Hayakawa family Christmas photo, ca. 1935. Ruth with candy cane in back row, left. (Gift of Ruth S. Kacho, 2002.4.1)
This year’s JANM holiday card features a photograph of the Hayakawa family celebrating Christmas. The 3.75″ square photo is one of dozens of family moments captured in the Hayakawa family photo album donated by Ruth Sumiko Kacho (née Hayakawa) in 2002, and preserved in JANM’s permanent collection.
The Kacho Collection, totaling 68 objects, includes studio portraits, panoramic photos, marriage licenses, letters, books, and a photo album, which includes dozens of candid family shots including this year’s holiday image.
The album was compiled by Ruth’s father, Mataichi (Martin) Hayakawa, who inscribed its pages with the locations, dates and names of those in the photographs. The back page of the album, is marked with the date November 30, 1967, presumably indicating when the album was completed.
Hawakawa family photo album (Gift of Ruth S. Kacho, 2002.4.1)
The album includes photographs of Mataichi and his wife, Tomiko, and their families and friends in Japan and in South America; Mataichi and Tomiko’s lives before marriage—including his travels to South America, Cuba, and England, and her service as a nurse in Korea; their life and floral business in Southern California; family friends and associates in Southern California; family trips to tourist destinations in the U.S. and Japan; post-war life in Japan during the occupation; and two generations of child rearing (Mataichi and Tomiko Hayakawa; Ruth and her husband, Marquis Hironobu Kacho).
Ruth Hayakawa, 1941. Inscription reads: “Darling Baby, From Sis” (Gift of Ruth S. Kacho, 2002.4.7)
Upon its acceptance into JANM’s permanent collection in 2002, curator Emily Anderson wrote, “The album figuratively and literally brings together into a single document the separate and shared experiences of Mataichi, his wife Tomiko, Ruth and her siblings, and Hironobu Kacho.”
The Kacho Collection also includes an oral history interview with Ruth. Prompted by JANM volunteers Its Endo and Yoshiko Sakurai, on December 1999, Ruth sat with JANM volunteer Gary Ono and curator Sojin Kim to tell her fascinating life story and have it videotaped. Ruth recounted her father and mother’s immigration story, her childhood growing up in Los Angeles’s Atwater Village district, her education in Japan at Keisen Girls School in Tokyo, her marriage to Marquis Hironobu Kacho, and her work in Japan during World War II as a broadcaster with Radio Tokyo.
For the first time since its recording, Ruth’s interview can now be viewed as part of JANM’s Unboxed video series, which shines light on the thousands of objects in its permanent collection.
And perhaps, as you gather (remotely via Zoom or Skype) with aunts, uncles, and grandparents this coming holiday season, you will find time to sit, talk, and possibly record some of your own family stories!
This summer, Getty Marrow undergraduate interns from JANM, La Plaza de Cultura y Artes, and the Italian American Museum of Los Angeles collaborated to create a collections-based project that explored the question:
How have immigrants and subsequent generations shaped what it means to be American?
The initial goal of the project was to highlight the agency of immigrants in shaping American identity. However, the interns’ submissions suggested that the answer to this specific question would not fully encapsulate the experience of immigrants and their descendents in the United States. As a result, each intern expanded the parameters of the question to provide a different perspective and highlight an artifact that touched upon different facets of the American experience and identity. In this post, Rino Kodama and Araceli Ramos explore the ingenuity of immigrants to endure economic and social hardships in the United States by integrating aspects of their culture and values.
Rino Kodama of the Japanese American National Museum and Araceli Ramos of La Plaza de Cultura y Artes selected items that demonstrate the ingenuity and adaptability of immigrant women in the United States. Araceli’s artifact tells the story of a Mexican immigrant who created a unique American identity for herself by combining her traditional sewing skills with her new life in the United States. Rino’s submission continues the theme of ingenuity in her analysis of an indigo kasuri jacket. For Rino, the jacket, which was repurposed from a kimono to plantation clothing, symbolizes how Japanese immigrant women drew upon cultural traditions out of necessity to survive in the United States. Rino and Araceli’s posts demonstrate the notion that in the face of immense hardship, immigrant women have integrated aspects of their own culture in order to reinvent themselves and establish a unique and blended American identity.
Velvet Jacket
Contributed by: Araceli Ramos, La Plaza de Cultura y Artes
Lupe Lara, untitled, 1926, Calle Principal: Mi México en Los Ángeles Permanent Exhibit. 2011. LA Plaza de Cultura y Artes. Los Angeles, CA.
The rust colored velvet jacket on display in Calle Principal: Mi México en Los Ángeles, a permanent exhibition located inside LA Plaza de Cultura y Artes, has a dynamic history filled with memories of family and tradition. This piece was donated to the museum during its first year of operation in 2011. Arlene Etheridge, a volunteer, wanted to help showcase Mexican migration stories during the 1920s. The piece dates back to 1926, when it was hand stitched by Lupe Lara, Arlene’s mother, who migrated to the United States in 1921 at the age of 9. The piece was made in the fashionable fitted style of the era using a rust colored velvet fabric. It is adorned with velvet covered buttons, and corresponding loops, along the middle closure of the main body. The fine sewing on the puffed sleeves and pointed collar add a decorative touch to the fitted silhouette.
Lupe Lara was born on May 27, 1912, in Zamora, Michoacán, México, to Luciano Lara, a Zamora courthouse judge and Dolores Covarrubia, a homemaker. In 1915, when Lupe was just three years old, the Typhus epidemic erupted in Mexico City, taking the lives of thousands of people as it spread across the nation. Tragically, Lupe’s mother and younger sister passed away in 1917 after contracting the disease. Unable to care for his daughter, Luciano moved Lupe into a nearby convent to be cared for and raised by nuns. The state of Michoacán is known throughout Mexico and the world for its regional epicenters of artisan crafts. While in the northern convent, Lupe received an elementary school education and learned the regional skill of fine hand-sewing and embroidery. She lived there for five years until 1921 when her father returned with the news that they would be moving to the United States. After joining a large caravan of horse drawn carriages, they arrived in Los Angeles a year later in 1922. In 1924, Luciano was able to purchase a small grocery store at the cross section of Kearney St. and Myers St., just north of Mission Road in Los Angeles. Lupe attended elementary school in Boyle Heights and would work at her family’s store in the evening after school.
In 1926, Lupe received a Singer sewing machine as a Christmas gift from her father. Two years later and at the age of 16, she began working as a seamstress in Downtown L.A.’s garment district. Due to her advanced knowledge of the craft, she was quickly promoted. The skills she learned during her time in the convent, and later honed while living in Los Angeles, became a source of security for herself and her family during the Great Depression. While millions were losing their jobs, Lupe was able to provide for her family by using her sewing skills to create beautiful dresses for the Hollywood elite of the era. Later in life, Lupe married and became a homemaker. She taught her children the skills she learned when she was a child. Lupe’s daughter, Arlene, inherited her mother’s affinity for craftsmanship. She became an artist incorporating her mother’s traditional sewing techniques into her art, embroidery, and jewelry designs.
Lupe’s story reveals that the “American Identity” has always been a complex combination of diverse backgrounds and experiences. Instead of succumbing to societal pressures of complete assimilation into American culture, Lupe used her traditional sewing skills to create an identity for herself that beautifully blended her heritage with her life in the United States. Her velvet jacket represents the reconciliation of two cultures into a singular “American Identity” that lives and has evolved in Los Angeles and through her descendants.
Indigo Kasuri Jacket
Contributed by: Rino Kodama, Japanese American National Museum
Tazawa Haruno, Indigo Kasuri Jacket (Hawai‘i), early 1900s, Barbara Kawakami Collection (2004.1.27), Japanese American National Museum. Los Angeles, CA.
This indigo kasuri jacket is one of many pieces in the Barbara Kawakami Collection at JANM. The jacket is a navy blue, denim color with a white dot pattern and mock collar. The fabric is worn out and many layers of stitches are made with a sewing machine in an attempt to keep the fabric together. This particular jacket was made by Haruno Tazawa.
“Kasuri” is a Japanese textile term to describe fabric that has been treated with a dye process involving a resist method, creating geometric shapes. These types of jackets were worn by Japanese women plantation laborers in Waipahu, Hawai‘i during the early 20th century. The design of the kasuri jackets drew inspiration from other immigrant working class communities. For example, the “mock” collar stems from the Mandarin collar, as many Chinese laborers wore this style of clothing and it protected their necks from the sun, as well as from dust. The cotton kasuri fabric was originally a kimono, and turned into a jacket by Haruno Tazawa, a picture bride from Fukushima, Japan.
The majority of issei women were picture brides—women who immigrated to the United States through the process of an arranged marriage. Tazawa arrived in Hawai‘i on July 27, 1917 and married Chozo Tazawa, arranged by her sister who was already living and working on a Hawaiian plantation. Mr. Tazawa was a Luna, a plantation foreman considered a high status position back then for a Japanese man. Mr. Tazawa passed away early, and life became difficult for Mrs. Tazawa as she only had 35 cents to her name. She began to sew tabi, bento bags, and jackets for plantation bachelors at night to support herself and her four children.
Men like Mr. Tazawa travelled to Hawai‘i and the continental United States seeking economic opportunity, but many ended up working in low paying jobs at sugarcane and pineapple plantations—women laborers made about 16 dollars a month.
Many picture brides like Mrs. Tazawa who immigrated to the United States utilized their skills in textiles and sewing to repurpose their prized kimonos into “plantation clothing”—apparel that can withstand the long hours in the sun working in sugar cane and pineapple fields. At first when they began working on the plantations, they wore their kimonos as they were used to wearing them. Realizing that carrying out heavy labor was not easy with long kimono sleeves, they began to alter their kimonos into clothing better suited for the plantation. The design of plantation clothing drew from Chinese, Portugese, Puerto Rican, and Hawaiian apparel. An exchange of cultural wear allowed women to create clothing that would feel comfortable and supportive for their labor. For example, the Mandarin collar and gusset sleeve came from Chinese laborers. Gathered skirts were drawn from Portugese and Puerto Rican women. Along with the kasuri jacket, women would wear a straw bonnet, using scarves to cover their face, and momohiki (pantaloons). To view more artifacts in the Barbara Kawakami Collection, click here.
This kasuri jacket, along with Haruno Tazawa’s story as a picture bride reveal that immigrants have shown resilience in an unknown land while facing economic insecurity, and adapted cultural traditions to survive in America. Using their precious kimonos and repurposing them into plantation clothing came out of necessity. Although separated by language and ethnicity, immigrant women laborers drew textile techniques from one another to create plantation clothing, crossing cultures to support one another as working class women. The United States of America is known as the “Land of Opportunity,” but the experiences of Japanese women laborers in Hawai‘i reflect that their realities were extremely difficult, working endlessly to sustain themselves and their families.
Both Lupe Lara and Haruno Tazawa faced economic uncertainty, but through their ingenuity and resolve they were able to survive and support their families. Tazawa and Lara’s experiences also demonstrate the complexity of the “American identity” and American experience. Tazawa and Lara combined their backgrounds and experiences to help themselves adapt to life in their adopted country. In the case of Tazawa, she blended her culture and skills into her new life by repurposing her kimono in order to adapt to the harsh plantation labor. For Lara, her American identity was an amalgamation of her life in Mexico and her need to support her family and herself in the United States. The design of Lara’s velvet jacket exemplifies her “American identity” as it mixed Lara’s Mexican culture and fashion with her new found life in America. After her success in the Los Angeles’s fashion district, Lara passed on her skills and craftsmanship to her own children, and subsequently also handed-down her blended Mexican-American traditions and values.
Rino and Araceli demonstrated through their highlighted artifacts that immigrant populations have often shaped the definition of what it means to be an American, by necessity. Lara and Tazawa had to adapt in order to survive the economic insecurity they faced when they immigrated to America, and consequently, their experience in their adopted country was defined by their perseverance. Together, Rino and Araceli reveal that the American experience and “American identity” are complex and are greatly influenced by the experiences of immigrant populations.
If you are interested in viewing Lupe Lara’s jacket or learning more about Los Angeles during the 1920s, you can visit La Plaza de Cultura y Artes and view one of their permanent exhibitions: Calle Principal: Mi México en Los Ángeles. If you would like to learn more about the Barbara Kawakami Collection or see other artifacts and textiles pertaining to late 19th and early 20th century Japanese immigrants, you can view JANM’s online collection.
Flip through the Vendor Catalog for more great gift ideas. You an also watch the Virtual Kokoro2020 video to see some of the vendors talking about their products (find links to all of the vendor’s websites/contacts below the video).
Make sure to write “Kokoro2020” on your orders this month so that your purchases will benefit JANM’s educational programs!
Thank you for your support of Kokoro2020 and JANM. The Kokoro Committee wishes your holidays are safe and most joyous.
Just in time for the holidays, Virtual Kokoro2020 offers a variety of gifts for the home. Holiday ornaments for your tree (Alyson Iwamoto Ceramics and Kirei Cositas), guava jam (Lileeku Jam), crocheted animals (Some Mo Crafts), decorative birdhouse (Simmisu), wall planters (Stacy Wong), artwork for your walls (Pomegranate Designs), tea towels for your kitchen (DaTojos), and coasters for your coffee table (Color Conscious)! Visit Virtual Kokoro2020 for gifts that bring warmth and joy to your home.
Watch the Virtual Kokoro2020 video program (find links to all of the vendor’s websites/contacts below the video) and check out the vendor catalog. Some of the vendors mentioned above talk about their products in the video! Make sure to write “Kokoro2020” on your orders this month so that your purchases will benefit JANM’s educational programs!
My name is Jose Quirarte and this summer I have had the opportunity to work at the Japanese American National Museum as the Getty Marrow Collections and Curatorial Intern. I recently graduated from California State Polytechnic University, Pomona with a bachelor’s degree in history. Throughout my undergraduate work I studied the 20th century ethnic American experience, focusing a majority of my research on the unjust incarceration of Japanese Americans during World War II. As a result, I wanted to create a capstone project during my internship at JANM that reflected my research interests in the Japanese American experience as well as those of other ethnic communities by exploring the complexity of American identity.
In order to fulfill this capstone project, I invited Getty Marrow Undergraduate Interns from JANM, La Plaza de Cultura y Artes, the Chinese American Museum, and the Italian American Museum of Los Angeles to collaborate and create a collections-based project that focused on the ethnic American experience. Specifically, the project invited each intern to highlight items in their museum’s respective collection that reveal lesser known stories and demonstrate how the American experience has been shaped and defined by its rich ethnic history.
Interns selected an artifact or artwork that related to the broad project question:
How have immigrants and subsequent generations shaped what it means to be American?
Participants were encouraged to view and interpret this question from different perspectives and were provided a variety of sub-questions to further delve into different facets of the American experience. The initial goal of the project was to highlight the agency of immigrants in shaping American identity. However, the interns’ submissions made it clear that the answer to this specific question would not fully encompass the American experience of immigrants and their descendents. The interns, through the objects that they selected and wrote about, demonstrated the complexity of the immigrant experience in the United States. They underscored obstacles and triumphs, the ingenuity of immigrants, the unique cultural identity that formed, and the notion that “being American” has not historically conformed to one singular definition.
The following Getty Marrow Undergraduate Interns participated by shaping their own interpretations of the project question:
Japanese American National Museum: Jose Quirarte, Shelby Ottengheime, and Rino Kodama
Italian American Museum of Los Angeles: Mercedes Solaberrieta
La Plaza de Cultura y Artes: Araceli Ramos
The resulting capstone project has been crafted into a blog series titled Ethnic Effects. I have synthesized and framed the submissions into a series of posts that reveal a different facet of the American experience through an analysis of collection items.
I answered the broad project question, by selecting a drawing from JANM’s Miné Okubo Collection (2007.62). I argue that it reveals the complexity of “American identity” and the ways in which it is shaped by the cultural traditions and experiences of immigrants and their children.
Jose Quirarte, Japanese American National Museum
Miné Okubo, untitled, 1942-1945, Miné Okubo collection. 2007.62.156, Japanese American National Museum. Los Angeles, CA.
In this untitled work, artist Miné Okubo depicts herself seated at a mess hall table while she observes several individuals in the process of pounding mochi at the Topaz concentration camp in Utah during World War II. Miné Okubo was just one of the 120,000 Japanese Americans who were imprisoned in America’s concentration camps without due process because of racism and war hysteria. Executive Order 9066 laid the foundation for exclusion of Japanese Americans on the West Coast and their subsequent forced removal. Miné Okubo’s drawings depict the World War II incarceration experience— from removal on the West Coast to daily life at Topaz.
This particular drawing depicts a scene of mochitsuki, a Japanese New Year’s tradition of pounding sweet rice into mochi (rice cakes). Mochi is an important ingredient in a New Year’s soup called ozoni, which is supposed to bring luck. The three men in the background take turns pounding the sweet rice with large wooden mallets while the man kneeling in front turns the mochi and moistens it with water. To the left of Okubo, there are several mochi cakes resting on the counter.
On the surface, this drawing seems to only speak about the mochi-making process in the Topaz concentration camp. However, the drawing, in conjunction with Okubo’s other drawings, helps to reveal the dynamic nature of “American identity” by depicting Japanese Americans actively participating in Japanese traditions. From behind barbed wire fences, Japanese Americans demonstrated that American identity was not homogenous; rather, American identity had always been inherently diverse and multifaceted due to the integration of a variety of immigrant groups and their respective traditions and values. Okubo’s drawing of mochi-making signified the reality that many Japanese Americans held on to traditional Japanese institutions and values. Furthermore, her drawings indicate that Japanese Americans placed an importance on maintaining Japanese traditions, despite attempts by the War Relocation Authority to “Americanize” and “assimilate” them. From within the confines of America’s concentration camps, Japanese traditions and cultures thrived and persisted among the Japanese American community.
If the meaning of what it means to be an “American” is confined to the restrictive ideas of the “melting pot” and a European American standard, then it would allow no room for the preservation of outside cultures and traditions. Yet, Okubo and many other Japanese individuals, within the confines of concentration camps, maintained their cultural traditions and redefined the contemporary definition of American identity. Okubo’s drawings counter the restrictive narrative of the “melting pot” and highlight that Japanese immigrants and their children valued Japanese culture and were intent on keeping their traditions alive. More importantly, Okubo’s drawings reveal a bigger picture: “American identity” is inherently complex and diverse and it is shaped by the values and experiences of immigrant populations and their children.
This series, entitled: “Ethnic Effects,” will reveal commonalities and shared experiences in the American experience through material culture artifacts from JANM, La Plaza de Cultura y Artes, and the Italian American Museum of Los Angeles. The title of this series underscores the overall goal of the project: to highlight personal effects residing at cultural and ethnic museums, and use their historical significance to demonstrate the effect immigrant populations have had on shaping the American experience. Each of the posts in this series analyzes the complexity of “American identity” and demonstrates that the American experience is multifaceted. Through the Getty interns’ analysis of their respective museum items, several throughlines are apparent within the American immigrant experience. In coming to America, immigrant groups and their children have often had to adapt and reinvent themselves, face immense systemic oppression based on racial prejudice, and persevere in any way they can in order to survive. Each of the following posts reveals stories of American immigrants that exemplify the notion that the immigrant experience is not just a minor chapter in America’s history, but is instead an integral part in understanding the complex story of the American experience:
This project has been a wonderful opportunity for several of us Getty MUI interns to meet and collaborate on a project outside of our immediate internships. With the COVID-19 pandemic forcing museum personnel to work from home, a majority of the interns have only had a digital experience working with their institution. Regardless of the unfavorable transition, our supervisors have adapted and have provided the Getty interns with a valuable experience working in the museum field. I would like to take this opportunity to thank the supervisors for their support of this project and their ingenuity in adapting their Getty programs to accommodate work from home.
Thank you to Kristen Hayashi, Clement Hanami, and Akira Boch of JANM; Marianna Gatto of the Italian American Museum of Los Angeles; Gina Alicia Lopez Ramos, Erika Garcia, and Liz Gama of La Plaza de Cultura y Artes; Rachelle Shumard and Ashley Lee of the Chinese American Museum.
Without your support, this project would have not been possible.
It’s finally here! Watch the 40-minute video program below and then use this flipping book catalog to view the vendor’s products at your leisure and to point and click to quickly access your favorite vendor’s website or email address.
Virtual Kokoro2020 runs from November 14 to 30. Make sure to write “Kokoro2020” on your orders this month so that your purchases will benefit JANM’s educational programs!
The Kokoro program schedule with video time stamps and links to their websites/email addresses are below. No sign-in or registration is required.
38:15 – Thank you from Irene Nakagawa, Cochair 39:51 – Goodbye and Credits 40:54 – Catalogue
For more information, please refer to the Customer FAQ below or email us at kokorocraft@gmail.com.
Enjoy the video program! Have fun shopping for holiday gifts and for yourself!
KOKORO 2020 CUSTOMER FAQ
How do I let a vendor know this is a “Kokoro2020” purchase?
Vendors have a variety of methods for accepting sales. The vendors with websites sometimes have a spot where you can add a comment. This is where you can indicate the sale is due to the Kokoro2020 event. If the vendor has a shopping cart with no spot to add a comment, then please email the vendor to let them know you want your purchase tagged as a “Kokoro2020” sale.
If there is a problem with my order, can I contact Kokoro2020 or JANM?
You will contact the vendor directly to make your purchase and to resolve any problems. Please do not contact Kokoro2020 or JANM.
Is there a place to view all the vendors that were in the video?
A flipping book catalog of all the vendors, their products, and their website or email address is available to view and download here. Once the catalog opens, click anywhere on the page and you will be taken to the flipping book site.
How will my purchase help JANM?
Vendors will donate 10% of Kokoro2020-identified sales to JANM, which will benefit JANM’s education programs. While the ongoing COVID-19 pandemic has temporarily halted in-person programs for school groups, education programs have gone on-line and virtual visits are now available to virtual classrooms across the country. Visit janm.org/groupvisits to learn more!
Tired of the same face mask? Find a variety of new masks and other unique apparel at Virtual Kokoro2020, beginning November 14.
The online video program includes product photos and short videos provided by participating vendors that showcase their work and illuminate their creative processes.
At the end of the video program, check out the flip-page catalog featuring all 42 vendors. To view your favorite items, just point & click on the vendor website to shop or call/email your favorite vendors for assistance.
Do you like your jewelry fine and delicate, or bold and colorful? Kokoro2020 features many creative artisans who make jewelry from a variety of materials such as mosaics, recycled silver, Japanese fabric, ceramics, and hand-made beads. Links to vendor’s websites and email addresses will be available on November 14. Get ready to shop!
Participating Vendors 6 Degrees of Hapa • Acorn Works • Alyson Iwamoto Ceramics • Art Mina • BGK Gems • Bizu • Boy Cherie Jewelry • Charming Little Lotus • Color Conscious • Creative Handcrafted Gifts • DaTojos • Ecommshipments • Elua Crafters • Fugetsu-Do • Happyshirts • imoriknits • JKiyomi Designs • Joan Flax • Kelley’s Kookies • Kiobi Designs • Kirei Cositas • konodomazo • Lileeku Jams • Madame Sakura Craft • mi so happi • N & M Enterprises • Papermum Press • Parasol Paperworks • Pomegranate • Pontigo • Pulp X Stich • Raffi • sewKimono • Shibori Girl Studios • Simmisu Paper Co • SOLSISS • Some Mo Craft • Stacy Wong • Studio Engravers • Susan Facklam Jewelry • Suzye Ogawa Designs • TABFabric
The 12th Annual Kokoro Craft Boutique is going virtual this year! From November 14–30, shoppers can shop online or by phone with many familiar artisans and crafters, plus some new ones. Starting on Saturday, November 14, watch the video program that will be posted on YouTube.com/janmdotorg. It will feature interviews and videos from many of our talented vendors. The video program will display beautiful, hand-crafted products from all our participating vendors.
Shoppers’ purchases from November 14–30 will support JANM’s education programs. Buy products from vendors directly and write “Kokoro2020” on all of your orders. JANM will receive a portion from each purchase!
Participating Vendors 6 Degrees of Hapa • Acorn Works • Alyson Iwamoto Ceramics • Art Mina • BGK Gems • Bizu • Boy Cherie Jewelry • Charming Little Lotus • Color Conscious • Creative Handcrafted Gifts • DaTojos • Ecommshipments • Fugetsu-Do • Happyshirts • imoriknits • JKiyomi • Joan Flax • Kelley’s Kookies • Kiobi Designs • Kirei Cositas • Komodomazo • Lileeku • Madame Sakura Craft • Mi So Happi • N & M Enterprises • Papermum Press • Parasol Paperworks • Pomegranate • Pontigo • Pulp X Stitch • sewKimono • Shibori Girl Studios • Simmisu Paper Co • Solsiss • Some Mo Craft • Stacy Wong • Studio Engravers • Susan Facklam Jewelry • Suzye Ogawa Designs • TABFabric
The 12th Annual Kokoro Craft Boutique is going virtual this year! From November 14–30, shoppers can shop online or by phone with many familiar crafters, plus some new ones. Starting on Saturday, November 14, watch the video program that will be posted on YouTube.com/janmdotorg. It will feature interviews and videos from many of our talented crafters. The video program will display beautiful, hand-crafted products from all our participating crafter/vendors.
Shoppers’ purchases from November 14–30 will support JANM’s education programs. Buy products from vendors directly and write “Kokoro2020” on all of your orders. JANM will receive a portion from each purchase!
