On May 27, 1943, Kiku Nakamichi was crowned Queen of Denson at a coronation ball, which was part of a weekend carnival at the Jerome concentration camp.
Kiku was presented with a wooden, heart-shaped plaque painted red, green, and gold. It had been crafted by staff at the wood shop where she worked as a secretary. Four months later, when Kiku and her husband departed Jerome, wood shop staff and friends added signatures and farewell messages to the back of the plaque.
Captured in a photograph from the night of the coronation, Kiku is flanked by her two attendants Mary Ikeguchi and Bessie Nakashima, where she is seeing holding the plaque. According to the camp newspaper, Denson Tribune, “William O. Melton, assistant Project director, who crowned the queen had the first dance with Queen Kiku following the coronation.”
Although events throughout all of the camps were common, including coronations and carnivals, each one offered a unique opportunity for incarcerated Japanese Americans to participate in activities seemingly at dramatic odds with their forced surroundings.
The plaque was passed on to Kiku’s daughter, Cindi Ishigaki, who donated it to JANM’s permanent collection this past January.
Food Fancies, by Evelyn Kimura, was a column in the Topaz Saturday Times about all things food. In the wake of forced incarceration, Japanese Americans used what little resources they had to make some of their favorite meals. According to Kimura, the key to at-home cooking was simplicity. (And don’t use up all the coal for everyone in the barracks.)
Camp cooking is a legacy that has been passed down to many of us through the generations. Growing up, I knew that shoyu hotdogs and rice meant that Mom was tired. While we spend our current hours social-distancing and rationing food, we can call upon the lessons from those who came before us.
Homemade noodles, courtesy of Mrs. J Yanagizawa of 14-1-A
Ingredients: 1 1/2 cups of flour 1 egg Fresh vegetables of your choice 1 can bouillon or broth
Mix flour and egg (or you can substitute water). Let stand all day until hard.
Roll flat and cut into strips.
Then begin soup mixture by boiling fresh vegetables of your choice.
Add 1 can of bouillon (broth) to vegetables and allow to simmer for 20 minutes.
Boil soup and noodles for another 15 minutes.
If ready made noodles are being used, boil them before adding to the soup.
We plan to share more camp recipes, so check back for more. We hope you try out this recipe. And please let us know if you do!
Thanks to Emily Anderson who came across this recipe while searching through the World War II camp newspapers on the Densho Digital Repository as part of her research for an upcoming JANM exhibition. The full issue can be found here (Densho, Courtesy of the family of Itaru and Shizuko Ina).
Every three months, staff at the Japanese American National Museum meet to discuss donation offers of artifacts for the museum’s permanent collection. One collection that arrived at the museum recently was from the family of Larry Akira Ogino.
Kathy Bishop and her siblings recently offered to JANM a collection of watercolor paintings created by their father, Larry Akira Ogino, during his time at the WRA concentration camp at Poston. The five vibrant watercolors accepted into JANM’s permanent collection capture life and scenery at Poston, with some of the works evoking the style of other watercolor artists in Poston and other camps, such as Gene Sogioka.
Larry was born in 1919 in San Francisco, California. During his youth, the family owned and operated a fruit and vegetable farm in the Los Gatos and Campbell neighborhoods adjacent to San Jose. Prior to incarceration, Larry was an art student at San Jose State College. Larry, his mother, and three brothers were sent directly to Poston. Their father joined them after a year at the Santa Fe Department of Justice camp. Larry left camp in June 1943 for employment in Chicago, and later volunteered to join the 442nd Regimental Combat Team. He served as a medic in Europe during his tour of duty.
Once out of the service, Larry was sponsored by a family friend and was able to continue his studies at the Studio School of Art in Chicago. During this time, he painted landscapes in watercolor, but also experimented with oils and acrylics. He was hired as a technical illustrator and worked for several different companies in the Midwest before finally returning to San Jose, where he was employed at FMC Corporation until his retirement. Until his death in 2000, Larry continued to paint—some animals (including cougars, foxes, dogs, cats, and birds), but mostly landscapes.
With over 100,000 artifacts, JANM’s Collections Management and Access staff work to preserve and document the experiences of Japanese Americans like Larry Akira Ogino. If you are interested in donating, making an appointment to view your family’s past donations, or learning more about objects in JANM’s permanent collection, please email firstname.lastname@example.org.
On Saturday, February 17, JANM will present the 2018 Day of Remembrance in partnership with Go for Broke National Education Center, Japanese American Citizens League-Pacific Southwest District, the Manzanar Committee, Nikkei for Civil Rights and Redress, Nikkei Progressives, OCA-Greater Los Angeles, and Progressive Asian Network for Action (PANA). This year’s theme is “The Civil Liberties Act of 1988: The Victory and the Unfinished Business.”
In addition to marking the 76th anniversary of the signing of Executive Order 9066, an act that led to the forced evacuation and mass incarceration of 120,000 persons of Japanese ancestry during World War II, this year’s Day of Remembrance also commemorates the 30th anniversary of the signing of the Civil Liberties Act of 1988, the legislation that provided a formal apology from the US government and monetary reparations to survivors of the incarceration. Years in the making, this landmark legislation went a long way toward providing vindication and closure for the Japanese American community. Over 82,500 survivors received the President’s apology and the token monetary compensation provided by the CLA.
Today, however, we again find ourselves living in a climate of fear and scapegoating, in which several different immigrant populations have become vulnerable to unfair targeting. At this year’s event, we hope to strengthen our collective voice as we strive to prevent a repeat of what happened to Japanese Americans 76 years ago. Featured speakers will include Alan Nishio, community activist and founding member of National Coalition for Redress/Reparations (now Nikkei for Civil Rights and Redress), who will speak about the importance of the Civil Liberties Act, what it did not accomplish, and its ongoing relevance today. The DOR program will also continue its tradition of paying tribute to the Issei and Nisei generations.
Admission to this event and to the museum are both pay-what-you-wish on this day. Last year’s event drew standing-room-only crowds, so RSVPs for this year’s Day of Remembrance are strongly encouraged. For updates on the day’s program, please visit janm.org or the Facebook event page.
The Japanese American National Museum recently launched a new web resource, Exploring America’s Concentration Camps. Like our core exhibition, Common Ground: The Heart of Community, which provides a key educational experience for 15,000 students and teachers every year, EACC showcases photographs, letters, artwork, oral histories, and moving images from our permanent collection. We selected and digitized artifacts from all 10 War Relocation Authority (WRA) camps and organized them thematically for this new website. Our goal is to share our collection widely with students and teachers around the nation to help them learn more about the Japanese American World War II experience.
The above photo of a group of women making mochi in the Gila River camp in Arizona has a handwritten caption: “New Years a comin’.” At around the same time in Utah’s Topaz camp, artist Hisako Hibi painted two stacked pieces of mochi topped with a small citrus, a symbol of hope for a healthy and prosperous new year. On the back of her painting, Hibi wrote, “Hisako Hibi. Jan 1943 at Topaz. Japanese without mochi (pounded sweet rice) is no New Year! It was very sad oshogatsu. So, I painted okazari mochi in the internment camp.” These artifacts, like many others in JANM’s permanent collection, speak to how important it was for those in camp to find ways to maintain their traditions, despite being incarcerated in harsh environments far from home.
Other artifacts speak to the idea of security. For example, this badge and identification card are from the collection of Norio Mitsuoka, the inmate who would become the fire chief at Idaho’s Minidoka camp. The WRA created and ran camp entities like fire departments to ensure standard protections for the Japanese American prisoners. Such artifacts not only give viewers a deeper understanding of camp life, but they also surface broader questions about security, both physical and psychological.
A handmade chest of drawers, meanwhile, illustrates the dignity with which the Japanese Americans endured the camps. The collection of Frank S. Emi, who is perhaps best known for his leadership in the Heart Mountain Fair Play Committee, offers us a glimpse at another skill he possessed: furniture making. In an oral history interview for JANM, he shared what the furniture meant to him:
I built this chest of drawers from scrap lumber in the fall of 1942 while incarcerated at the Heart Mountain, Wyoming, concentration camp. The barracks were bare except for a potbelly stove and a single light bulb dangling from the roof. I had also built a vanity with a 36-inch mirror (purchased from a mail order catalog), which was my pride and joy.
Born to parents of Japanese and Mexican descent, Shizu Saldamando creates exquisite drawings in which she investigates the variety of social constructs and subcultures seen in Los Angeles’ backyard parties, dance clubs, music shows, hang-out spots, and art receptions. By focusing on the subtle details that define different scenes, she captures the unexpected influences at work in America’s social spaces. Saldamando’s work is currently on view at JANM as part of the exhibition Transpacific Borderlands: The Art of Japanese Diaspora in Lima, Los Angeles, Mexico City, and São Paulo.
This Saturday, December 2, Saldamando will be giving a Members Only Artist Talk as well as leading a craft workshop titled Paper Flowers from the Camp Archives. We sat down with her via email to learn more about her family background, what shaped her practice as an artist, and how she came to develop her paper flowers workshop, which pays tribute to one of the ways that her family—and others—found to deal with the trauma of the World War II Japanese American incarceration.
JANM: I’ve read that your mom is a community organizer and your dad is a human rights lawyer. Your family life must have been filled with social and political awareness and dialogue. Do you think that influenced your artwork?
Shizu Saldamando: Growing up in San Francisco’s Mission District in the 1980s, I was very much influenced by my parents’ work as well as by the Chicano art centers in the area, all of whom were heavily informed by activism, the United Farm Workers, the Central American wars that were happening at that time, and other pressing issues of the day. It was the era of Reaganomics and the Cold War, so a lot of the artwork that was being produced in my neighborhood was heavily loaded and spoke about human rights and issues affecting low-income and immigrant communities—the same issues we are dealing with today.
JANM: The Japanese side of your family was incarcerated during World War II. How did that history influence you growing up?
SS: My mom helped develop a curriculum for the schools in San Francisco that taught about the Japanese American concentration camps, so I was able to make connections between their experience and that of other immigrant communities. I saw the various ways that immigrants and people of color are easily scapegoated and targeted in order to further whatever agenda the current administration is seeking to implement. In my community, I was exposed to artists who used their work to re-contextualize and assert an alternative narrative to what was playing on the news, and that was very influential.
In my own practice now, a lot of my work is not overtly political in that there are not many slogans or protests signs. However, I choose to depict friends and family who occupy a space outside of mainstream circles and who consciously construct their own creative communities. These people are the legacy of many historical struggles; they have, out of the need for survival, created their own supportive spaces.
JANM: Yes, you’ve said that your art is about “subculture and perseverance.” Perseverance, of course, is one of the cornerstone themes of Japanese culture and Japanese American history, as embodied in the popular saying gaman (“bear the unbearable with patience and dignity”). Can you talk some more about your experiences with subcultures?
SS: In the mid-1990s, I moved to Los Angeles to attend UCLA’s art school. There, I was also very influenced by many different musical scenes. Every week, I would go to various punk shows and dance clubs that would be playing anything from gothic industrial music, rock en español, punk, or British pop. Being part of these different scenes in Los Angeles was very special in that most of the people who inhabited them were Chicano/of Mexican descent. There was always a large queer presence as well. Being politically conscious and active was a given within these scenes, especially in the ’90s, so they became very comfortable places for me to inhabit. I made a lot of friends and chose to depict them in my artwork.
I like to think of the community of Japanese Americans who survived the camps as their own subculture as well. They are such a specific group of people, who all went through this awful historical trauma together, and whose descendants carry that weight whether they like to admit it or not. I know for a fact that my own family members who survived the camps all suffer different forms of PTSD in some way or another. Their coping mechanisms differ but I like to recognize one that is always close to my heart: communal crafting.
JANM: Was this the inspiration behind your upcoming workshop on paper flowers?
SS: Yes. Being very influenced by my aunt’s crafting circles and the different projects that she and her friends created, I thought it would be nice to give a nod to her and the communal crafting that happened at the camps. She was only a child when she was incarcerated in the camp at Rohwer, Arkansas, so I’m not sure if she worked with the same flower patterns I’ll be using in my class, but I still think of this workshop as an homage to her and her love of craft.
JANM: I understand that your research on this topic actually stretches back several years. Tell us how it all came about.
SS: One day, I was walking through JANM’s Common Ground exhibition and I heard one of the volunteer docents talking about how, in the photos of funerals at the camps, the funeral wreaths were actually made out of paper. Real flowers were not available at the camps since most of them were located in harsh, remote environments. When people passed away, the community would come together and make paper flowers for the funerals.
Later, I was asked to make an altar for Día de los Muertos and I chose to do a piece in honor of my aunt’s husband, who had been incarcerated at Manzanar and passed away around 2000. I decided to make a paper flower wreath as a nod to camp tradition. I wanted it to be historically accurate, so I made a research appointment with one of the archivists at JANM. The archivist provided me with a huge amount of material. She wheeled in carts of flowers made out of scrap wood, flowers made out of shells, flowers made out of pipe cleaners, you name it, along with several files full of information.
Among those was a book that documented the excavation of the gravesites at Manzanar, providing a complete rundown of all the people who passed away there, how they died, and what was found at their gravesites. There were photos of wire remnants that were once paper flower stems, photos of broken glass jars that once held paper flower bouquets, and photos of people making flowers in the camps. In addition, she found a small catalog insert from an old Woolworth’s catalog that was an instruction manual on how to make paper roses. I made copies of that manual and used it to make the wreath for my altar.
I keep revisiting this project in different forms. When I was invited to participate in the Smithsonian Asian Pacific American Center’s CrossLines: A Culture Lab on Intersectionality in May 2016, I chose to do an interactive wreath-making workshop to call attention to the anti-immigrant and anti-refugee sentiment that is running rampant with our current administration. Tragically, the paper flower project remains pertinent and timely not only because of the current political climate but because now, so many camp survivors are passing on and taking that history with them. I think it’s important to keep their legacy alive and always in our minds.
There are still a few spaces left for Shizu Saldamando’s flower-making workshop on Saturday, December 2. If you are a JANM member, you can also sign up for the Members Only Artist Talk she is giving earlier that day. Visit janm.org for more info and to RSVP.
A slim newspaper has been circulating as part of promotions for Visual Communications’ 2017 Los Angeles Asian Pacific Film Festival (LAAPFF), portions of which will be screened at JANM. Titled Bronzeville News, it mimics some of the humble broadsheets that may have circulated during the Bronzeville years of Little Tokyo, when, in the absence of Japanese Americans who had been incarcerated in remote camps following the bombing of Pearl Harbor, African Americans moved into the neighborhood and made it their own, nicknaming it after a historic black neighborhood in Chicago.
The newspaper evokes another era at the same time that it announces and serves as the program for Bronzeville, Little Tokyo, a free, two-day LAAPFF event that delves into this brief but fascinating period in Little Tokyo’s history. Over the weekend of April 29–30, visitors will be able to take in an interactive media installation, a 360⁰ virtual reality presentation, and a live jazz performance. Presented by FORM follows FUNCTION and Visual Communications, Bronzeville, Little Tokyo will take place at JANM’s own Historic Building and the Union Center for the Arts courtyard, two historic neighborhood sites.
Bronzeville was a nexus in time that brought together several significant strands of Southern California history. Following the evacuation of persons of Japanese ancestry from the West Coast, Japanese enclaves quickly became ghost towns. Since Asians were legally barred from owning property at that time, this meant that a lot of white landlords found themselves without tenants. At the same time, African Americans from the Deep South started flooding into California to work in the war defense industry, which faced a labor shortage. The vacant buildings in places like Little Tokyo made for convenient housing for the laborers. The neighborhood soon became a hotbed for African American business, culture, and night life.
In addition to many intriguing vintage photographs and advertisements, the Bronzeville News contains a thoughtful essay by artist and project researcher/consultant Kathie Foley-Meyer, in which she considers the significance of Bronzeville in forging Los Angeles into the multicultural metropolis that it is today. Her quotation of a 1945 editorial on integration in California is eerily reminiscent of debates taking place today in the wake of new immigration policies from the current administration. Foley-Meyer runs her own creative project at projectbronzeville.com.
Between 1942 and 1944, thousands of incarcerated Japanese Americans were moved from assembly centers and concentration camps to farm labor camps as a way to mitigate the wartime labor shortage. In the summer of 1942, Farm Security Administration (FSA) photographer Russell Lee—best known for his series on Pie Town, New Mexico—documented four such camps in Oregon and Idaho, capturing the laborers’ day-to-day lives in evocative detail. Many of these photographs, which capture a little-recorded episode of American history, have never before been exhibited.
For an illuminating look at the origins of this exhibition, read our Discover Nikkei interview with curator Morgen Young. A consulting historian based in Portland, Oregon, Young studied the FSA photography program in graduate school. Working on Uprooted has taught her much about Japanese American history, and she believes that the farm labor camps are an important and under-recognized part of that history. In her own words: “These individuals and families volunteered for agricultural labor—they went into new environments, where they didn’t know how they would be received by the local communities. They contributed directly to the war effort and still have not received the recognition they deserve for their efforts.”
Uprooted is a multi-pronged project that includes the traveling physical exhibition, oral history interviews with subjects in the photographs who were identified by viewers, documentary videos, school curricula, and a comprehensive website. A visit to the website is a great idea both before and after your visit to the exhibition; there, you can learn more about the farm labor camps, review copies of official documents, watch excerpts of oral history videos, view photos of the camps taken by people who lived in them, download lesson plans, and more.
Help Identify People in the Photographs
When you come to see Uprooted, pay close attention to the people in the photographs. Do you recognize anyone? Efforts to identify the subjects in Russell Lee’s photographs are still ongoing; according to Young, no one in the Idaho camp images has been identified, and the organizers are hoping that LA visitors will be able to help. A photo identification binder will be made available for visitors to write down possible names and/or details about the subjects’ lives.
James Tanaka, a JANM docent, has already come forward to share his story of living in the Twin Falls camp as a child; information about Tanaka and his family is available here.
On May 17, the Japanese American National Museum partnered with the Smithsonian National Museum of American History to host a National Youth Summit on Japanese American incarceration in World War II. Over 3,600 students and teachers from 36 states and three countries tuned in to the live webcast of the event! In case you missed it, the program is now archived and available to watch online.
In addition to the panel discussion here in JANM’s Tateuchi Democracy Forum and its webcast, we also hosted a simultaneous web chat where students enthusiastically checked in and asked some very thoughtful questions. There were so many questions that we were not able to answer all of them during the time allotted. Thanks to this blog, however, we now have a chance to follow up with our curious viewers and answer more of their questions.
JANM’s Curator of History, Dr. Lily Anne Welty Tamai, was on hand to answer questions about the Japanese American World War II incarceration.
Caroline asked: How were Japanese Americans treated differently from Jews during this time?
Dr. Tamai: The World War II experiences of the two groups were very different. Technically, both the Nazi and the American camps were concentration camps, meaning they were used “for the detention or imprisonment of aliens, members of ethnic minorities, or political opponents.” However, after the war, the term “concentration camp” became associated most strongly with the Nazis, who used their camps to systematically execute Jews and other minority groups. Although Japanese Americans were imprisoned without due process, the War Relocation Authority camps were NOT death camps—they met the prisoners’ basic needs for food and shelter and allowed them to work, go to school, and live with their families for the most part.
The DC Area asked: What happened to Japanese Americans who resisted incarceration?
Dr. Tamai: There were several acts of resistance against the incarceration, which led to arrests and four subsequent Supreme Court cases (Gordon Hirabayashi 1943, Minoru Yasui 1943, Fred Korematsu 1944, and Mitsuye Endo 1944) that questioned the constitutionality of various aspects of President Roosevelt’s Executive Order 9066. In the first three cases, government authorities misled the court by exaggerating the military’s estimates of the security risk posed by Japanese Americans. All convictions were overturned 40 years later thanks to the leadership of the Nisei and Sansei generations, who achieved historic court victories that paved the way for the Redress Movement. This in turn led to the passage of the Civil Liberties Act of 1988, which granted a formal apology and reparations to Japanese Americans.
Caroline asked: Did any other Americans try to stand up for Japanese Americans’ rights?
Dr. Tamai: After the bombing of Pearl Harbor, the Japanese American community was perceived to be allied with Japan and thus, it was extremely unpopular to stand up for them. Several notable people did, however.
Clara Breed, a librarian in San Diego, wrote many letters to her former students who were incarcerated at Manzanar War Relocation Center. For more information, see Joanne Oppenheim, Dear Miss Breed: True Stories of the Japanese American Incarceration During World War II and a Librarian Who Made a Difference (Scholastic Nonfiction, 2006). There was also a Mexican-Irish teenager named Ralph Lazo who decided to show his support of his Japanese American friends by joining them at Manzanar during the war.
Ralph Carr, former governor of Colorado, welcomed Japanese Americans who wished to resettle in Colorado after the war—an unpopular move that cost him his bid for the US Senate. American Friends Service Committee (the Quakers) also gave public support to Japanese Americans who were resettling. San Francisco–based civil rights attorney Wayne Collins helped nearly 5,000 Japanese Americans reinstate their US citizenship after they had been coerced into renouncing it. He also served as defense attorney for Fred Korematsu, Mitsuye Endo, and Japanese Latin Americans who had been extradited from Latin America and imprisoned in US Department of Justice camps.
Anonymous asked: Why didn’t they send Japanese Americans back to Japan?
Dr. Tamai: By 1942, nearly two-thirds of the Japanese American community had been born in the US, making them US citizens. Although most had family members who were still in Japan, many had never even been there, and therefore going “back” was not an option. For the first-generation Japanese immigrants who made up one-third of the community, many had already established themselves in the US—they were legal residents; they owned businesses, farms, and homes; and their children were American citizens. The US government was not in a position to deport an entire ethnic community.
During the first part of the program, students heard from JANM volunteer William “Bill” Shishima, who talked about his childhood incarceration at Heart Mountain, Wyoming. The students responded very positively to his story and asked him a few more questions via the web chat.
NadeShot asked: What was it like saying goodbye to your friends and not knowing when you would be back?
Bill Shishima: It was very short and sweet. Basically, we just said goodbye and we didn’t know where we were going or for how long.
Cate asked: Did the formal US apology help you at all emotionally?
Shishima: Yes, I was shocked that the country said that they were sorry we were incarcerated during the war. It takes a great country to admit a wrong to their citizens. I donated my $20,000 reparation money to the Japanese American National Museum, which exists to tell the Japanese American incarceration story so that it will never happen again!
A huge thank you to everybody who participated in this year’s National Youth Summit! In closing, we’d like to leave you with a link to the rap song we played to kick off the program. It’s called “9066” and it’s by “Kamikaze” Kane Tenorio. You can listen to it here. You can also read about Kane and his family here. Enjoy!
This Saturday, May 7, at 2 p.m., JANM will present a dramatic reading of Moss on the Mirror, a fictional play inspired by the life and work of renowned photographer Toyo Miyatake. Taking place in Los Angeles’ Little Tokyo district in the late 1920s and early 1930s, where Miyatake’s practice flourished before World War II, the play examines the creativity, hope, and optimism, as well as the struggles and challenges, of the Japanese immigrant photographers community.
Although not a literal retelling of actual events, the piece seeks to transport audiences to the feelings and circumstances of those times. Moss on the Mirror was written by Warren Sata, whose paternal grandfather was J.T. Sata (1896–1975), a featured photographer (along with Miyatake) in the current exhibition Making Waves: Japanese American Photography, 1920–1940. To learn more about the play, we conducted a brief interview with Sata via email.
JANM: What does the title Moss on the Mirror refer to?
Warren Sata: The title refers to the notion that we understand ourselves and our communities through reflection, or looking in the mirror. The moss evokes a clouded mirror, alluding to the influence of outside circumstances like poverty and racism.
JANM: What inspired you to write this play?
WS: The story of Los Angeles’ Issei photographers has fascinated me and inspired my imagination since I learned about them from my father some years ago. A conversation with actor/director Chris Tashima, who serves as the play’s director, helped me to recognize the importance of Toyo Miyatake’s journey toward becoming a pillar of the community. I began to understand the value of artistry and responsibility in a different way, which led me to take an interest in sketching the story of Japanese Americans photographers and their interests and practices prior to the WWII incarceration.
JANM: What is your favorite image by a Japanese American photographer, and why?
WS: I am drawn to an abstract self-portrait created by my grandfather, J.T. Sata, which is currently on display in Making Waves. It utilizes triangles and a photographic image of his face. The interplay between a realistic portrait and an abstract prepared background fascinates me; it seems to suggest a doorway between the real world and subjective experience. This allows for a dialogue between these worlds and gives value to the notion of participating in both. I enjoy this because it pushes me to understand the Issei experience and what that might have felt like.
JANM: What do you hope audiences will get out of the dramatic reading?
WS: I hope that audience members will be motivated to honor the contributions of the Issei photographic pioneers, but also to consider what their experiences were like in the 1920s and ’30s—their creativity, their principles, their aesthetics, and the culture and context of the times.