When the Japanese Canadian newspaper Nikkei Voice asked me to write about my favorite recent books related to Japan, I realized that I've read some books in the past year that I never got around to writing about, and was also finishing an innovative new book, or to be precise, a new ebook. In any case, I tend to read many...
Hundreds of Lakewood High School students, including this one, left their classrooms in September to protest a proposed history curriculum they believed would lead to censorship. Students organized the walkouts using social media sites like Facebook. (Photo by Nic Garcia/Chalkbeat Colorado) [/caption]
I grew up as part of a generation that found our collective voice in protest, for African American civil rights, against the war in Vietnam, and to advocate for women’s and LGBT rights and Asian American studies.
College students have been at the forefront of many of these social movements. The Student Non-Violent Coordinating Committee was a cornerstone of the civil rights movement. College students led the free speech movement at the University of California at Berkeley, and the left-wing Students for a Democratic Society was formed at the University of Michigan. Students led protests across the globe, including the Prague Spring in 1968 all the way to the Tiananmen Square protests of 1989. Even the Taiwan protests earlier this year and the current and Hong , Kong democracy protests.
But in Colorado where I live, my admiration goes out to a group of high school students, who have been protesting in Jefferson County, the school district where I graduated in the 1970s.
I visited the Oregon Nikkei Legacy Center in Portland, Oregon last week while on a business trip to the northwest, and I was struck at how important organizations like it, and the museum it operates are for our community.
Institutions from the largest such as the Japanese American National Museum in Los Angeles to one-room repositories such as the Nikkei Legacy Center or the Amache Museum in Granada, Colorado, are repositories for our collective memory as a community, and home to our history.
Portland’s museum is a project of the Oregon Nikkei Endowment, and it’s tucked into a storefront in the city’s Old Town district, in the midst of what used to be the Nihonmachi, or Japantown neighborhood.
One of the first items on display inside the door is a scale model of the district, with all the buildings labeled with the Japanese businesses that used to thrive. Only a couple of the businesses still exist, but they’re no longer in the neighborhood – the Nikkei Legacy Center is the only remaining sign of the community that was based here before WWII.
The museum does a great job within its limited space of tracing the Japanese’s arrival in the area, the variety of businesses, and then imprisonment during WWII. There are artifacts, models, and text explaining historical milestones.
A small area features a re-creation of an internment camp barrack's interior, with actual tables, chairs, desk and dresser (shown above) that were all built by internees in Minidoka, Idaho, where Portland JAs were imprisoned. The historical timeline of the permanent exhibit ends with a small video viewing area with interviews with local Nisei about the war years.
In a small rotating gallery space in the back is a powerful, somber art exhibit (right) that addresses the horror of the atomic bombings of Hiroshima and Nagasaki, titled “Shadows and Black Rain: Memories, Histories, Places, Bodies.”
The next interview scheduled for Erin and my visualizAsian.com project is one close to our hearts. The free, live interview on Tuesday, August 25 at 6 PM PT (9 PM ET) will be with with Japanese American attorney Dale Minami.
Dale is a rock star within the AAPI community -- in fact, the entire U.S. legal community -- as the lead attorney in Korematsu v United States, the landmark case that cleared the name of Fred Korematsu, a Japanese American who resisted being sent to internment camps during WWII and was sent to prison. A 1944 U.S. Supreme Court's decision established the constitutionality of the internment of Japanese Americans during World War II. But Dale and a team of young pro-bono lawyers took on the case and in 1983, got Korematsu's conviction overturned.
He's most famous for the Korematsu case, which he won on a writ of coram nobis, a legal tactic that forced the court to admit that an error of "fundamental character" had been made in Korematsu's conviction.
There are very few non-fiction books that I would insist that anyone interested in Asian American history and culture must read. There are other important books, but these are the ones that have helped me form my sense of identity as an Asian American.
They include Helen Zia's "Asian American Dreams," Bill Hosokawa's "Nisei: The Quiet Americans," Phoebe Eng's "Warrior Lessons," Ben Fong-Torres' "The Rice Room" and Ronald Takaki's "Strangers from a Different Shore."
Ronald Takaki, who wrote or co-authored more than a dozen books about Asian American identity and race in America, passed away May 26, too young at the age of 70. His landmark book, "Strangers from a Different Shore" was the one that helped me understand the historical flow of Asians to the United States, ethnic group by ethnic groups, and their struggles to be accepted by their new country. If Bill Hosokawa's "Nisei" helped me realize who I was as a Japanese American, Takaki, along with Helen Zia's "Asian American Dreams," helped me figure out my place in a larger context.
Asian Americans are finally showing up in American pop culture at large, but Asian American fine artists are still mostly invisible. Only a few have had notable -- or rather, noted -- careers in the art world.
When I was an art student, I didn't think much of my heritage. You might say it was my "Banana Period." As an artist, I didn't appreciate my ethnicity, even when I was included in a group show of Japanese artists and my painting was bought by a famous playwright (keep reading below).
I simply didn't identify myself as an Asian American artist. I was simply an artist, and the art I made was informed by my 8th grade art teacher, Julie Maiolo, my high school art teacher, Jay Filson, and all my professors (especially color theorist Mary Buckley), as well as the art history teachers and books I soaked up. Which meant my awareness of art was all Euro-centric.
In all of that art history and theory, what I knew of Asia in art was that calligraphy was beautiful, ink painting was hard but similar in process to watercolor, and that Japanese woodblocks inspired the French Impressionists that I loved so much.
So it's understandable that I assumed any artist with an Asian name was Asian, not Asian American. For instance, for years I thought the sculptor Isamu Noguchi was Japanese, even though he was born in Los Angeles.
But now, the hidden history of Asian American artists is finally getting a jump start, thanks to two projects.
First is the first extensive exhibition of Asian American artists, "Asian/American/Modern Art: Shifting Currents, 1900–1970," curated by the de Young Museum, part of the San Francisco Fine Art Museum (there's a companion book available). The exhibit opened in October, and runs through late January. Then the work moves to the Noguchi Museum in Long Island City near New York.
Second is the publication of "Asian American Art: A History, 1850-1970," by Stanford University Press.
Erin and I attended a talk and book signing with 9News Political reporter Adam Schrager last night, and introduced him to her folks. It was the second time we've seen Adam speak since the publication of "The Principled Politician." This talk was held at Simpson United Methodist Church, which serves the Japanese American community, and it was sponsored by various area Japanese and Japanese American organizations, including the Denver Buddhist Temple, Japanese Association and the JACL's Mile-Hi chapter.
This was the first time Schrager spoke to a hometown crowd of JAs. Back on Feb. 19 -- the Day of Remembrance, a date Schrager purposefully sought out for his first book signing at the Tattered Cover bookstore -- the crowd was mostly non-Japanese, with a definite emphasis on Denver media and politicos (Mayor Hickenlooper made it). Since then, Schrager has spoken at the Japanese American National Museum in LA, but here in Denver, his appearances have been on the bookstore circuit. So he admitted during the Q&A when Erin asked him, that talking about his book to an almost all-JA crowd was "intimidating."
He didn't act it. Looking his usual boyish self, and speaking with an impassioned conviction, the tall, lanky Schrager reminded me of the young Jimmy Stewart in the 1939 Frank Capra film, "Mr. Smith Goes to Washington." By the time he finished and everyone convened downstairs for surprisingly good food from Japon and a long line of people buying his book and getting personalized autographs, Schrager had been accepted as an honorary Japanese American.
 Members of the Grateful Crane Ensemble's "Moonlight Serenaders" in "The Camp Dance: The Music & The Memories," include (front row) Keiko Kawashima and Jason Fong; (back row) Kurt Kuniyoshi, Darrell Kunitomi and Haruye Ioka. (Photo by Phil Nee) |