Giant Robot Biennale 5 Now on View!

On Friday, March 1, 2024, JANM hosted the opening celebration of Giant Robot Biennale 5 with exhibition curator and Giant Robot founder Eric Nakamura; artists Sean Chao, Felicia Chiao, Luke Chueh, Giorgiko, James Jean, Taylor Lee, Mike Shinoda, Rain Szeto, and Yoskay Yamamoto; and music with Dan the Automator.

The new exhibition welcomed nearly 1,300 visitors in a few hours, with a line that wound through JANM’s core exhibition, Common Ground: The Heart of Community. Visitors enjoyed engaging with the art, listening to music, and chowing down on food from Kogi BBQ and MANEATINGPLANT food trucks.

Since 2007, the Museum has partnered with Nakamura to produce the Giant Robot Biennale, a recurring art exhibition that highlights diverse work and celebrates the ethos of Giant Robot—a staple of Asian American alternative pop culture and an influential brand encompassing pop art, skateboard, comic book, graphic arts, and vinyl toy culture.

“These exhibitions champion the spirit of collaboration and welcome you into a unique space with a DIY attitude. They create a vibrant culture for future generations to see themselves and their interests on the national stage. And they continue to fuse the past with the present to create a trailblazing community for you,” said Ann Burroughs, JANM President and CEO.

Nakamura and the artists also contributed to the Giant Robot Biennale 5 audio tour, now available on JANM’s digital guide. Hear directly from the artists anytime, anywhere, and come down to JANM to check out the exhibition. It’s on view through September 1, 2024, and it’s an experience you don’t want to miss!

Photos by Kazz Morohashi.

JANM Debuts Its New Podcast

JANM is excited to release its new podcast, Japanese America, today. Coinciding with the annual Day of Remembrance, the Museum’s new podcast explores unique experiences, challenges, and triumphs of Japanese Americans and illuminates their contributions to the mosaic of American life.

From historical milestones to contemporary perspectives, cohosts Michelle MaliZaki and Koji Sakai will take listeners on an insightful journey through JANM’s collection that showcases a diverse community that shapes the American story in extraordinary ways.

In the first episode, learn how Yuri Kochiyama’s concentration camp experiences transformed her into a civil rights icon. Listen and subscribe at your favorite podcast app!

Norm Mineta’s Legacy

On January 26, 2024, JANM ushered in a new era for its campus by naming its plaza after the late JANM Board of Trustees Chair and Secretary Norman Y. Mineta and hosting the namesake distinguished lecture at the Daniel K. Inouye National Center for the Preservation of Democracy (Democracy Center). On Friday afternoon, guests gathered at the Museum to witness the unveiling of the new sign as the sun began to set behind the buildings of Little Tokyo and downtown LA. The Norman Y. Mineta Democracy Plaza connects the Museum’s Pavilion, Historic Building, and Democracy Center together. It’s a place that creates a sense of transparency and access between all buildings on campus and is a reminder that democracy is shaped through the involvement and engagement of individuals.

“We all feel Norm’s presence here. This is hallowed ground, a place where American families were taken to concentration camps,” said Ann Burroughs, JANM President and CEO. She described how Mineta used his imprisonment experiences at the Santa Anita temporary detention center (about fifteen miles away from the Museum) and the Heart Mountain concentration camp in Wyoming to lead the US in Congress and the White House. “Few better understand that this union could be more perfect than Norm and few worked as hard to make it so.”

“Norm lived his life for the democracy of his country,” said Deni Mineta, widow of the late Secretary. “It is important for the community at large to understand these lessons and pass them on. I see memories, love, and compassion, and I am so grateful that you’re here.”

Mayor Karen Bass described her mother’s experience of seeing her classmates’ empty chairs when she was going to school in Los Angeles and emphasized the importance of acknowledging the darker periods of US history to create a more inclusive democracy. “This is our shared history of folks of color,” she said. LA County Supervisor Hilda Solis added, “He’s a beacon of hope for us, and a reminder for why we’ve been fighting for all voices around the world.”

The newly named plaza brings Mineta’s values and vision for democracy to new generations and reflects the evolution of the Japanese American community. His extraordinary legacy, lifelong commitment to democracy, and profound impact on the Museum was also recognized with the inaugural Norman Y. Mineta Distinguished Lecture Friday evening. The lecture is a signature series of the Democracy Center focusing on Mineta’s leadership values and principles, including his commitment to public service, social justice, and strengthening US-Japan relations.

Mitch Landrieu, former senior advisor to the President and former mayor of New Orleans, was the special guest speaker. From 2010–2018 he served as the 61st Mayor while New Orleans was still recovering from Hurricane Katrina and in the midst of the BP oil spill. Similar to Mineta, Landrieu’s father, Moon, championed integration while serving in the Louisiana House of Representatives, as mayor of New Orleans, and as the secretary of Housing and Urban Development under President Jimmy Carter. Throughout Moon’s time in office, the Landrieus and Minetas became friends. Like them, Landrieu also dedicated his life to public service. His speech and subsequent conversation with Mineta’s son and JANM Board of Governors member David Mineta discussed their fathers’ friendship, the power of the vote, and why it is important to fight for democracy every day.

“Our fight today starts by reclaiming our democracy and continuing to uplift our ideals in this country. We cannot allow our history to be erased. We cannot shrug our shoulders at the past,” said Landrieu. “When so much has pulled us apart, we must work together to answer the question: Who are we? This is a time for us to come together as patriots. Every generation in America has faced a moment where they had to defend democracy. This is ours. Do not close your eyes to what is happening around you. Do not think for a moment that the fight for democracy is over there. It’s happening right here.”

Photos by Mike Palma

Ring in the New Year with Us at Oshogatsu!

Celebrate the Year of the Dragon at JANM’s Oshogatsu Family Festival on Sunday, January 7, 2024 from 11 a.m.–5 p.m. Admission to the festival and Museum is free all day.

Families and kids of all ages can enjoy cultural performances, crafts, and activities. You’ll get to watch candy sculpture demonstrations, take souvenir photos, make dragon puppets and daruma dolls, shop for some fukubukuro (lucky grab bags), watch Kodama Taiko’s mochitsuki (rice pounding) demonstration, relax with the Los Angeles Public Library’s storytime session, and more!

You can also see all of our exhibitions for free. Don’t miss your chance to see The Bias Inside Us and Glenn Kaino: Aki’s Market (before they close on January 28, 2024) as well as The Interactive StoryFile of Lawson Iichiro Sakai, and Common Ground: The Heart of Community.

To ensure swift entry to the festival, we encourage everyone to register for their free tickets at janm.org/oshogatsufest2024. After you register, you will receive a barcode (to print or display on your smartphone or other mobile device) that confirms your spot and provides quick access at the door.

JANM Members will have access to a Members-only entrance for expedited entry and can take advantage of the special perks throughout the festival including priority seating and Members-only giveaways.

You can view the full festival schedule online or on our free digital guide on Bloomberg Connects. Printed schedules will also be available at JANM.

Photos by Daryl Kobayashi, Tracy Kumono, and Doug Mukai.

Educator Workshops—Now Accepting Applications!

We are excited to share that JANM is currently accepting applications for Little Tokyo: How History Shapes a Community Across Generations. These are week-long workshops for K–12 educators that are funded by the National Endowment for the Humanities as one of their Landmarks of American History and Culture educator workshops that focus on sites of historic and cultural significance. We are honored to be among the fourteen sites conducting Landmarks workshops in 2024. 

This program will examine history through the neighborhood of Little Tokyo in Los Angeles, California. The week-long workshop will be offered twice: June 24–28 and July 15–19, 2024.

During the course of the workshop, participants will be joined by scholars, educators, curators, and community historians to learn about this unique place and how it has evolved through history. This program will examine how Little Tokyo has been impacted by events and issues such as restrictive covenants, eminent domain, the World War II incarceration of Japanese Americans, the civil rights movement, and gentrification. With a focus on Japanese American history, we will consider the past’s relevance to present day issues of identity and preservation. A day trip to Manzanar National Historic Site will also be included.

A group of people in a classroom setting listening to a speaker
A panel of survivors of America’s concentration camps speak about their experiences.

We invite teachers from across the country to apply to the program. Join us in Los Angeles for an in-depth look at the Japanese American experience through the special neighborhood of Little Tokyo. 

Each participant will receive a $1,300 stipend after completing the workshop. This stipend is intended to help compensate participants for their time commitment and to defray the costs of participation in the workshop which may include expenses such as travel, housing, and meals. 

All application materials must be submitted no later than March 5, 2024. For more information, including how to apply visit janm.org/education/workshops/2024/neh 

A group of people posing for a photograph on a city sidewalk
Participants at a summer 2022 workshop on a walking tour of Little Tokyo.

Little Tokyo Celebrates the 100th Anniversary of JANM’s Historic Building

On September 12, 2023, the Japanese American National Museum (JANM), Little Tokyo Historical Society (LTHS), and other Little Tokyo partners celebrated the upcoming 100th anniversary of JANM’s Historic Building with a new plaque and street signs marking the building’s significance and its City of Los Angeles Historic Cultural Monument designation.

JANM’s Director of Collections Management and Access and Curator, Kristen Hayashi, welcomed the group and introduced Michael Okamura, president of the Little Tokyo Historical Society, who spoke about the LTHS’s efforts to raise the visibility of historic sites throughout Little Tokyo, including the Koyasan Buddhist Temple, the Kame Restaurant, the Finale Club, Sei Fujii and J. Marion Wright Memorial Lantern, Toyo Miyatake Way, Reverend Howard Toriumi Plaza, and the Aoyama Tree.

“You could tell that throughout Little Tokyo these are significant. We honor these legacy people who were before us and it’s very important. When you walk throughout Little Tokyo please take a moment and absorb all these people and the naming sites,” said Okamura.

Rev. William Briones of Nishi Hongwanji Buddhist Temple then spoke about how the site played an important role in the spiritual and social life of the community.

“It was a place of spiritual refuge, community, a playground for the children, a place to grieve for their loved ones, and to find joy in the joining of two people. And who could forget the iconic picture that Archie Miyatake took? The backdrop of one of the assembly points from which local Issei and Nisei were sent to the camp. Today we are truly honored for this recognition and even though a lot of people don’t know the history of this, there are so many fond and wonderful memories of this temple. Thank you for this recognition,” said Briones. Afterward, both of them unveiled the new signs on 1st Street that now mark the historic site.

The Historic Building was designed by local architect Edgar Cline and built in 1925 as the Nishi Hongwanji Buddhist temple. In 1985, the newly incorporated JANM signed a fifty-year lease with the City of Los Angeles to renovate the temple and convert it into a museum. The renovation was conceived by a consortium of eight Japanese American architects: Marcia Chiono, David Kikuchi, Shigeru Masumoto, Yoshio Nishimoto, Frank Sata, Takashi Shida, George Shinmo, and Robert Uyeda. In 1986 it was designated as City of Los Angeles Historic Cultural Monument 313. In 1992 JANM opened its doors to the public with 23,800 square feet of space for exhibitions, collections, and public programs.

“JANM’s Historic Building is our oldest and largest artifact on our campus. It is hallowed ground, a site of conscience, and a gathering place for civic engagement and social justice. The plaque and street signs not only commemorate the Historic Building’s history in the Japanese American community but also expands the public’s understanding of its significance to the history of Los Angeles and the US. Commemorating the building’s history ensures that past injustices will never be repeated and that diverse voices will be heard now and into the future,” said Ann Burroughs, President and CEO of JANM.

Principal City Planner and Manager for the City of Los Angeles Office of Historic Resources, Ken Bernstein, praised the new plaque and street signs for raising the visibility of the historic site in Little Tokyo.

“Our historic buildings anchor us in an ever changing city. They really provide a meaningful connection to our collective memory—that bridge between past, present, and future. Thanks to you, the historic designation and enhanced visibility through the street sign and the plaque will continue to allow the Little Tokyo community to connect to its rich heritage and really use that rich heritage as a way of continuing to promote the vitality of the Little Tokyo community.”

Actor, activist, JANM Trustee, and Board Chair Emeritus, George Takei, joined Burroughs and Bernstein to unveil the bronze plaque, now installed at the building’s historic entrance.

Hayashi closed the ceremony by noting the significance of the ceremony and the power of place that JANM’s Historic Building has on its own and in relation to JANM’s Pavilion.

“These places matter to us and our community and we want people to know about its significance; that’s why we have this ceremony today. We could’ve just mounted the plaque but instead we really wanted people to know that it’s here. Several people have pointed out that there are several generations of people here today to witness this moment and it’s so fitting because as you turn around and you look towards JANM’s Pavilion, the architects of the Pavilion really wanted us to reflect on our past. Our past is what guides our present and future. It’s symbolic of who’s represented here. We have several generations here to carry on the legacy of those who have come before us in Little Tokyo.”

A special surprise performance by the children of Nishi Daycare charmed the audience of fifty who gathered in the plaza for the celebration.

JANM Lends Artworks for Exhibition in Wakayama, Japan

JANM is collaborating with the Museum of Modern Art Wakayama (MoMAW) on a three-year research project about Japanese immigrant artists. The partnership includes an annual symposium, educational curriculum, and this exhibition at MoMAW. JANM is lending more than twenty artworks from its permanent collection, including oil paintings, gelatin silver prints, charcoal and ink drawings, sumie paintings, and woodblock prints representing artists Tokio Ueyama, Chiura Obata, Hisako Hibi, Matsusaburo Hibi, Miné Okubo, Jack Yamasaki, Taizo Kato, Harry Shigeta, and the Shaku-do-sha artist collective.


Transbordering—Migration and Art Across Wakayama and the U.S.A.

September 30 – November 30, 2023

The Museum of Modern Art, Wakayama
1-chōme-4-14 Fukiage
Wakayama, 640-8137, JAPAN

Web: momaw.jp
Phone: 073-436-8690

Images:

Tokio Ueyama, The Evacuee, 1942, oil on canvas (cropped) 28.5 x 34.5 in. Japanese American National Museum, Gift of Kayoko Tsukada, 92.20.3

Chiura Obata, Eagle Peak Trail, 1930, woodblock on paper, 17.93 x 13.18 in. Japanese American National Museum, Gift of Eugene and Yuri Kodani, 99.287.7

Matsusaburo “George” Hibi, Untitled, ca. 1942-45, oil on canvas, 53 x 45 in. Japanese American National Museum, Gift of Ibuki Hibi Lee, 99.63.17

Miné Okubo, Untitled (Mother Embracing a Child), ca. 1943, charcoal on paper, 22.31 x 16.31 in. Japanese American National Museum, Gift of Miné Okubo Estate, 2007.62.1

Chikamichi Yamasaki, Untitled (Building a Brick Structure at Heart Mountain), 1942, ink and pencil on paper, 28 x 36 in. Japanese American National Museum, Gift of Nobu Yamasaki, 97.102.1

2023 Natsumatsuri Family Festival Brought Over 2,500 Visitors to JANM!

On August 12, 2023, JANM welcomed 2,715 visitors to its annual summer celebration featuring free cultural performances, crafts, and activities in downtown Los Angeles.

Our Natsumatsuri Family Festival kicked off with a powerful performance by the award-winning TAIKOPROJECT. Their song, “Omiyage,” conveyed the custom of the same name where a person gives gifts to friends, colleagues, or family when visiting a place. TAIKOPROJECT’s closing performance was all about audience participation with call and response of ichi ni sou rei and oroshi, a series of hits to the drum that slowly speeds up in tempo. Kids and adults alike joined together to play the drums in two different rounds, raising their bachi (drum sticks) to the sky before bringing them down for the first hit and yelling the call (ichi ni) and response (sou rei).

Elaine Fukumoto from the Nishi Hongwanji Buddhist Temple led a group bon odori (traditional dance) in JANM’s Aratani Central Hall. “We’re dancing fools and we want more dancing fools to join us,” said Fukamoto, encouraging visitors participating in origami and the scavenger hunt to join the dance circle as she led a group lesson with songs like “Sakura” and “Pokemon Ondo.”

Outside on the courtyard, the comedy and improv group Cold Tofu performed skits based on the audience’s suggestions. They played games like English Gibberish where audience members gave two cast members the theme archenemies and they improvised a conversation while switching from English to babble all while staying in character. They also played Pop-Up Storybook where audience members gave all cast members an adjective (smoky) and a noun (sewing machine) to narrate a unique four-part story called “the smoky sewing machine.”

The festivities continued throughout the afternoon with a kendo demonstration by Sho Tokyo Kendo Dojo, a printmaking workshop with artist David Horvitz in collaboration with Printed Matter’s LA Art Book Fair, and a taiko workshop led by longtime JANM Volunteer Hal Keimi.

Closing out our family festival was a fabulous shamisen jazz and blues performance by Yu Ooka and Kimo Cornwell of the Yu-ki Project. Ooka is a Los Angeles–based shamisen player and guitarist, and Cornwell is a Grammy-nominated keyboardist. They performed original songs such as “Train Home to Osaka,” Working Man,” and “Where the Tree Grows.” They were then joined by Karen Evans, an amazing singer from Inglewood, California who toured the world with Ray Charles. Together, they played James Brown’s “I Got You (I Feel Good),” Bobby Caldwell’s “What You Won’t Do for Love,” ZZ Hill’s “Down Home Blues,” and Marvin Gaye’s “What’s Going On” to a grooving audience.

We hope to see you next year for our Oshogatsu Family Festival in January 2024! Check our Events Calendar later this year for more about our next free family festival.

Yu Ooka and Kimo Cornwell of the jazz shamisen band Yu-ki Project and Karen Evans play jazz and blues. Photo by Joe Akira.

Swing Dance and Music in Camp

Don’t Fence Me In: Coming of Age in America’s Concentration Camps. Photo by Paloma Dooley.

What was it like to grow up behind barbed wire? JANM’s exhibition, Don’t Fence Me In: Coming of Age in America’s Concentration Camps, explores the experiences of Japanese American youth confronting the injustice of being imprisoned in World War II concentration camps while embarking on the universal journey of adolescence. Preteens, teenagers, and young adults danced with one another, listened to jazz and big band music, and formed musical groups of their own that performed regularly in camp. 

Swing dance, which developed alongside jazz music, was started by African American dancers  at the Savoy Ballroom in Harlem, New York. Musicians such as Count Basie, Duke Ellington, Ella Fitzgerald, Dizzy Gillespie, and Chick Webb all performed at the ballroom. The ballroom’s anti-discrimination policy created a unique environment for diversity and creativity. The Savoy Ballroom and swing dancing was also featured at the 1939 New York World’s Fair. From there, swing dance and music spread across the country throughout the 1930s, including in Los Angeles.

Swing dancing was so popular among youth that a group of young dancers interrupted Los Angeles City Hall council members to invite them to a swing dance contest at the Gilmore Stadium on September 11, 1938. The following year, the Palomar Ballroom hosted the Jitterbug Championships and the finalists (from twenty states and six countries) danced for cash prizes to live music from the Artie Shaw and Ken Baker Orchestras in front of thousands of people at the Los Angeles Memorial Coliseum as part of the International Jitterbug Championships on June 18, 1939.

During World War II, young Nisei like George Yoshida who enjoyed big band music continued to do so when they were forcibly removed from their homes. According to his book, Reminiscing in Swingtime, incarcerees created big bands such as the Densoneers or D-Elevens, Down Beats, Jive Bombers, Jivesters, Music Makers, Pomonans, Poston Camp #2 Band, Rhythm Kings, Rhythmaires, Savoy Four, Stardusters, and Starlight Serenaders in the temporary detention centers and concentration camps.

Nisei like sisters Yuri Long and Sumiko Hughes were a part of social clubs that would also participate in swing dancing. Long and Hughes, who are both featured in the Don’t Fence Me In audio tour on Bloomberg Connects, talked about how much they enjoyed swing dancing as part of their social club, Just Us Girls (the JUGs), in the Manzanar concentration camp. The JUGs were made up of the youngest girls, followed by the Forget-Me-Nots and the Moderneers.

“They call us wild because at the dances, the JUGs were always very popular,  and the guys would come and ask them to dance. And they jitterbug. They were on the dance floor all the time. And some of the other club girls were sort of off on the side. They didn’t get asked as much. And they didn’t jitterbug. And they used to jitterbug wild. They would throw them under their legs,” recalled Hughes.

Bob Wada, who was also featured in the Don’t Fence Me In audio tour, recalled knowing where all of the dances were at the Poston incarceration camp because the blocks within camp kept a running log.

“A lot of the blocks had their own dances. So we had our own. They weren’t, like, out of control dances, they were good. People didn’t crash dances. Our block had a dance and they invited a few friends that would come. That’s about the only thing we did socially,” he said.

Some incarcerees even had their own musical equipment made in camp. Two Nisei, one of which may have been Sadaichi Tanioka, made a turntable for Henry Nomura so that he could play music for his own enjoyment and for others in the firebreaks and at block dances at the Manzanar concentration camp. 

Handmade dance bids—paper booklets featuring an illustration of the event on the cover—were popular, complete with blank lines for dance partners to sign their name. Many of the dance bids in Don’t Fence Me In were donated by Karen Nagao. Her mother-in-law, Ruth (née Higa) Nagao, was incarcerated in the Pomona temporary detention center and the Heart Mountain concentration camp. While working as a crop picker and nurse’s aide at Heart Mountain, Nagao participated in many events including plays and dances. Her collection of dance bids commemorated block dances and special events like, a New Year’s Eve Dance, a Valentine’s Dance, and a Coronation Ball. 

To celebrate big band music, JANM created a Don’t Fence Me In playlist of popular songs from the 1940s and hosted a two-part public program, From Barbed Wire to Boogie Woogie, on June 17, 2023.

From Barbed Wire to Boogie Woogie kicked off with a conversation between dance preservationist Rusty Frank and Rohwer concentration camp survivors, artists, and performers, June Aochi Berk and Takayo Tsubouchi Fischer. Berk and Fischer met at the Rohwer when they were ten years old and have been friends ever since. While incarcerated at Rohwer, they were too young to attend the dances but they were attuned to the fashion of the times and taught themselves how to dance.

Rusty Frank, June Berk, and Takayo Fischer talk about dancing in camp. Courtesy of the Japanese American National Museum.

“I used to love looking at the Sears Roebuck and Montgomery Ward catalogs,” said Fischer.

“I made my mother buy me white majorette boots, a skirt, and a top. And my brother had to have pachuco pants so he could be in style in camp,” recalled Berk. “We would stand around and watch the big kids dance and we’d go home and copy them. That’s how we learned to dance. My brother always wore his pachuco hat all the time and I would look to see who was dancing with him.”

From Barbed Wire to Boogie Woogie then transitioned to the All Camps Swing Dance with live music from the Fabulous Esquires Big Band and custom dance bids for guests. After Frank led a  beginner swing dance lesson for all ages, the Fabulous Esquires played popular tunes from the 1940s like “Don’t Fence Me In,” “Moonlight Serenade,” and “Chattanooga Choo Choo” (which Berk sang in Japanese). Together, the conversation and dance offered all generations the opportunity to connect through music, movement, and immersive history.

Don’t Fence Me In is now on view through October 1, 2023. Swing by JANM to see it for yourself this summer and shop the exhibition’s collection at the JANM Store!

JANM Closed on August 10, 2023

JANM will be closed on August 10, 2023 in observance of the anniversary of the Civil Liberties Act of 1988. JANM honors this anniversary to acknowledge incarceration of 120,000 Japanese Americans in US concentration camps without due process or evidence of wrongdoing.

On August 10, 1988, President Ronald Reagan issued a formal Presidential apology and symbolic payment of financial reparations to surviving Japanese Americans who were incarcerated during World War II. The act was the first and only time that the US government publicly apologized for a mistake acknowledging that the forced removal and unconstitutional incarceration was caused by a failure of political leadership, wartime hysteria, and racism.

Click on the following online resources to learn more about the Civil Liberties Act of 1988:

JANM’s Educational Resources

Five Views of Redress: Celebrating the 20th Anniversary

Excerpts from the Commission on Wartime Relocation and Internment of Civilians

However, the Civil Liberties Act of 1988 did not extend to Japanese Latin Americans, Germans, and Italians who were interned and incarcerated in the Department of Justice (DOJ) camps. Japanese Latin Americans continue to fight for redress today and educate the public through annual pilgrimages, like the Crystal City Pilgrimage.

Check out these Discover Nikkei stories to learn more about those who were incarcerated in the DOJ camps.

Pilgrimage to Former Internment Camp Reveals Untold Story of Japanese Latin American Incarceration (From 2020)
Sita Kuratomi Bhaumik covers the 2019 Crystal City Pilgrimage.

The Japanese Peruvian Community of Chicago (From 2016)
Ryan Masaaki Yokota writes about the Japanese Peruvians who built their lives in Chicago after World War II.

Yoshitaro Amano, Canal Zone Resident and Prisoner #203 (From 2010)
In this two-part story, Esther Newman explores the circumstances of her grandfather’s capture, internment, and repatriation.

Photo credits:

Hannah Tomiko Holmes and Doris Sato, Fabric-Framed Photograph Commemorating the Efforts of the National Council for Japanese American Redress, 1987, fabric and paper, Japanese American National Museum, 88.4.1B.

Hannah Tomiko Holmes, Fred Korematsu, Gordon Hirabayashi, Michi Weglyn, William Hohri, Aiko Herzig, and Harry Y. Ueno Dolls, ca. early 1990s, fabric, 16” in height, Japanese American National Museum, gift of Hannah Tomiko Holmes, 88.4.1C.