Tag: artifacts

Ethnic Effects: Perseverance & Resilience

Collections Management & Access 2 Comments

This is post #4 of 4 in the series, Ethnic Effects. 

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 tasked with answering 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 American experience of immigrants and their descendants. As a result, each intern approached this question from a different perspective and highlighted an artifact that touched upon different facets of the American experience and identity. In this post, Shelby Ottengheime and Jose Quirarte explore the complexity of “American identity” through ways that Japanese Americans preserved traditional Japanese values and institutions during World War II.

More specifically, Shelby and Jose selected items that demonstrate the ways in which Japanese Americans persevered while they were incarcerated during World War II by channeling the spirit of gaman—“persevering with dignity and fortitude.” Shelby highlighted a variety of craft items from JANM’s Eaton Collection and argued that the items reveal that gaman is integral to the Japanese American experience and that it manifested itself through various facets of their American experience. Jose highlighted a butsudan (Buddhist altar) made in the Heart Mountain concentration camp in Wyoming between 1942-1945, and argued that it symbolized that Japanese immigrants and their children preserved their cultural values despite American oppression. 

Assortment of Pendants and Rings

Contributed by: Shelby Ottengheime, Japanese American National Museum


Artist unknown, assortment of rings, 1942-1945.
Eaton Collection, 2015.100.140-145, Japanese American National Museum.

When reflecting on Japanese American history, a single word encapsulates generations of experiences, and that word is “gaman.” Though a seemingly simple expression, to the Japanese American community, it is a defining aspect. Gaman is translated as “to persevere with dignity and fortitude.” This cultural value is not only what enabled the Japanese American community to persevere through their injustices, but it has come to define what it means to be an American for them as well. In fact, it is so integral to Japanese American life that it even manifests itself in their actions, mottos, and art.

The Japanese American way of life has been historically characterized by hardship and adversity. As immigrants and laborers in the early 20th century, the Japanese came to the US in pursuit of the infamous American dream. However, discriminatory laws and social prejudice made it difficult for Issei’s (first generations Japanese Americans) to establish a home. Regardless of such hardships, like the fact that Issei were not legally allowed to own land, they persevered and built what they could with what they had. 

The struggles that affected Japanese immigrants and subsequent generations are uniquely different from those experienced by any other immigrant community in US history and have ultimately shaped the Japanese American experience. This is referring to Executive Order 9066, which forcibly incarcerated all individuals living on the West Coast who were as little as 1/16th Japanese. Despite having done nothing wrong—there was “not a single docu­mented act of espionage, sabotage, or treasonable activity by any American of Japanese descent”—over 120,000 innocent Japanese Americans were forced into concentration camps (Stone 1096). Fueled exclusively by prejudiced fear, E.O. 9066 was reasoned to protect Americans, however, those who were interned were US Citizens, and were effectively denied their rights simply because they were of Japanese ancestry. 

With only a week’s notice, these Japanese Americans were forced from their homes and sent to desolate, barren concentration camps. Scared to be even more vilified and viewed as Japanese sympathizers, Japanese Americans complied with the US government and went to camp. Though they did not protest, that does not mean they went willingly, instead, they chose to gaman and persevere through the injustices that faced them. Each incarceree was allowed to bring a minimal amount of belongings, but they had no idea where they would be going or for how long they would be gone. As a result, Japanese Americans abandoned most of their possessions or left them in the care of neighbors. When they arrived at the concentration camps they were confronted with barbed wire, armed guards, a barren climate, poorly built living facilities, and an astounding lack of privacy. Even the food resembled nothing of home, offering no comfort to the incarcerees. However, one of the ways in which Japanese Americans were able to cope with their degrading and humiliating situation, was to create art. This artwork embodied their strength and their ability to persevere in an existence where they no longer had autonomy. 

These visual representations of gaman reflect the indomitable resilience of Japanese Americans, and a large variety of the artwork was collected by Allen H. Eaton during World War II. Some of the pieces within the collection were mentioned in his book Beauty Behind Barbed Wire, which highlighted the art production by Japanese Americans while also pointing out that their constitutional rights were violated through their forced removal from the West Coast. However, years after Eaton died, in April of 2015, a family friend of Eaton’s tried to sell the collection at auction. This caused serious outrage across the Japanese American community, and through activism efforts, the insensitive sale of the “Eaton Collection” was stopped and alternatively transferred to the Japanese American National Museum.

Artist unknown, assortment of pendants, 1942-1945.
Eaton Collection, 2015.100.123-128, Japanese American National Museum.

The pieces within the Eaton Collection were not created by professional artists. The artwork produced by untrained incarcerees reflected the life and sentiments of the average Japanese American. It also showcased their artistic ingenuity and how “gaman” expressed itself within their art. Though art supplies were limited, Japanese Americans made do. They utilized their surroundings, finding colorful stones to set into rings and jewelry; onion strings to weave into patterns on cigarette cases; and excess wood from the hastily built barracks, which were shaped into complex carvings, depicting beautiful sakura trees with handsome cranes. These works not only helped the Japanese endure through their incarceration experience, but the artwork themselves directly mirror the Japanese American way of life and can be seen as a metaphor for the Japanese themselves. Both the Japanese and the wood plank were dismissed and seen as having no worth. However, with gaman, an object that has been discarded can transform and be seen as something beautiful and of value to society. This very aspect has come to define the Japanese American experience.

Not only was gaman apparent in their artwork, but that resilience continued to shape all aspects of Japanese American life and define what it meant for them to be an American. During World War II, many of the young men in camp enlisted in the US Army, choosing to fight overseas while their family members were still incarcerated. Their hope was to prove their “Americanness” and loyalty by fighting for their country: the United States of America. These Nisei (second-generation Japanese Americans) were assigned to the 442nd Infantry Regiment, an almost entirely Japanese American battalion. Their motto “Go for Broke” was an extension of the Japanese gaman-mentality. The unit’s fortitude and success reflected this value of perseverance, and against all odds, the 442nd became the most decorated combat unit in the history of the US military.
The cultural value of perseverance and honorable endurance has defined the Japanese American life since their initial immigration to the US. Facing hardship, prejudice, and blatant governmental acts of racism, Japanese Americans have continually used gaman to persevere. Gaman has become so instilled in the Japanese American identity that it expresses itself in multiple aspects of their culture; in their art, their mottos, and it even continues to mold their lives and values today. Ultimately, gaman has come to define the Japanese American experience and shaped what it means for them to be an American.

Butsudan

Contributed by: Jose Quirarte, Japanese American National Museum

Obutsudan, by Shinzaburo and Gentaro Nishiura, 1942-1945.
Gift of the Gilroy Buddhist Community Hall, 2001.392.1A,
Japanese American National Museum.

The butsudan is a Buddhist altar often found in temples and homes. Shinzaburo & Gentaro Nishiura handrafted this particular butsudan during World War II at the Heart Mountain concentration camp in Wyoming. It is composed of the gokuden (“Palace Hall”), shumiden (“Sumeru Throne”), and the naijin, or inner area. The gokuden is the large wooden cabinet that houses the gohonzon, or “principle object of reverence,” and includes the two wooden doors that fold center outward and back. The shumiden is the large wooden pedestal that the gokuden sits on, and the naijin includes three altars: the center altar which houses the gohonzon, and the altars on the left and right which house scrolls depicting significant Buddhist figures. 

Shinzaburo & Gentaro Nishiura were two carpenters from San Jose, California who were imprisoned at the Heart Mountain concentration camp. Before the war, the Nishiura brothers were responsible for constructing many buildings for the Japanese American community in San Jose, and the greater Santa Clara area. The Nishiura brothers continued their contributions to the Japanese American community in camp by working in the Heart Mountain cabinet shop. In 1943, with the blessing of Reverend Chikaro Aso, the Nishiura brothers installed their handcrafted butsudan in the Block-8 Buddhist Church of Heart Mountain. Through the efforts of Reverend Aso, the butsudan found its way to the Gilroy Buddhist Church in Gilroy, CA, and was eventually donated to JANM by the Gilroy Buddhist Community Hall in 2001.

The creation and use of this butsudan in one of America’s concentration camps is a prime example symbol of the perseverance of the Japanese American spirit during their years of incarceration. On one hand, The practice of Buddhism provided a sense of normalcy for some Japanese Americans through the chaos surrounding their removal and incarceration. On the other, the creation of this butsudan in camp signified the importance of Japanese values and the way Japanese Americans preserved them. Due to Japanese Americans only being allowed to bring to camp what they could carry, many of them only brought the necessities. In order to continue to practice their faith, the Nishiura brothers showed their ingenuity by creating their own religious items out of the materials they had at their disposal. As a result, the artistry from within the barbed wire fences of camp are a symbol in and of themselves of Japanese American resilience during World War II. 

These examples demonstrate that the craft items made in camp are themselves symbolic of the American experience, and the resilience and resistance of immigrants against systematic discrimination and oppression. As Shelby mentioned, most of the crafts made in camp were not made by professional artists. The craft items that Shelby highlighted in the Eaton Collection, were mostly made of material that the prisoners could find and turn either into a useful tool or art. Not only are the crafts representative of the Japanese value of gaman, but the creation of crafts, tools, and religious items in an environment of immense discrimination and oppression reveals a symbolic theme of the American immigrant experience: that immigrants often have to survive the harsh conditions of America by using whatever is at their disposal.

The fact that this butsudan was made in one of America’s concentration camps demonstrated that Japanese Americans held onto traditional institutions and values, and were intent on preserving them. The elegant looking materials that were used to craft the butsudan made it clear that the butsudan was a significant religious relic. Furthermore, in contrast to the crafts in the Eaton Collection, the butsudan was crafted by highly trained professionals who had a history of preserving Japanese institutions and contributing to the Japanese community in Santa Clara County. The butsudan itself speaks to the larger American immigrant experience as immigrant populations attempted to integrate their own culture into their lives in America. Rather than assimilating or converting to Christianity, practicing Buddhists, within the walls of a concentration camp that “otherized” them and implied they were dangerous, maintained their religious values and actively crafted a traditional altar. 

The fact that Japanese Americans were able to preserve their traditions and institutions despite being imprisoned in America’s concentration camps reveals the complexity of the “American identity.” Shelby’s application of how the Japanese value of gaman was reflected in Japanese American craftsmanship made in camp, and Jose’s example of the butsudan demonstrate that Japanese values and cultural touchstones were essential to the identity of Japanese American prisoners. As a result, Japanese American identity was a blend of both their traditional culture and the values of American society. Japanese Americans did not totally assimilate or abandon their culture in America’s “melting pot.” Instead, they preserved their values and institutions in a new amalgamated and complex “American identity.”

If you would like to learn more about craftsmanship in camp and gaman, you should read Delphine Hirasuna’s book, The Art of Gaman: Arts & Crafts from the Japanese American Internment Camps. If you would like to know more about the Eaton Collection, you can view photos of the collection here, and check out JANM’s traveling display titled Contested Histories: Art and Artifacts from the Allen Hendershott Eaton Collection.

 

Ethnic Effects: Vulnerability & Discrimination

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This is post #3 of 4 in the series, Ethnic Effects.

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 tasked with answering 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 American experience of immigrants and their descendants. As a result, each intern approached this question from a different perspective and highlighted an artifact that touched upon different facets of the American experience and identity. In this post, Mercedes Solaberrieta and Jose Quirarte explore the historic vulnerability of American immigrants to systematic and de facto discrimination in the United States by highlighting the experiences of two immigrants during World War II.

Interns Mercedes Solaberrieta of the Italian American Museum of Los Angeles and Jose Quirarte of JANM selected items that highlight the complexity of the American immigrant experience by demonstrating the vulnerability and discrimination that many immigrants to the United States have faced due to their ethnicity or country of origin. Mercedes selected a 1940s parole document of an Italian immigrant named Filippo Fordellone and Jose highlighted a 1942 diary entry of Gihachi Yamashita, a Japanese immigrant.

Due to America’s involvement in World War II fighting against the Axis Powers, which included Japan and Italy, both of these immigrant men were considered enemy aliens and stripped of their civil liberties because of war hysteria and racial prejudice. Both Yamashita and Fordellone were unjustly arrested by the FBI after the attacks on Pearl Harbor and imprisoned at Fort Missoula, Montana without due process. Additionally, Fordellone and Yamashita were impacted by Executive Order 9066 and the subsequent strict curfews and travel restrictions placed upon individuals of Japanese and Italian descent. Fordellone and Yamashita were both vulnerable as immigrants, recognized as enemy aliens due to their country of origin, unjustly arrested, and imprisoned far from their homes. Although the experiences of Fordellone and Yamashita are unique to context of WWII, their stories still demonstrate the greater historic relationship between vulnerability and discrimination that has largely characterized the American experience for immigrant populations.

Filippo Fordellone’s Parole Document

Contributed by: Mercedes Solaberrieta, Italian American Museum of Los Angeles

Filippo Fordellone’s Parole Document, U.S. Department of Justice, 1943.
From the collection of the Italian American Museum of Los Angeles.

Fordellone was among the Italian Americans interned during World War II. Today the words “Italian” and “Italian American” are often associated with one of the nation’s favorite cuisines, high fashion, and family-centered cultures. This was not always the case. The United States has had a long history of anti-Italianism, including discriminatory laws, and hostility directed at Italian Americans reached another peak during World War II.

Born in Italy in 1890, Filippo Fordellone immigrated to the United States in 1926. He became a prominent radio broadcaster and was well known in the Italian American community. When Italy joined the Axis powers and the United States involvement in World War II became increasingly imminent, the U.S. government began compiling a list of Italians (as well as Germans and Japanese) living in the United States and its territories that it considered threats to American security. Following the nation’s entry into World War II, the U.S. government declared 600,000 Italian residents of the United States who had not yet become American citizens “enemy aliens.” President Roosevelt issued Presidential Proclamations 2525, 2526, and 2527, which authorized the United States to detain potentially dangerous “enemy aliens.” He also signed Executive Order 9066, which authorized the removal of persons from specified areas in the interest of national security.

In the case of the so-called Italian enemy aliens, many had lived in the United States for years and had children and grandchildren serving in the U.S. military. They were elderly and had been unable to pass the citizenship exam because of their limited literacy. Enemy aliens were required to register with the U.S. government and carry identification cards. They were subject to curfews and travel restrictions, and many were forced to evacuate their homes and surrender property. Some Italian “enemy aliens” were arrested and sent to internment camps. In the end, thousands of German nationals would also be interned and over 120,000 Japanese and Japanese Americans, many of whom were U.S. citizens, were forcibly relocated and incarcerated.

Although Fordellone had committed no crime, he was deemed a threat because as a prominent journalist, he was capable of influencing others. This was the case with many of the Italian Americans interned or threatened with internment, including baseball great Joe DiMaggio’s father. The FBI arrested Fordellone shortly after the bombing of Pearl Harbor and transported him to an internment camp in Fort Missoula, Montana, where he remained for 14 months. Most arrestees were never informed of the charges against them or allowed legal counsel. While Fordellone was imprisoned, his wife Alessandra was left alone to care for their three children without any financial support, as the couple’s assets were frozen. For most of her husband’s confinement she had no idea as to where he was being held.

Fordellone’s parole document, which was executed in May of 1943, dictated the terms of his conditional release. Notice that it does not contain any mention of a conviction for any crime. Fordellone’s only crime was being Italian.

Although the civil liberty violations Italian Americans experienced during World War II were not as severe or widespread as the trauma and injustices inflicted on the Japanese and Japanese American community, the experience nonetheless left the Italian American community scarred. Many stopped speaking the Italian language and distanced themselves from their culture and heritage in an effort to appear more “American.”

Fordellone’s experience reflects the process through which Italian Americans gained acceptance in the United States. Italians were often seen as despised immigrants and “others” whose loyalty was subsequently called into question during World War II before eventually achieving acceptance as white ethnics. Today, Italian Americans are mostly considered to be “white,” but the process was not straightforward.

Photograph of Fillipo Fordellone, from the collection of the
Italian American Museum of Los Angeles.

January 22, 1942, Diary Entry Written by Gihachi Yamashita

Contributed by: Jose Quirarte, Japanese American National Museum

Diary of Gihachi Yamashita, Missoula Justice Department Camp, 1942-45.
Gift of the Gihachi and Tsugio Yamashita Family (94.166.1), Japanese American National Museum.

An English translation of the diary was completed by Emily Anderson for JANM’s educational website, “Enemy Mail: An American Story of Wartime Separation.”

Gihachi Yamashita documented his experience the day after the Pearl Harbor attacks in his personal diary, writing: “this is a day I will never be able to forget.” On December 8, 1941, at around 1:30 a.m., Yamashita was “shaken awake” and arrested by FBI agents. Yamashita was one of the many Japanese Americans who was targeted and arrested immediately after the attack on Pearl Harbor due to a faulty presumption that the Japanese living on the West Coast of the U.S. were dangerous. Many of those who were arrested were already being monitored before the war because of the U.S. government’s false belief that they were potentially dangerous due to their connections to Japanese institutions. Most of the Japanese Americans who were unjustly arrested after the Pearl Harbor attacks were well-respected or important contributing members of their communities.

Following his arrest, Yamashita was imprisoned and moved around to a variety of concentration camps operated by the Department of Justice (DOJ). Meanwhile, his wife and two daughters were forced to sell their property and move to the Santa Anita temporary detention center due to Executive Order 9066, which forced the removal of Japanese Americans from the West Coast into concentration camps. Yamashita’s wife and two daughters stayed at Santa Anita until being transferred to the Rohwer concentration camp in Arkansas. Yamashita’s diary entry tells the harrowing story of his arrest and removal to Fort Missoula, a Department of Justice internment camp in Missoula, Montana, but it also revealed how being excluded from the definition of “an American” led to losing his right to due process, and more generally, his “unalienable rights.”

Yamashita wrote about his experience of being arrested and taken in for questioning by the FBI in his personal diary. He noted that while he was imprisoned, his wife and daughter visited him twice and a guard watched over their conversation (which had to be in English). Yamashita detailed the entirety of his forced removal and wrote that on December 8th he was initially detained at Lincoln Heights Jail for four days, from December 12th to the 22nd he was imprisoned at a county jail, and on the afternoon of the 22nd was held at the Tuna Canyon Camp in Los Angeles for two days before he arrived at Fort Missoula on December 28th. Yamashita concluded his entry by writing about the brutal living conditions of the camp, noting that he and the other Japanese prisoners weren’t given an opportunity to prepare for the Montana winter and were forced to endure the freezing temperatures of Missoula without any winter gear.

Yamashita’s diary entry demonstrates how Japanese immigrants during WWII were stripped of their due process rights because of xenophobia and racism. Yamashita’s unjust arrest, removal, and incarceration was partially a product of Japanese immigrants being “otherized” by American anti-Japanese and anti-immigrant sentiment for most of the 20th century. In the early to mid 20th century, Japanese immigrants faced immense anti-Japanese sentiment in California from political labor groups, individuals, and legislation: California’s Alien Land Law of 1913 restricted “aliens” from owning land; the Gentlemen’s Agreement and the 1924 Immigration Act restricted Japanese entry into the United States; and the 1940 Alien Registration Act forced all “aliens” above the age of 14 to register and be fingerprinted. All of these contributed to the “otherization” of Japanese immigrants and their children, and implied a flawed presumption that they could not truly be “real Americans” in the 20th century. The anti-Japanese and anti-immigrant rhetoric came to a peak after the attacks on Pearl Harbor spurred irrational distrust towards Japanese Americans and other immigrant groups in America.

Identification for Gihachi Yamashita for the Department of Justice Camp at Santa Fe, New Mexico, 1944.
Gift of the Gihachi and Tsugio Yamashita Family (94.166.247).

Yamashita, and many other Japanese immigrants who were living in the U.S., had to face the constant barrier of anti-immigrant rhetoric and unjust legislation that deemed them to be “un-American” or unassimilable. Yamashita’s diary entry reveals his experience of being unjustly arrested in his own home, detained without cause, and imprisoned in a concentration camp due to his race. His experience exemplifies the real-life consequences of being excluded from the arbitrary definition of “an American.” Although Yamashita’s experience is unique to the context of WWII, his experience is just one example of that signifies that American immigrants have historically been susceptible to being excluded from the definition of “an American,” and as a result, have seen instances where they have been stripped of their unalienable rights.

Fordellone and Yamashita’s stories reveal common themes of vulnerability, systemic inequality, discrimination, and “otherization” that America’s immigrant populations have been subjected to throughout the country’s history. Although historic instances of “otherization” and discrimination do not solely define the American immigrant experience, it has played a significant factor in the way immigrant populations have been received and treated. The stories of Fordellone and Yamashita tell only a small story in the long history of discrimination that Japanese and Italian immigrants have faced in the United States. WWII was not the catalyst for discrimination, but rather, it acted as an immense amplifier of the discrimination. In the early 20th century, both of Japanese and Italian immigrants were already facing immense racist and xenophobic sentiment and legislation that “otherized” and targeted them. However, during WWII, war hysteria amplified preexisting racist and xenophobic sentiment which resulted in the targeting of Japanese and Italian immigrants, and the loss of their civil liberties. Although the details and extent of their incarceration experiences are different, both Fordellone and Yamashita experienced the trauma and injustices American immigrants have historically faced because of their vulnerability to systematic discrimination and anti-immigrant prejudice in America.

If you would like to learn more about Gihachi Yamashita’s story, check-out JANM’s, “Enemy Mail: An American Story of Wartime Separation,” which is dedicated to telling his and his family’s story of incarceration during WWII through artifacts in JANM’s Yamashita Collection. If you would like to learn more about Filippo Fordellone or see other objects pertaining to Fordellone you may visit the Italian American Museum of Los Angeles’s online collection webpage.

Hayakawa Family & Friends at Christmas

In Her Own Words

Collections Management & Access 3 Comments
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!

Ethnic Effects: Ingenuity

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This is post #2 of 4 in the series, Ethnic Effects.

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.

Inside JANM’s Permanent Collection

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A Brief History

At the heart of Japanese American National Museum is its permanent collection. With over 100,000 artifacts stored within two-floors totaling 7,200 square feet, JANM houses the largest collection of Japanese American material culture in the world. From renowned artwork and artifacts of some of the most notable Japanese Americans, it also contains seemingly mundane objects of ordinary individuals with extraordinary stories to tell. The collection is full of family treasures that anchor narratives of hardship and success, loss and triumph, as well as challenge and resilience.

Located in Los Angeles’s Little Tokyo neighborhood, the heart of the Japanese American community since the 1880s, JANM’s founders and early supporters wanted to create an institution that would tell a lesser-known chapter of American history to help ensure that the violations of civil liberties that resulted in the incarceration of people of Japanese ancestry during World War II would never happened again.

After incorporating as a private, non-profit institution in 1985, artifacts and archival items began to populate the Museum’s permanent collection. With in-depth documentation from the immigration of the Issei generation to unique crafts made in America’s concentration camps, the burgeoning archive was unlike any other of its time. While JANM quickly became a renowned national museum, it was also a community archive—a repository for numerous families’ treasures. On January 23, 1999, the Japanese American National Museum expanded to its current location on the corner of Central Avenue and First Street, constructing at its center two floors for collections storage, as seen in the video Behind the Scenes of JANM’s Collection (see below).

While the permanent collection is encyclopedic, covering a myriad of topics that reflect the Japanese American experience from early immigration to the United States to the present, the majority of the collection conveys the varying experiences of Japanese Americans during World War II. This encompasses the forced removal and subsequent confinement of 120,000 people of Japanese ancestry—two thirds of whom were US citizens—in temporary detention centers and later in America’s concentration camps as well as the military experiences of men and women who served in the 442nd Regimental Combat Team, 100th Infantry Battalion, 522nd Field Artillery Battalion, the Military Intelligence Service, and Women’s Army Auxiliary Corps. Artworks in a variety of mediums, photographs, personal letters, and government documents help to illustrate the experience of the former incarcerees and military personnel.

All of JANM’s collections are significant historical resources for scholars and researchers who study United States history and politics, Japanese American history, trans-Pacific migrations, and other similar topics. Yet, they are also incredibly important to the families that have donated them to the museum. Those who come to research the collections at JANM are not always scholars. Instead, many are descendants of family members who donated historical documents and artifacts to the museum. They visit JANM to learn more about where they come from and the uniqueness of their family history. This is what makes the holdings within the Japanese American National Museum’s permanent collection especially significant and incredibly valuable.

To bring your family’s artifacts into JANM’s permanent collection please email collections@janm.org. Or to help maintain and preserve JANM’s Collection with a donation please click here.

Behind the Scenes

In Behind the Scenes of JANM’s Collection the following artifacts can be seen:

  • Antique Kodak camera owned and used by Frank Kamiyama of Fresno, CA, Gift in Memory of Frank U. Kamiyama, 2000.335.2
  • Shell pins from Topaz concentration camp, Gift of Ryo Maruoka and Aiko Yoshida, 93.122.2
  • Harold Landon’s correspondence with Sohei Hohri, Gift of Harold Landon Family in Memory of Sohei Hohri, 2019.13.9
  • Suitcases taken to Manzanar concentration camp, Gift of Grace Shinoda Nakamura, 2001.61
  • The Heart Mountain mystery stones, Gift of Leslie and Nora Bovee, 94.158.1
  • Suit of Harry Miyagawa, Gift of the Uragami Family, 91.92.3
  • Citizen USA, Gift of Lois Ferguson in Memory of Charles K. Ferguson, 2002.174.2
  • Sculpture: The Portal by Ako Castuera, loan

Photos from JANM’s Collection

JANM’s collection storage, first floor
JANM’s collection storage, second floor
General Collection (3D artifacts), second floor, aisles 97 & 98. Frank Kamiyama’s antique Kodak camera [left], Gift in Memory of Frank U. Kamiyama, 2000.335.2
Archives (original photographs; papers and correspondence; diaries and journals; rare books; and ephemera), first floor, aisles 23 & 24. Norman Y. Mineta Papers (45 linear feet) [left], Gift of Norman Y. Mineta, 96.370
Archives (continued), first floor, aisle 23, shelves B-D. Professor Masakazu Iwata Papers [center], Gift of Masakazu Iwata, 94.58
Fine Arts Collection (paintings, drawings, and prints from Japanese American artists), second floor, painting racks 63-75, includes artwork by Henry Sugimoto [center], Gift of Madeleine Sugimoto and Naomi Tagawa, Japanese American National Museum, 92.97

Video credit: Behind the Scenes of JANM’s Collection by Shawn Iwaoka

Eaton Collection Display Seeks Answers and Provides Inspiration

Carol Cheh 3 Comments

One of the postcard-size watercolors on view as part of Contested Histories: Art and Artifacts from the Allen Hendershott Eaton Collection.

On Sunday, JANM opened Contested Histories: Art and Artifacts from the Allen Hendershott Eaton Collection, a special display of art and craft objects created by Japanese Americans during their World War II incarceration in American concentration camps. These are the same artifacts that dedicated Japanese American community leaders and activists saved from a controversial attempt at a public auction in 2015. The collection now resides at JANM for safekeeping, and has been conserved, photographed, and catalogued with key support from the National Park Service’s Japanese American Confinement Sites grant program.

It’s a thrilling experience to examine the display, which has been meticulously laid out in the museum’s Hirasaki National Resource Center (HNRC). The entire collection consists of over 450 pieces, most of which are historic photographs—copies of these photographs are collected in a series of thick binders labeled by location. All of the three-dimensional objects, which include wood carvings, jewelry, and pins, along with most of the original two-dimensional objects, such as paintings and watercolors, are on display. Some that were too fragile for display, such as the calligraphic scrolls, appear in facsimile form.

The first thing one notices when exploring the collection is the exquisitely high quality of the craftsmanship that went into these artifacts. The carved wood panels as well as the watercolors, both of which depict classical scenes from nature, rival items seen in art galleries and expensive antique stores. The second realization that occurs is how resourceful and creative these prisoners were while enduring remote and rugged conditions; the beautifully carved furniture and nameplates, fashioned out of scrap and scavenged wood, added personal and homey touches to otherwise bare-bones camp barracks.

Very little is known about the individual items in the collection. Who made it? Which camp did it come out of? Where are the creators today? A case full of rings and pendants made from semi-precious stones brings up the question, where did these stones come from? Eaton, author of the 1952 book Beauty Behind Barbed Wire: The Arts of the Japanese in Our War Relocation Camps, acquired much of this collection from inmates who passed them on when they learned he was working on the book. Now, the questions they pose are up to us to answer.

Facsimiles of ink scrolls from the Eaton Collection.

Contested Histories exists in large part as a fact-finding mission: the public, particularly camp survivors and their families, are invited to review its contents and assist our staff in putting the missing pieces of the puzzle back together. Forms are provided as part of the exhibition for interested parties to write down what they know. After its exhibition at JANM, the display will go on tour to diverse locations and venues, including museums and community spaces across the country, where it is hoped that more people with connections to the artifacts will come forward and share their stories.

Even if you are not a camp survivor, the Eaton Collection is eminently worth seeing as a testament to the ongoing resilience and creativity of the human spirit, even during the bleakest of times. For those who may not be able to see the collection in person, you can always visit our Flickr page of comprehensive, high-quality photographs (taken prior to conservation), where visitors can share information via the comment field beneath each image.

SNEAK PEEK: Hello! Exploring the Supercute World of Hello Kitty

Carol Cheh Leave a comment

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JANM staff members have been working overtime to put together Hello! Exploring the Supercute World of Hello Kitty. The 40th-anniversary exhibition will be the biggest U.S. showcase for the popular cute icon to date, with 40 works of contemporary art and over 500 Hello Kitty artifacts.

Many details of the show are top secret until the grand public unveiling on October 11, but with Sanrio’s permission, we are sharing these exclusive sneak peek photos with our loyal readers.

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Archivist Lauren Zuchowski measures the first-ever Hello Kitty phone, made in 1976. An object’s dimensions and condition have to be noted for the museum’s records before it goes on display.

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Collections Manager Maggie Wetherbee holds up a vintage Hello Kitty calculator, also from 1976. It still works!

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Sanrio has produced many Hello Kitty kitchen appliances over the years, often sized for younger cooks and diners. This Hello Kitty waffle iron makes kid-size Hello Kitty waffles in four friendly shapes.

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A Hello Kitty blueberry soda is a perfect fit for this Hello Kitty mini-fridge from 2007. Both products were made and sold in Japan.

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Here’s the first Hello Kitty artwork to be installed! Artist Nicole Maloney looks on and offers direction as a team of handlers assemble her sculptural installation, Hello Kitty All Stacked Up!, in the Weingart Foyer.

You can see these pieces and much more in person when Hello! opens on October 11. Remember, Hello! is a specially ticketed exhibition and we strongly recommend that you buy/reserve your tickets in advance by clicking here. JANM members get in FREE!

Stay tuned to our blog for more Hello Kitty news and tidbits over the next few weeks!

The Comics Have Arrived!

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Fales Comics
Comics from the William Wu Collection at the Fales Library at NYU. Collections staff are preparing them for display.

In preparation for the opening of Marvels & Monsters: Unmasking Asian Images in U.S. Comics, 1942-1986, Collections staff received 38 special collections comic books from the Fales Library at NYU.  The comics have arrived!

Comics featured include a Green Hornet from 1944, Yellow Claw from 1956, Wonder Woman from 1956, Justice League of America from 1967, Iron Man from 1969, Captain America from 1970, Batman from 1972, and many, many more!

US Art soft pack
The comics were carried by Art Handlers from New York to Los Angeles.

Don’t miss out on the exhibition opening on Thursday, October 10th at 6 p.m. or the FREE fun-filled Target FREE Family Saturdays event on Saturday, October 12th from 11 a.m.-4 p.m.

For more info about the exhibition and upcoming events, visit: janm.org/marvels-monsters

 

 

 

From Mine Okubo to Li’l Neebo: JANM Collections to Augment Marvels & Monsters Exhibition

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Shazam
Comic from the Tulean Dispatch. This First Person Narrative of Americas Concentration Camps is highlighted in Marvels & Monsters: Unmasking Asian Images in U.S. Comics, 1942-1986

As the incoming Collections Manager at the Japanese American National Museum, I am amazed by the sheer depth of artifacts and artworks that comprise the Japanese American experience. Having admired the institution’s mission and values from an outside perspective, I am happy to become part of the thriving community that is “behind the house” in the collections at JANM.

It is the goal of the Collections Management and Access Unit (CMA) to preserve the collections for future generations and to utilize them to their fullest potential as ambassadors and storytellers for the Museum—for the collections are the cornerstone of the Museum. One wonderful way to achieve this potential is to use our temporary exhibitions as an entryway into exploring our own collections.

We are excited to have the opportunity to share some of JANM’s collection alongside the traveling exhibition, Marvels & Monsters: Unmasking Asian Images in U.S. Comics, 1942-1986, which comes to us from the NYU Fales Library & Special Collections. CMA and Education Staff realized the potential of pairing our collection of historical artifacts to enhance the exhibition in an unexpected way.

Superman
Chris Ishii’s Li’l Neebo (Little Nisei Boy) reading a Superman comic inside his book. Ishii, who once was an artist for Disney, started Li’l Neebo while at the Santa Anita Pacemaker newspaper, and continued at the Granada Pioneer. His first person narratives provide a glimpse into America’s Concentration Camps.

It is interesting to contemplate the idea that artist Chris Ishii never imagined Li’l Neebo sharing gallery space with Wonder Woman! A Miss Breed letter and Mine Okubo drawing in conversation with each other about the shared theme of comic books… who would’ve guessed?

Marvels & Monsters illustrates Asians and Asian Americans through racial and cultural archetypes and when paired with first person Japanese American narratives of concentration camp life told through comics, a differing perspective is shared. Through the cartoons of artist Chris Ishii’s Li’l Neebo and George Akimoto’s Lil Dan’l, artwork by Mine Okubo, and letters from young inmates to librarian Clara Breed, Museum visitors will glimpse how comics were used to express emotion and to retain a sense of normalcy in a less than ideal situation. These images, juxtaposed with the stereotypical Asian themes in U.S. comics, provide a place for reflection on the impact and power of storytelling through comics and the way in which this popular medium has shaped perceptions of history.

It is through collaborations such as these that the importance of the collections at JANM, through the stories and first person experiences of the Issei and Nisei generation, are linked to contemporary society.

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Marvels & Monsters: Unmasking Asian Images in U.S. Comics, 1942-1986 will be on display at the Japanese American National Museum from October 12, 2013 – February 9, 2014. For more information about the exhibition and related public programs, visit: janm.org/marvels-monsters

Margaret Zachow Wetherbee is the new Collections Manager at the Japanese American National Museum.

“Common Ground” Volunteer Videos

Vicky Murakami-Tsuda Leave a comment

Visitors to the museum often remark that what made their experience so special was getting to hear and talk to our volunteer docents. They share stories with our visitors that bring the artifacts in our Common Ground: The Heart of Community to life.

An ongoing project at the museum has been for our staff & interns in the Watase Media Arts Center, curatorial, and education units to work with some of our volunteers to develop 30 second (approximately) short videos talking about their favorite artifacts from Common Ground. The project is part of an ongoing effort to examine and re-envision the role the Museum and our volunteers will play in the 21st Century.

This is a wonderful project to record and share the stories especially of some of our older long-time Nisei volunteers while they’re still active at the museum.

We’re now up to 25 volunteer videos online. The most common artifact selected is the Heart Mountain barracks which makes an appearance in 3 videos. Although most are World War II-related, several are about pre-war Issei and Nisei life. While many are very poignant, some are humorous, like Marion Wada’s selection of a Hershey’s chocolate tin which recalls fond memories of childhood prior to WWII.

For those connected with the museum or have gone on tours here, you’ll recognize a lot of very familiar and dear faces. I’ve included a few of the more recent videos here, but you can view all of the videos from our Discover Nikkei website or on YouTube. Which ones are your favorites?

We’d like to thank the participating volunteers for sharing their personal stories: Ike Hatchimonji, Charlene Takahashi, Icy Hasama, Marion Wada, Mary Karatsu, Hitoshi Sameshima, Bill Shishima, Nancee Iketani, Ben Tonooka, Pat Ishida, Bob Uragami, Babe Karasawa, Yae Aihara, Richard Murakami, Yoko Horimoto, Jim Tanaka, Tohru Isobe, Mas Yamashita, Robert Moriguchi, Kathryn Madara, Kent Hori, May Porter, Eileen Sakamoto, Lee Hayashi, and Roy Sakamoto.

Funding for the Nisei Oral History project was provided by grants from the National Park Service and the California State Library through the California Civil Liberties Public Education Program.

Support for volunteer programming was generously provided, in part, by Toyota Motor Sales, U.S.A., Inc., The William Randolph Hearst Foundation, and The Ralph M. Parsons Foundation. The internships were provided through the Summer 2010 Getty Grants Program for Multicultural Undergraduate Internships to Los Angeles Area Museums & Visual Arts Organizations.