As a community we are grieving the loss of Holly Yasui, youngest daughter of Min Yasui and producer/director of the award-winning film, Never Give Up!: Minoru Yasui and the Fight for Justice.
My “Greetings from Ground Zero” letter from Seattle appears in this special pandemic issue of Ishmael Reed and Tennessee Reed’s Konch Magazine.
Thanks to your requests, we’ve spent some time to make “The Lim Report” available online once again. In many ways, it was the Mueller Report of its time.
Deborah Lim’s work was explosive for the details she revealed of JACL cooperation and collaboration with the government in our own wartime incarceration, its suppression of resistance, and its demonization of the no-no’s and renunciants at Tule Lake. Continue reading “The Lim Report” now back online: the Mueller Report of its time
Forty years ago on Thanksgiving weekend, we gathered at Sick’s Stadium in Seattle’s Rainier Valley to kick-start the popular campaign for Japanese American redress.
Here’s the inside story of how it all came together, and where it led. Thanks to Natasha Varner for commissioning this piece for the Densho Blog.
The last major Nisei figure interviewed in our film is gone. We are mourning the loss of Heart Mountain resister Yosh Kuromiya at the age of 95. Continue reading In Memoriam: Yosh Kuromiya, the man who drew the line
Documenting the history of Japanese American incarceration, and the resistance to incarceration, was always important, but it remained just that — history, something good to know about, to make sure that mass exclusion on the basis of race “never happens again in America.” But when rangers in the National Park Service have to go undergound, and Smokey the Bear is raising a fist in flames, you know something has gone terribly wrong.
We have just passed the tipping point and now live with an authoritarian American government. #Resistance is a trending hashtag. Former Labor Secretary Robert Reich posts a daily “Resistance Report” on YouTube. Former sportscaster Keith Olberman rebrands his show on GQ as “The Resistance.” Reuters is instructing its reporters how to cover the new Administration as if it were a banana republic. And the story of the Heart Mountain resisters is getting renewed attention.
Thanks to host Bill Radke and producer Shane Mehling for having me on Seattle’s NPR affiliate today, on KUOW’s “The Record,” to connect the Japanese American resistance to the current actions in the streets. Here’s a link to the full 11-minute conversation, which has been well-received. As I said to Bill, I feel both validated that the Fair Play Committee is getting recognized, and appalled that we are now talking about a very real threat to Muslim Americans and Mexican Americans for the purpose of fulfilling a campaign promise to a resurgent white nationalism.
Continue reading What #Resistance Means Now
None of the 24,000 Japanese Americans sent to live in the shallow volcanic lakebed of Tule Lake for the duration of World War II wanted to be there, but their presence makes this a National Historic Landmark.
In hindsight, an airstrip operating on a site of this historic significance is not an appropriate or compatible use, but before anyone could know that, the government after the war granted homestead rights to farmers, and in 1951 granted two-thirds of the main detention and barracks site to the city of Tulelake for an airstrip, which today hosts just one business, a crop-dusting service. It’s not easy to see without an aerial view, but the airstrip runs left to right in the photo below.
The irony was not lost on some, but kudos must go tonight to the JACL National Council meeting in Las Vegas, for providing the first national resolution in support of preserving the Tule Lake Segregation Center as a National Historic Site. Continue reading Tule Lake preservation gains national support
The problem with the new Broadway musical Allegiance is not just its historical inaccuracies, although it is riddled with them. It’s the fabrication of events that were impossible within the reality of America’s concentration camps. Unexpectedly, the one reality this show gets right is its portrayal of Mike Masaoka and the wartime Japanese American Citizens League — although making him the villain of the piece diverts attention from other, more uncomfortable truths.
Some background: In its tryout at San Diego’s Old Globe Theater in 2012, audiences reported their dismay at seeing Masaoka burlesqued as “sleazy” and a “scheming villain” who plotted for Nisei boys to die in suicide battalions as a means of proving Japanese American loyalty. This first-draft “Masaoka” joined in on an all-singing, all-dancing production number (“Better Americans in a Greater America”) that parodied his accommodationist stand with such lyrics as “It’s not too late / Come celebrate / America and assimilate!” The show climaxed with the Nisei vet Sammy, played by George Takei, in full dress uniform screaming at the spirit memory of Masaoka, “You had me lead them to their deaths, you son of a bitch!”
Thanks for finding this post via links from Wikipedia, the New York Times and other reviews. See the real story of the Heart Mountain resisters as told in our PBS film, Conscience and the Constitution. Order here.
The implied pact the musical Allegiance makes with its audience is that you will see an honest retelling of the Japanese American incarceration, and come away feeling comfortably uplifted. The show does entertain, through derivative songs and animated production. It achieves its effect, however, by sacrificing truth for theatricality, revising history, and offering a ludicrous portrayal of the Heart Mountain resisters.
As producer/director of the 2000 PBS film, Conscience and the Constitution – which first framed the conflict between the organized resistance led by Frank Emi, and suppression of that resistance by the Japanese American Citizens League, led by Mike Masaoka – I’ve been asked how the musical performs as history.
After seeing the first public preview October 6 at New York’s Longacre Theater, it is apparent the makers of Allegiance found the fact of civilian administration of America’s concentration camps so ordinary and banal – which it was – that they needed to heighten the obstacles to their themes of love and hope by conflating Heart Mountain with the worst of the segregation center at Tule Lake, near the California-Oregon border. They invent military rule at Heart Mountain.
Allegiance is billed as a fiction “inspired by the true-life experience of its star George Takei,” who was imprisoned as a child at Rohwer and Tule Lake. But the only events validated by his personal experience are those of every camp story – fictional family at home, Pearl Harbor, selling the farm cheap, dust and dances in camp, yes-yes/no-no, and war’s end. Once that family, here called the Kimura’s, is evicted from home and reaches the War Relocation Authority center in Wyoming, the makers of Allegiance selectively and progressively alter the reality governing Heart Mountain to more closely suggest that of a German POW camp.
In Act I for example, upon their arrival at faux Heart Mountain, a campwide PA system broadcasts directives to evacuees, while Military Police order “women to the right, men to the left.” Hannah, a white nurse, asks the women to “please remove your clothes down to your underwear” for medical exams. When an Issei woman protests, a young man explodes, “It’s not right!” and is forcibly shoved to the ground by an MP. The PA announces a curfew at sundown. When the Kimura patriarch later angrily answers no-no on his loyalty questionnaire, MP’s march to his barrack to clap him into handcuffs and haul him away: “No touching,” they bark to his family.
Camp was degrading. It was dehumanizing. But this heavy-handed treatment inflames emotion at the expense of fact: