This is one of the hardest things I’ve had to contemplate writing. These In Memoriam posts have mostly been devoted to celebrating the lives and marking the passage of Nisei wartime resisters and those whose lives they’ve touched. I know I’m not alone in still being in a state of shock at having to memorialize the life of someone so young and vital as Martha Nakagawa of Los Angeles. Continue reading In Memoriam: Martha Nakagawa, resistance storyteller→
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 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!”