The legacies of journalist James Omura and the Heart Mountain Fair Play Committee live on in two new museum exhibits opening this month in Washington, DC and Seattle.
On May 16, the Newseum, in partnership with the Smithsonian Institution, opened “One Nation With News for All,” an exhibition on the origins and influence of the ethnic media in the U.S. One section discusses free speech during WWII, specifically highlighting this photo of James Omura as the editor of Denver’s Rocky Shimpo, with this description:
Fighting for Free Speech During World War II
Shortly after the Japanese attacked Pearl Harbor in 1941, more than 100,000 Japanese Americans living on the West Coast were forced into internment camps by the U.S. government. Despite this, the men in the camps were still called up for American military service. James Omura, editor of Denver’s Rocky Shimpo newspaper for Japanese Americans, risked jail by publishing stories about a draft resistance movement at a Wyoming internment camp. Charged with conspiracy to counsel draft evaders, Omura was acquitted on free speech grounds.
The Omura photo is also used on an interactive kiosk featuring 100 pioneering ethnic media outlets from Colonial America to today. Visitors can touch the map and find out more about those news organizations.
The mission of the Newseum in Washington, DC, is to champion the five freedoms of the First Amendment through education, information and entertainment. It blends news history with technology and hands-on exhibits. “News for All” will be on display there through Jan. 4, 2015.
The mug shot of Frank Emi at Leavenworth is included in the program for a new exhibit in Seattle’s Wing Luke Museum of the Asian Pacific Experience, “In Struggle: Asian American Acts of Resistance.” We uncovered the prison mug shot in time for inclusion on the menu animation for Disc Two of our DVD. The exhibit is on view through January 18, 2015.
Happy new year. It was a busy 2013 — so busy that we’re only now catching up to posting new video, audio and images from events of the past year: three panels at the JANM national conference and two fall screenings.
JAPANESE AMERICAN NATIONAL MUSUEUM national conference – July 5, 2013
The museum recently provided an audio recording of our panel on redress and creation of the first Day of Remembrance in Seattle. Click on the montage above to hear about the “Tangled Routes to Japanese American Redress.”
It was a great pleasure to catch up with an old friend, and my former housing officer at UC Santa Cruz, Jeanne Wakatsuki Houston. We enjoyed a lively discussion after a screening of her “Farewell to Manzanar,” in which I was forced to relive my on-screen character’s beating at the hands of one of Hanako Wakatsuski’s uncles, or so she says. The museum website promises an audio file will be forthcoming.
In another audio file you can hear Heart Mountain resister Tak Hoshizaki present his fascinating insider’s look at the Fair Play Committee, “Kiyoshi Okamoto and the Four Franks,” which you can also read online here. Joining him in the “Standing on Principle” panel were Professor Tets Kashima and author Mary Woodward.
Thanks to Tracy Kumono for all the sharp photographs from the JANM conference.
FIFE HISTORY MUSUEM: “Rights, Rations, Remembrance” exhibit – October 17, 2013
Of the hundreds of screenings we’ve done over the years, this one was memorable for the number of Fife residents for whom this history is a living memory, and who brought that energy and interest to the film. This Facebook photo album shows the nearly 100 who joined us for a special evening. Museum director Molly Wilmoth has since moved on, but thanks to her for choosing our film to launch their museum program series.
NAGOMI TEA HOUSE: “Nikkei Heroes” film series – November 2, 2013
Another special program this year was one aimed at the Japanese-speaking community in Seattle. This was the first time in the U..S. that we screened CONSCIENCE with the Japanese subtitles created for the Fukuoka Film Festival in 2001. It was the first event in a ”Nikkei Heroes” film series at the Nagomi Tea House, a new performance venue inside the old Uwajimaya supermarket at 6th and Weller. Our thanks for the support of Uwajimaya owner Tomio Moriguchi and Hokubei Hochi Foundation director Elaine Ko.
Two videos are posted here. The first is a link to my introduction to the film. The second video, embedded below, captures the Q and A after the screening. The second video begins abruptly after these opening words were already heard:
“As I was growing up, the party line in our community was that our response to the forced expulsion was represented by one of two catchphrases. The first was ‘Shikataganai,’ Japanese for “it can’t be helped.” Passive resignation in the face of injustice. The second was ‘Go For Broke,’ Hawaiian slang for “go all out, give 100 percent.” That just didn’t seem right…. “
The video picks up from there:
Thanks for a busy and productive 2013. Here’s looking forward to what the new year brings.
Here’s something new: a special program aimed at the Japanese-speaking community in Seattle, in which we’ll screen CONSCIENCE subtitled in Japanese. An original poster has been produced for the event.
This is the first event in a “Nikkei Heroes” film series at the Nagomi Tea House, the new performance venue inside the old Uwajimaya supermarket at 6th and Weller. We’ll be using a version of our film with Japanese subtitles that were created for the Fukuoka Film Festival in 2001.
The screening is coming up Saturday, November 2, from 2:00 to 4:00 pm, at 519 6th Avenue South. Admission is free with a donation suggested. You can register for tickets through this Eventbrite registration. The series is presented by the Hokubei Hochi Foundation, the North American Post, and Soy Source.
Two screenings coming up in the Seattle region this month and next. The first is Thursday, October 17 at 7:00 pm, at the Fife History Museum, in connection with its fine new exhibit on the home front in WW2. Full details below. Please join us and sign up on our Facebook Event page. The poster has a great caption:
A Film and Panel Discussion at Fife History Museum Bring Japanese American Internment to Light
Join the Fife History Museum for the second free event in a series related to the latest exhibit Rights, Rations, Remembrance: Fife in World War II taking place on October 17 at 7pm. The event includes a showing of the controversial World War II documentary by director Frank Abe, Conscience and the Constitution, followed by a panel discussion with the filmmaker and local historian. Conscience and the Constitution reveals the long-untold story of the organized draft resistance at the American concentration camp at Heart Mountain, Wyoming, and the suppression of that resistance by Japanese American leaders.
A lively discussion featuring Abe, local historian Ronald Magden, Tacoma attorney Daniel C. Russ, and Puyallup Valley chapter head of the Japanese American Citizens League (JACL) Elsie Taniguchi will follow the showing of the film.
Magden, a highly regarded educator and author with long-time roots in Pierce Country who alto taught at Tacoma Community College for many years after graduating in 1965 with a PhD in History from the University of Washington, is known by many for spending over thirty years of his life dedicated to the telling of history and development of longshore union activity on the Pacific Coast.
He is respected for his well researched volume Furusato: Tacoma-Pierce County Japanese, 1888-1977, published by the Tacoma Longshore Book and Research Committee in 1998, which provides what may be the most comprehensive look at Tacoma’s Japanese community.
Daniel Russ graduated with his J.D. from the Seattle University School of Law. Currently, he is a partner at Britton and Russ, PLLC, with offices in Tacoma and Puyallup, and a Lt. Colonel (JAG) in the Washington Air National Guard.
Besides serving on numerous boards of directors for charitable organizations, Russ is also active with the JACL and is spearheading a collaborative effort to preserve the history of Camp Harmony at the Washington State Fairgrounds.
A distinguished member of the JACL, Elsie Taniguchi currently serves as the head of the Puyallup Valley chapter. She was interned with her family at Camp Harmony in 1942 before being sent to Camp Minidoka for the duration of the war. After being contacted by the Fife History Museum, Taniguchi was instrumental in assisting in developing the museum’s collections and exhibition of Japanese and Japanese American artifacts related to Fife’s history. The museum’s collections include numerous artifacts her family used while interned.
Former broadcast journalist and award-winning reporter for KIRO News Radio in Seattle, Frank Abe is producer/director of Conscience and the Constitution.
He is a founding member of the Seattle chapter of the Asian American Journalists Association and served as national vice-president for broadcast. He first served as Director of Communications for former King County Executive Gary Locke in 1994, then for the Metropolitan King County Council and now presently serves in the same post for current King County Executive Dow Constantine.
Abe is a third-generation Japanese American whose pre-broadcast days as a pioneering actor and community activist has drawn decades of respect and admiration from his peers. He helped produced the very first “Day of Remembrance” in the country, which dramatized the campaign for redress for survivors of America’s wartime concentration camps. He helped found the Asian American Theatre Company in San Francisco and was featured in the 1976 NBC/Universal TV movie Farewell to Manzanar as a concentration camp leader.
The Fife History Museum and Dacca Barn are located at 2820 – 54th Avenue East, Fife, WA. Admission to the Fife History Museum is always free.
For additional information about the Fife History Museum or any of the programs listed here please contact Molly Wilmoth by calling the museum at (253) 896-4710, send an email to [email protected] or find us on Facebook at Fife History Museum.
See also this video preview created by Pierce County Television:
Next up: a November 2 screening in Seattle aimed at a Japanese-speaking audience.
Mako, Lawson Inada, Frank Chin, and extras recruited from the Bay Area Asian community prepare to recreate the Manzanar Riot for the 1976 NBC/Universal film, FAREWELL TO MANZANAR. Photo by Nancy Wong.
Nancy shot these on location on the grounds of the former Santa Rita state prison in the summer of 1975 while we were assembled to recreate the Manzanar Riot of December 6, 1942. Mako played “Sam Fukimoto,” the character based on Harry Ueno, the fiery leader of the Kitchen Workers Union whose arrest for the beating of Los Angeles JACL leader Fred Tayama, played in the film by myself as “Frank Nishi,” sparked the Manzanar Riot.
Three of the editors of the groundbreaking literary anthology AIIIEEEEE! with the brother of the fourth, posing on location for FAREWELL TO MANZANAR: (from left) Lawson Inada, Frank Chin, Shawn Wong, and Michael Paul Chan, who went on to perform in the cast of The Closer. Photo by Nancy Wong.
In my youthful enthusiasm I did not know that first-time film actors should not try rewriting their own lines, but that’s what I did the night before we shot the big mess hall confrontation with Mako/Sam Fukimoto/Harry Ueno — much to the dismay of scene partner Seth Sakai, whom I’d failed to notify and who cursed me after our scene and hurled his gloves in my direction, to the applause of the hundreds of extras in the scene. I have to thank director John Korty for allowing me to make the change. Among the extras were writers Toshio Mori and Shawn Wong.
But I felt compelled to make the scene more specific reading this seminal essay by Art Hansen and David Hacker that reconstructs the actual events in “The Manzanar Riot: An Ethnic Perspective” [4MB], which had recently appeared in the fall 1974 issue of Amerasia Journal.
The piece reveals that one of the fundamental causes of the Manzanar Riot was not, as simplified in the film by Korty, simply a grumbling over sugar stolen from the mess hall. It was more, as mentioned in Conscience and told more fully in Jeanne Houston’s book, a revolt against the power conferred by the government and the camp administration to the Japanese American Citizens League. As documented in Art and David’s essay, Fred Tayama and internee security chief Kiyoshi Higashi had returned the day before from an emergency meeting of the JACL in Salt Lake City attended by two delegates from each of the ten camps. In that meeting National JACL, enacting its own policies without any ratification or popular vote of the people, resolved to urge the U.S. government to reinstate Selective Service for the Nisei as a means of asserting their U.S. citizenship and proving their loyalty. As Hansen and Hacker wrote: “For the internees — Issei, Kibei, and Nisei — the time had come when something had to be done to prevent the corrosive effects of the JACLers … The events of December 6 were but a logical culmination of developments originating with the administration’s decision to bypass the community’s natural Issei leadership to deal with its own artificially erected JACL hierarchy and to embark on a program of Americanization at the expense of Japanese ethnicity.”
Watch that scene in the film in this light. The revolt against the JACL prefigured the resistance at Heart Mountain and other camps that occurred a year later, when the JACL plea for a Nisei draft was finally granted.
In a somewhat related aside, Frank Chin now claims that Bay Area radical activist and early Black Panther Richard Aoki — recently named as an FBI informant, a charge that’s also been disputed — was there with us on location. I never knew Aoki, but in an email Frank writes, “Remember the first day at Santa Rita? There was a fattish fella in a mustache and tee shirt passing out lemonade. That was Richard Aoki.” He later speculates, “Why was Richard Aoki at the Santa Rita FAREWELL TO MANZANAR shoot? … Aoki might have been getting acquainted with Yellow actors in the parts of camp activists and victims.” Or, maybe he was just there to ladle out refreshments. We may never know.
Japanese America comes to Seattle this weekend for the JA National Museum annual conference at the Seattle Sheraton, commemorating the 25th anniversary of winning redress for the camps.
Heart Mountain resister Tak Hoshizaki speaks Saturday at 2:00 pm on a panel called “Standing on Principle.” I’ll be there Friday sharing the Conscience DVD at a Marketplace exhibit table. I’m also speaking on a panel called the “Tangled Routes to Japanese American Redress” — a title you’ll hear me dispute — and looking forward to reuniting with Jeanne Wakatsuki Houston for a Friday evening screening of Farewell to Manzanar, which the Museum recently freed from the clutches of Universal Studios for a long-overdue release on DVD. More on that in our next post.
For the redress panel Friday we will welcome conferees to the region that, in our humble opinion, saved the redress campaign before it ever got off the ground. I will share the story of how the Seattle Evacuation Redress Committee, with the advice and experience of writer Frank Chin, delivered the key strategy for reframing the issue after an AP story quoted California Senator S.I. Hayakawa calling the JACL’s resolution for redress “ridiculous,” and saying “The relocation was perfectly understandable … even the JACL supported it at the time.”The Wall Street Journal backed him up with an editorial titled, “Guilt Mongering.”
You could feel the air leading out of the redress balloon, until Seattle created and staged the first “Day of Remembrance” on Nov. 25, 1978, as a means of leveraging the media to tell our story and encouraging the local community to “remember the camps/stand for redress with your family.” At Friday’s panel we’ll talk about the turnout of 2,000 people — the largest single gathering of Japanese Americans since, well, World War II — that made national news and rallied our community behind our shared experience of incarceration and injustice.
Thanks to all at the AAAS conference who said they would order our educational edition DVD through their college libraries. Now is the time to pick up this valuable teaching resource for your classrooms and students with fund balance remaining in the current school year. To order is simple, just send a purchase order to Kate Ampel at Transit Media at [email protected], or ring her up at (800) 343-5540, and she’ll do the rest. And please leave a comment if you have already done so!
In support of our film being featured on Comcast XFINITY video-on-demand this month, Cinema Asian America curator Chi-hui Yang conducted this online interview for their TV Blog. I told him his questions were among the most thoughtful I’d ever been posed. See what you think:
Interview: ‘Conscience and the Constitution’: Talking with Frank Abe
by Chi-hui Yang | May 2, 2013 at 2:44 AM
The history of Japanese American internment is a complex one and reveals many deep contradiction and divisions both within America, and more specifically, the Japanese American community. You chose to focus on the latter in “Conscience and the Constitution” noting that in 1944, the draft resisters at the Heart Mountain Relocation Camp in Wyoming “served two years in prison, and for the next fifty were written out of the popular history of Japanese America.” What were the stakes for you as a journalist, and a Japanese American when you decided to dig deep into this contested history?
FA: I never bought into the idea that Japanese America’s only response to this massive violation of constitutional rights was passive resignation – shikatagai, Japanese for “it can’t be helped” – or patriotic self-sacrifice as embodied by the Nisei soldiers and go for broke! But as a baby boomer born after the camps, if you asked, “gee, why didn’t you guys contest this?” you’d get a pat on the head and told that “you weren’t there, times were different, you can’t judge us with your Berkeley civil-rights activism of the Sixties.” So when I first learned of the organized resistance at Heart Mountain, which incidentally was my father’s camp, I felt like I’d found a missing link. And the more we scripted out the story, the more we could see that it would shift the paradigm of Japanese American history and show that besides cooperation and collaboration, there was protest and resistance.
Here was a classic example of civil disobedience in the American 20th century, but it threatened the party line and the popular narrative of victimization. That made it critical to me as a journalist that we get the story right and tell it fairly, to document an unassailable case, and to get it into the marketplace with the legitimacy conferred by a presenter like PBS. It must have worked because none of the dismissive “old guard” really pushed back – well, maybe one, and he can be seen near the end of the film.
Most meaningful to me was that the film provided the historical context and framework through which the children of the resisters could finally understand what their fathers and mothers did. Many of these people my age had gone through life feeling vaguely uneasy about their fathers’ time in a federal penitentiary. When they saw that there was no community backlash to the film, and instead a large audience for the recovery of this untold story, they could see that their fathers were in fact principled people who acted in the best American tradition.
You’ve said that this film in many ways, would have been very difficult to make before the Civil Liberties Act of 1988, in which the US government gave reparations to Japanese Americans who were interned during WWII. Why?
FA: Because without an accepted foundation of verified fact, anything we put out there would have been too easily dismissed as opinion or hearsay. I was jolted into action to help kick-start the redress campaign when writer Frank Chin literally came to my door and said, “If you lose Japanese American history, you can kiss Japanese American art goodbye.” At that time in 1978 every attempt to raise the issue of injustice in the newspaper or on the radio was greeted with letters to the editor and callers on the air who would snarl, “yeah, but don’t forget these guys bombed Pearl Harbor,” or “don’t forget they were put in camp for their own protection.” Whenever Frank Emi spoke in classrooms he had to bring armloads of books and court cases to first prove the case against the camps before he could begin to talk about the Fair Play Committee. Frank Chin showed us that by staging events like the first Days of Remembrance in Seattle and Portland, we could use the media to get across the simple message that the camps were wrong, and that paved the way for the first redress bills in Congress.
While pursuing redress over the next ten years, we had to show a united front with the Japanese American Citizens League (JACL) and others. We couldn’t muddy the argument by bringing up the cooperation of JACL leaders in the eviction from the West Coast and administration of the camps, or the resistance to the draft at Heart Mountain and other camps. Once we held the government accountable for redress in 1988, we were freed to turn to holding our own leaders accountable, a movement that climaxed with the events seen at the end of Conscience.
And are there still lingering histories of the internment which have not been told which future generations of filmmakers should uncover?
FA: It’s harder now with each passing year, but there needs to be an authoritative study of the false distinctions between loyalty and disloyalty that were forced upon us by the wartime government and internalized by our own community – the no-no’s, the renunciants and the expatriates. Whether by intent or incompetence, these expressions of dissent were driven by administrators who effectively created disloyalty, anger and alienation through the implementation of loyalty oaths and segregation of families based upon their answers.
“Conscience and the Constitution” was made more than a decade ago and you’ve remained very active in screening it and making it available in classrooms. How can we connect up the history you examine in the film, with current conversations and politics in the US?
FA: The unjust eviction and incarceration of Japanese Americans based solely on their race is the single largest precedent that inhibits the power of the federal executive to profile populations on the basis of race, ethnicity and religion. We saw that in play right after 9/11, when the knee-jerk hostility and calls for roundup of Arab Americans were tempered by the acknowledgment that America made this mistake after Pearl Harbor. As historian Eric Muller put it, our memory is a precious resource in the fight against racism and scapegoating, and it’s one to which we bear special witness.
On the cultural scene, the specific story we frame of the wartime JACL’s promotion of military service and its suppression of the Heart Mountain draft resistance has found unexpected life in actor George Takei’s legacy project, a musical called Allegiance. The show premiered last fall in San Diego with aspirations for a Broadway run, and while there are certain issues with the script, which is still in development, it has certainly kept this story in front of a national audience.
You’ve been deeply involved in Asian American culture and politics for more than three decades, as a journalist covering the community, as a founding member of the Asian American Theater Company, and as a filmmaker. What was the starting point for you and what excites you about Asian America today?
FA: Coming out of college my imagination was captured by the AIIIEEEEE! Boys: the band of young writers who first proclaimed there was such a thing as an Asian American sensibility and who proved it by recovering and republishing the works of John Okada, Louis Chu and others. It was an imaginative home I never knew I had, and the works of fiction, poetry, and theater that were created were rooted in our shared history and the excitement of rediscovering a buried past.
Today I can get annoyed by the fashionable notion in some places that we’ve moved past history, past the camps, that it’s all been said and done and we’ve moved on. Then I can get excited by the emergence of former editor Naomi Hirahara as a celebrated mystery writer who can slip in references to the Fair Play Committee; or more recently the Kaya Press translation of Lament in the Night, a gritty 1925 novella written in Japanese by an Issei who authentically captures the back alleys and bathhouses of LA’s Little Tokyo before the war in a way we’ve never seen before.
What are you working on now?
FA: We’re marketing a two-disc special edition DVD of Conscience with outtakes, extensions of the interviews and new featurettes, because there was so much great material we couldn’t fit into the hour-long film. It’s a useful resource for students to enable research of the primary interviews along with the rich database of documents we put online at PBS.org/Conscience . Next is an anthology of essays that examines the postwar resettlement of Japanese America and the world into which the resisters were thrust after serving their two years in prison. That’s another lingering history that’s not been well examined, and we’ll investigate it through the lens of writer John Okada and his foundational novel, “No-No Boy.”
We’ve just learned that our film has been selected for national distribution through Comcast XFINITY’s video-on-demand service. Thanks to Chi-hui Yang, curator of the “Cinema Asian America” series, Comcast digital cable subscribers with On-Demand in select TV markets can watch Conscience and the Constitution for just $1.99 per view.
If you haven’t already seen Conscience, this is a limited opportunity, from today through May 31, to see it at home for a nominal fee. Please share the news with friends. Read more in the news release, with a list below of the TV markets where you can “demand” our film:
Conscience and the Constitution carried nationwide in May on Comcast video-on-demand
Award-winning documentary featured in “Cinema Asian America” series on Comcast XFINITY
To mark Asian Pacific American Heritage Month this May, XFINITY On Demand ‘s Cinema Asian America presents Frank Abe’s landmark documentary, Conscience and the Constitution.
Originally released in 2000, the film has become a vital part of the nation’s on-going conversation about race, citizenship and civil liberties – complex and fraught dynamics that have become even more urgent since September 11, 2001.
“With video-on-demand and Comcast’s national presence we can reach more viewers and give them a chance to learn more about the incarceration, at a nominal cost,” said Abe. “Thanks to series curator Chi-hui Yang for including our film among so many other outstanding offerings.”
From May 1 through May 31,Conscience and the Constitutionis availableto all Comcast digital cable subscribers with On-Demand for $1.99 per view.
Conscience and the Constitution examines the history of mass incarceration of more than 110,000 Japanese Americans into internment camps during WWII, the majority of them US citizens. The film focuses on a group of 85 internees, who refused to be drafted to fight for the US military – an act of protest that resulted, not only in the largest trial for draft resistance in U.S. history, but also in ideological rifts within the Japanese American community that persist even today.
At a time when community leaders advocated for Japanese Americans to sign up for the armed forces to prove their loyalty to the U.S., the resisters refused to do so, knowing that they and their families had been stripped of their civil rights and incarcerated, solely on the basis of their race. The film examines the deep schisms that opened in the Japanese American community during the incarceration and which persist today.
That story also informs the plot of the new musical, Allegiance, which premiered last fall in San Diego and is currently back in development in a workshop lab in New York. “This cablecast of Conscience is timely, as audiences who’ve seen or heard about the musical can now check out the source material for themselves,” said Abe.
“Cinema Asian America” is the groundbreaking video-on-demand offering on Comcast featuring Asian American and Asian films and videos in a monthly, thematically-programmed format. The curated series brings together award-winning films fresh from the film festival circuit and classics which beg to be revisited.
To find Conscience and the Constitution through the Comcast digital cable menu, viewers should click on the “On Demand” button, then look under the “Movies” folder and select the “Movie Collections” subfolder to find “Cinema Asian America.”
Conscience and the Constitution is also available as a Two-Disc Collector’s Edition DVD, which can be ordered online for home use for $29.95 plus shipping by visiting Resisters.com/orders. For institutional rates, schools and libraries should contact Transit Media at www.transitmedia.net or (800) 343-5540.
Thanks to all those who stopped by our table at the 2013 Association for Asian American Studies conference in Seattle — especially those who took home our order card to recommend their college librarians acquire the new two-disc DVD of Conscience and the Constitution, for classroom use. It was incredibly validating to hear from so many professors over three days tell us of the success they’ve had in using the film in their courses. Not often one gets a chance to meet with the educators actually teaching the material, and it was rewarding to share the story of wartime resistance with so many students and scholars at once.
Thanks also to those who came to our Thursday afternoon panel, “Revisiting the Sites of Japanese American Wartime Incarceration.”
Our presenters revisited the camps on three very different levels – the physical, the emotional, and the imaginative. Brian Niiya described how the preservation of the physical site of the Honouliuli camp in Hawai’i expanded into a larger effort to modify the very narrative of Japanese American history in Hawai’i. Karen Inouye delved into the emotional heart of symbolic graduation ceremonies for Japanese American students removed from college after Pearl Harbor.
But it was the final piece from panel organizer Larry Hashima of California State University, Long Beach, that was most revelant to this blog about the resisters. Larry broke down the imaginative ways in which we construct narratives about the camp experience in his paper, “The Final Frontier Allegiance and Musically Remaking the Internment Narrative.” Larry examined the George Takei musical that debuted last fall in San Diego. He argued that by casting real-life JACL leader Mike Masaoka as “the key antagonist (if not outright villain)” of the musical, and by framing the Nisei veterans as “unwitting dupes volunteering for an unnecessary sacrifice,” the show engaged in “a radical reinterpretation of historical events” and “unchained” the story of camp from “the anchors of the established narrative” — anchors that are otherwise known as the facts.
He concluded that “while Allegiance may have attempted to ‘boldly go where no musical has gone before,'” it can also be viewed as a throwback to the bad old days when the common wisdom pitted the veterans against the resisters (“a false dichotomy,” Larry says), and Japanese Americans were understood only as victims.
Hashima is developing his ideas for a longer dissertation examining the development of common themes within fiction and film treatments of the camp story. We’ll keep an eye on his progress.