ICYMI: Recent News Roundup

A panel from Chapter 3 of Bombshells United. Courtesy of DC Entertainment.

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!

A Vegetarian’s Guide to Dining in Little Tokyo: Going Vegan, Part 2

Rakkan’s vegan gyoza is very tasty and comes with a unique tomato salsa for extra flavor.
All photos by Sylvia Lopez.

Last week, we looked at some great choices for a filling vegan lunch in Little Tokyo. Today, we will explore vegan options in noodles and desserts!

Rakkan
359 East First Street

Rakkan Ramen is one of the newest restaurants to open up on First Street, just steps away from JANM, and they have some stiff competition. They are one of four ramen spots on that block alone! However, I think they give themselves a strong edge with their wide array of vegan-friendly options.

On the menu, you will find avocado sashimi, an avocado and tofu bowl (they had me at “avocado”), and a vegan gyoza, which is fried without being oily and has a delightful crispiness to it. In addition to all this, they also offer vegan ramen! Now, this is a big deal to me as ramen traditionally features broth made from pork or fish, and noodles made with eggs. As an amateur home cook, I know that you can get some of that umami flavor from kombu and dried shiitake, so it’s always great to see restaurants consider plant-based broths.

The Bekko Ramen at Rakkan.

At Rakkan, they will even provide a laminated card listing their ingredients, allowing curious guests with food aversions to order with some peace of mind. For vegans, you can order the Pearl, Bekko, or Ruby ramen. I had the Bekko, which had a savory miso broth, chewy wheat-based noodles, slices of bamboo shoot and mushroom, cubes of tofu, and fresh chopped scallions. The only thing that left me baffled was the slice of tomato included as a topping, but I’m nitpicking at this point because overall, I was impressed! Ramen is such a comfort food to me and while many think that vegetarians should be content with a salad, Rakkan has demonstrated that variety and substance are possible.

Bonus Tips for Noodle Lovers

For people with wheat sensitivity, there are also gluten-free noodles available at Rakkan. Don’t forget to also try My Ramen Bar’s vegetarian ramen, which features spinach noodles. And if you’re in the mood for a thicker noodle, Kagura, located inside the Japanese Village Plaza, also offers vegan and vegetarian soups—my favorite is their veggie udon.

PB&J or coconut? Which one to choose?!

Café Dulce
134 Japanese Village Plaza, Building E

While I did talk about Café Dulce in my first Vegetarian Little Tokyo blog entry, I come back to it with important news: they now offer vegan donuts! I repeat, DONUTS! This is kind of a big deal considering the fact that I often walk into the JANM staff lounge and see a pink box full of donuts that I could never eat, and can only stare longingly at. When I found out Café Dulce was offering vegan donuts, I was immediately on the case.

Because a staff member at the café is vegan, the owners decided to introduce two new donuts that are made without eggs or butter: the peanut butter and jelly donut and the coconut donut. Both are delicious, flavorful, and sweet without tasting like pure sugar. The PB&J was surprisingly refined; I was expecting a slathering of conventional peanut butter, but instead, you get a raised donut sliced in half, sealed together with just the right amount of jelly, and topped with crushed peanuts. The coconut donut is also raised, topped with a generous amount of thinly sliced coconut shreds, and drizzled with chocolate and nuts. Pair one of these donuts with Café Dulce’s signature coffee or tea, and you’re set for a break time treat!

The vegan coconut donut pairs well with Café Dulce’s signature drinks.

Bonus Tips for Sweet Tooths

Now let’s say you’re in the mood for something sweet, yet more representative of traditional Japanese culture. Head on over to Mitsuru Café, also located inside the Village Plaza. Here you can pick up a mitarashi dango—a sweet rice ball skewer topped with a warm, sugary soy glaze. You can also go to Fugetsu-Do (Little Tokyo’s oldest business!) on First Street, not too far from the plaza, and find a wide variety of mochi and manju that are crafted onsite.

Be sure to check out my other two blog posts (here and here) to learn more about vegetarian dining choices in Little Tokyo!

You can take a real-life vegetarian tour of Little Tokyo this Saturday, October 21, when our intrepid volunteer Roxane Lewis leads Edible Adventures: Vegetarian Little Tokyo. Purchase your tickets here.

A Vegetarian’s Guide to Dining in Little Tokyo: Going Vegan, Part 1

Tofu tacos topped with a vegan coleslaw, one of two bento options at Far Bar.
All photos by Sylvia Lopez.

Being vegetarian in Little Tokyo is getting easier than ever. Being vegan—which means eliminating all animal-related products from one’s diet and lifestyle—still offers a bit of challenge, especially when you have lunch meetings with coworkers and you don’t want to inconvenience them. While I will gladly take one for the team and just go with a salad on a lunch outing, I’m happy to report that there are some great vegan gems to be found in Little Tokyo—some recently added! In fact, I have so many tips to share that this blog post will have to be divided into two parts.

So if you’re thinking about taking more steps toward a plant-based lifestyle, or just want to try something different, read on for my suggestions, and don’t forget to check back next week for Part 2!

Sandwich Shop
123 Astronaut E S Onizuka Street, Suite 108

The vegan chicken banh mi from Sandwich Shop.

Located next to the Marukai Market in Weller Court is an inconspicuous little place: The Sandwich Shop. Their name says it all—they have sandwiches! I was excited to see that they actually have a vegan offering, and a hearty one at that. The vegan chicken banh mi includes pickled vegetables, jalapeño peppers, cilantro, and vegan mayo, all on a crisp baguette. The “chicken” is soy-based and marinated in a ginger sauce, giving it a delicious flavor that blends well with the other components.

This one made me nervous the first time I tried it because it was a little too much like the real thing. But if faux meat is your thing, or if you are an omnivore looking to add more plant-based meals to the mix, this is a great option that always hits the spot, especially when I’m on the verge of being “hangry.” They offer a variety of chips to choose from, so grab a bag along with your sandwich for the perfect lunchtime recharge.

Far Bar
347 East First Street

The Thai curry bento at Far Bar, my favorite of their two vegan bento offerings.

Just steps from JANM is Far Bar, a hip fusion restaurant specializing in craft beer, spirits, and enticing food. Its location in the historic Far East Building gives it a chic vintage vibe, making it a great spot to unwind after a long day. While their dinner menu includes a number of vegan specialties, I’m going to focus on their lunch offerings, which feature not one but two vegan bento plates: the Thai curry and the tofu tacos. Each bento comes with a vegan mushroom soup, edamame, a grain salad, rice, and fresh fruit, all for just $10.

My favorite, the Thai curry, has a variety of squash, carrots, and potatoes in a creamy broth with a hint of coconut and spice. The mushroom soup is light yet robust in flavor, and the grain salad is a nice, refreshing complement to the meal. The tofu tacos are tasty and a great example of Japanese-Mexican fusion, which this vegan Chicana working in Little Tokyo can really appreciate! Make sure you ask for hot sauce though as these tacos are very mild in flavor. I only wish you could order these bentos for dinner as well as lunch!

Next week: ramen and desserts!

Did you enjoy these tips? Come take a real-life vegetarian tour of Little Tokyo on Saturday, October 21, when our intrepid volunteer Roxane Lewis leads Edible Adventures: Vegetarian Little Tokyo. Purchase your tickets here.

“Transpacific Musiclands” Celebrates Japanese/Latinx Cultural Exchange and Collaboration

I have a friend in Tokyo. His name is Shin Miyata. For the past 17 years, Shin has been running an independent music label called Barrio Gold Records. He primarily distributes groups from across Latin America, but his specialty is Chicano music from East Los Angeles. He also brings bands from East LA to Japan to perform live.

Nobody else in Japan is doing this kind of work.

I met Shin back in 2000, when I had the opportunity to go with the band Quetzal to Tokyo to document their tour. I learned that Shin had lived in the East LA neighborhood of City Terrace as a college student in the mid-1980s, doing a study-abroad home stay. He had been deeply inspired by Chicano books, films, and music—specifically 1970s bands like El Chicano and Tierra—and he had come to LA because he wanted to experience the Chicano culture first hand. He even took Chicano Studies classes at East LA College.

Shin Miyata. Photo by Rafael Cardenas.

On a recent visit to Los Angeles, Shin told me that it was his dream to bring over musicians from Japan so they could perform with musicians from East LA. Specifically, he wanted to bring Japanese musicians that play different types of Latin music. He believed that audiences would appreciate the heart and soul they put into the music, and that it would be amazing to see this sort of collaboration.

Thus, the idea for Transpacific Musiclands was born.

The Japanese American National Museum, located in Little Tokyo just across the bridge from Boyle Heights and East LA, would be the perfect venue. Shin would curate the event, drawing on some of the many Chicano bands he has worked with, and also selecting musicians from Japan to participate. The event would celebrate his work as a cultural ambassador while also encouraging unity and collaboration during a time of great political and ideological division worldwide.

Held in conjunction with the groundbreaking exhibition Transpacific Borderlands: The Art of Japanese Diaspora in Lima, Los Angeles, Mexico City, and São Paulo, Transpacific Musiclands will take over the JANM plaza on Saturday, October 14, 5–9:30pm. Featured acts will include Quetzal, El Haru Kuroi, and La Chamba. Conjunto J, a group from Osaka that plays Mexican border music, will join in, along with Tex Nakamura, East LA Taiko, and poets Luis J. Rodriguez and Ruben Funkahuatl Guevara. There will be DJ sets by Gomez Comes Alive and the man himself, Shin Miyata.

Each of the featured artists has benefited from Shin’s work, but they also share a deep affection for him. He has worked to create cultural exchanges and understanding between East LA and Japan for many years, and in doing so, has built a strong network of loyal friends.

Along with all of this incredible music, the Okamoto Kitchen food truck will be there, along with a beer garden by Angel City Brewery. Concertgoers will also be able to check out the exhibitions inside the museum till 8 p.m.

You can get your tickets right HERE.

Transpacific Musiclands is supported by Los Angeles County Arts Commission. It is
held in conjunction with the exhibition
Transpacific Borderlands: The Art of Japanese Diaspora in Lima, Los Angeles, Mexico City, and São Paulo, which is part of Pacific Standard Time: LA/LA, a far-reaching and ambitious exploration of Latin American and Latino art in dialogue with Los Angeles, taking place from September 2017 through January 2018 at more than 70 cultural institutions across Southern California. Pacific Standard Time is an initiative of the Getty. The presenting sponsor is Bank of America.

JANM Works with Metro and Boyle Heights High School Students to Create Construction Phase Artworks for the Bunker Hill Neighborhood

Decorative banners created by the students of Boyle Heights High School can now be seen on Hope Street between 2nd and 3rd in downtown Los Angeles. All photos courtesy of the author.

The Japanese American National Museum was honored to be chosen by the Los Angeles County Metropolitan Transportation Authority’s Metro Art Program to participate in the design of decorative banners to cover the Regional Connector Transit Project construction site. Over a year in the making, the banners can now be seen on Hope Street between 2nd and 3rd, just around the corner from The Broad.

JANM was commissioned by Metro to identify professional artists to mentor local high school students in creating the artwork for the banners. We chose the wonderful Ako Castuera and Edwin Ushiro, both of whom have exhibited their work at JANM, to work with an excellent group of students at Boyle Heights High School.

Led by Steve Brye, students from Boyle Heights High school
take a walking tour of the Bunker Hill neighborhood.

Students were first asked to learn about the history and iconography of the neighborhood so they could incorporate it into their art. We took a walking tour of Bunker Hill, during which the students documented the area with sketches and photographs. The tour was led by Metro’s Senior Transportation Planner Steve Brye, who is a longtime resident of Bunker Hill. Students then reviewed their own images as well as some historical photographs, and came up with imagery that was inspired by Bunker Hill past and present. Ushiro worked to compile their artwork into larger pieces for the banners.

The students go through the photographs they took while on their tour.

During the course of this project, JANM staff had the opportunity to visit the students at their school in our neighboring community of Boyle Heights and the students came to visit us here in Little Tokyo as they created art inspired by Bunker Hill. I can’t help but think how great it is that we’re in Los Angeles, where so many diverse and interesting communities can intersect to create something that makes our city a little brighter. The next time you’re in the Bunker Hill area, be sure to check out the work of the students from Boyle Heights High School!

Thank you to Metro, the students of Boyle Heights High School, Principal Leigh Ann Orr, Ako Castuera, and Edwin Ushiro. We had a great time working with you all!

More about the Regional Connector Transit Project: metro.net/projects/connector
More about the Metro Art Program: metro.net/art

My Summer as a JANM Intern

JANM’s 2017 summer interns spending time in Little Tokyo.
L to R: Mia Kato, Karina Kawana, Leighton Okada, and Ridge Hirano.

Mia Kato interned this past summer with JANM’s facility maintenance and rentals department. She offers the following account of her experience.

When I first started interning at the Japanese American National Museum, I thought I would be doing such typical intern tasks as getting coffee, making photocopies, and stapling documents together. Little did I know that my summer was going to be filled with different tasks every day—from designing a website to tasting sushi at a hotel.

I was pretty nervous in the beginning. Learning where everything was and how to use it was very overwhelming at first. Not to mention, remembering everyone’s names was a challenge—thank goodness for name cards! When I was presented with a desk in the facilities office and a building access badge, I felt official. Having sat in classrooms all of my life, the work setting felt a lot different to me. I felt like a real grownup for once and it was great.

Over the last couple of months at JANM I learned a lot. I initially came here because I needed to complete a 400-hour course credit requirement for school. As I put in these hours however, I was exposed to many different aspects of museum operations, including visitor services, public programs, and facility maintenance and rentals. These different departments taught me a lot of things and I am so thankful for the people who took me under their wing.

In visitor services, I experienced what it was like to be the first person to represent the museum. To be able to answer the numerous questions that always came in, I had to expand my knowledge about the museum, Japanese American history, and Little Tokyo. Being in the front of the museum also brought me closer to the visitors that came in, because I got to learn their stories and their personal connections to Japanese American history.

When I worked in public programs, I was amazed to learn how many little details go into each event. I learned to think outside of the box and to look at not only the bigger picture but the smaller details. This department helped me understand a lot more about my hospitality administration major and everything that it takes to organize an event.

Facility maintenance and rentals was the primary department that I was assigned to. At first, I was a little wary about being in this department because I did not know what kind of work it would entail. To my surprise, this was not your average 9-5 job; every day was a different adventure. My supervisors were amazing and always included me in the various activities that went on throughout the day. I was able to go on walkthroughs, join food vendor tastings, and even climbed to the roof of the building at one point.

Together, our department worked on marketing and advertising facility rentals for the museum. We worked on a new website, a brochure, and a rentals packet. They taught me the process of organizing event rentals, which requires a lot of paperwork and attention to detail. I also got to work on my correspondence and communication skills.

Overall, I had a wonderful experience at JANM. I came in very hesitant and nervous, but I am leaving with new skills and experiences that I never in my life thought would happen. Each department taught me something a little different that I will be able to apply to my studies at school and in the future, at work. I appreciate everything that I got to do this summer through JANM and I hope that the next group of interns will have as much fun as I did.

Mia Kato is studying hospitality administration at Boston University.

Transpacific Borderlands Sneak Peek: Erica Kaminishi’s Prunusplastus

The beginning of the installation of Erica Kaminishi’s Prunusplastus.
Photo by Vicky Murakami-Tsuda.

It’s a big week here at JANM as we prepare to open Transpacific Borderlands: The Art of Japanese Diaspora in Lima, Los Angeles, Mexico City, and São Paulo, a group exhibition that examines the work of 13 artists of Japanese ancestry born, raised, or living in either Latin America or predominantly Latin American neighborhoods of Southern California. The show is part of Pacific Standard Time: LA/LA, a Getty-led initiative exploring Latin American and Latino art in dialogue with Los Angeles.

Shipments of artwork have been arriving from all over the world and artists have started to arrive as well, to supervise the installation of their works and to participate in our festive opening weekend activities. One of the first artists to arrive from abroad was Erica Kaminishi, a Brazilian-born Nikkei who now lives in France. One of her featured artworks, titled Prunusplastus (2017), is a large-scale, site-specific installation made up of hundreds of petri dishes filled with synthetic cherry flower petals. The dishes are strung up with nylon threads so that they form a dramatic cascade of decorative plastic flowers.

Kaminishi’s ambitious concept required the assembly by hand of 3,300 petri dishes filled with 60,000 synthetic flowers. Work on this project actually began weeks ago, right here in Los Angeles, and became a massive group effort among JANM interns, volunteers, and staff members. Leighton Okada, JANM’s summer intern in public programs and media arts, was particularly instrumental in this effort, as he enlisted several of his own family members and provided meticulous quality control over the production process, which required hot gluing the flowers into the petri dishes.

Leighton Okada, right, assembling cherry flower petri dishes with members of his family.
Photo courtesy of Leighton Okada.

Last Friday morning, shortly after arriving in Los Angeles, Kaminishi and project manager Claudia Sobral held a small coffee and pastry event to thank some of the people who volunteered to assist with the project. During an informal Q&A, Kaminishi explained the meaning behind her artwork: “In Japan, the celebration of flowers blooming in the springtime, such as the famous cherry blossoms (sakura), is a major tradition. I wanted to reproduce this atmosphere in a contemporary way, while examining the ways that we appreciate and nurture culture. The work touches on the Japanese concept of mono no aware, which holds that while beauty is very affecting, it is also, like all things, ephemeral. Nothing is eternal.”

One of the volunteers pointed out the irony of putting static plastic flowers in a petri dish, which typically holds living specimens. Kaminishi remarked that while she was doing her PhD studies in Japan, she took classes in biology and chemistry, which influenced her art practice. Indeed, the word Prunusplastus is an alteration of Prunus serrulata, the Latin name for the Japanese cherry flower. The word plastus means “something modeled” in Latin, and the work employs a quasi-scientific framework to isolate the cherry flower as a cultural object/concept in order to contemplate and investigate its nature and origins. Being an artist of mixed cultural background, concepts of shifting identity and blended DNA also figure into Kaminishi’s work.

Erica Kaminishi contemplates the installation of her work, Prunusplastus.
Photo by Vicky Murakami-Tsuda.

Although Kaminishi has been thinking about the concept for Prunusplastus since her time in Japan, this is the first time it’s been realized. In addition to this installation, she also has four drawings from her Clouds series in Transpacific Borderlands.

Transpacific Borderlands opens to the public on Sunday, September 17.

Scapegoat Cities: New Podcast Explores Japanese American Incarceration

Podcast logo by Kelsea Bauer. The design combines a bonsai tree with the scales of justice.

The following guest blog post, announcing the launch of a new podcast exploring the World War II incarceration of Japanese Americans, is contributed by Eric Muller, a law professor and longtime friend of the museum.

After the election of Donald Trump, many people were asking themselves: “How can I help counter what lies ahead?” I decided to create a podcast called Scapegoat Cities, which is launching today.

The idea is simple. Over the course of two decades of deep research in the National Archives for my books and articles, I’ve gathered many touching but unknown stories of the forced removal and imprisonment of Japanese Americans during World War II—stories that put a human face on the gross miscarriage of justice. Scapegoat Cities lets me tell a handful of those stories in an accessible and compelling way.

I believe that if we want to ensure that something never happens again, we need to first ensure that we really know what it was that actually happened. That’s what this podcast is for: to help listeners know in detail and also feel how Japanese Americans experienced unwarranted confinement by the US government. My hope is that this will contribute in some small way to resisting the dangerous religious and ethnic profiling that the policies of the Trump administration threaten to enact. It will remind people of the real human costs of these seemingly abstract policies.

The first two episodes, available now, give a good idea of what the podcast will do. “The Desert Was His Home” tells the story of the disappearance and death of Otomatsu Wada, an elderly Issei, from the Gila River concentration camp in Arizona. In “The Irrepressible Moe Yonemura,” an extraordinary young man defies all odds and becomes one of the most popular and respected members of his class at UCLA. He brings the same indomitable spirit to his time at the Heart Mountain camp—and then he volunteers for wartime service as part of the renowned 442nd Regimental Combat Team. Both of these stories are based on real events that took place at those two camps. Each of the stories, in its own touching way, reveals something important about the nature and impact of confinement.

It’s surprising how much information survives that helps me tell these stories. I learned the story of the disappearance of the Issei gentleman from the records left behind by Gila River’s “Project Attorney,” the white government lawyer who both helped run the camp and who served as a legal adviser for inmates. The story was also extensively covered in the camp’s newspaper and in Arizona newspapers. I first learned about Moe Yonemura from the pages of the Heart Mountain Sentinel, the camp’s newspaper, and then discovered the UCLA campus newspaper and yearbooks and the narrative records of his battalion’s service in Italy online.

There are lots of ways to listen to the podcast. The easiest is to subscribe to the podcast on iTunes or wherever else you like to find your podcasts. You can also go to the podcast’s website, which has each episode available for download along with additional background information, including photographs and suggestions for further reading.

I hope people enjoy the podcast, and that those who do will leave a review on iTunes and tell their friends!

Eric Muller is a law professor at the University of North Carolina at Chapel Hill. The son of a Jewish refugee from Nazi Germany, Muller has for two decades focused his research and scholarship almost exclusively on the wartime removal and imprisonment of Japanese Americans. He’s published two monographs and a third edited volume as well as many academic articles. He’s also proud to have led the creation of the main historical exhibit at the site of the Heart Mountain concentration camp in Wyoming, which won museum awards.

The Wonderful World of Washi

Rolls of washi on display in Kamakura, Japan. Photo by Alex Watson via Flickr.

On Saturday, September 9, JANM will premiere a new jewelry workshop titled The World of Washi. Led by Reiko Nakano, this introductory class will teach participants about washi, a traditional Japanese handmade decorative paper, and how to apply it onto a variety of wooden shapes to create jewelry.

Washi, which literally means “Japanese paper,” dates back to the seventh century, when paper was first brought to Japan from China by Buddhist monks. The Japanese quickly developed their own methods for making paper, using fibers from three plants native to Japan: kozo (mulberry), gampi, and mitsumata. The handmade process was passed down from generation to generation, and the quality of the paper, which was stronger and more versatile than its Chinese predecessor, became highly renowned and sought after. By the late 19th century, there were more than 100,000 families in Japan making washi.

As demand for paper grew, machine-made papers from the West grew in popularity, and handmade production of washi declined. By 1983, there were less than 500 papermaking families left in Japan. Washi, however, remains an important and cherished part of traditional Japanese culture; it is still used in religious ceremonies, and can be seen in a variety of applications from fine books and artworks to stationery and crafts.

Mini Hina Rabbits in a Washi Tube — one of several washi-based products available at The JANM Store and janmstore.com.
Reiko Nakano, a lifelong teacher, discovered what she likes to call “the wonderful world of washi” on her trips to Japan. “Being made from three different plant fibers, washi is natural and resilient,” she enthuses. “It is the perfect medium for calligraphers and designers, who decorate it with historical patterns and modern motifs.”

Nakano discovered that washi is also great for making jewelry because it’s so adaptable. “Washi can cover any surface: round wooden beads, cardboard trays, glass pendants, steel plumbing tools, cork coasters,” she says. Her class on September 9 will focus on making a souvenir washi pendant necklace using wooden beads; in the process, participants will learn techniques of looping and wrapping, how to make an adjustable knot, and how to lacquer washi projects. Another class on December 16 will utilize plumbing hardware, like washers.

Washi is acclaimed for having properties like no other paper: it is strong, light, acid-free, translucent, and uniquely textured. It also absorbs inks and dyes well, and resists creasing and tearing. Nakano is excited to share its possibilities. “With a few simple tools, some ‘tricks of the trade,’ and a lot of patience, anyone can enter the wonderful world of washi.”

This workshop is made possible in part by a grant from the City of Los Angeles, Department of Cultural Affairs. For more information and to register, click here for September 9 and here for December 16.

Asian American Comic-Con’s Summit on Art, Action, and the Future

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.

A roundtable discusses the advancement of APIA women in the film industry.
All photos by Leighton Kotaro Okada.

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.

JANM President and CEO Ann Burroughs with George Takei, Keith Chow, and Jeff Yang.

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.

Phil Yu, Keith Chow, George Takei, and Jeff Yang gather for a selfie at the event’s conclusion.

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?”

George Takei receives the Excelsior Award for Art in the Service of Activism.

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.

George Takei, Jeff Yang, and Phil Yu tape an episode of the podcast They Call Us Bruce.

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.