JANM is collaborating with the Museum of Modern Art Wakayama (MoMAW) on a three-year research project about Japanese immigrant artists. The partnership includes an annual symposium, educational curriculum, and this exhibition at MoMAW. JANM is lending more than twenty artworks from its permanent collection, including oil paintings, gelatin silver prints, charcoal and ink drawings, sumie paintings, and woodblock prints representing artists Tokio Ueyama, Chiura Obata, Hisako Hibi, Matsusaburo Hibi, Miné Okubo, Jack Yamasaki, Taizo Kato, Harry Shigeta, and the Shaku-do-sha artist collective.
Transbordering—Migration and Art Across Wakayama and the U.S.A.
September 30 – November 30, 2023
The Museum of Modern Art, Wakayama 1-chōme-4-14 Fukiage Wakayama, 640-8137, JAPAN
Tokio Ueyama, The Evacuee, 1942, oil on canvas (cropped) 28.5 x 34.5 in. Japanese American National Museum, Gift of Kayoko Tsukada, 92.20.3
Chiura Obata, Eagle Peak Trail, 1930, woodblock on paper, 17.93 x 13.18 in. Japanese American National Museum, Gift of Eugene and Yuri Kodani, 99.287.7
Matsusaburo “George” Hibi, Untitled, ca. 1942-45, oil on canvas, 53 x 45 in. Japanese American National Museum, Gift of Ibuki Hibi Lee, 99.63.17
Miné Okubo, Untitled (Mother Embracing a Child), ca. 1943, charcoal on paper, 22.31 x 16.31 in. Japanese American National Museum, Gift of Miné Okubo Estate, 2007.62.1
Chikamichi Yamasaki, Untitled (Building a Brick Structure at Heart Mountain), 1942, ink and pencil on paper, 28 x 36 in. Japanese American National Museum, Gift of Nobu Yamasaki, 97.102.1
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.
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.
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.
Kyoko Ogawa volunteering at the front desk of the Hirasaki National Resource Center.
The collections office is where you will find Kyoko Ogawa, one of the museum’s newest volunteers, every Tuesday. Originally from Nagano prefecture in Japan, Kyoko moved to the United States with her husband over thirty years ago.
As a shin-Issei (Japanese national who immigrated to the United States after World War II), Kyoko provides the invaluable service of translation from Japanese to English. In fact, she is currently the only collections volunteer who translates letters, diaries, and other archival materials largely written by our community’s Issei (prewar, first-generation immigrant) pioneers.
A letter in the JANM collection that Kyoko has been working on translating.
“Kyoko is really invaluable in the sense that she is providing a service that has been lacking in the collections department,” says Maggie Wetherbee, JANM’s Collections Manager. “We were so excited when we found out she wanted to volunteer. Most people do not want to do it because it is so tedious.”
Though decades removed from the early Japanese American migrants, Kyoko, with her strong native language skills, provides us with a link to the Issei experience. Her first volunteer project involved translating Buddhist sermons that were read in the American concentration camps during World War II.
Kyoko also volunteers in the Hirasaki National Resource Center, where she helps visitors research their family’s records from the Issei generation to the present. From time to time, she lends a hand as an origami volunteer as well.
A glimpse of JANM’s archives.“Everyone is just so nice, and their dedication is incredible!” Kyoko says about all the museum volunteers. She is particularly thankful to her volunteer mentors, Marge Wada and Irene Nakagawa, who have helped her transition into JANM’s lively and close-knit volunteer community.
One key take-away from her time at JANM has been the importance of sharing diverse lived experiences—a concept she did not grow up with in a largely homogeneous Japan. With every passing week, she cheerfully asserts, “I am learning something new!”
Please note Kyoko Ogawa is not available for general translation requests. Her volunteer services are currently limited to the needs of JANM’s Collections and Management Access Unit.
This post was researched and written by Sakura Kato, JANM’s summer 2015 curatorial and collections intern. Kato, who just graduated from the University of Southern California with a degree in history and pre-law, conducted the interview with Ogawa in Japanese.
Through the poetic lyrics of over 200 holehole bushi (Japanese folksongs), Franklin Odo (Founding Director, Smithsonian Institution’s Asian Pacific American Program) traces the experiences of Japanese immigrant plantation sugar workers during the late 19th and early 20th centuries in his new book Voices from the Canefields: Folksongs from Japanese Immigrant Workers in Hawai‘i.
Wednesday, January 22 will be a night of celebration as we join NYU’s Asian/Pacific/American Institute in marking the publication of Dr. Odo’s latest book with a selection of readings, song, and film.
Where: A/P/A Institute at NYU This event takes place in New York City.
Next Saturday, on September 24th at 2pm, Dr. ShiPu Wang will be at the Museum to talk about his book, Becoming American? The Art and Identity Crisis of Yasuo Kuniyoshi.
Yasuo Kuniyoshi was one of the preeminent 20th century American artists. He was active in New York as a teacher and in both artist circles and Japanese American organizations from pre-war until his death in 1953. At the time, he was an internationally known painter and graphic artist, but sadly is not well known now, particularly in the Japanese American community.
Becoming American? is the first scholarly book in over two decades to offer a critical evaluation of the pivotal art of Yasuo Kuniyoshi.
We asked one of our volunteer writers to interview Dr. Wang about the book for our Discover Nikkei website:
The Watase Media Arts Center’s award-winning film, Toyo Miyatake: Infinite Shades of Gray is going to be shown on Comcast throughout the month of May!
About the film:
Having smuggled a lens and film holder into one of America’s concentration camps during World War II, Toyo Miyatake was among the first to photograph this national disgrace. Yet it was his little-known artistic pursuits before the war that honed his discerning eye.
Produced by Karen L. Ishizuka and directed by Robert A. Nakamura with music by David Iwataki, the film is a penetrating portrait of the photographer’s quest to capture the beauty and dignity of everyday life.
The many awards that "Toyo Miyatake: Infinite Shades of Gray" has won
The film has won numerous awards, including:
* Official Sundance Film Festival Selection
* Grand Jury Award Best Documentary Short, Florida Film Festival
* CINE Gold Eagle
See it on Comcast this month:
Comcast has a video on demand service called “Cinema Asian America” which was launched in December 2010, featuring a monthly-curated series of Asian American and Asian films—award-winning films fresh from the film festival circuit and classics. These films include both short and feature-length works and the genres range from documentary to narrative to experimental.
From May 1–31, 2011, Toyo Miyatake will be available to all Comcast digital cable subscribers with On-Demand. See below for a list of all major Comcast markets in the U.S. The film will cost $0.99/view.
For those who are able to view Comcast programs, through their digital cable menu, viewers should click on the “On Demand” button, and then look under the “Movies” folder. In this will be a “Movie Collections” folder and inside of this viewers will find “Cinema Asian America” and will be able to access the film.
(The recently released DVD includes Japanese subtitles & includes Moving Memories as a bonus feature. Hosted by George Takei, it features restored and edited home movies from the 1920s and 1930s taken by Japanese American immigrant pioneers as they made America their new home.)
Comcast TV Market:
Birmingham, AL • Dothan, AL • Huntsville, AL • Little Rock, AR • Tucson, AZ • Fresno, CA • Sacramento, CA • San Francisco, CA • Santa Barbara, CA • Colorado Springs, CO • Denver, CO • Hartford, CT • Washington DC • Ft. Myers, FL • Jacksonville, FL • Miami, FL • Orlando, FL • Panama City, FL • Pensacola, FL • Tallahassee, FL • Tampa, FL • West Palm Beach, FL • Atlanta, GA • Augusta, GA • Savannah, GA • Peoria, IL • Chicago, IL • Champaign, IL • Rockford, IL • Ft. Wayne, IN • Indianapolis, IN • South Bend, IN • Charleston, KY • Paducah, KY • Louisville, KY • Monroe, LA • New Orleans, LA • Shreveport, LA • Boston, MA • Springfield, MA • Baltimore, MD • Salisbury, MD • Detroit, MI • Kansas City, MO • Minneapolis, MN • Columbus, MS • Hattiesburg, MS • Jackson, MS • Albuquerque, NM • New York, NY • Youngstown, OH • Portland, OR • Harrisburg, PA • Johnstown, PA • Philadelphia, PA • Pittsburgh, PA • Wilkes-Barre, PA • Charleston, SC • Chattanooga, TN • Knoxville, TN • Memphis, TN •Nashville, TN • Tri-Cities, TN • El Paso, TX • Houston, TX • Salt Lake City, UT • Richmond, VA • Roanoke, VA • Seattle, WA • Spokane, WA • Wheeling, WV
Through the poetic lyrics of over 200 holehole bushi (Japanese folksongs), Franklin Odo (Founding Director, Smithsonian Institution’s Asian Pacific American Program) traces the experiences of Japanese immigrant plantation sugar workers during the late 19th and early 20th centuries in his new book Voices from the Canefields: Folksongs from Japanese Immigrant Workers in Hawai‘i. 
