than 1,100 visitors on November 11, 2018, for a free family day of fun.
Upon entering the museum, visitors were welcomed by our staff and many jumped right into the crafts offered. Inspired by o Kaiju vs Heroes, our hero and kaiju mask-making activity was very popular! Children delighted in keeping their heroic secret identities under wraps.
Aratani Central Hall hosted some of the most impressive performances of the day. Children gathered around–and a few were invited on stage–to experience kendo, a traditional Japanese martial art that uses swords and protective armor. It was a sight to behold as athletes from Sho Tokyo Kendo of LA Minobusan Beikoku Betsuin charged at each other, followed by the clash of their shinai (slats of bamboo tied together and used for practice, in place of a Japanese sword).
Kizuna Taiko filled Aratani Central Hall with its thunderous sounds. A physically demanding discipline, taiko is often described as a performance of dance as well as drumming. Kizuna Taiko’s incredible athleticism, driving rhythms, and meditative melodies left the audience inspired and energized. Earlier in the afternoon, families enjoyed traditional songs by Ukuleles for Little Tokyo. Their sounds were a festive addition to a fun-filled day of physical activities and crafts.
Children sat attentively as an artist from Taylor Entertainment turned them into superheroes by drawing their caricatures. Many families also spent time perfecting a superhero cape with unique designs and color combinations. Kids enjoyed donning their creations and striking a pose.
On our plaza, families expended some energy by getting in some slam dunks and long distance shots at our temporary basketball courts.
It was a truly joyful and memorable JANM Free Family Day, and we hope to see many of the same guests at our 2019 Oshogatsu Family Festival. On Sunday, January 6, from 11 a.m. to 5 p.m., ring in the New Year and celebrate the Year of the Boar with more fun arts and crafts, food, cultural activities, and exciting performances! There will be a traditional mochitsuki (Japanese rice pounding ritual) performance by Kodama Taiko, candy sculptures by Shan the Candyman, Fukubukuro (lucky grab bags) at the JANM Store, and so much more. Check our janm.org for more information about the Oshogatsu Family Festival and other upcoming events at JANM.
On Saturday, November 10, join us for a JANM Free Family Day! The crafts, performances, and other activities will be inspired by real-life heroes and the fictional characters seen in our current exhibition, Kaiju vs Heroes: Mark Nagata’s Journey through the World of Japanese Toys.
Our doors open at 11 a.m., and at 11:30 a.m. we’ll have a performance from Ukuleles for Little Tokyo. This organization engages Japanese and Japanese American seniors by providing free ukulele instruction in Japanese and English. Between 1885 and 1925, more than 200,000 Japanese had immigrated to Hawaii to work on sugarcane plantations. Many of these Japanese immigrants discovered the ukulele in Hawaii and adopted it as their own, making the instrument a common bond that helps hold together the culture of America, Hawaii, and Japan.
After saying aloha to Ukuleles for Little Tokyo, join artist and art educator Sylvia Lopez for a superhero drawing workshop. From 12 p.m.–12:45 p.m. and 1:15 p.m.–2 p.m., create a hero character by first learning to quickly draw a basic human form. If drawing a hero character isn’t enough, from 12 p.m.–3 p.m. an artist from Taylor Entertainment will create a superhero caricatures of kid visitors!
You also don’t want to miss a demonstration from Sho Tokyo Kendo of LA Minobusan Beikoku Betsuin starting at 12:30 p.m. Experience a captivating exhibition of kendo, a traditional Japanese martial art that utilizes bamboo swords and protective armor. The practice of kendo stems from kenjutsu, a catch-all term used to describe all forms of Japanese swordsmanship. The formal kendo exercises known as kata (specific movements of a martial art) were developed several centuries ago as kenjutsu practice for warriors and are still studied today.
Guaranteed to be inspiring is Kizuna Taiko, performing at 3 p.m. This group is made up of children and adults with developmental or intellectual disabilities, and their parents and siblings, from the Japanese Speaking Parents Association of Children with Challenges (JSPACC). Taiko is a traditional form of Japanese percussion using a variety of drums, some very large. Taiko playing is loud, hard, and fast, and involves choreographed movement that mirrors Japanese martial arts.
Wrapping up the day’s festivities is WizStars. A hip-hop dance ensemble featuring individuals with developmental or intellectual disabilities and their parents or siblings from the JSPACC, WizStar will perform from 3:30 p.m.–3:45 p.m. The museum will close at 5:00 p.m., so you will still have time after the day’s activities to check out the Kaiju vs Heroes exhibition and its amazing array of vintage and contemporary Japanese vinyl toys.
Please also set aside a few minutes during the day to write a letter of appreciation to a veteran, to be delivered by Operation Gratitude. Expressions of thanks make a lasting impression on those who have served in uniform.
JANM members get perks throughout the day, including reserved seating, so join or renew today! More information about the day is available on our website.
With No-No Boy: A Multimedia Concert, Julian Saporiti and Erin Aoyama seek to illuminate the Asian American experience through Saporiti’s original songs, which are performed against a backdrop of projections featuring archival photographs and moving images. The result is an immersive experience connecting the diverse but interconnected histories of World War II Japanese incarceration, southeast Asian emigration, and hyphenated identities.
The seeds of the No-No Boy project were sown while Saporiti was living in Laramie, Wyoming, for graduate school. He made several trips to the Heart Mountain concentration camp in the northwestern part of the state, where the US government had incarcerated more than 10,000 people of Japanese ancestry during the war. These visits had a profound impact on him. Saporiti began interviewing camp survivors and researching the music that was performed in the camps. The No-No Boy project was later born from those interviews and Saporiti’s thinking about his own displaced family of Vietnamese refugees.
Saporiti went on to enroll at Brown University in Rhode Island to complete a doctorate. There he met Erin Aoyama, also a Ph.D. student. For the project, Aoyama draws from her academic research on the parallels between Japanese American incarceration and the experiences of African Americans in the Jim Crow South. Aoyama’s work with No-No Boy is also profoundly personal. Her grandmother was incarcerated in the Heart Mountain concentration camp during the war.
The music they create unmistakably draws from the storytelling traditions of folk and country music. However, there are indie-rock tendencies mixed in. This makes sense considering that in the early 2000s, Saporiti found critical acclaim as the singer of the Berklee-trained indie-rock group The Young Republic. Lyrically, No-No Boy’s songs are sharp and pointed commentaries on identity politics, privilege, academia, and history, delivering what NPR has called, “revisionist subversion.” For example, in Two Candles Dancing in the Dark they weave a story inspired by Aoyama’s grandmother about the joy of finding romance inside an American concentration camp while stressing the horrors of Executive Order 9066, which cleared the way for the incarceration of Japanese Americans. Nonetheless, there is a purposeful buoyancy to the songs that acts as a counterbalance to the serious topics they tackle. With this dose of levity, the music is enjoyable on its face as modern American music and doesn’t require in-depth historical or cultural knowledge to appreciate it.
See No-No Boy: A Multimedia Concert at JANM on Saturday, November 3 in the Tateuchi Democracy Forum. Make sure to stay after the show for a Q&A with the band. Included with museum admission. RSVPs are recommended; you can sign up here.
Look out, Little Tokyo! On Thursday, October 25, Godzilla will rise from the briny deep when we screen the original 1954 Japanese version of the movie on our outdoor plaza. To celebrate, we’ve put together five fun facts you might not know about the greatest city-destroyer of all time.
1. Godzilla was originally known in Japan as Gojira. The name came about in the early stages of planning the movie because the prehistoric sea monster was described by its creators as a cross between a gorilla (gorira) and a whale (kujira).
2. Ishiro Honda, director of Godzilla (Gojira) and co-creator of the character, later assisted renowned director Akira Kurosawa in making films. The men became friends in the late 1930s when they were both employed by Toho Studios. Honda and his team created the kaiju movie genre, but by the late 1970s, this type of sci-fi film had fallen out of favor and suffered from lackluster box office returns. Honda then became an assistant on Kurosawa’s last five films between 1980 and 1993.
3. Composer Akira Ifukube created Godzilla’s distinctive roar by rubbing a pine-tar-resin-coated glove along the string of a double bass and then slowing down the playback. The roar has changed over the course of more than thirty remakes and sequels but all pay homage to the original.
4. George Takei got his start in the film industry by doing voice-over work for the 1956 kaiju movie, Rodan also directed by Ishiro Honda. You can also listen for the unmistakable voice of the Star Trek legend and JANM Trustee in the English-language version of the second Godzilla film, Godzilla Raids Again.
5. An actual dinosaur was named after Godzilla’s Japanese name, Gojira. Gojirasaurus was discovered in 1981 in the Cooper Canyon Formation near Revuelto Creek, New Mexico. The scientists who discovered the enormous fossil thought it was fitting to name the dinosaur after the fictional monster. One of the largest meat-eating dinosaurs known from the Triassic Period, Gojirasaurus was estimated to be about 18 feet long and 330–440 pounds!
Need more Godzilla in your life? On November 25, at 1:00 p.m., author Steve Ryfle will be at JANM to discuss and sign copies of his book, Ishiro Honda: A Life in Film, From Godzilla to Kurosawa, is the first to take a look at the director’s life and career. Ryfle highlights Honda’s work and his background, including days spent as a Japanese soldier, experiences in the aftermath of Hiroshima, and his friendship with fellow director Akira Kurosawa.
Organized by JANM volunteers, the 10th Annual Kokoro Craft Boutique is this Sunday, October 7 from 10 a.m.–4 p.m. Are you ready for it all? Dozens of vendors will be on hand with unique jewelry, kimono fabric fashions, cultural t-shirts, handbags, ceramics, origami, bronze and glass art, and much more! Also, there will be a taiko performance by Yuujou Daiko at 1 p.m. Make a purchase of $20 or more, and you’ll receive free same-day museum admission along with a 10% discount at local participating Little Tokyo eateries during the month of October (some restrictions apply). This event is aimed at helping small businesses with connections to Little Tokyo while a percentage of proceeds goes to benefit the museum’s education programs.
We reached out to a few vendors who will be participating in this year’s event. We asked them about exciting products they will be offering this year, why they participate, and if they have any memorable events from past boutiques. Jason Ponggasam, co-founder of Fat Rabbit Farm, a company that creates apparel, art, accessories, and storybooks inspired by his rabbits, said, “It’s always such a pleasure and honor to be a part of LA’s Japanese American community. We always have a great time seeing familiar faces and of course new ones. I’m glad we can contribute to JANM.” He continued to say, “One memory that stands out (at Kokoro) is when George Takei came by to visit. I didn’t get the chance to speak with him but just seeing him smile with such positive energy was wonderful!”
Caitlin Reyna of Boy Cherie jewelry who specializes in making fashion jewelry using intricate techniques and quality materials to ensure each piece last for years is excited to debut a new collection at the event. Said Reyna, “I am working very hard on my holiday collection and can’t wait to debut the items at the craft boutique. The holidays are only a few months away, so I’m sure some visitors will be doing some early shopping! The majority of my pieces are designed to be both on-trend and timeless, so they make perfect gifts and are also great pieces to accessorize for the holiday festivities!”
Yasuko Ozawa who makes ceramics exclusively with high fire clays and glazes that create unique depth and colors has participated in many of the past Kokoro Boutiques. Ozawa said, “I love the venue at JANM. It’s always a fantastic turnout of people who are looking to shop for unique items. The volunteers are incredibly helpful, and the boutique always runs so smoothly. And of course, it’s an added bonus that a portion of my sales goes to supporting JANM.” She also creates special products for the event, “I sell handmade ceramicware and I offer the usual bowls, cups, utensil holders, planters, etc. Every year I glaze and decorate them differently to keep things more interesting. This year I started making goblet-styled stemmed cups (like for wine and beer), and I’m really excited to be selling those this year. So cheers! Kampai!”
We hope to see you this weekend in Little Tokyo! This event has become a staple of the community over the years with some considering it the unofficial start to the holiday shopping season. For more information and a list of participating vendors, visit janm.org/events or email firstname.lastname@example.org.
In 1884, a Japanese sailor named Hamanosuke Shigeta jumped ship in San Diego and eventually made his way to downtown Los Angeles, where he opened an American-style cafe. The opening of Kame Restaurant—the first known Japanese-owned business in Los Angeles, signaled the beginning of what is now known as Little Tokyo. Before World War II, Little Tokyo was thriving and grew to be the largest Japanese community in the United States. This area is steeped in history and every month JANM docents lead walking tours of the neighborhood to explore both popular and lesser-known gems of this bustling neighborhood.
One of the stops on the tour is the original Hompa Hongwanji Buddhist Temple, at 119 North Central Avenue. Built in 1925 by Japanese immigrants, and originally named the Nishi Hongwanji Buddhist Temple, the building was the first structure in Los Angeles designed specifically to house a Buddhist place of worship. In 1942, the building was used as a gathering place for people of Japanese ancestry to board buses as they were forcibly removed to American concentration camps during World War II. Reverend Julius Goldwater, one of the first non-Japanese Buddhist ministers in America, did not face removal and allowed people in the community to store their belongings in the building while they were incarcerated.
With no congregation, the temple closed down. However, in 1944 the Providence Missionary Baptist Association converted part of the building into a Christian center and began offering sermons. The Association’s stay was only temporary, though. When the war ended in 1945 Goldwater notified the Baptist Association that their lease could not be renewed as he expected many of his congregation members to return home. The temple then reopened and served as a hostel for many of those returning from the camps who found that their homes had been lost. The building eventually fell into disrepair after the temple moved to a new location in 1969 and it was sold to the City of Los Angeles in 1973. Destined to be torn down for new development, the building was spared when the City of Los Angeles supported its use as a museum site. In 1992, the Japanese American National Museum opened in the renovated historic building.
The architecture of the ornate building draws inspiration from a temple in Kyoto, Japan, and combines Japanese and Middle Eastern motifs in its striking façade. The Middle Eastern influence stems from the architectural movement called Egyptian Revival. This style of architecture first came to prominence in the late 18th century. But after the discovery of King Tutankhamun’s tomb in 1922, Egyptian influences saw a renewed wave of popularity around the world. Also, Egyptian themes had become an essential part of the Art Deco movement in the 1920s.
This building’s entrance is on the plaza across from the Japanese American National Museum’s Pavilion building. The cement canopy (karahafu) over the entrance replicates the imperial gateway of the associated Mother Temple in Kyoto, Japan. The characteristic shape is the undulating curve at the top of the entrance. This design is common in traditional Japanese architecture, including castles, Buddhist temples, and Shinto shrines. Kara means “noble” or “elegant” and this architectural element is often added to places that are considered important or grand.
The original Hompa Hongwanji Buddhist Temple is only one of several stops on the JANM docent-led walking tours of Little Tokyo that engage visitors beyond the walls of the museum and introduce them to a unique and diverse community. Whether you are a first-time visitor or a lifelong Los Angeles resident, you’ll learn surprising details about the people, historic architecture, and community spirit of this colorful neighborhood. Museum admission is included with the fee for the tour, so be sure to see JANM’s current exhibitions afterward.
Tours take place on the last Saturday of every month, weather permitting. Comfortable walking shoes are recommended. To sign up for our next walking tour please visit janm.org
Is it uncivilized to use soy sauce? Should extra wasabi be added? Recently, travel agent and food enthusiast Roxana Lewis led a “sushi graze” edition of our Edible Adventures walking tour series in Little Tokyo, this time starting with a “Sushi 101 class.” Lewis explained that adding wasabi or soy sauce depends on the restaurant and the chef. However, she stressed that when using soy sauce, one should lightly dip only the fish to avoid having the rice ball fall apart. Attendees also learned some surprising sushi history. Enthusiasts may find it hard to imagine sushi ever existing without rice. However, beginning in the fourth century in many parts of Asia, salted raw fish was wrapped in rice and held in storage for months. When the rice fermented, it acted as a preservative but was discarded before the fish was eaten.
Sushi was introduced to Japan in the ninth century. It became popular as Buddhism spread throughout the country; the Buddhist practice of refraining from eating meat meant that many Japanese began eating fish as a dietary staple. Vinegar was eventually used as a preservative instead of rice and this change led to the uniquely Japanese version of sushi that is eaten today. A rice ball and a small portion of raw fish (known as nigiri sushi) need very little preparation, so by the 1800s, it was a popular choice with roadside vendors and a big hit with busy workers who didn’t have time to sit down for a meal.
After the short history lesson, attendees enjoyed a small feast at the restaurant Sushi Go 55. The sushi served at this restaurant reflects the same style that emerged as a favorite fast-food option in nineteenth century Japan. Made to order piece by piece, attendees watched as the chef’s hands moved in perfect rhythm as he assembled balls of rice and affixed fish to them with the exact amount of wasabi. In the past few centuries, not much has changed in the making of this style of food. While enjoying sushi at this restaurant, one could close their eyes and feel a direct connection to Japan and the past.
While sushi is a pillar of Japanese cuisine, the history of the delicacy in the United States is an ever-evolving one. When first introduced, Americans had a difficult time warming up to the idea that raw fish could be something tasty. The creation of the California roll in the late 1960s helped change American perceptions. First created by a Japanese chef in Los Angeles (according to some), the California roll features crab, avocado, and cucumber, making it more suitable to the American palate. It’s often then rolled “inside out,” meaning the rice is on the outside. The next stop on the tour exemplified this American take on sushi. At the Ebisu Tavern, “caterpillar” and “spider” rolls which featured ingredients like battered soft-shell crab and spicy mayonnaise were served to showcase the evolution of westernized sushi.
The Edible Adventure offered more than just learning about sushi. Between stops Lewis recounted tidbits touching on the history of Little Tokyo. She pointed out Buddhist temples and explained their architecture, showed participants the former sites of trailblazing restaurants now gone and noted how the area has changed through the generations. The tour ended back at JANM. Museum admission was included with the tour and attendees then spent time taking in the current exhibitions. Don’t miss the next Edible Adventure—you can stay up to date on all of JANM’s events by visiting janm.org/events. You can also sign up to receive our monthly Exhibitions & Events email with all the latest information.
Our newest exhibition, Kaiju vs Heroes: Mark Nagata’s Journey through the World of Japanese Toys opens on Saturday, September 15 and showcases hundreds of dazzling vintage and contemporary Japanese vinyl toys, providing a feast for the eyes and the imagination! Kaiju translates to “strange creature” in English but has come to mean “monster” or “giant monster” referring to the creatures that inhabited the postwar movie and television screens of Japan. The advent of these monsters brought about the creation of characters to combat them—hence the emergence of pop-culture heroes like Ultraman and Kamen Rider. Drawing from the extensive vinyl toy collection of Mark Nagata, the exhibition also demonstrates how Nagata’s pursuit of these Japanese toys took him on an unexpected journey that brought new realizations about his cultural identity as an American of Japanese ancestry.
Growing up in California, Mark Nagata was a fan of Disneyland, comic books, and classic Japanese television shows, movies, and toys. These influences inspired his creativity and spurred his initial interest in drawing and art. After attending the Academy of Art College in San Francisco during the late 1980s, Nagata embarked on a 10-year-plus journey as a freelance commercial illustrator. In 2001, Mark transitioned from illustration to co-founding Super 7 magazine, a publication dedicated to vintage and art vinyl toys. Through his work on the magazine, Nagata combined his passion for Japanese vinyl toys with his artwork. It was during this period that Nagata founded the Max Toy Company in 2005 to produce vinyl kaiju and hero toys. Fast-forward to today, and not much has changed for this toy designer, painter, illustrator, and collector. We caught up with Nagata via email to ask him a few questions.
JANM: What is your favorite kaiju toy of all time?
Mark Nagata: To be honest, my favorite kaiju toy is actually a hero toy. It’s an Ultraman figure, made of soft red vinyl, produced by a Japanese company called Bullmark in the 1970s. Ultraman is my favorite hero and when I discovered that there was a very rare variation of this figure, the hunt was on. During one of my trips to Tokyo in search of toys, I actually found one but the price was very expensive. Even though my fellow toy friends were willing to let me borrow the money, sadly I had to pass on the chance to obtain it. For the next month after returning home, I couldn’t stop thinking of the figure. So, I decided to sell off a bunch of toys and contacted a dealer in Japan to see if the figure was still there for sale. Luckily, it was and they helped me to purchase it. Because the figure is fragile and expensive, I requested that they carefully wrap and pack the figure in a sturdy box and declare the full insurance amount when shipping it.
I waited what seemed like weeks for the figure to arrive. To my complete horror, the mailman handed me a shoe box that was partially opened, and inside the figure was barely wrapped in one piece of newspaper! I quickly examined the figure to make sure it was not broken and luckily it was in perfect condition. As I was throwing out the box, I glanced at the shipping label and once again was shocked to see that the declared insurance value was $5.00, not the value of $5,000! The story has a happy ending, but to this day I keep thinking of how lucky I was that it made it to me in one piece!
JANM: Where was the most unique place you bought a kaiju toy?
MN: Not really the most unique place, but I think using a fax machine to order toys from Japan was unique. Before email and the internet (yes, that long ago) I would buy toys via the fax machine. A dealer from Japan would fax me in the middle of the night (it was his daytime) with various toy offers. The next day I would circle what I wanted and fax it back to him. I’d still have to wait for another fax to me with payment information. Once I got the totals I had to get a postal money order and mail the payment to him. I’d wait a month for a box to arrive and sometimes a toy would be sold out by the time he got payment. In that case, I would end up with a credit with the dealer.
There was much more work involved to obtain Japanese toys back in those days. Now, with the internet, toy buyers can get a ”fix“ instantly. To me, the fun has been taken out of the searching and hunting process for these toys.
JANM: What is your favorite piece featured in the exhibition?
MN: I know I will get asked this question and to be honest it’s like picking your favorite child! In no particular order for the heroes: the Bullmark Red Ultraman figure, Marusan Talking Ultraman figure, and Ultraman costume. For kaiju figures, I would say the glow in the dark Bullmark Zazan figure, Bandai Barom One Doruge figure, and Bullmark Mirrorman Darklon figure.
Join Mark Nagata on Saturday, September 15, at 2:00 p.m., for a conversation with Marusan toy company President Eiji Kaminaga about kaiju toy history, the world of Japanese toy collecting, and their companies’ histories. (The Marusan toy company created some of the first vinyl kaiju and hero toys of the 1960s and these toys make up a significant part of Nagata’s collection). The conversation will be moderated by Brad Warner, who worked for 15 years at Tsuburaya Productions, the makers of the Ultraman television shows.
Following the discussion, Mark Nagata will sign copies of Toy Karma, an accompanying book by and about Nagata, as well as a 13″ x 19″ print (10″ x 17″ image size) featuring a kaiju and hero image by toy photographer Brian McCarty, who will also be signing the print. The book is $24.95 and the print is $50. Both can be purchased the day of the event. RSVP here.