Kyary Pamyu Pamyu, the Japanese pop singer and kawaii model, toured Little Tokyo in downtown Los Angeles to support small businesses that were deeply affected by the pandemic.
Her tour included brief stops at JANM, Anime Jungle, Bunkado, Café Dulce, Fugetsu-do, Honda Plaza, Koyasan Buddhist Temple, the Metro station platform, and Okayama Kobo. Her visit was part of her Local Power Japan project, an initiative that included 30 stops to towns and cities throughout Japan to boost local tourism and make her performances more accessible to fans.
Kyary Pamyu Pamyu also received a set of gifts or omiyage from the JANM Store that were selected and presented by Alexa Nishimoto, the marketing associate for JANM and self-proclaimed super fan of the musician. Kyary Pamyu Pamyu enjoyed the exhibitions and encouraged visitors to learn how the history of Japanese Americans continues to affect future generations.
“The work JANM does is so important for future generations to see,” said Kyary Pamyu Pamyu. “It is important for people to learn about this history.”
Bunkado, Café Dulce, Fugetsu-do, and Okayama Kobo will offer Kyary Pamyu Pamyu-themed food throughout May 2022 at the discretion of store management. Café Dulce and Fugetsu-do are offering Kyary Pamyu Pamyu-themed donuts and mochi. Bunkado is selling Kyary Pamyu Pamyu-themed shirts through the end of this month.
Kyary Pamyu Pamyu’s April visit to Little Tokyo and merchandise dovetails with Asian American and Pacific Islander Heritage Month during May 2022. And what better way to celebrate Heritage Month than with a visit to JANM?
Visit JANM to explore our exhibitions to learn about the Japanese American experience!
In conjunction with our exhibition, Kaiju vs Heroes: Mark Nagata’s Journey through the World of Japanese Toys, JANM is hosting a day-long Kaiju-Con on Saturday, June 15! We want to bring people together in one place to share their love of all things kaiju. Whether you’re into Baltan, Megaguirus, or the king himself—Godzilla—this is the convention for you! The family-friendly gathering will include a vendor hall, workshops, panel discussions, demonstrations, and culminate in a special outdoor screening of Mothra vs Godzilla from 1964. Don’t forget your cosplay! Read our rules first, but we can’t wait to see your costumes, whether they be handmade or Hollywood-ready!
Collector and toy artist Mark Nagata will do a
workshop from 2 p.m. to 3 p.m. on how to paint kaiju vinyl toys. He’ll demonstrate the tricks of his trade,
showing you how to turn vinyl toys into vinyl art! He’ll also have plenty of
exclusive toys available at this convention, including a new colorway of his “Man
of Many Weapons” figure fashioned in the likeness of legendary martial artist
Eiji Kaminaga the president of the Marusan Toy
Company will give an educational and fun talk about the history and future of
Marusan toys and kaiju sofubi. The
Marusan Toy Company created some of the first vinyl kaiju and hero toys of the 1960s! Mr. Kaminaga is also bringing
some of Marusan’s most popular figures including Jirass and Gubila in exclusive
colorways that you can get only at this convention.
If you need to take a break from hitting the
vendor hall or taking in a workshop, we’ll also be presenting a special
screening of the American version of King
Kong vs Godzilla from 1962. Dubbed in English, the film follows as a pharmaceutical
company captures King Kong and brings him to Japan, where he escapes from
captivity and battles Godzilla, who is accidentally released from a block of
ice by a submarine crew.
There will also be plenty to see and do for
even the novice kaiju fan. The
renowned animator and cartoonist Willie Ito is scheduled to sign autographs and
sell his art. His career started in 1954 when he began working at Disney and
was assigned to help on the iconic spaghetti kissing scene for Lady and the Tramp. He also went on to
work at Hanna-Barbera, where he contributed to shows such as The Flintstones and Yogi Bear!
Kaiju-Con is going to be a day of fun and camaraderie. Buy your tickets before 5 p.m. PT on Friday, June 14, and you can enter an hour early plus get two free raffle tickets for your chance to win kaiju and hero prizes donated by our vendors! Raffle tickets will be sold on-site and winners drawn throughout the day. We hope to see you here!
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.
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.
Our Man in Tokyo (The Ballad of Shin Miyata) is my short documentary about the struggles and obsessions of Shin Miyata, a Tokyo-based record label owner and promoter who specializes in the difficult task of distributing Chicano music in Japan.
Shin’s goal has always been to bring authentic and diverse representations of Chicano and Latinx culture to Japan. He has done so with a purity of intention that hasn’t brought him financial gain, but has instead delivered a wealth of understanding that has educated, enlightened, and actually changed the lives of many people.
The documentary was made in conjunction with JANM’s exhibition, Transpacific Borderlands: The Art of Japanese Diaspora in Lima, Los Angeles, Mexico City, and São Paulo. Like the art that was featured in the exhibition, Shin’s work provides a prime example of the intersectionality of Japanese and Latinx cultures and artistic collaborations.
As we were planning our first screening in Tokyo, set for April 7 at an event space called Hare-Mame, Shin was nervous. Not only was he reluctant about promoting a screening of a film about himself, he was also worried that not many people would show up.
He wanted to add more entertainment—more films, maybe even a band. We decided to include Tad Nakamura’s poignant short doc about a little-known slice of Los Angeles’ Crenshaw District, Breakfast at Tak’s, plus a few of Shin’s favorite DJ’s—the Trasmundo crew and DJ Holiday.
Regardless of the additional entertainment, when the night of the event arrived, Hare-Mame was packed to the gills. It was full of Shin’s friends and followers, all eager to watch the documentary about him.
As the film played, the crowd’s reaction was amazing to see. It was much different from audiences in LA and Mexico City, the two cities where the film had previously screened. I don’t know if it was because of cultural differences or personal knowledge of Shin, but the Japanese audience burst into laughter at unexpected moments and actually cheered (!) during a section of the film where other audiences had remained silent.
As the credits rolled, they erupted into a sustained applause—not just for the film, but also for Shin himself, who has impacted their lives in a deeply meaningful way for many years by introducing them to the art, culture, and politics of Chicanos and Latinxs from the US. It was an acknowledgement of all the tireless work he has done for Chicano/Latinx artists and the people of Japan.
Many people thanked me afterwards for telling Shin’s story, but I was just grateful that they had shown up and were open to Shin’s mission of cultural understanding and unity. As I write this, I know that he is already on to a new project—searching for the next band to take to Japan, digging up a long-forgotten album to re-release, or planning another live event. His struggle continues and countless people are better off for it.
On Saturday, March 3, artist Mari Inukai will lead a sold-out kokeshi doll workshop in celebration of Hinamatsuri (Girls’ Day), which takes place that day. It’s no surprise that spots in this workshop went quickly, as the popular artist—whose dreamy paintings and animations often depict and are inspired by the lives of young girls—may be the perfect person to lead a celebration of Girls’ Day.
Born in Nagoya, Japan, Inukai came to the United States in 1995 to study art. After attending Santa Monica Community College, she went on to obtain a BFA in character animation from California Institute of the Arts in 2004. Her short animated film, Blue and Orange (2003), has been an official selection at numerous film festivals, including the 2003 Sundance Film Festival, and was the Japan Grand Prize winner at the Short Shorts Film Festival EXPO 2005. In addition to her animation practice, Inukai regularly exhibits her paintings and drawings. She also designs clothes, toys, and other fun products. She now lives in Beverly Hills with her daughter Sena, who is often a subject of her artworks.
According to her website, Inukai’s paintings are “an expression of her desires, ambitions, and hopes for the future, starting from where she stands now. Like water flowing, seeking its path, [she] channels her direction naturally, finding her importance as she travels forward.” We caught up with Inukai via email to ask her a few questions.
JANM: What inspired you to create this workshop?
Mari Inukai: March 3 is a special day for girls in Japan. Americans may be familiar with Hinamatsuri, but in Japan, that day is also known as Momo No Sekku (桃の節句), the peach harvest festival. The day marks the changing of the seasons, and peach blossoms are said to ward off evil; they also stand for longevity. I thought we should celebrate!
JANM: Why was it important to you to encourage collaboration among participants?
MI: In the past, young Japanese girls would celebrate Hinamatsuri (ひな祭り) together by making dolls, eating sweets, and drinking sweet rice sake. I wanted to recreate that spirit in my workshop, so that we can all inspire and help each other and learn something new together and most of all, have fun!
JANM: What is your own relationship to Hinamatsuri? Was it something you regularly celebrated back in Japan?
MI: I have two sisters, so Hinamatsuri was pretty special when we were small. I remember our mom making chirashizushi (a colorful sushi dish), karaage (fried chicken), or tempura and salad. We would have a cute decorated cake with two dolls on top. There was a lot of laughter. No sake though!
JANM: Looking through your extensive body of work, I see that girls are frequently the subject.
MI: Yes. I paint my daughter Sena most, because she is the most inspiring thing in my life. I paint my friends and their children too. I am really fortunate to have great friends!
JANM: Do you think that Japanese traditions, like Hinamatsuri, have influenced your own artwork?
MI: Absolutely. Not just Hinamatsuri, but all Japanese traditions. In fact, I have curated a special MOMO/桃の節句 group show for Giant Robot that is also opening on March 3. I gathered several talented figurative artists whom I really admire and asked each of them to create their own “Momo No Sekku world.” I am doing a mural in collaboration with Audrey Kawasaki, and perhaps Amy Sol too. Amy has her own solo show opening on the same day at Thinkspace Gallery, so she will be in town. As for myself, I am making paintings with Gansai Japanese water color pigments, so they will look really different from my oil paintings. Please join us for the party!
Born to parents of Japanese and Mexican descent, Shizu Saldamando creates exquisite drawings in which she investigates the variety of social constructs and subcultures seen in Los Angeles’ backyard parties, dance clubs, music shows, hang-out spots, and art receptions. By focusing on the subtle details that define different scenes, she captures the unexpected influences at work in America’s social spaces. Saldamando’s work is currently on view at JANM as part of the exhibition Transpacific Borderlands: The Art of Japanese Diaspora in Lima, Los Angeles, Mexico City, and São Paulo.
This Saturday, December 2, Saldamando will be giving a Members Only Artist Talk as well as leading a craft workshop titled Paper Flowers from the Camp Archives. We sat down with her via email to learn more about her family background, what shaped her practice as an artist, and how she came to develop her paper flowers workshop, which pays tribute to one of the ways that her family—and others—found to deal with the trauma of the World War II Japanese American incarceration.
JANM: I’ve read that your mom is a community organizer and your dad is a human rights lawyer. Your family life must have been filled with social and political awareness and dialogue. Do you think that influenced your artwork?
Shizu Saldamando: Growing up in San Francisco’s Mission District in the 1980s, I was very much influenced by my parents’ work as well as by the Chicano art centers in the area, all of whom were heavily informed by activism, the United Farm Workers, the Central American wars that were happening at that time, and other pressing issues of the day. It was the era of Reaganomics and the Cold War, so a lot of the artwork that was being produced in my neighborhood was heavily loaded and spoke about human rights and issues affecting low-income and immigrant communities—the same issues we are dealing with today.
JANM: The Japanese side of your family was incarcerated during World War II. How did that history influence you growing up?
SS: My mom helped develop a curriculum for the schools in San Francisco that taught about the Japanese American concentration camps, so I was able to make connections between their experience and that of other immigrant communities. I saw the various ways that immigrants and people of color are easily scapegoated and targeted in order to further whatever agenda the current administration is seeking to implement. In my community, I was exposed to artists who used their work to re-contextualize and assert an alternative narrative to what was playing on the news, and that was very influential.
In my own practice now, a lot of my work is not overtly political in that there are not many slogans or protests signs. However, I choose to depict friends and family who occupy a space outside of mainstream circles and who consciously construct their own creative communities. These people are the legacy of many historical struggles; they have, out of the need for survival, created their own supportive spaces.
JANM: Yes, you’ve said that your art is about “subculture and perseverance.” Perseverance, of course, is one of the cornerstone themes of Japanese culture and Japanese American history, as embodied in the popular saying gaman (“bear the unbearable with patience and dignity”). Can you talk some more about your experiences with subcultures?
SS: In the mid-1990s, I moved to Los Angeles to attend UCLA’s art school. There, I was also very influenced by many different musical scenes. Every week, I would go to various punk shows and dance clubs that would be playing anything from gothic industrial music, rock en español, punk, or British pop. Being part of these different scenes in Los Angeles was very special in that most of the people who inhabited them were Chicano/of Mexican descent. There was always a large queer presence as well. Being politically conscious and active was a given within these scenes, especially in the ’90s, so they became very comfortable places for me to inhabit. I made a lot of friends and chose to depict them in my artwork.
I like to think of the community of Japanese Americans who survived the camps as their own subculture as well. They are such a specific group of people, who all went through this awful historical trauma together, and whose descendants carry that weight whether they like to admit it or not. I know for a fact that my own family members who survived the camps all suffer different forms of PTSD in some way or another. Their coping mechanisms differ but I like to recognize one that is always close to my heart: communal crafting.
JANM: Was this the inspiration behind your upcoming workshop on paper flowers?
SS: Yes. Being very influenced by my aunt’s crafting circles and the different projects that she and her friends created, I thought it would be nice to give a nod to her and the communal crafting that happened at the camps. She was only a child when she was incarcerated in the camp at Rohwer, Arkansas, so I’m not sure if she worked with the same flower patterns I’ll be using in my class, but I still think of this workshop as an homage to her and her love of craft.
JANM: I understand that your research on this topic actually stretches back several years. Tell us how it all came about.
SS: One day, I was walking through JANM’s Common Ground exhibition and I heard one of the volunteer docents talking about how, in the photos of funerals at the camps, the funeral wreaths were actually made out of paper. Real flowers were not available at the camps since most of them were located in harsh, remote environments. When people passed away, the community would come together and make paper flowers for the funerals.
Later, I was asked to make an altar for Día de los Muertos and I chose to do a piece in honor of my aunt’s husband, who had been incarcerated at Manzanar and passed away around 2000. I decided to make a paper flower wreath as a nod to camp tradition. I wanted it to be historically accurate, so I made a research appointment with one of the archivists at JANM. The archivist provided me with a huge amount of material. She wheeled in carts of flowers made out of scrap wood, flowers made out of shells, flowers made out of pipe cleaners, you name it, along with several files full of information.
Among those was a book that documented the excavation of the gravesites at Manzanar, providing a complete rundown of all the people who passed away there, how they died, and what was found at their gravesites. There were photos of wire remnants that were once paper flower stems, photos of broken glass jars that once held paper flower bouquets, and photos of people making flowers in the camps. In addition, she found a small catalog insert from an old Woolworth’s catalog that was an instruction manual on how to make paper roses. I made copies of that manual and used it to make the wreath for my altar.
I keep revisiting this project in different forms. When I was invited to participate in the Smithsonian Asian Pacific American Center’s CrossLines: A Culture Lab on Intersectionality in May 2016, I chose to do an interactive wreath-making workshop to call attention to the anti-immigrant and anti-refugee sentiment that is running rampant with our current administration. Tragically, the paper flower project remains pertinent and timely not only because of the current political climate but because now, so many camp survivors are passing on and taking that history with them. I think it’s important to keep their legacy alive and always in our minds.
There are still a few spaces left for Shizu Saldamando’s flower-making workshop on Saturday, December 2. If you are a JANM member, you can also sign up for the Members Only Artist Talk she is giving earlier that day. Visit janm.org for more info and to RSVP.
Many news items come across the desk of the editor here at the First and Central blog. As busy as we’ve been over the last few months with the opening of JANM’s major new exhibition, Transpacific Borderlands: The Art of Japanese Diaspora in Lima, Los Angeles, Mexico City, and São Paulo, and various other developments, we haven’t had the chance to share as many of these as we’d like. Following, therefore, is a roundup of notable news items from the last few months. If you missed any of them, here’s your chance to catch up!
Little Tokyo Has Been Named a California Cultural District
Our own neighborhood of Little Tokyo was named one of 14 California Cultural Districts by the California Arts Council. A new initiative in its first year of operation, the Cultural District designation is designed to “grow and sustain authentic grassroots arts and cultural opportunities, increas[e] the visibility of local artists and community participation in local arts and culture, and promot[e] socioeconomic and ethnic diversity.” The districts are also intended to play a conscious role in tackling issues of artist displacement.
A Cultural District is defined as a “well-defined geographic area with a high concentration of cultural resources and activities.” The designation comes with benefits, such as technical assistance, peer-to-peer exchanges, and access to branding materials and promotional strategy. Per state legislation, each of the districts will hold the designation for five years.
We couldn’t be prouder of our district, which joins other vibrant cultural centers throughout California such as the Eureka Cultural Arts District and Balboa Park in San Diego. To see the complete list of 14 districts, click here. To read more about the initiative, click here.
Wonder Woman Confronts Japanese American Incarceration in New DC Comic
Wonder Woman is looming large in popular entertainment these days. The blockbuster action movie starring Gal Gadot was a huge hit earlier this year, and a sequel is in the works. A smaller film called Professor Marston and the Wonder Women, which explores the origins of the classic comic book character, was just released last month.
The staff at JANM was thrilled, therefore, to learn that a new digital comic book has come out that imagines Wonder Woman fighting, and even helping to prevent, the mass incarceration of Japanese Americans during World War II. The series, titled Bombshells United, is written by Marguerite Bennett and illustrated by Marguerite Sauvage. Bennett decided to write the story after noticing that her cousins’ American history textbooks failed to mention the incarceration. Angered by the erasure, she set about doing her research, reading books like Farewell to Manzanar and No-No Boy, and paying visits to JANM (!) and the Manzanar National Historic Site.
The resulting story focuses on a group of ordinary Japanese American girls who hatch a plan to halt one of the trains going to camp. Bennett chooses to make them the heroes of the story, with some help from Wonder Woman. Although the story is a fantasy, many of the details are historically accurate. Bennett plans to continue exploring a variety of WWII and postwar stories in this series, even looking at intergenerational struggles between the Issei and Nisei.
Read an interview with Marguerite Bennett here. Purchase the comic books here.
Another Exclusive Naomi Hirahara Serial Now on Discover Nikkei
Everyone’s favorite JA mystery writer is at it again. Our Discover Nikkei project, which has hosted several exclusive serials by Naomi Hirahara, is especially thrilled this time to serve as the publisher of Trouble on Temple Street, the third installment in the Ellie Rush detective series. This installment, which follows two published book installments, will be published as an online serial, with new chapters coming out monthly.
Ellie, an LAPD bicycle cop who has been on the force for two years, finds herself in the middle of a Little Tokyo murder case that may potentially involve the people she loves most: her family. Will she be able to connect the dots before the killer harms her aunt, who is deputy chief of the LAPD? Where will Ellie’s allegiance fall—to the truth, or to family loyalty? The serial launched on September 4 and will continue through next August. Read the first two chapters now!
Asian American Comic-Con presented a Summit on Art, Action, and the Future at JANM on July 15. Below, JANM summer intern in public programs and media arts Leighton Kotaro Okada contributes a photo recap of the event.
The first Asian American Comic-Con, held in 2009 in New York City, marked the birth of new discussions in Asian Pacific Islander American (APIA) communities. Eight years later, the Comic-Con has returned to address new developments in APIA media production and representation.
On Saturday, July 15, 2017, dozens of artists, comic fans, bloggers, movie lovers, writers, actors, “Trekkies,” and activists gathered at JANM under the common theme of APIA pop culture. Panels and roundtable discussions touched on various hot topics, including diversity, Asian American women in the film industry, and more. Panelists came from all over the country and represented a range of diverse opinions and experiences, each bringing a unique point of view and novel ideas on the future of APIAs in media.
A roundtable titled “Woman Warriors: Reimagining Asian Female Heroes” gathered actresses, writers, and producers to discuss the advancement of APIA women in the film industry. Topics such as dragon lady and martial arts stereotypes, fighting for rich and novel roles, and the difficulties of working as both an APIA and a woman in the industry came up while answering questions such as “What should we expect in a rich, textured, powerful, and provocative APIA heroine?” and “What’s worked, what hasn’t, and why has it taken so damned long?”
A highlight of the event was legendary actor and activist George Takei receiving the first-ever Excelsior Award for Art in the Service of Activism. Takei was especially happy to receive the award in the same building where he was married. He then joined author, culture critic, and New Frontiers: The Many Worlds of George Takei curator Jeff Yang and Angry Asian Man founder Phil Yu for a special live recording of a They Call Us Bruce podcast. The three talked about Star Trek, politics, and married life, ending with a discussion of “the good, the bad, and the OH MYYY of being George Takei.” Takei’s infectiously hearty laugh and constant joking kept the crowd roaring with laughter.
Asian American Comic-Con’s Summit on Art, Action, and the Future was organized, emceed, and moderated by Nerds of Color editor-in-chief Keith Chow and Jeff Yang in cooperation with the Japanese American National Museum.
Leighton Kotaro Okada majors in East Asian Languages and Cultures with minors in Teaching English to Speakers of Other Languages (TESOL) and Songwriting at USC.