WEBVTT Kind: captions Language: en 00:00:01.767 --> 00:00:03.033 -Okay. 00:00:03.033 --> 00:00:04.634 Good afternoon, everyone. 00:00:04.634 --> 00:00:07.801 Some of you, I know, either on the West Coast or Mountain time, 00:00:07.801 --> 00:00:11.801 I know this still might be the morning for you guys, 00:00:11.801 --> 00:00:14.267 but good afternoon to some folks, too. 00:00:14.267 --> 00:00:15.701 My name is Chrissy, 00:00:15.701 --> 00:00:19.467 and I work at The National World War II Museum in New Orleans. 00:00:19.467 --> 00:00:20.968 We are going to actually transition 00:00:20.968 --> 00:00:23.067 into another little webinar room area 00:00:23.067 --> 00:00:26.334 so you guys can hopefully see me in one second. 00:00:26.334 --> 00:00:28.634 That's the goal. 00:00:28.634 --> 00:00:32.367 Let me have that transition for a minute. 00:00:32.367 --> 00:00:34.801 Okay, so, I'm going to start my webcam 00:00:34.801 --> 00:00:36.601 so you all can actually see me. 00:00:36.601 --> 00:00:38.434 And hey, Kim, wave. 00:00:38.434 --> 00:00:41.534 This is my co-worker, Kim Guise. 00:00:41.534 --> 00:00:43.367 She'll be talking a little bit, 00:00:43.367 --> 00:00:47.467 telling you about our special exhibit here at the museum. 00:00:47.467 --> 00:00:51.534 But we are so glad you guys are joining us today here 00:00:51.534 --> 00:00:55.467 to talk about Japanese American imprisonment and internment. 00:00:55.467 --> 00:00:59.267 Just a few kind of housekeeping sort of reminders 00:00:59.267 --> 00:01:00.667 before we get started. 00:01:00.667 --> 00:01:03.767 Below us in this -- below this webcam here, 00:01:03.767 --> 00:01:07.868 you all can see a Q&A pod. 00:01:07.868 --> 00:01:10.200 That works a little bit different from the chat pod 00:01:10.200 --> 00:01:12.033 that you guys were just using, 00:01:12.033 --> 00:01:15.634 but you might have questions for us, for Kim, 00:01:15.634 --> 00:01:19.968 and for our other special guest, Brian, as he comes on. 00:01:19.968 --> 00:01:24.033 If you do, what we'll have you guys do is type in that Q&A pod. 00:01:24.033 --> 00:01:27.033 At the end, we will have a little Q&A session 00:01:27.033 --> 00:01:28.601 with Kim and Brian, 00:01:28.601 --> 00:01:32.300 and we'll try to pick out some of your questions to ask them. 00:01:32.300 --> 00:01:36.901 And so, please feel free to type in questions at any point. 00:01:36.901 --> 00:01:41.033 Teachers, as I said earlier, make sure all of your programs 00:01:41.033 --> 00:01:42.367 are closed out on your computer. 00:01:42.367 --> 00:01:45.968 That makes Adobe Connect run a lot faster. 00:01:45.968 --> 00:01:49.100 You might also, if we're coming through a little too quiet 00:01:49.100 --> 00:01:52.167 or a little too loud, there is -- 00:01:52.167 --> 00:01:56.033 if you see the top meeting bar there on the screen, 00:01:56.033 --> 00:01:59.868 you'll see a little icon that looks like a speaker. 00:01:59.868 --> 00:02:02.100 If you click on that arrow next to that icon, 00:02:02.100 --> 00:02:04.968 you're able to adjust your speaker volume. 00:02:04.968 --> 00:02:06.667 You also have those internal controls 00:02:06.667 --> 00:02:08.400 on your computer, as well. 00:02:08.400 --> 00:02:10.400 Also, when I'm done talking here, 00:02:10.400 --> 00:02:12.334 I'll be manning our second computer over here. 00:02:12.334 --> 00:02:14.300 So if you do have any tech issues, 00:02:14.300 --> 00:02:16.167 you can also type in that Q&A pod, 00:02:16.167 --> 00:02:20.334 and I'll try to address them as best as I possibly can. 00:02:20.334 --> 00:02:23.234 But we're so glad to welcome you here to the museum today. 00:02:23.234 --> 00:02:26.200 You saw some images in the lobby, and now, of course, 00:02:26.200 --> 00:02:29.267 one here of The National World War II Museum. 00:02:29.267 --> 00:02:31.400 This is actually our U.S. Freedom Pavilion, 00:02:31.400 --> 00:02:32.400 the Boeing Center, 00:02:32.400 --> 00:02:34.868 that opened a little over a year ago 00:02:34.868 --> 00:02:37.567 here at the museum that you see on screen. 00:02:37.567 --> 00:02:39.934 In that lobby, you also saw some images 00:02:39.934 --> 00:02:41.234 from our latest special exhibit 00:02:41.234 --> 00:02:44.501 that Kim will talk about in just a little bit. 00:02:44.501 --> 00:02:49.400 But my job here at the museum is to talk -- 00:02:49.400 --> 00:02:53.033 I'm gonna give you guys a little bit of an intro 00:02:53.033 --> 00:02:55.434 about our special exhibit 00:02:55.434 --> 00:02:59.400 and a little bit of intro to the content, to the history. 00:02:59.400 --> 00:03:01.968 I just had someone ask me, where is the museum located. 00:03:01.968 --> 00:03:03.267 Maybe I didn't even say that. 00:03:03.267 --> 00:03:06.267 We're in New Orleans, Louisiana. 00:03:06.267 --> 00:03:10.467 And so, what I'm gonna spend today is five minutes or so 00:03:10.467 --> 00:03:13.400 reviewing the background and the history 00:03:13.400 --> 00:03:17.133 of Japanese American imprisonment and internment 00:03:17.133 --> 00:03:18.868 so we're all kind of on the same page 00:03:18.868 --> 00:03:22.434 for when our special guests come in and join us today. 00:03:22.434 --> 00:03:26.067 So, here's out agenda, just so we all know. 00:03:26.067 --> 00:03:28.467 So, of course, my overview. 00:03:28.467 --> 00:03:30.467 Just spend a couple minutes on that. 00:03:30.467 --> 00:03:32.834 And then Kim will give us an inside look 00:03:32.834 --> 00:03:34.400 on our latest special exhibit, 00:03:34.400 --> 00:03:36.300 From Barbed Wire to Battlefields: 00:03:36.300 --> 00:03:39.133 Japanese American Experiences in WWII. 00:03:39.133 --> 00:03:43.234 And then I will give a shout to our presenter, 00:03:43.234 --> 00:03:46.067 who's pretty far away from here in Louisiana, in California -- 00:03:46.067 --> 00:03:47.434 Brian Komei Dempster. 00:03:47.434 --> 00:03:49.834 He's a poet, professor, and editor, 00:03:49.834 --> 00:03:54.033 and he will be sharing some items from his poetry, 00:03:54.033 --> 00:03:57.300 but also some other anthologies, as well, today. 00:03:57.300 --> 00:04:03.000 And then we will have a student Q&A with Kim and Brian, 00:04:03.000 --> 00:04:05.133 and that's when I'll be taking some of the questions 00:04:05.133 --> 00:04:08.033 that you'll hopefully be asking in that Q&A pod 00:04:08.033 --> 00:04:10.901 and asking those questions to them. 00:04:10.901 --> 00:04:14.300 And then we'll obviously close with some reminders, 00:04:14.300 --> 00:04:16.467 but also, for you students out there, 00:04:16.467 --> 00:04:18.467 we have a poetry prompt for you guys, 00:04:18.467 --> 00:04:21.000 and I'll explain a little bit more about that, 00:04:21.000 --> 00:04:24.834 you know, as we get closer and closer to the end there. 00:04:24.834 --> 00:04:28.000 Okay, so, my first question for you guys, 00:04:28.000 --> 00:04:30.667 and this actually brings up a poll question. 00:04:30.667 --> 00:04:34.400 I ask this question of students a lot here at the museum. 00:04:34.400 --> 00:04:36.634 Does anybody know how the United States 00:04:36.634 --> 00:04:38.000 got involved in World War II, 00:04:38.000 --> 00:04:41.200 and I am going to put up a poll question. 00:04:41.200 --> 00:04:42.868 If you guys have seen this before, 00:04:42.868 --> 00:04:44.234 you maybe know how this works. 00:04:44.234 --> 00:04:47.067 Select on the answer that you think is right. 00:04:47.067 --> 00:04:51.767 I'm gonna give you a little bit of time to figure it out. 00:04:51.767 --> 00:04:57.000 I might broadcast results so you guys can see who's voting where. 00:04:57.000 --> 00:05:01.467 And it looks like our overwhelming majority here -- 00:05:01.467 --> 00:05:04.534 looks like you guys are voting yes, Japan attacked Hawaii. 00:05:04.534 --> 00:05:06.000 Very good. 00:05:06.000 --> 00:05:10.400 And that was December 7th of 1941. 00:05:10.400 --> 00:05:11.734 All right, great job, you guys. 00:05:11.734 --> 00:05:14.801 That was probably an easy poll question for you all. 00:05:14.801 --> 00:05:16.501 This is a very famous front page 00:05:16.501 --> 00:05:18.634 of the Honolulu Star-Bulletin. 00:05:18.634 --> 00:05:22.267 "War! Oahu Bombed by Japanese Planes." 00:05:22.267 --> 00:05:23.334 As some of you, of course, know, 00:05:23.334 --> 00:05:26.033 there's no TV, no Internet back then, 00:05:26.033 --> 00:05:27.367 so news came in a little bit slower. 00:05:27.367 --> 00:05:30.367 You see that byline says, "Six known dead," 00:05:30.367 --> 00:05:31.934 but when the day was over, 00:05:31.934 --> 00:05:35.968 over 2,400 Americans died in the surprise attack. 00:05:35.968 --> 00:05:39.100 And then this very famous speech happened the day after. 00:05:39.100 --> 00:05:40.334 Let me play it for you. 00:05:40.334 --> 00:05:49.200 -Yesterday, December 7, 1941, 00:05:49.200 --> 00:05:54.334 a date which will live in infamy. 00:05:54.334 --> 00:05:57.534 The United States of America 00:05:57.534 --> 00:06:01.200 was suddenly and deliberately attacked 00:06:01.200 --> 00:06:06.200 by naval and air forces of the Empire of Japan. 00:06:11.033 --> 00:06:13.868 -Okay, so, some of you might recognize that voice. 00:06:13.868 --> 00:06:16.968 That was our then president Franklin Delano Roosevelt. 00:06:16.968 --> 00:06:19.767 That was the day 8th -- December 8th of -- 00:06:19.767 --> 00:06:23.501 day after, excuse me, on December 8th of 1945. 00:06:23.501 --> 00:06:26.667 There in that famous "Day of Infamy" speech, 00:06:26.667 --> 00:06:29.734 he's asking Congress to declare war on Japan, 00:06:29.734 --> 00:06:31.100 which happens, 00:06:31.100 --> 00:06:34.234 and now the United States is thrown into World War II, 00:06:34.234 --> 00:06:37.334 and, you know, our country changes in many different ways, 00:06:37.334 --> 00:06:38.667 including in a way that, of course, 00:06:38.667 --> 00:06:40.901 we're going to examine today. 00:06:40.901 --> 00:06:44.167 Quickly after the attack on Pearl Harbor, 00:06:44.167 --> 00:06:47.334 fear and war hysteria led to propaganda 00:06:47.334 --> 00:06:49.300 that targeted the Japanese 00:06:49.300 --> 00:06:51.467 which used, as you guys can see here, 00:06:51.467 --> 00:06:53.667 offensive racial stereotypes 00:06:53.667 --> 00:06:56.868 and slurs and offensive language. 00:06:56.868 --> 00:06:58.767 These tactics, you know, they were used 00:06:58.767 --> 00:07:02.067 to paint the Japanese as a ruthless enemy, 00:07:02.067 --> 00:07:05.634 and even to separate or single out Japanese residents 00:07:05.634 --> 00:07:08.000 and the Japanese American population 00:07:08.000 --> 00:07:11.434 here in the United States. 00:07:11.434 --> 00:07:13.534 And then, shortly after the attack on Pearl Harbor, 00:07:13.534 --> 00:07:16.868 actually just two months after the attack, 00:07:16.868 --> 00:07:22.467 President Roosevelt signs this Executive Order 9066, 00:07:22.467 --> 00:07:25.467 which allowed the Secretary of War to -- and this is a quote -- 00:07:25.467 --> 00:07:28.534 "prescribe military areas in such extent 00:07:28.534 --> 00:07:31.767 that he or the appropriate military commander 00:07:31.767 --> 00:07:35.934 may determine from which any or all persons may be excluded." 00:07:35.934 --> 00:07:39.234 All right, that sounds maybe a little bit confusing, 00:07:39.234 --> 00:07:42.734 but what that actually means is that people can be excluded 00:07:42.734 --> 00:07:46.734 or moved out of areas that are considered militarily important. 00:07:46.734 --> 00:07:49.567 Like, for the West Coast, like coastlines. 00:07:49.567 --> 00:07:51.434 However, the only group 00:07:51.434 --> 00:07:54.501 that was ever moved out of these restricted areas 00:07:54.501 --> 00:07:57.467 were Japanese and Japanese Americans. 00:07:57.467 --> 00:07:59.901 Japanese residents, which we call Issei, 00:07:59.901 --> 00:08:01.167 not American citizens, 00:08:01.167 --> 00:08:03.834 and their children, Nisei, American citizens, 00:08:03.834 --> 00:08:06.200 were forcibly removed from their homes. 00:08:06.200 --> 00:08:07.701 Many had to give up their businesses, 00:08:07.701 --> 00:08:10.067 of course, their homes, possessions 00:08:10.067 --> 00:08:12.300 within a matter of days or weeks. 00:08:12.300 --> 00:08:14.400 This is what you see on the screen, 00:08:14.400 --> 00:08:19.067 probably one of the more famous images of this time period -- 00:08:19.067 --> 00:08:21.334 instructions for leaving your homes, 00:08:21.334 --> 00:08:22.968 leaving your businesses, 00:08:22.968 --> 00:08:27.934 and going to what you'll see in a second, to a remote camp. 00:08:27.934 --> 00:08:30.868 So, here's some of the numbers behind it, you guys. 00:08:30.868 --> 00:08:34.834 110,000 Japanese and Japanese Americans 00:08:34.834 --> 00:08:36.200 forcibly removed from their homes 00:08:36.200 --> 00:08:40.133 in California, Oregon, and Washington. 00:08:40.133 --> 00:08:46.267 Over 60% were American citizens, so those Nisei children -- 60%. 00:08:46.267 --> 00:08:50.567 So, that's over half brought to -- 00:08:50.567 --> 00:08:54.367 There are 10 very remote and hastily built camps, 00:08:54.367 --> 00:08:55.934 mostly in the American West, 00:08:55.934 --> 00:08:58.367 but there's a few even here in the south 00:08:58.367 --> 00:09:01.367 relatively near us in New Orleans. 00:09:01.367 --> 00:09:03.701 And not one Japanese American 00:09:03.701 --> 00:09:07.801 was ever convicted of sabotage or espionage. 00:09:07.801 --> 00:09:10.601 Now, there were 10, as I said, remote camps 00:09:10.601 --> 00:09:14.200 where these Issei and Nisei 00:09:14.200 --> 00:09:16.901 were brought to here in the United States 00:09:16.901 --> 00:09:19.934 for almost the duration of World War II. 00:09:19.934 --> 00:09:21.834 There is Heart Mountain in Wyoming. 00:09:21.834 --> 00:09:23.901 So, where you guys see the little red points 00:09:23.901 --> 00:09:25.367 there on the screen. 00:09:25.367 --> 00:09:27.367 Minidoka in Idaho. 00:09:27.367 --> 00:09:29.767 Tule Lake in Manzanar in -- 00:09:29.767 --> 00:09:33.334 and Tule Lake and Manzanar in California, excuse me. 00:09:33.334 --> 00:09:36.400 Poston and Gila River in Arizona. 00:09:36.400 --> 00:09:38.534 Topaz in Utah. 00:09:38.534 --> 00:09:40.467 Granada in Colorado. 00:09:40.467 --> 00:09:43.567 And a little near to us here in New Orleans, 00:09:43.567 --> 00:09:45.601 Rohwer and Jerome in Arkansas, 00:09:45.601 --> 00:09:48.200 which you can see on the screen, as well. 00:09:48.200 --> 00:09:49.601 Now, what I want to play for you now, 00:09:49.601 --> 00:09:52.000 we've seen -- you know, talked about it a little bit, 00:09:52.000 --> 00:09:54.767 but I'm sure you want to see what it might look like, 00:09:54.767 --> 00:09:56.601 and what I want to play for you now is a short film 00:09:56.601 --> 00:09:57.734 that was actually produced 00:09:57.734 --> 00:10:00.234 by this War Relocation Authority 00:10:00.234 --> 00:10:02.434 that shows some of the conditions inside the camp. 00:10:02.434 --> 00:10:06.734 We actually play this whole film inside of the exhibit. 00:10:06.734 --> 00:10:08.834 I think it's like 17 or 18 minutes, right? 00:10:08.834 --> 00:10:11.801 So, you're just gonna see, like, a minute and a half or so, 00:10:11.801 --> 00:10:13.100 but it'll at least give you a sense 00:10:13.100 --> 00:10:15.934 of what some of these camps might've looked like. 00:10:15.934 --> 00:10:17.968 Teachers, just so you know, for a couple of the videos 00:10:17.968 --> 00:10:19.601 that we might play today, for some reason, 00:10:19.601 --> 00:10:21.300 those are always a little bit quieter 00:10:21.300 --> 00:10:23.801 than me when I'm talking, 00:10:23.801 --> 00:10:25.968 so you might want to turn up your speakers. 00:10:25.968 --> 00:10:31.100 [ No audio ] 00:10:31.100 --> 00:10:36.334 -Relocation Centers -- housing from 7,000 to 18,000 people. 00:10:36.334 --> 00:10:38.901 Barrack-type buildings divided into compartments. 00:10:38.901 --> 00:10:43.100 12 or 14 resident buildings to a block, 00:10:43.100 --> 00:10:45.133 each block provided with a mess hall, 00:10:45.133 --> 00:10:49.334 bath house, laundry building, and recreation hall. 00:10:49.334 --> 00:10:52.534 About 300 people to a block. 00:10:52.534 --> 00:10:55.667 The entire community bounded by a wire fence 00:10:55.667 --> 00:10:58.033 and guarded by military police, 00:10:58.033 --> 00:11:01.200 symbols of the military nature of the evacuation. 00:11:01.200 --> 00:11:04.267 Each family, upon arrival at a Relocation Center, 00:11:04.267 --> 00:11:09.167 was assigned to a single-room compartment about 20x25 feet. 00:11:09.167 --> 00:11:11.968 Barren, unattractive. 00:11:11.968 --> 00:11:19.067 A stove, a light bulb, cots, mattresses, and blankets. 00:11:19.067 --> 00:11:21.767 Those were the things provided by the government. 00:11:21.767 --> 00:11:25.033 The family's own furniture was in storage on the West Coast. 00:11:25.033 --> 00:11:28.300 Scrap lumber, perhaps some wall board, 00:11:28.300 --> 00:11:29.767 and a great deal of energy, 00:11:29.767 --> 00:11:33.767 curtains, pictures, drapes, 00:11:33.767 --> 00:11:36.167 depending on the family's own ingenuity and tastes 00:11:36.167 --> 00:11:39.901 helped to make the place livable. 00:11:39.901 --> 00:11:43.567 Some families built partitions to provide some privacy. 00:11:43.567 --> 00:11:48.067 Others took what they received and made the best of it. 00:11:48.067 --> 00:11:50.133 The 300 or so residents of each block 00:11:50.133 --> 00:11:53.467 eat in a mess hall, cafeteria style. 00:11:53.467 --> 00:11:56.467 Rough wooden tables with attached benches. 00:11:56.467 --> 00:11:59.400 The food is nourishing but simple. 00:11:59.400 --> 00:12:03.234 A maximum of 45 cents a day per person is allowed for food, 00:12:03.234 --> 00:12:06.167 and the actual cost is considerably less than this, 00:12:06.167 --> 00:12:10.200 for an increasing amount of the food is produced at the center. 00:12:10.200 --> 00:12:11.868 A combination of Oriental dishes 00:12:11.868 --> 00:12:15.501 to meet the tastes of the Issei, born in Japan, 00:12:15.501 --> 00:12:19.100 and of American-type dishes to satisfy the Nisei, 00:12:19.100 --> 00:12:21.601 born in America. 00:12:30.434 --> 00:12:35.834 -Okay, so, now I'm actually going to turn over the webinar 00:12:35.834 --> 00:12:38.801 to Kim Guise, who you see right here. 00:12:38.801 --> 00:12:40.834 She's the curator of our latest special exhibit. 00:12:40.834 --> 00:12:43.133 You can see the title of it on the screen here -- 00:12:43.133 --> 00:12:44.834 From Barbed Wire to Battlefields: 00:12:44.834 --> 00:12:47.701 Japanese American Experiences in WWII. 00:12:47.701 --> 00:12:49.434 Now, she's gonna give you an inside look, 00:12:49.434 --> 00:12:50.801 show you some of her -- 00:12:50.801 --> 00:12:54.434 some really interesting artifacts inside the exhibit, 00:12:54.434 --> 00:12:57.667 and maybe something a little bit special at the end, right? 00:12:57.667 --> 00:12:59.667 All right, so everybody, welcome Kim 00:12:59.667 --> 00:13:01.767 with a virtual round of applause. 00:13:03.868 --> 00:13:05.000 -Thank you, everyone. 00:13:05.000 --> 00:13:07.367 I'm glad to be here virtually with you. 00:13:07.367 --> 00:13:12.000 As Chrissy said, I'm a curator here at The World War II Museum. 00:13:12.000 --> 00:13:15.167 And I am anticipating that some of you 00:13:15.167 --> 00:13:18.234 might want to know what a curator does. 00:13:18.234 --> 00:13:20.767 I often get that question from people. 00:13:20.767 --> 00:13:22.634 What does a curator do? 00:13:22.634 --> 00:13:25.801 So, I'm gonna give you a little look at my day, 00:13:25.801 --> 00:13:29.467 at, you know, what I might do on any given day. 00:13:29.467 --> 00:13:31.400 And it's not just working with exhibits, 00:13:31.400 --> 00:13:34.000 but I do quite a different range of things. 00:13:34.000 --> 00:13:38.334 I speak on different topics here at the museum, 00:13:38.334 --> 00:13:42.400 and then virtually, as well, and out in the public. 00:13:42.400 --> 00:13:45.234 I do tours of our collection. 00:13:45.234 --> 00:13:49.968 I talk to people who have artifacts from World War II 00:13:49.968 --> 00:13:54.501 or stories that they want to contribute to the museum. 00:13:54.501 --> 00:13:57.667 And then I help to organize, catalog, 00:13:57.667 --> 00:13:59.534 and maintain the collection 00:13:59.534 --> 00:14:02.834 of artifacts and stories that we have. 00:14:02.834 --> 00:14:06.968 And that's over 100,000 artifacts, 00:14:06.968 --> 00:14:09.667 and, really, about 1% of what we have -- 00:14:09.667 --> 00:14:10.868 less than 1%, really -- 00:14:10.868 --> 00:14:14.234 is out on display at any given time. 00:14:14.234 --> 00:14:20.100 And that collection includes around 50,000 photographs, 00:14:20.100 --> 00:14:22.334 7,000 oral histories -- 00:14:22.334 --> 00:14:27.234 stories from people who experienced World War II -- 00:14:27.234 --> 00:14:32.000 and then larger pieces like our aircraft and Sherman tank. 00:14:32.000 --> 00:14:35.767 So, just to give me some street cred here, 00:14:35.767 --> 00:14:40.567 I have a license to drive a forklift here at the museum, 00:14:40.567 --> 00:14:44.234 and I also got to ride on our Sherman tank this morning 00:14:44.234 --> 00:14:47.667 when we moved it around our exhibit hall. 00:14:47.667 --> 00:14:50.868 So, those are some of the things that I do, 00:14:50.868 --> 00:14:53.868 maybe on a daily basis. 00:14:53.868 --> 00:14:56.200 But I also work with exhibits. 00:14:56.200 --> 00:14:59.901 So, some of the most exciting and challenging work that I do 00:14:59.901 --> 00:15:03.267 is to help bring our artifacts and stories 00:15:03.267 --> 00:15:05.834 to the public and to students. 00:15:05.834 --> 00:15:09.701 And that includes our latest special exhibit, 00:15:09.701 --> 00:15:11.334 From Barbed Wire to Battlefields: 00:15:11.334 --> 00:15:14.100 Japanese American Experiences in WWII. 00:15:14.100 --> 00:15:17.100 And that's what we're here to talk about today. 00:15:17.100 --> 00:15:19.167 So, this is a special exhibit 00:15:19.167 --> 00:15:21.400 that's in our special exhibits gallery. 00:15:21.400 --> 00:15:25.734 It's up from -- It opened in March, March 15th, 00:15:25.734 --> 00:15:29.434 and it will be run through October 20th, 00:15:29.434 --> 00:15:31.501 so it's up for quite a while, 00:15:31.501 --> 00:15:35.501 and we have the opportunity to run programs like this one 00:15:35.501 --> 00:15:39.033 during the run of the exhibit. 00:15:39.033 --> 00:15:40.601 Now, this is a pretty big story, 00:15:40.601 --> 00:15:44.767 and I was pretty intimidated at first 00:15:44.767 --> 00:15:50.000 in trying to figure out how to piece all the pieces together. 00:15:50.000 --> 00:15:55.334 There are a lot of stories within this big show. 00:15:55.334 --> 00:16:00.167 So, the planning began about over a year ago, 00:16:00.167 --> 00:16:03.901 where a group of us got together 00:16:03.901 --> 00:16:07.634 to try to figure out how to tell this story. 00:16:07.634 --> 00:16:08.767 And it's a pretty big story. 00:16:08.767 --> 00:16:11.601 So, we're trying to tell not only the story 00:16:11.601 --> 00:16:14.300 of the imprisonment of Japanese Americans, 00:16:14.300 --> 00:16:17.334 but also the military service portion, 00:16:17.334 --> 00:16:20.033 and that's a very important story for us to tell here 00:16:20.033 --> 00:16:23.367 at The National World War II Museum, as well. 00:16:23.367 --> 00:16:27.767 So, we began to try to assemble artifacts and stories, 00:16:27.767 --> 00:16:30.767 and we found that we didn't have 00:16:30.767 --> 00:16:33.367 a lot of pieces in our own collection. 00:16:33.367 --> 00:16:38.000 So, the museum's collection was relatively small 00:16:38.000 --> 00:16:42.501 related to the imprisonment of Japanese Americans. 00:16:42.501 --> 00:16:45.567 And so that was part of my job, 00:16:45.567 --> 00:16:48.367 is to try to find artifacts and stories 00:16:48.367 --> 00:16:53.133 that we could tell the story through in our show. 00:16:53.133 --> 00:16:57.167 And I'm gonna have Chrissy forward the slide, 00:16:57.167 --> 00:16:59.000 or I can forward the slide. -No, no, I got it. 00:16:59.000 --> 00:17:02.133 -So, this is one of the pieces that I wanted to talk about, 00:17:02.133 --> 00:17:06.133 and some of these pieces you can actually see on our website. 00:17:06.133 --> 00:17:09.334 We have a website for the special exhibit, 00:17:09.334 --> 00:17:11.901 and then we also, for this piece -- 00:17:11.901 --> 00:17:15.434 this piece is on two websites from the museum. 00:17:15.434 --> 00:17:16.901 This is a yearbook. 00:17:16.901 --> 00:17:21.667 Now, this yearbook was produced in Rohwer War Relocation Center, 00:17:21.667 --> 00:17:25.868 and that's one of the camps that was located in Arkansas. 00:17:25.868 --> 00:17:29.601 And the title was "Résumé 1944." 00:17:29.601 --> 00:17:31.367 So, this yearbook you can flip through, 00:17:31.367 --> 00:17:34.067 I scanned as part of my job as curator. 00:17:34.067 --> 00:17:38.367 I scanned the entire yearbook, each page, 00:17:38.367 --> 00:17:41.968 and we have it presented in a digital form 00:17:41.968 --> 00:17:44.634 on an iPad in the exhibit, 00:17:44.634 --> 00:17:46.501 but then also on our website. 00:17:46.501 --> 00:17:49.901 So afterwards, you can go and flip through the entire thing 00:17:49.901 --> 00:17:52.200 if you're interested. 00:17:52.200 --> 00:17:57.968 So, this yearbook looks like a typical high-school yearbook -- 00:17:57.968 --> 00:17:59.701 yearbooks produced during the war, 00:17:59.701 --> 00:18:02.000 but then yearbooks produced today, as well. 00:18:02.000 --> 00:18:06.133 So, you can see the portraits of the students. 00:18:06.133 --> 00:18:10.434 Now, the difference here is that their classroom -- 00:18:10.434 --> 00:18:12.234 What did their classroom look like? 00:18:12.234 --> 00:18:15.267 Well, their classroom looked a lot like the barracks 00:18:15.267 --> 00:18:16.300 that they lived in, 00:18:16.300 --> 00:18:19.200 so their classroom was a barracks. 00:18:19.200 --> 00:18:22.334 One source I came across referred to as the classroom 00:18:22.334 --> 00:18:25.234 as Little Gray School barracks. 00:18:25.234 --> 00:18:29.267 So, you can see, yeah, there are some more images 00:18:29.267 --> 00:18:33.033 right there from the yearbook, the Rohwer yearbook, 00:18:33.033 --> 00:18:35.501 and you can see the school classrooms 00:18:35.501 --> 00:18:37.834 located on the top-right picture, 00:18:37.834 --> 00:18:41.701 and they're having an assembly and pledge to the flag, 00:18:41.701 --> 00:18:45.534 and then you can see their school barracks around that. 00:18:45.534 --> 00:18:51.367 So, students in War Relocation Centers, 00:18:51.367 --> 00:18:55.534 kids had to go to school, so life continued, 00:18:55.534 --> 00:19:00.968 and that was difficult to normalize life. 00:19:00.968 --> 00:19:03.701 So, life didn't stop. 00:19:03.701 --> 00:19:08.267 People tried to set up schools right away. 00:19:08.267 --> 00:19:09.701 Education had to continue, 00:19:09.701 --> 00:19:15.267 so it was a very important part of life in the camps. 00:19:15.267 --> 00:19:16.300 Next. 00:19:16.300 --> 00:19:17.634 -Sure. 00:19:17.634 --> 00:19:20.601 -So, here's another artifact we have in the exhibit, 00:19:20.601 --> 00:19:24.367 and this is a wooden ironing board. 00:19:24.367 --> 00:19:27.801 So, you saw earlier that you had to leave -- 00:19:27.801 --> 00:19:30.734 people were forced to leave their homes very quickly, 00:19:30.734 --> 00:19:36.267 and you could only take a small amount of items with you. 00:19:36.267 --> 00:19:40.901 And so a great number of items, 00:19:40.901 --> 00:19:44.067 household items and ordinary items, 00:19:44.067 --> 00:19:47.767 had to be made, hand crafted, with scrap wood oftentimes, 00:19:47.767 --> 00:19:49.200 and you saw this, I think, in the film 00:19:49.200 --> 00:19:51.300 "Challenge to Democracy." 00:19:51.300 --> 00:19:54.467 So, this is one item that was handmade in one of the camps. 00:19:54.467 --> 00:19:57.501 We're not exactly sure which one. 00:19:57.501 --> 00:19:58.868 This is a piece that we borrowed 00:19:58.868 --> 00:20:01.400 from the Smithsonian Institution. 00:20:01.400 --> 00:20:04.033 So, because we have few artifacts, 00:20:04.033 --> 00:20:06.200 we turn to our partner. 00:20:06.200 --> 00:20:10.000 We're a Smithsonian Institution affiliate museum. 00:20:10.000 --> 00:20:12.834 And so we were able to borrow 16 pieces 00:20:12.834 --> 00:20:15.100 from the Smithsonian's collection, 00:20:15.100 --> 00:20:18.234 and those are all included in our exhibit, 00:20:18.234 --> 00:20:20.167 and these are two of the artifacts. 00:20:20.167 --> 00:20:21.968 So, this is a wooden ironing board 00:20:21.968 --> 00:20:24.133 that's made out of scrap wood, 00:20:24.133 --> 00:20:26.033 and also an iron. 00:20:26.033 --> 00:20:30.100 So, you couldn't just leave the imprisonment center 00:20:30.100 --> 00:20:35.601 and go to a store and buy what you needed. 00:20:35.601 --> 00:20:40.100 You had to make due either by making things, 00:20:40.100 --> 00:20:43.200 or then also, catalog shopping was available. 00:20:43.200 --> 00:20:47.934 So, similar to what we would do now with online shopping, 00:20:47.934 --> 00:20:50.767 the iron that you see in the picture on the right 00:20:50.767 --> 00:20:52.567 was not handmade, 00:20:52.567 --> 00:20:56.501 but it was purchased from the Sears catalog. 00:20:56.501 --> 00:21:00.100 So, you could order things in the mail. 00:21:00.100 --> 00:21:01.801 So, those were these two items 00:21:01.801 --> 00:21:03.701 from the Smithsonian's collection. 00:21:06.567 --> 00:21:07.734 And the third piece 00:21:07.734 --> 00:21:10.267 that I'd like to talk about in our exhibit 00:21:10.267 --> 00:21:14.467 is related to the military service of Japanese Americans. 00:21:14.467 --> 00:21:18.701 And this gentleman that you see right here, Yeiki Kobashigawa, 00:21:18.701 --> 00:21:21.100 is actually from Hawaii. 00:21:21.100 --> 00:21:24.534 So, the population of Hawaii was a little bit different. 00:21:24.534 --> 00:21:28.734 I know that we have some visitors in our classroom today 00:21:28.734 --> 00:21:31.767 from the West Coast and from Hawaii, 00:21:31.767 --> 00:21:37.534 and unlike the Japanese American population here on the mainland, 00:21:37.534 --> 00:21:42.501 those of Japanese descent were not incarcerated in Hawaii. 00:21:42.501 --> 00:21:44.400 And there are lots of reasons for that, 00:21:44.400 --> 00:21:51.934 but one is that over 35% of the population in Hawaii 00:21:51.934 --> 00:21:54.000 was of Japanese descent, 00:21:54.000 --> 00:21:58.834 so that made it pretty impossible 00:21:58.834 --> 00:22:02.300 to do mass incarceration. 00:22:02.300 --> 00:22:04.634 So, it was a very different situation. 00:22:04.634 --> 00:22:11.367 And Yeiki Kobashigawa was one Hawaiian volunteer 00:22:11.367 --> 00:22:13.467 who served in the Italian theater. 00:22:13.467 --> 00:22:16.000 He was with the 100th Battalion, 00:22:16.000 --> 00:22:19.968 and they are profiled in our exhibit and on our website. 00:22:19.968 --> 00:22:23.167 And he received the Distinguished Service Cross 00:22:23.167 --> 00:22:25.334 in June 1944 -- 00:22:25.334 --> 00:22:29.734 two days before D-Day, I think, June 4, 1944 -- 00:22:29.734 --> 00:22:32.834 in Italy for extreme bravery. 00:22:32.834 --> 00:22:36.701 So, he risked his life to take out a German machine-gun nest. 00:22:36.701 --> 00:22:40.000 He was under fire, as was his unit, 00:22:40.000 --> 00:22:44.000 and he received the Distinguished Service Cross. 00:22:44.000 --> 00:22:51.334 Well, in 2000, there was an investigation that revealed, 00:22:51.334 --> 00:22:54.601 that ruled that there was discrimination 00:22:54.601 --> 00:22:57.167 in the awarding of medals during World War II, 00:22:57.167 --> 00:23:00.067 and later conflicts, as well. 00:23:00.067 --> 00:23:07.033 And 21 Asian Americans received the Medal of Honor 00:23:07.033 --> 00:23:10.534 as a result of that investigation. 00:23:10.534 --> 00:23:12.701 So their medals were upgraded. 00:23:12.701 --> 00:23:14.968 And Yeiki Kobashigawa was one of those 00:23:14.968 --> 00:23:18.834 who received the Medal of Honor in June 2000. 00:23:18.834 --> 00:23:24.067 You can see, there is President Clinton 00:23:24.067 --> 00:23:26.200 presenting a Japanese American -- 00:23:26.200 --> 00:23:29.601 I'm not sure if that's Yeiki Kobashigawa, actually -- 00:23:29.601 --> 00:23:32.734 with the medal at the White House. 00:23:32.734 --> 00:23:34.501 So, it was a very exciting time. 00:23:34.501 --> 00:23:36.400 And some of you may know, may have heard 00:23:36.400 --> 00:23:41.133 that this upgrading of medals happened recently, as well. 00:23:41.133 --> 00:23:46.334 So, 21 Medals of Honor were awarded recently 00:23:46.334 --> 00:23:50.701 this past year in March. 00:23:50.701 --> 00:23:53.267 And here is the medal as presented in our exhibit. 00:23:53.267 --> 00:23:56.067 So, we actually have the Distinguished Service Cross 00:23:56.067 --> 00:23:58.634 that he received during World War II, 00:23:58.634 --> 00:24:03.300 and then the Medal of Honor that it was upgraded to in 2000. 00:24:03.300 --> 00:24:04.701 So, we're pretty excited. 00:24:04.701 --> 00:24:08.667 These are loan pieces from Yeiki Kobashigawa's daughter. 00:24:08.667 --> 00:24:10.234 She brought them from Hawaii, 00:24:10.234 --> 00:24:12.501 and they're presented in our exhibit 00:24:12.501 --> 00:24:16.501 for the duration of the show. 00:24:16.501 --> 00:24:18.334 So, I brought a special piece. 00:24:18.334 --> 00:24:20.667 Chrissy gave you a little teaser, 00:24:20.667 --> 00:24:23.400 so I have to show you now. 00:24:23.400 --> 00:24:25.734 This is one piece that's not out in the exhibit. 00:24:25.734 --> 00:24:29.167 I'm gonna put on my white gloves 00:24:29.167 --> 00:24:34.667 that we use to handle artifacts. 00:24:34.667 --> 00:24:36.601 So, this is another piece you can see. 00:24:36.601 --> 00:24:39.534 This is a yearbook here, as well. 00:24:39.534 --> 00:24:43.601 This is a 1945 yearbook called "Ramblings." 00:24:43.601 --> 00:24:49.901 It is from Topaz, which our next presenter will talk about. 00:24:49.901 --> 00:24:51.234 So, this is a yearbook 00:24:51.234 --> 00:24:58.200 from the Topaz War Relocation Center in Utah, 1945. 00:24:58.200 --> 00:25:00.200 And this is a very recent acquisition, 00:25:00.200 --> 00:25:02.133 so it's not out in our exhibit. 00:25:02.133 --> 00:25:05.100 We did purchase this off of eBay, 00:25:05.100 --> 00:25:08.300 so that's another one of my jobs as a curator, 00:25:08.300 --> 00:25:10.567 is to look for artifacts, as I mentioned, 00:25:10.567 --> 00:25:13.968 and that includes online sources. 00:25:13.968 --> 00:25:16.467 So, unlike the other yearbook, 00:25:16.467 --> 00:25:18.968 this one has a great number of signatures. 00:25:18.968 --> 00:25:20.767 So, I know you won't be able to see, 00:25:20.767 --> 00:25:24.667 but it's very similar format. 00:25:24.667 --> 00:25:28.501 So, the photos -- photos of the basketball team, 00:25:28.501 --> 00:25:32.701 photos of the glee club, student council -- 00:25:32.701 --> 00:25:37.701 but then there are also signatures. 00:25:37.701 --> 00:25:41.434 And some of them are pretty interesting. 00:25:41.434 --> 00:25:43.033 I can read a couple. 00:25:43.033 --> 00:25:46.834 "Lots of luck to you on the outside." 00:25:46.834 --> 00:25:52.167 "Gee, it's been a lot of fun knowing a swell gal like you." 00:25:52.167 --> 00:25:56.000 So, some pretty neat signatures from people in the exhibit, 00:25:56.000 --> 00:25:59.701 so this is one of our latest acquisitions. 00:25:59.701 --> 00:26:02.267 -That you guys got a sneak peek of. 00:26:02.267 --> 00:26:05.200 -Right, you're the first people to really see this yearbook 00:26:05.200 --> 00:26:07.701 outside of our staff. 00:26:09.734 --> 00:26:11.434 -All right, Kim, well, I want to say -- 00:26:11.434 --> 00:26:13.200 I'm gonna wheel back in here, actually, 00:26:13.200 --> 00:26:16.868 and say a big thank you to Kim, and you guys can actually -- 00:26:16.868 --> 00:26:19.167 if I can get a little closer to you here -- 00:26:19.167 --> 00:26:22.300 you guys can actually keep asking Kim questions 00:26:22.300 --> 00:26:24.267 throughout the presentation. 00:26:24.267 --> 00:26:25.467 We welcome that. 00:26:25.467 --> 00:26:28.267 But now I think I'm gonna actually bring in 00:26:28.267 --> 00:26:30.367 our second presenter for the day. 00:26:30.367 --> 00:26:31.767 This is a really special webinar. 00:26:31.767 --> 00:26:36.000 You guys get two special guests, not just one -- big deal -- 00:26:36.000 --> 00:26:39.000 and that is Brian Komei Dempster. 00:26:39.000 --> 00:26:41.534 And, Brian, if you're there -- Actually, I know you're there. 00:26:41.534 --> 00:26:42.701 I can see you there. 00:26:42.701 --> 00:26:45.467 But I would love you to turn on your webcam 00:26:45.467 --> 00:26:46.868 and your microphone now 00:26:46.868 --> 00:26:50.734 so we can also see and hear you, as well. 00:26:50.734 --> 00:26:54.234 But while you do that, how about I -- I'll introduce you, too. 00:26:54.234 --> 00:26:57.467 So, actually, you guys may be -- Here he is. 00:26:57.467 --> 00:26:59.868 Let me get my books out here. 00:26:59.868 --> 00:27:03.667 You all in your classroom, maybe you have read 00:27:03.667 --> 00:27:07.801 or at least looked at parts of two of Brian's books. 00:27:07.801 --> 00:27:10.133 "Topaz," which is what we talked about today, 00:27:10.133 --> 00:27:13.601 and "Making Home from War," as well. 00:27:13.601 --> 00:27:15.234 So, "Topaz," 00:27:15.234 --> 00:27:18.067 his debut of poetry -- book of poetry -- 00:27:18.067 --> 00:27:21.868 was published by Four Way Books just this past year in 2013. 00:27:21.868 --> 00:27:25.734 He's also the editor of, here, "Making Home from War" -- 00:27:25.734 --> 00:27:27.033 thank you, Kim -- 00:27:27.033 --> 00:27:30.100 "Stories of Japanese American Exile and Resettlement." 00:27:30.100 --> 00:27:32.667 And also "From Our Side of the Fence: 00:27:32.667 --> 00:27:35.734 Growing Up in America's Concentration Camps." 00:27:35.734 --> 00:27:37.968 And his poems have been published 00:27:37.968 --> 00:27:41.434 in numerous reviews and anthologies. 00:27:41.434 --> 00:27:44.200 Brian is joining us today, I think, at the end 00:27:44.200 --> 00:27:45.901 of a very busy school year, right? 00:27:45.901 --> 00:27:48.601 He's the Professor of Rhetoric and Language 00:27:48.601 --> 00:27:54.567 and a faculty member of Asian Pacific American Studies 00:27:54.567 --> 00:27:56.834 at the University of San Francisco. 00:27:56.834 --> 00:27:59.100 Currently, in addition to doing this today, 00:27:59.100 --> 00:28:00.400 he divides his time 00:28:00.400 --> 00:28:03.501 between serving as Director of Administration 00:28:03.501 --> 00:28:08.200 for Master of Arts in Asian Pacific Studies, 00:28:08.200 --> 00:28:10.067 and teaching, of course. 00:28:10.067 --> 00:28:12.100 So, Brian has a very busy schedule, 00:28:12.100 --> 00:28:14.901 but he is awesome enough to join us today 00:28:14.901 --> 00:28:16.534 to tell us a little bit more about -- 00:28:16.534 --> 00:28:20.067 -Okay, and before you leave, I want the sound check. 00:28:20.067 --> 00:28:22.367 Is everything coming through on audio? 00:28:22.367 --> 00:28:26.167 -...and then we're gonna go away and let you take center stage. 00:28:26.167 --> 00:28:27.868 -Okay. 00:28:37.701 --> 00:28:39.133 Am I...? -I can hear you, 00:28:39.133 --> 00:28:40.200 and actually, I think you might even 00:28:40.200 --> 00:28:41.767 be coming through a little louder than me. 00:28:41.767 --> 00:28:43.734 -Okay, well, I hope I'm not too loud, 00:28:43.734 --> 00:28:45.968 and I'm gonna give the teachers just a moment 00:28:45.968 --> 00:28:49.067 to adjust their mikes if they need to, 00:28:49.067 --> 00:28:51.968 and I will start in about 30 seconds. 00:28:51.968 --> 00:28:53.834 -You can project better than us. 00:28:53.834 --> 00:28:57.133 -And while you're adjusting your mikes, 00:28:57.133 --> 00:28:59.934 I just want to give a huge thanks to Chrissy Gregg 00:28:59.934 --> 00:29:02.901 and Kim Guise for their amazing work. 00:29:02.901 --> 00:29:06.133 I'm very honored to be invited to do this webinar, 00:29:06.133 --> 00:29:09.000 and I'm really impressed by the work that you do at the museum. 00:29:09.000 --> 00:29:11.567 It's just very, very heartening 00:29:11.567 --> 00:29:15.601 to see such important work being done on World War II, 00:29:15.601 --> 00:29:17.067 and in this instance, 00:29:17.067 --> 00:29:20.033 the exhibit that you just spoke about. 00:29:20.033 --> 00:29:23.968 So, I'm gonna get started, and welcome, everyone. 00:29:23.968 --> 00:29:26.701 It's morning over here in San Francisco. 00:29:26.701 --> 00:29:28.434 You're gonna go away? Okay. 00:29:28.434 --> 00:29:33.100 So, just type something to me if there's any audio issues. 00:29:33.100 --> 00:29:35.501 Otherwise, I'll assume we're smooth. 00:29:35.501 --> 00:29:38.801 So, good morning to everyone here from San Francisco. 00:29:38.801 --> 00:29:41.634 I know that it's two hours ahead there, 00:29:41.634 --> 00:29:43.167 and what I'm gonna do today 00:29:43.167 --> 00:29:45.601 is I'm gonna speak to you for about 20 minutes. 00:29:45.601 --> 00:29:48.133 The first portion of the presentation 00:29:48.133 --> 00:29:51.934 will be a look at the writing projects 00:29:51.934 --> 00:29:55.234 that I've been doing with the Japanese American community, 00:29:55.234 --> 00:29:57.701 and then the latter part will be reading some poems 00:29:57.701 --> 00:29:59.701 that are connected to my family history 00:29:59.701 --> 00:30:03.033 and the World War II incarceration. 00:30:03.033 --> 00:30:05.334 So, and what I'll be doing is I'll be cueing 00:30:05.334 --> 00:30:08.400 Chrissy on the slides, so you'll hear me doing that. 00:30:08.400 --> 00:30:13.400 So, Chrissy, could we have the first slide, please? 00:30:13.400 --> 00:30:17.300 In any case, I'm gonna give you a quick overview. 00:30:17.300 --> 00:30:20.801 In the late '90s, I was asked by a group of Japanese Americans 00:30:20.801 --> 00:30:25.901 here in San Francisco to teach a writing class to them 00:30:25.901 --> 00:30:28.200 in which they would document their experiences 00:30:28.200 --> 00:30:32.200 as former camp prisoners who, as children and teenagers, 00:30:32.200 --> 00:30:35.033 were incarcerated during World War II. 00:30:35.033 --> 00:30:39.300 Many of them were in Topaz, the place that Kim mentioned, 00:30:39.300 --> 00:30:41.567 and the first work that you can see on the left side, 00:30:41.567 --> 00:30:42.734 "From Our Side of the Fence," 00:30:42.734 --> 00:30:46.133 was published in 2001 by Kearney St. Workshop, 00:30:46.133 --> 00:30:47.667 and the book in the middle, 00:30:47.667 --> 00:30:50.434 "Making Home from War" is more focused 00:30:50.434 --> 00:30:53.634 on the post-war resettlement experiences. 00:30:53.634 --> 00:30:55.133 It's the same group of writers, 00:30:55.133 --> 00:30:59.701 but focusing more upon 1945 to 1955 00:30:59.701 --> 00:31:01.868 and their experiences after the war, 00:31:01.868 --> 00:31:06.734 which is a somewhat neglected area in terms of storytelling. 00:31:06.734 --> 00:31:08.701 And the final book, "My Dog Teny," 00:31:08.701 --> 00:31:11.734 is a children's book based upon one of the stories 00:31:11.734 --> 00:31:15.133 in "From Our Side of the Fence" by Wayne Osaki, 00:31:15.133 --> 00:31:17.601 and it's a very, very moving story 00:31:17.601 --> 00:31:20.334 about having one's pet taken away 00:31:20.334 --> 00:31:22.467 at the time that one is taken away 00:31:22.467 --> 00:31:24.534 from their home in San Francisco. 00:31:24.534 --> 00:31:25.801 In this case, Wayne Osaki 00:31:25.801 --> 00:31:28.200 was very, very close to his dog, Teny. 00:31:28.200 --> 00:31:31.467 It's about their relationship and how he lost his dog 00:31:31.467 --> 00:31:34.067 at the moment that he was taken away into the camps. 00:31:34.067 --> 00:31:35.934 And so, it's incredibly powerful, 00:31:35.934 --> 00:31:39.067 and it's very similar to the story 00:31:39.067 --> 00:31:41.701 that I believe many of you have read 00:31:41.701 --> 00:31:44.868 by Mary Ann Furuichi on the website, 00:31:44.868 --> 00:31:47.400 and it's about her pet and that relationship, 00:31:47.400 --> 00:31:50.501 so that is a common theme of things being taken away 00:31:50.501 --> 00:31:53.467 and the emotional trauma associated with such. 00:31:53.467 --> 00:31:55.968 Next slide, please. 00:31:58.501 --> 00:32:04.133 So, anyway, in the next slide, it's just a closer cover shot, 00:32:04.133 --> 00:32:06.567 and that photo is pretty interesting. 00:32:06.567 --> 00:32:10.300 It's actually of the first Japanese American family 00:32:10.300 --> 00:32:13.100 to leave Topaz after the war. 00:32:13.100 --> 00:32:15.434 Notice that they're dressed in their Sunday best, 00:32:15.434 --> 00:32:18.267 which expresses a sort of dignity 00:32:18.267 --> 00:32:20.467 despite the injustices done to them, 00:32:20.467 --> 00:32:22.634 and there's that big metal suitcase, you know. 00:32:22.634 --> 00:32:25.000 This phrase "only what we could carry" 00:32:25.000 --> 00:32:28.334 is a resonant phrase among Japanese Americans 00:32:28.334 --> 00:32:29.901 relating to what they took out, 00:32:29.901 --> 00:32:32.601 both physically and emotionally. 00:32:32.601 --> 00:32:36.000 Okay, next slide, please. 00:32:36.000 --> 00:32:37.334 So, I just wanted all of you 00:32:37.334 --> 00:32:40.367 to be able to see a visual representation 00:32:40.367 --> 00:32:43.267 of what we have in our books, 00:32:43.267 --> 00:32:46.300 and this, for those of you who are visual learners, 00:32:46.300 --> 00:32:48.567 you students out there, there's also -- 00:32:48.567 --> 00:32:50.133 let me see, here you go -- 00:32:50.133 --> 00:32:53.000 some more maps inside the book "Making Home from War." 00:32:53.000 --> 00:32:55.167 This particular map takes a look 00:32:55.167 --> 00:32:57.968 at where the Japanese Americans returned to 00:32:57.968 --> 00:32:59.734 after they were released from the camps 00:32:59.734 --> 00:33:03.100 in around 1945, 1946. 00:33:03.100 --> 00:33:06.567 So, transitional housing really means they couldn't return 00:33:06.567 --> 00:33:09.334 to their original homes in many instances, 00:33:09.334 --> 00:33:11.067 so actually, a lot of them, 00:33:11.067 --> 00:33:13.100 who were all from the West Coast, 00:33:13.100 --> 00:33:16.501 they actually had to go to New York, Ohio, 00:33:16.501 --> 00:33:17.834 Missouri, Utah -- 00:33:17.834 --> 00:33:19.334 wherever they could find work 00:33:19.334 --> 00:33:21.467 and a place to rebuild their lives. 00:33:21.467 --> 00:33:24.367 So, I hope that you take a look at the book and the maps 00:33:24.367 --> 00:33:26.734 because I think it gives a good visual representation 00:33:26.734 --> 00:33:28.133 of the stories. 00:33:28.133 --> 00:33:30.067 Okay, next slide, please. 00:33:32.133 --> 00:33:35.200 So, I wanted you all to be able to see an example 00:33:35.200 --> 00:33:37.501 of a writing prompt that I gave the writers 00:33:37.501 --> 00:33:40.400 who are in this anthology that I just described. 00:33:40.400 --> 00:33:44.367 This one is "Focus on an object that you lost during the war 00:33:44.367 --> 00:33:47.868 or that you missed during camp or after your release from camp. 00:33:47.868 --> 00:33:51.667 What memories are connected to the possession you lost?" 00:33:51.667 --> 00:33:54.434 And referring back to "My Dog Teny" 00:33:54.434 --> 00:33:57.434 and the story by Mary Ann Furuichi, 00:33:57.434 --> 00:33:59.300 that's an example of what would've emerged 00:33:59.300 --> 00:34:00.501 from such a prompt. 00:34:00.501 --> 00:34:03.534 So, in this case, it would be a family pet. 00:34:03.534 --> 00:34:07.434 But in other cases, it was a piano, it was a bicycle. 00:34:07.434 --> 00:34:09.567 You know, in Michi Tashiro's story 00:34:09.567 --> 00:34:12.200 that some of you may have read from the lesson plan, 00:34:12.200 --> 00:34:14.434 she talks actually about a swing, 00:34:14.434 --> 00:34:17.534 and it's not something that she lost literally, 00:34:17.534 --> 00:34:20.200 but it reminded her of her childhood 00:34:20.200 --> 00:34:21.701 and sort of those things 00:34:21.701 --> 00:34:25.267 connected to nostalgia and innocence, yes. 00:34:25.267 --> 00:34:27.234 So, that's an example. 00:34:27.234 --> 00:34:29.434 We actually have other writing prompts, 00:34:29.434 --> 00:34:33.000 a whole set of lesson plans at the back of each anthology, 00:34:33.000 --> 00:34:35.033 and those are for both Japanese Americans 00:34:35.033 --> 00:34:37.100 who wish to tell their own stories, 00:34:37.100 --> 00:34:39.834 also for educators and students like yourselves 00:34:39.834 --> 00:34:42.767 who want to look at the actual pedagogy 00:34:42.767 --> 00:34:44.467 and teaching template that I use, 00:34:44.467 --> 00:34:47.567 because I know you're all teachers and learners out there. 00:34:47.567 --> 00:34:49.701 So you may find it useful in your own research, 00:34:49.701 --> 00:34:52.968 in your own sort of projects that you're doing in class. 00:34:52.968 --> 00:34:56.334 Okay, next slide, please. 00:34:56.334 --> 00:35:00.334 So, I just want you to see a couple of the author profiles 00:35:00.334 --> 00:35:02.200 that are in "Making Home from War." 00:35:02.200 --> 00:35:03.834 This is Daisy Satoda. 00:35:03.834 --> 00:35:05.601 She is also in the lesson plan. 00:35:05.601 --> 00:35:07.801 She wrote a story called "The Red Coat," 00:35:07.801 --> 00:35:08.968 which is pretty powerful, 00:35:08.968 --> 00:35:10.968 once again, about a particular object 00:35:10.968 --> 00:35:14.267 that is connected to camp and after-war experience 00:35:14.267 --> 00:35:18.033 and how that red coat becomes valued in the camp, 00:35:18.033 --> 00:35:21.934 but once she leaves camp, she actually feels inferior 00:35:21.934 --> 00:35:23.734 because it looks very cheaply made 00:35:23.734 --> 00:35:26.434 in relationship to what others are wearing. 00:35:26.434 --> 00:35:28.400 So, I won't give it all away, but "The Red Coat" 00:35:28.400 --> 00:35:31.334 is a really great story for the lesson plan. 00:35:31.334 --> 00:35:33.167 And she was in Topaz. 00:35:33.167 --> 00:35:34.934 So, if we can go to the next slide, 00:35:34.934 --> 00:35:37.534 you will see an example of -- 00:35:37.534 --> 00:35:41.934 King Cafe is a cafe that her family opened up after the war. 00:35:41.934 --> 00:35:45.133 It's a very colorful place of diversity 00:35:45.133 --> 00:35:46.234 and African Americans 00:35:46.234 --> 00:35:48.467 and Japanese Americans intermingling, 00:35:48.467 --> 00:35:52.400 and that's the final story of her section of the book. 00:35:52.400 --> 00:35:55.701 And we always included photos to accompany the stories 00:35:55.701 --> 00:35:58.767 to give you, as students, you, as teachers, 00:35:58.767 --> 00:36:00.801 a clearer picture of what was happening, 00:36:00.801 --> 00:36:02.767 not just in terms of text, 00:36:02.767 --> 00:36:07.033 but visual representations to go with that and the maps, okay? 00:36:07.033 --> 00:36:10.367 Okay, so, next slide is Michi Tashiro, 00:36:10.367 --> 00:36:12.400 and again, she's another of the writers 00:36:12.400 --> 00:36:14.968 in the lesson plan that you all have. 00:36:14.968 --> 00:36:19.100 And she was actually in Amache, Colorado, that camp, 00:36:19.100 --> 00:36:22.667 and that's one of the WRA camps in addition to Topaz 00:36:22.667 --> 00:36:25.234 that Chrissy and Kim have referred to. 00:36:25.234 --> 00:36:31.767 And the next slide actually gives some pretty cool pictures. 00:36:31.767 --> 00:36:36.000 One is related to her being in the Turlock parade on July 4th, 00:36:36.000 --> 00:36:38.868 which is actually coming up in a few months, 00:36:38.868 --> 00:36:41.300 and as you know is Independence Day. 00:36:41.300 --> 00:36:43.334 But she has a really interesting story 00:36:43.334 --> 00:36:47.901 about that sort of notion of being American and loyalty 00:36:47.901 --> 00:36:50.934 and what it means to be in a July 4th parade 00:36:50.934 --> 00:36:53.400 in terms of the incarceration experience. 00:36:53.400 --> 00:36:56.968 The other drawing is actually done by, I believe, her brother, 00:36:56.968 --> 00:37:01.000 and it's about behind the shack where they lived after the war, 00:37:01.000 --> 00:37:03.767 you know, the bath house and so forth. 00:37:03.767 --> 00:37:06.801 So, there's some pretty interesting things 00:37:06.801 --> 00:37:08.133 that I thought you'd like to see 00:37:08.133 --> 00:37:10.501 given the artifacts and exhibits 00:37:10.501 --> 00:37:12.901 that Kim and Chrissy work with at the museum. 00:37:12.901 --> 00:37:16.234 I consider these to be sort of artifacts and exhibits, as well, 00:37:16.234 --> 00:37:18.300 that go along with the stories. 00:37:18.300 --> 00:37:21.467 Okay, next slide, please. 00:37:21.467 --> 00:37:24.534 So, what emerged from the anthology projects 00:37:24.534 --> 00:37:26.767 that we worked upon 00:37:26.767 --> 00:37:29.100 was that we wanted other Japanese Americans 00:37:29.100 --> 00:37:31.100 to be able to tell their stories. 00:37:31.100 --> 00:37:34.701 As great as it was to have 12 to 13 people 00:37:34.701 --> 00:37:37.100 in the published anthologies, 00:37:37.100 --> 00:37:40.267 there's thousands out there who hadn't told their stories. 00:37:40.267 --> 00:37:41.601 So, as you can see, 00:37:41.601 --> 00:37:45.000 www.niseistories.org 00:37:45.000 --> 00:37:48.200 is another project that we are gratefully funded 00:37:48.200 --> 00:37:52.300 by the California Civil Liberties Public Education Program, 00:37:52.300 --> 00:37:56.067 which funded both anthologies and this follow-up website. 00:37:56.067 --> 00:37:57.501 As you can see from the slide, 00:37:57.501 --> 00:38:00.234 it provides workshops for former camp prisoners 00:38:00.234 --> 00:38:02.200 to record their stories, 00:38:02.200 --> 00:38:05.968 and then those stories get put onto a website 00:38:05.968 --> 00:38:08.667 which has equal access to all of you. 00:38:08.667 --> 00:38:11.534 So, all of you listening to me today, 00:38:11.534 --> 00:38:14.033 you should go to this website and check it out 00:38:14.033 --> 00:38:15.767 because it's gonna be there forever 00:38:15.767 --> 00:38:18.467 and you're gonna be able to use it as a research, 00:38:18.467 --> 00:38:19.467 you know, resource, 00:38:19.467 --> 00:38:21.367 educational resource, 00:38:21.367 --> 00:38:23.133 and we will keep adding to it 00:38:23.133 --> 00:38:26.434 over the next couple years and onward. 00:38:26.434 --> 00:38:30.067 So, we're getting a much wider reach to this website project 00:38:30.067 --> 00:38:33.534 than the original 12 writers, which is what's so exciting. 00:38:33.534 --> 00:38:37.033 And I think that those of you who did the lesson plan 00:38:37.033 --> 00:38:38.667 did a couple of the stories from there 00:38:38.667 --> 00:38:42.367 by Mary Ann Furuichi and Sumiko Higaki. 00:38:42.367 --> 00:38:43.601 So, I think many of you 00:38:43.601 --> 00:38:46.133 have read two of the stories from this website. 00:38:46.133 --> 00:38:49.667 Okay, the next slide that I want you to see 00:38:49.667 --> 00:38:51.767 is just a quick screenshot, 00:38:51.767 --> 00:38:54.767 and that's me doing a great teaching, you know, 00:38:54.767 --> 00:38:57.200 in one of the workshops for the website. 00:38:57.200 --> 00:39:00.067 So, next to me is my friend Toru Saito, 00:39:00.067 --> 00:39:02.467 one of the actual anthology writers 00:39:02.467 --> 00:39:05.667 who served as a sort of peer mentor in the workshops, 00:39:05.667 --> 00:39:07.567 because for the Japanese Americans, 00:39:07.567 --> 00:39:11.033 it was a pretty daunting task to tell their stories, 00:39:11.033 --> 00:39:14.634 and he helped give them that sense of courage and bravery 00:39:14.634 --> 00:39:16.033 to tell their stories. 00:39:16.033 --> 00:39:19.000 So, okay, there's sort of the opening page, 00:39:19.000 --> 00:39:21.901 and the next slide just gives you -- 00:39:21.901 --> 00:39:24.300 you know, here's an example of George Yoshida. 00:39:24.300 --> 00:39:27.701 He's a jazz man, he's a sort of musician. 00:39:27.701 --> 00:39:30.801 He comes out of the camps, he ends up in Chicago, 00:39:30.801 --> 00:39:34.501 and his story's about that whole jazz scene and music 00:39:34.501 --> 00:39:38.300 and how music helps to be a redemptive force after the war 00:39:38.300 --> 00:39:40.434 and to recover from the camp experience. 00:39:40.434 --> 00:39:44.300 It's a pretty cool story he tells, and you can check it out, 00:39:44.300 --> 00:39:45.934 and there's the bio, as well, 00:39:45.934 --> 00:39:48.801 which represents how all the author profiles look 00:39:48.801 --> 00:39:50.334 on the website. 00:39:50.334 --> 00:39:53.667 Okay, next slide, please. 00:39:53.667 --> 00:39:56.167 So, I thought you'd be interested in seeing this one 00:39:56.167 --> 00:39:57.434 because I know this intersects 00:39:57.434 --> 00:40:00.234 with some of the work at the museum. 00:40:00.234 --> 00:40:04.100 This is a piece by Fumi Nihei, and what she did, 00:40:04.100 --> 00:40:06.467 she wrote in the voice of her brother 00:40:06.467 --> 00:40:09.000 who was in the 442nd Regiment, 00:40:09.000 --> 00:40:13.067 and that's an actual portrait of her brother, Ken Nihei, 00:40:13.067 --> 00:40:16.067 and, you know, going along with the museum exhibit, 00:40:16.067 --> 00:40:18.901 here's yet another artistic representation 00:40:18.901 --> 00:40:20.834 of the stories that we tell. 00:40:20.834 --> 00:40:23.901 So, she did this thing, what's called a dramatic monologue, 00:40:23.901 --> 00:40:25.567 when she writes in the voice of her brother 00:40:25.567 --> 00:40:27.968 in order to make the story more powerful. 00:40:27.968 --> 00:40:28.968 Okay. 00:40:28.968 --> 00:40:30.334 So, the next slide, 00:40:30.334 --> 00:40:33.834 I just wanted you to see Mary Ann Furuichi, 00:40:33.834 --> 00:40:37.100 and many of you read this, "Lucky and the Horned Toad." 00:40:37.100 --> 00:40:39.434 It was the story I referred to earlier 00:40:39.434 --> 00:40:42.033 in terms of the lesson plan. 00:40:42.033 --> 00:40:45.467 And she also wrote the story about losing the pet, 00:40:45.467 --> 00:40:47.567 as Osaki did in "My Dog Teny," 00:40:47.567 --> 00:40:49.801 so I think a lot of you students out there, 00:40:49.801 --> 00:40:51.834 you young people who have pets, 00:40:51.834 --> 00:40:54.400 you know, I think you'll find this very -- 00:40:54.400 --> 00:40:57.634 you know, a way to connect to what happened during history 00:40:57.634 --> 00:40:59.701 and for you to imagine yourself in that situation 00:40:59.701 --> 00:41:03.000 if you lost your own pet, how devastating that might be. 00:41:03.000 --> 00:41:05.567 Okay, so we're gonna move on to the next slides, 00:41:05.567 --> 00:41:08.601 and now we're gonna transition into poetry. 00:41:08.601 --> 00:41:10.701 And this is the cover of my book. 00:41:10.701 --> 00:41:13.734 I won't say much about it in the interest of time, 00:41:13.734 --> 00:41:15.834 but it's a beautiful portrait, 00:41:15.834 --> 00:41:18.801 and the artist is just amazing. 00:41:18.801 --> 00:41:20.801 She does these collages. 00:41:20.801 --> 00:41:24.067 I want to make sure I get her name right, 00:41:24.067 --> 00:41:25.634 but I believe her last name, 00:41:25.634 --> 00:41:28.567 it's Masumi Hayashi is her full name. 00:41:28.567 --> 00:41:30.968 Anyway, she does these amazing collages, 00:41:30.968 --> 00:41:32.601 and it was a perfect representation 00:41:32.601 --> 00:41:33.767 for my book "Topaz," 00:41:33.767 --> 00:41:36.734 which is obviously named after the Utah camp 00:41:36.734 --> 00:41:39.100 that was referred to earlier. 00:41:39.100 --> 00:41:41.434 And the next slide -- I thought you would have fun 00:41:41.434 --> 00:41:42.868 looking at the next slide. 00:41:42.868 --> 00:41:44.567 It's me in action in San Francisco, 00:41:44.567 --> 00:41:45.734 reading my poetry. 00:41:45.734 --> 00:41:48.501 I've done about at least 12 to 15 readings 00:41:48.501 --> 00:41:50.067 since the book came out. 00:41:50.067 --> 00:41:51.467 And this particular reading, 00:41:51.467 --> 00:41:54.300 some of the actual anthology writers are in the audience. 00:41:54.300 --> 00:41:55.734 So, I thought that would at least give you 00:41:55.734 --> 00:41:57.367 a sense of me reading, 00:41:57.367 --> 00:42:00.133 'cause I'm about to read you some poems, okay? 00:42:00.133 --> 00:42:04.534 So, next slides are -- I'm gonna give you a quick overview. 00:42:04.534 --> 00:42:07.501 This is the Nichiren Buddhist Church of America, 00:42:07.501 --> 00:42:10.567 and that was founded by my grandfather in 1931. 00:42:10.567 --> 00:42:13.033 It's in San Francisco's Japantown. 00:42:13.033 --> 00:42:15.667 And this is where my own maternal family 00:42:15.667 --> 00:42:18.000 was taken away during the war. 00:42:18.000 --> 00:42:22.167 My mother and her mother and my aunts and uncles 00:42:22.167 --> 00:42:24.767 were put in Topaz in Utah, 00:42:24.767 --> 00:42:28.734 and my mom was only about, you know, 1 years old at the time. 00:42:28.734 --> 00:42:32.267 And my grandfather, Archbishop Nitten Ishida, 00:42:32.267 --> 00:42:34.534 he was taken to Department of Justice camps -- 00:42:34.534 --> 00:42:38.934 were separate camps where many of the "dangerous" 00:42:38.934 --> 00:42:41.367 or those deemed dangerous as community leaders 00:42:41.367 --> 00:42:43.434 were separated from their families. 00:42:43.434 --> 00:42:45.234 So, I'll then move you to the next slide 00:42:45.234 --> 00:42:46.434 before I read the poem 00:42:46.434 --> 00:42:48.934 so you can see who my grandfather is. 00:42:48.934 --> 00:42:52.000 This is him in his full priest garb, right? 00:42:52.000 --> 00:42:55.534 And this is called a kesa, part of the garb, 00:42:55.534 --> 00:42:57.968 and this is what he wears during the Buddhist services. 00:42:57.968 --> 00:43:01.534 So, that's an old portrait of him so you can visualize him. 00:43:01.534 --> 00:43:03.467 And then I'm gonna -- next slide, please -- 00:43:03.467 --> 00:43:09.100 would be a more recent portrait, and he did pass away in 1996. 00:43:09.100 --> 00:43:11.467 But this is him doing calligraphy, 00:43:11.467 --> 00:43:12.601 and I wanted you to be able 00:43:12.601 --> 00:43:15.167 to see him in action doing calligraphy 00:43:15.167 --> 00:43:18.601 because that's referred to in the poem that I'm about to read. 00:43:18.601 --> 00:43:21.300 So, I think we could just leave it on this slide. 00:43:21.300 --> 00:43:25.000 Actually, let's go to the next slide. 00:43:25.000 --> 00:43:27.100 Okay, so I'm gonna read you a poem, 00:43:27.100 --> 00:43:29.901 and it's called "Your Hands Guide Me Through Trains," 00:43:29.901 --> 00:43:32.434 and it's really dedicated to my grandfather, 00:43:32.434 --> 00:43:34.334 who you just saw pictures of. 00:43:34.334 --> 00:43:37.968 So, imagine this journey through time, 00:43:37.968 --> 00:43:40.033 and I'm addressing my grandfather, 00:43:40.033 --> 00:43:42.901 both his experience during the war, 00:43:42.901 --> 00:43:45.133 and then as he ages, 00:43:45.133 --> 00:43:47.467 attempting to reconcile the past and the present. 00:43:47.467 --> 00:43:50.734 So this poem moves through about a 50-year time period, 00:43:50.734 --> 00:43:51.834 and there are some references 00:43:51.834 --> 00:43:53.601 to some of the camps later in the poem. 00:43:53.601 --> 00:43:55.901 Missoula, Fort Sill, and Crystal City 00:43:55.901 --> 00:43:57.868 are some of those camps. 00:43:57.868 --> 00:43:59.434 I'm gonna read it. 00:43:59.434 --> 00:44:03.234 "Your Hands Guide Me Through Trains." 00:44:03.234 --> 00:44:07.434 From the bridge we stare down at the track, 00:44:07.434 --> 00:44:09.767 searching the arch, 00:44:09.767 --> 00:44:13.467 where rails curve out of darkness. 00:44:13.467 --> 00:44:15.400 You lift me on your shoulders 00:44:15.400 --> 00:44:18.300 and we balance in white light, 00:44:18.300 --> 00:44:21.701 the dead center approaching. 00:44:21.701 --> 00:44:23.000 The whistle blows, 00:44:23.000 --> 00:44:26.734 a rumble climbs through the bones of your feet, 00:44:26.734 --> 00:44:30.234 through your legs and hands into mine, 00:44:30.234 --> 00:44:33.000 your right hand clenches my right, 00:44:33.000 --> 00:44:35.901 your left hand clenches my left, 00:44:35.901 --> 00:44:38.133 if this were 1942, 00:44:38.133 --> 00:44:41.234 my hands would be the handle of your suitcase 00:44:41.234 --> 00:44:45.534 and your purple book scripted in prayer. 00:44:45.534 --> 00:44:48.834 Torn from family, you board a boxcar, 00:44:48.834 --> 00:44:51.234 snap open your case, 00:44:51.234 --> 00:44:54.167 set your brush and ink to the right, 00:44:54.167 --> 00:44:56.367 stones to the left, 00:44:56.367 --> 00:44:58.434 paint your own sea and coast 00:44:58.434 --> 00:45:03.434 as the plains, grass, and ironwoods rattle by. 00:45:03.434 --> 00:45:06.734 You dip the brush in each camp and each barrack, 00:45:06.734 --> 00:45:09.901 fill the paper with kelp and jellyfish, 00:45:09.901 --> 00:45:16.167 pebbles and shells, tape the sheets side by side. 00:45:16.167 --> 00:45:19.868 When it grows dark, you draw tracks leading 00:45:19.868 --> 00:45:22.567 to the edge of the tide. 00:45:22.567 --> 00:45:27.868 Asking for water, your hands unclasp and cling to the wires 00:45:27.868 --> 00:45:31.667 as men rip the sash from your back. 00:45:31.667 --> 00:45:36.801 A rifle butt knocks prayer loose from your throat. 00:45:36.801 --> 00:45:41.534 But it is 1976, a Sunday like any other, 00:45:41.534 --> 00:45:44.434 when you drape beads over my wrists 00:45:44.434 --> 00:45:48.667 and open the Lotus Sutra on the bridge, 00:45:48.667 --> 00:45:52.033 anchor its pages with stones, 00:45:52.033 --> 00:45:56.434 offer prayers as the train rushes under our feet, 00:45:56.434 --> 00:46:01.000 our lungs flowering with soot and steam. 00:46:01.000 --> 00:46:03.834 For years, I traveled to your hands, 00:46:03.834 --> 00:46:07.901 unrolled ocean scrolls from your case. 00:46:07.901 --> 00:46:10.100 In barracks you'd held the brush, 00:46:10.100 --> 00:46:13.234 painting your way out. 00:46:13.234 --> 00:46:19.267 By 1996 your brushstrokes fade, washi crumples in my palms. 00:46:19.267 --> 00:46:23.467 Your fingers grip a cane, waver with chopsticks. 00:46:23.467 --> 00:46:27.968 Soup, tea and rice sprig your bib. 00:46:27.968 --> 00:46:31.000 I feed you, brush your teeth, 00:46:31.000 --> 00:46:33.834 my right hand clenches your right, 00:46:33.834 --> 00:46:36.634 my left clenches your left, 00:46:36.634 --> 00:46:38.701 I lower you in the chair, 00:46:38.701 --> 00:46:43.167 place your feet on the steel ledges. 00:46:43.167 --> 00:46:47.868 Grandfather, can we run just once through the gravel, 00:46:47.868 --> 00:46:50.067 along silver rail, 00:46:50.067 --> 00:46:54.934 watch flames curl off the faces of men smudged in coal? 00:46:54.934 --> 00:46:58.734 Can you take me to Missoula and Fort Sill, 00:46:58.734 --> 00:47:03.300 wheels circling back to Crystal City? 00:47:03.300 --> 00:47:06.434 We arrive at the church where you live, 00:47:06.434 --> 00:47:10.000 and I wheel you past rows of empty chairs, 00:47:10.000 --> 00:47:12.634 drape the sash over your back, 00:47:12.634 --> 00:47:17.133 strike a match, light sticks of incense. 00:47:17.133 --> 00:47:22.334 Your hands guide me through the years like a black iron rope, 00:47:22.334 --> 00:47:27.200 into the orange glow, a tunnel of smoke, 00:47:27.200 --> 00:47:31.300 pages returning us to the shores of our home. 00:47:34.167 --> 00:47:35.334 Thank you so much. 00:47:35.334 --> 00:47:38.000 So, the final poem I'm going to read -- 00:47:38.000 --> 00:47:40.167 if we can go to the next slide -- 00:47:40.167 --> 00:47:41.968 it's a very short poem. 00:47:41.968 --> 00:47:45.501 And then we'll move on to Q&A. 00:47:45.501 --> 00:47:47.634 So, it's called "Temple Bell Lesson," 00:47:47.634 --> 00:47:50.801 and the reason I want to end today's formal presentation 00:47:50.801 --> 00:47:52.367 with this poem 00:47:52.367 --> 00:47:55.901 is that it's really about you, the younger generation, 00:47:55.901 --> 00:47:57.701 and how you carry on these legacies. 00:47:57.701 --> 00:48:01.200 So, you out there, you students who are listening to this, 00:48:01.200 --> 00:48:02.801 I want you to think about the history 00:48:02.801 --> 00:48:05.634 you've learned during the academic year. 00:48:05.634 --> 00:48:08.200 I want you to think about the stories, the museum, 00:48:08.200 --> 00:48:11.868 the exhibits, everything that we've given to you today, 00:48:11.868 --> 00:48:13.567 and think about what you might want to do with that 00:48:13.567 --> 00:48:15.868 in the future, whether you're a historian, 00:48:15.868 --> 00:48:17.834 whether you become a teacher, 00:48:17.834 --> 00:48:20.133 and whether you go into any type of field, 00:48:20.133 --> 00:48:23.033 what is the importance of transmitting that history 00:48:23.033 --> 00:48:24.634 and knowing that history of America, 00:48:24.634 --> 00:48:26.801 this great country we live in. 00:48:26.801 --> 00:48:29.300 So, this final poem, "Temple Bell Lesson," 00:48:29.300 --> 00:48:32.400 is dedicated to all of you as well as my son, 00:48:32.400 --> 00:48:35.634 and it's just about this huge temple bell in the church, 00:48:35.634 --> 00:48:39.868 and, you know, as a 1-year-old, I put his head inside there, 00:48:39.868 --> 00:48:41.167 and he would laugh and giggle, 00:48:41.167 --> 00:48:43.601 and then I would lightly ring the temple bell, 00:48:43.601 --> 00:48:45.133 and he would smile, 00:48:45.133 --> 00:48:47.601 but there was also great gravitas to this moment. 00:48:47.601 --> 00:48:51.033 And this poem is just called "Temple Bell Lesson." 00:48:51.033 --> 00:48:55.434 Okay, "Temple Bell Lesson." 00:48:55.434 --> 00:48:59.067 Son, I am weighted. 00:48:59.067 --> 00:49:02.033 You are light. 00:49:02.033 --> 00:49:09.033 Our ancestors imprisoned, outcast in sand, 00:49:09.033 --> 00:49:17.934 swinging between scorching air and the insult of blizzards. 00:49:17.934 --> 00:49:24.868 Their skin bronzed and chilled like brass, 00:49:24.868 --> 00:49:29.501 listen to their sorrow ringing. 00:49:32.667 --> 00:49:34.300 Okay, and thank you so much. 00:49:34.300 --> 00:49:37.767 The final slide is just really, 00:49:37.767 --> 00:49:41.000 if you're interested in seeing more about the projects 00:49:41.000 --> 00:49:43.501 that I spoke about today, 00:49:43.501 --> 00:49:46.767 and if you want to get updates on the latest readings 00:49:46.767 --> 00:49:49.234 and presentations I'm doing, 00:49:49.234 --> 00:49:52.334 you know, feel free to like me on Facebook, you know? 00:49:52.334 --> 00:49:54.067 That's great, and feel free to use this 00:49:54.067 --> 00:49:56.734 as a resource for yourselves and for your classroom. 00:49:56.734 --> 00:49:59.133 -I think my mike is, like, loud as possible. 00:49:59.133 --> 00:50:01.200 So, hopefully you and I are -- 00:50:01.200 --> 00:50:04.501 you know, we're coming through at the same volume. 00:50:04.501 --> 00:50:07.934 I received a lot of really interesting questions, 00:50:07.934 --> 00:50:10.467 you know, while both of you were talking. 00:50:10.467 --> 00:50:13.167 Unfortunately, sorry, students, we can only answer, 00:50:13.167 --> 00:50:15.434 you know, a couple of them today, 00:50:15.434 --> 00:50:18.567 but actually, Brian, I thought I would toss the first one 00:50:18.567 --> 00:50:21.334 to you if you don't mind. 00:50:21.334 --> 00:50:24.567 I think students picked up on that we were using the terms 00:50:24.567 --> 00:50:27.901 "imprisonment" and "incarceration," 00:50:27.901 --> 00:50:30.300 and one of the students wanted to know why we did that, 00:50:30.300 --> 00:50:32.667 why we referred to it as imprisonment, 00:50:32.667 --> 00:50:35.367 and since you're a professor of rhetoric and language, 00:50:35.367 --> 00:50:37.133 I thought I'd toss that one to you. 00:50:37.133 --> 00:50:39.634 Does that sound good? 00:50:46.100 --> 00:50:47.567 Yeah, I can... 00:50:47.567 --> 00:50:49.067 So, hopefully, that means everybody else does, too. 00:50:49.067 --> 00:50:50.734 -Okay, sure. 00:50:50.734 --> 00:50:56.067 So, am I coming through enough to you guys, or can you hear me? 00:50:59.934 --> 00:51:04.000 Okay, so, you know, I was talking to Chrissy about this, 00:51:04.000 --> 00:51:08.133 and I would say that the terms imprisonment and incarceration 00:51:08.133 --> 00:51:10.501 are actually interchangeable, 00:51:10.501 --> 00:51:13.334 and in terms of historians 00:51:13.334 --> 00:51:18.133 and this ongoing debate or discourse about these terms, 00:51:18.133 --> 00:51:21.801 that would refer to the entire number of Japanese Americans 00:51:21.801 --> 00:51:24.200 who were put in camps during the war, 00:51:24.200 --> 00:51:28.033 including the WRA camps that Kim mentioned -- 00:51:28.033 --> 00:51:30.234 Topaz, Amache, et cetera -- 00:51:30.234 --> 00:51:32.067 but also Department of Justice camps 00:51:32.067 --> 00:51:34.634 that I mentioned, which are a bit -- 00:51:34.634 --> 00:51:36.501 they're not quite as known in a way, 00:51:36.501 --> 00:51:39.067 but they are a smaller group of camps, 00:51:39.067 --> 00:51:40.667 or I should say a smaller group of people 00:51:40.667 --> 00:51:42.400 were put in those camps, 00:51:42.400 --> 00:51:44.300 and those are really, like my grandfather, 00:51:44.300 --> 00:51:45.701 other community leaders. 00:51:45.701 --> 00:51:48.934 Now, technically speaking, those particular camps, 00:51:48.934 --> 00:51:50.300 Department of Justice camps, 00:51:50.300 --> 00:51:53.767 historians refer to those as internment camps, right? 00:51:53.767 --> 00:51:57.133 So, it gets very complicated, but the internment camps 00:51:57.133 --> 00:51:59.934 are included within the definition of imprisonment 00:51:59.934 --> 00:52:01.634 and incarceration camps, right? 00:52:01.634 --> 00:52:02.968 So, it's almost like 00:52:02.968 --> 00:52:06.033 the umbrella is imprisonment, incarceration. 00:52:06.033 --> 00:52:07.267 Internment is one segment of that. 00:52:07.267 --> 00:52:08.667 -That definitely makes sense. 00:52:08.667 --> 00:52:11.067 Yeah, we just, with a lot of students here and teachers, 00:52:11.067 --> 00:52:13.934 they probably know that term "internment," 00:52:13.934 --> 00:52:17.133 so I'm sure they were curious, you know, as to why we were, 00:52:17.133 --> 00:52:19.634 you know, using the language that we use. 00:52:19.634 --> 00:52:24.067 And, Kim, what language do we use in the exhibit? 00:52:24.067 --> 00:52:28.033 -Well, we do actually address that very question -- 00:52:28.033 --> 00:52:30.400 why "internment" -- 00:52:30.400 --> 00:52:34.167 and how the language that people have used 00:52:34.167 --> 00:52:38.567 to describe this experience has evolved over time. 00:52:38.567 --> 00:52:45.567 So, most people know the most common experience as internment. 00:52:45.567 --> 00:52:50.000 However, people are evolving a little to 00:52:50.000 --> 00:52:55.400 the more appropriate terms of incarceration and imprisonment. 00:52:55.400 --> 00:52:58.033 -Well, thanks, both of you, for sharing your input on that. 00:52:58.033 --> 00:52:59.400 Then, Kim, I have kind of one 00:52:59.400 --> 00:53:01.501 that's maybe a little bit more geared toward you, 00:53:01.501 --> 00:53:03.167 but I think, Brian, if you want to chime in, too, 00:53:03.167 --> 00:53:04.434 at one point, you can. 00:53:04.434 --> 00:53:07.734 I had one student ask if prisoners were allowed to bring, 00:53:07.734 --> 00:53:09.601 you know, Japanese flags or, you know, 00:53:09.601 --> 00:53:12.667 other items that might appear as potentially, 00:53:12.667 --> 00:53:15.067 you know, controversial, right? 00:53:15.067 --> 00:53:17.167 -Well, that's an interesting question. 00:53:17.167 --> 00:53:19.767 I think one important thing to remember 00:53:19.767 --> 00:53:23.501 is that over 60% of the people 00:53:23.501 --> 00:53:26.501 that were taken to these camps 00:53:26.501 --> 00:53:27.968 were American citizens. 00:53:27.968 --> 00:53:31.167 So their flag was the American flag 00:53:31.167 --> 00:53:32.934 and the Stars and Stripes. 00:53:32.934 --> 00:53:37.801 And so, most of them had not even been to Japan. 00:53:37.801 --> 00:53:40.167 Many of them didn't speak the Japanese language, 00:53:40.167 --> 00:53:44.567 so they were Americans. 00:53:44.567 --> 00:53:47.734 And Japan was the enemy nation at that point. 00:53:47.734 --> 00:53:52.434 So, there was material that was contraband in the camps. 00:53:52.434 --> 00:53:57.667 People were not allowed to bring weapons, 00:53:57.667 --> 00:53:59.701 so that included swords. 00:53:59.701 --> 00:54:06.000 So, some people had maybe family heirlooms, 00:54:06.000 --> 00:54:09.367 samurai swords, or other types of items 00:54:09.367 --> 00:54:12.367 that they were not allowed to bring into the camps. 00:54:12.367 --> 00:54:17.834 And also, radios and radio receivers and cameras 00:54:17.834 --> 00:54:21.133 initially were not allowed in the camps. 00:54:21.133 --> 00:54:24.534 So, those were some items that were not allowed. 00:54:24.534 --> 00:54:25.834 -Great, thanks. 00:54:25.834 --> 00:54:27.467 Brian, I actually have kind of a personal question 00:54:27.467 --> 00:54:29.467 for you from a student. 00:54:29.467 --> 00:54:34.234 You showed the Buddhist temple a few slides ago, 00:54:34.234 --> 00:54:37.133 and they were wondering, did your grandfather build that? 00:54:45.200 --> 00:54:47.000 -[ Chuckles ] 00:54:47.000 --> 00:54:50.334 Well, I mean, my understanding is 00:54:50.334 --> 00:54:52.667 the building was already there, 00:54:52.667 --> 00:54:56.267 and, of course, once they occupied the building, 00:54:56.267 --> 00:55:00.467 internally, they really sort of redecorated, 00:55:00.467 --> 00:55:02.934 really, really changed the inside. 00:55:02.934 --> 00:55:06.801 Now, I wish I could've shown you the inside, but, you know, 00:55:06.801 --> 00:55:10.200 there's really, as you walk through the front door, 00:55:10.200 --> 00:55:11.934 there would be the temple bell to your right 00:55:11.934 --> 00:55:13.467 that I mention in the poem, 00:55:13.467 --> 00:55:15.501 and then you're really in the altar area, 00:55:15.501 --> 00:55:19.133 which has many artifacts or objects from Japan, 00:55:19.133 --> 00:55:21.133 such as a taiko drum. 00:55:21.133 --> 00:55:24.400 It has the priest altar with marble pots of incense 00:55:24.400 --> 00:55:28.968 and actual scrolls and plaques that elegize, 00:55:28.968 --> 00:55:30.934 you know, church members who have passed away. 00:55:30.934 --> 00:55:32.167 And then, actually, 00:55:32.167 --> 00:55:34.934 his calligraphy lines the walls on both sides. 00:55:34.934 --> 00:55:37.801 So, you know, the inside of the church, I think, 00:55:37.801 --> 00:55:39.868 is mainly what they focused on, 00:55:39.868 --> 00:55:41.734 but that building, as I understand, 00:55:41.734 --> 00:55:43.133 was definitely there. 00:55:43.133 --> 00:55:44.133 It would be great if I could say 00:55:44.133 --> 00:55:46.000 he built it from, you know, scratch, 00:55:46.000 --> 00:55:48.367 but I do not believe that is the case, yeah. 00:55:48.367 --> 00:55:49.567 -Kim, I have a couple people -- 00:55:49.567 --> 00:55:51.000 I'm just looking at questions now. 00:55:51.000 --> 00:55:52.334 Phew, I've got a lot coming in. 00:55:52.334 --> 00:55:55.534 Maybe I can do -- Maybe if not one more, maybe two more. 00:55:55.534 --> 00:55:57.968 This one is for you, Kim. 00:55:57.968 --> 00:55:59.968 Someone wants to know a little bit more about 00:55:59.968 --> 00:56:01.734 the service of Japanese Americans 00:56:01.734 --> 00:56:04.200 in the military during World War II. 00:56:04.200 --> 00:56:05.868 Can you tell them a little bit more about that? 00:56:05.868 --> 00:56:07.067 -Sure. 00:56:07.067 --> 00:56:10.567 Well, Japanese Americans, many of them had to fight 00:56:10.567 --> 00:56:13.701 to be allowed into the military, 00:56:13.701 --> 00:56:19.934 and 33,000 served in the military during World War II. 00:56:19.934 --> 00:56:23.501 So, mainly in segregated Japanese American units 00:56:23.501 --> 00:56:28.767 of the 442nd Regimental Combat Team and the 100th Battalion. 00:56:28.767 --> 00:56:32.868 That included Yeiki Kobashigawa that I talked about earlier. 00:56:32.868 --> 00:56:35.400 But then, also 6,000 Japanese Americans 00:56:35.400 --> 00:56:38.100 served in the Military Intelligence Service 00:56:38.100 --> 00:56:39.334 in World War II, 00:56:39.334 --> 00:56:42.300 so they actually served in the Pacific theater 00:56:42.300 --> 00:56:48.734 interrogating and translating documents and prisoners of war. 00:56:48.734 --> 00:56:51.801 So, that's a very interesting service 00:56:51.801 --> 00:56:54.334 that you can learn more about on our website, as well, 00:56:54.334 --> 00:56:58.901 and that is featured in our exhibit. 00:56:58.901 --> 00:57:02.100 I know that's a very, very brief overview, but... 00:57:02.100 --> 00:57:04.467 -You can learn more, yeah, on your own. 00:57:04.467 --> 00:57:06.467 That's our challenge to you. 00:57:06.467 --> 00:57:10.601 All right, the last question goes to you for the day, 00:57:10.601 --> 00:57:11.767 if you don't mind. 00:57:11.767 --> 00:57:14.234 One student asked if you were allowed 00:57:14.234 --> 00:57:16.367 to practice religion inside the camps? 00:57:16.367 --> 00:57:19.868 Does that continue on? -Okay. 00:57:27.734 --> 00:57:29.534 Yeah, that's an interesting question, 00:57:29.534 --> 00:57:33.567 and I think Kim answered it well earlier about this notion of, 00:57:33.567 --> 00:57:35.467 you know, Japanese things being brought in, 00:57:35.467 --> 00:57:37.300 and I think it's complicated, right, 00:57:37.300 --> 00:57:39.601 because I think that, for example, 00:57:39.601 --> 00:57:43.133 my grandfather did practice Buddhism 00:57:43.133 --> 00:57:45.467 within the internment camp, 00:57:45.467 --> 00:57:47.334 but in those camps, you know, 00:57:47.334 --> 00:57:50.567 all the Japanese community leaders are together. 00:57:50.567 --> 00:57:52.701 But I do think there's a conflicted relationship 00:57:52.701 --> 00:57:54.467 with anything cultural, right? 00:57:54.467 --> 00:57:57.767 So, I think there was varying degrees of that. 00:57:57.767 --> 00:58:00.934 So, yes, they embraced their religion, 00:58:00.934 --> 00:58:03.000 their culture with pride, 00:58:03.000 --> 00:58:05.567 but, frankly, some of it may have been somewhat private 00:58:05.567 --> 00:58:08.133 because they may have been afraid of backlash 00:58:08.133 --> 00:58:10.467 if they were seen practicing their religion. 00:58:10.467 --> 00:58:12.100 But I do know that my grandfather told me 00:58:12.100 --> 00:58:14.767 about a few times where he did a Buddhist service 00:58:14.767 --> 00:58:16.767 for someone who had died in camp, 00:58:16.767 --> 00:58:20.267 and sometimes under some very challenging circumstances. 00:58:20.267 --> 00:58:24.801 So, you know, that's as much as I can say concisely, 00:58:24.801 --> 00:58:26.234 so, yes, it was practiced, 00:58:26.234 --> 00:58:28.868 but I think there was a sort of caution 00:58:28.868 --> 00:58:31.501 and a sort of carefulness to it, yes. 00:58:31.501 --> 00:58:33.601 -...is a handcrafted altar, 00:58:33.601 --> 00:58:39.000 a Buddhist altar that was made in one of the camps. 00:58:39.000 --> 00:58:43.067 So, that was one of the artifacts, yeah, 00:58:43.067 --> 00:58:46.567 that we have that we can show, yeah, in the exhibit. 00:58:46.567 --> 00:58:49.000 -Well, you guys are awesome, 00:58:49.000 --> 00:58:51.400 talking to you students out there. 00:58:51.400 --> 00:58:54.567 I want to really thank Kim and Brian for, you know, 00:58:54.567 --> 00:58:57.167 spending this webinar with us. 00:58:57.167 --> 00:59:00.567 You know, I do distance learning with students all the time, 00:59:00.567 --> 00:59:02.033 and usually you just see my mug 00:59:02.033 --> 00:59:05.601 and not a special guest like them, 00:59:05.601 --> 00:59:09.367 so it's really, really special to have both of you here today 00:59:09.367 --> 00:59:12.567 on actually two different time zones, too, right, 00:59:12.567 --> 00:59:14.067 connecting virtually. 00:59:14.067 --> 00:59:16.934 So, the wonder of technology, you know, allows us to do this. 00:59:16.934 --> 00:59:19.667 So, Brian, thank you so much. 00:59:19.667 --> 00:59:22.601 Since it's 1:00 right now, at least Central time, 00:59:22.601 --> 00:59:24.834 what I'm gonna do, everyone, is transition 00:59:24.834 --> 00:59:28.167 into our last kind of room 00:59:28.167 --> 00:59:30.334 where I'll kind of give you guys some closing reminders 00:59:30.334 --> 00:59:32.334 and the student poetry prompt, 00:59:32.334 --> 00:59:36.100 that amazing prompt that Brian made earlier, 00:59:36.100 --> 00:59:37.534 that we hope that you guys do. 00:59:37.534 --> 00:59:41.901 I'll explain a little more as we transition into that room. 00:59:41.901 --> 00:59:45.000 So, it's gonna take a little bit here. 00:59:47.634 --> 00:59:49.934 I just got to think about it, of course, but... 00:59:49.934 --> 00:59:51.100 [ No audio ] 00:59:51.100 --> 00:59:53.400 ...as Brian said earlier, you know, 00:59:53.400 --> 00:59:55.400 especially with the "Temple Bell Lesson," 00:59:55.400 --> 00:59:58.200 you know, now it's your turn to take this history. 00:59:58.200 --> 01:00:01.200 One way that we want you to do that today 01:00:01.200 --> 01:00:05.267 is by taking a look at this poetry prompt right here. 01:00:05.267 --> 01:00:08.968 And, teachers, Brian was also talking about a lesson plan 01:00:08.968 --> 01:00:11.767 that was sent to you from me. 01:00:11.767 --> 01:00:13.000 This is in your lesson plan -- 01:00:13.000 --> 01:00:15.033 a whole lesson that he is describing, 01:00:15.033 --> 01:00:17.100 but at the end is this poetry prompt. 01:00:17.100 --> 01:00:19.834 Let me read it aloud for everyone that's here. 01:00:19.834 --> 01:00:22.834 "Imagine you are a Japanese American child or teenager 01:00:22.834 --> 01:00:25.834 who will be taken away from your home during World War II, 01:00:25.834 --> 01:00:28.334 and you are forced to leave many of your possessions behind 01:00:28.334 --> 01:00:30.100 before you go to camp. 01:00:30.100 --> 01:00:31.868 Choose one of these lost possessions 01:00:31.868 --> 01:00:33.534 and write a poem about it. 01:00:33.534 --> 01:00:35.901 What is the story behind this lost possession? 01:00:35.901 --> 01:00:38.734 How did it make you feel when you had left it behind? 01:00:38.734 --> 01:00:41.767 How and why did you miss it while you were in camp?" 01:00:41.767 --> 01:00:43.267 And, students, what we want you to do 01:00:43.267 --> 01:00:46.434 is to write a poem based on that prompt. 01:00:46.434 --> 01:00:49.467 Teachers, what we would like you guys to do 01:00:49.467 --> 01:00:52.133 is to e-mail it to me at that website there -- 01:00:52.133 --> 01:00:55.934 virtualclassroom @nationalww2museum.org -- 01:00:55.934 --> 01:01:00.067 within the next week, and then what I'm going to do 01:01:00.067 --> 01:01:02.467 is I am going to read through those poems, 01:01:02.467 --> 01:01:04.000 see how great they are, 01:01:04.000 --> 01:01:09.501 and post a selection of them to our blog, 01:01:09.501 --> 01:01:10.767 and I will share that blog 01:01:10.767 --> 01:01:13.701 with everybody who participated in the webinar 01:01:13.701 --> 01:01:16.334 and show you some of your amazing student work. 01:01:16.334 --> 01:01:17.868 I'll leave it on this slide at the end 01:01:17.868 --> 01:01:19.133 so you can take a closer look at it, 01:01:19.133 --> 01:01:21.934 but I just want to have some closing reminders. 01:01:21.934 --> 01:01:25.367 Number one here is Kim was talking about, 01:01:25.367 --> 01:01:27.133 of course, the website companion 01:01:27.133 --> 01:01:30.300 that we have to the exhibit 01:01:30.300 --> 01:01:33.100 that's here -- barbedwiretobattlefields.org. 01:01:33.100 --> 01:01:35.400 There you can examine in a little bit more depth 01:01:35.400 --> 01:01:36.868 than, obviously, what we can go into today 01:01:36.868 --> 01:01:38.601 about some of the things that we talked about, 01:01:38.601 --> 01:01:41.534 especially not only in these camps, 01:01:41.534 --> 01:01:45.200 but also Japanese Americans involved in the military. 01:01:45.200 --> 01:01:47.367 There's a lot of really interesting resources 01:01:47.367 --> 01:01:48.868 and close-up shots of, 01:01:48.868 --> 01:01:51.534 you know, some of the yearbooks that we talked about, as well. 01:01:51.534 --> 01:01:53.934 So, please, please visit that site. 01:01:53.934 --> 01:01:56.667 And then, I just want to say thanks to everyone 01:01:56.667 --> 01:01:58.067 for watching this year. 01:01:58.067 --> 01:02:03.000 We had four really unique, really cool webinars this year 01:02:03.000 --> 01:02:04.667 on a range of topics, 01:02:04.667 --> 01:02:06.801 and I know some of you, from seeing the registrations, 01:02:06.801 --> 01:02:09.167 that you registered for all four. 01:02:09.167 --> 01:02:11.901 So, I really appreciate it, and as I said, 01:02:11.901 --> 01:02:14.501 keep an eye on what's to come for the next year, 01:02:14.501 --> 01:02:17.601 2014-2015 school year. 01:02:17.601 --> 01:02:19.300 For you teachers and students out there, 01:02:19.300 --> 01:02:22.467 have a wonderful remainder of the school year and summer, 01:02:22.467 --> 01:02:24.968 and, from The World War II Museum, 01:02:24.968 --> 01:02:26.767 we will see you all next year. 01:02:26.767 --> 01:02:29.300 And as I said earlier, I'm going to leave on this slide 01:02:29.300 --> 01:02:30.767 so you can take a look at the prompt. 01:02:30.767 --> 01:02:32.234 One more time, give a... 01:02:32.234 --> 01:02:34.234 [ No audio ]