This concept brief for We Are Americans was researched, designed and written to fulfill the requirements for the Georgetown University Museum Exhibition Planning & Design Certificate Program, May 2007.

Kyoko Arakawa Curator Susan Bergner Interpretive Developer Christopher Edwards Designer Adriana Rojas Museum Educator James Rosolanka Project Manager

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Table of Contents Introduction . . . . . . . . . . . . . . . . . . . . . . . 4

Big Idea . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Bubble Plan . . . . . . . . . . . . . . . . . . . . . . . 6

Floor Plan . . . . . . . . . . . . . . . . . . . . . . . . . 7

Visitor Narrative . . . . . . . . . . . . . . . . . . . 8

Orientation . . . . . . . . . . . . . . . . . . . . . . . . . . 8

1941 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Behind the Barbed Wire . . . . . . . . . . . . . . . 22

What Now? . . . . . . . . . . . . . . . . . . . . . . . . . 39

Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Design . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Labels

Programming . . . . . . . . . . . . . . . . . . . . . 46

Budget . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Team Report . . . . . . . . . . . . . . . . . . . . . 51

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IntroductionWe Are Americans weaves multimedia interpretative displays with interactive audience technology to explore how America, during WWII, subjected citizens to incarceration for almost four years, just for being Japanese-Americans — and no other crime.

War can create hysteria and unintended negative consequences. This episode in American history shows how Japanese-Americans weathered this injustice and continued to live, grow, and survive. They proved that they were truly American citizens despite “America’s Concentration Camps.”

This exhibit comprises five major themes with sub-themes:

ORIENTATION Japanese-American life before the beginning of the war

1941 Life in the Western States, December 7, 1941, America Reacts, and Leaving Home

BEHIND THE BARBED WAR Setting Up, Family Life, Growing Up in Camp, and Loyalty

WHAT NOW? Changing Opinions, Survivors, and Remembrance

CONCLUSION Questions to ponder

“I didn’t even know I was Japanese then. It was just a good mixture. I mean there was no separation or anything.”

— Pat Aiko

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Big Idea, etc.BIG IDEA

There have been occasions in our history, when fear and uncertainty during wartime have led America to make unjust decisions which sacrificed the rights of individual citizens in the service of security for the whole country.

EXHIBITION MISSION

We Are Americans presents an understanding of the tragic and wrongful imprisonment during WWII of Japanese-American families living in the western United States with the hope that this knowledge will help guard against making similar mistakes again.

EXHIBITION PERSPECTIVE

This story of the WWII Japanese-American imprisonment is expressed in the stories, diaries and artwork of teenaged camp prisoners.

PRIMARY EXHIBITION GOALS

Visitors 11-14 years of age and their families will learn:

• The attack on Pearl Harbor on December 7, 1941, prompted the government to make unexpected and harsh decisions in regard to Japanese-Americans living in the far western States.

• Many Japanese-American citizens were forced to relinquish their individual freedom in the name of providing a sense of security for the country.

• Wartime can change family life dramatically.

• What life was like for teenagers and their families behind the barbed wire of the prison camps.

• What happened when the camps were closed.

Visitors 11-14 years of age and their families will be asked to think about:

• PRIMARILY --- What would you do?

• SECONDARILY

1. What can we learn?

2. If the country of my parents is at war with the US, what does that mean for me?

3. How much personal freedom should be sacrificed to secure a greater sense of safety for the country?

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Bubble Plan

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The exhibition space for We Are Americans is on the main level of the newly renovated National Museum of American History at the Smithsonian. With the compelling Star Spangled Banner exhibition and the major introductory exhibit for the museum — American Experience — as its neighbors, We Are Americans is powerfully positioned as one of the important stories of American history.

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OrientationWe Are Americans tells the story of Japanese-American imprisonment during WWII.

Approaching the exhibition, the visitor is initially drawn to the left side of the entrance and a life-sized photo of a 1941 Japanese-American family with suitcases by their sides and government-required family tags around their necks. The photo is black and white. The teenaged children are highlighted as three-dimensional cutouts in front of the image. The title, “We Are Americans,” is at the top of the image.

The visitor is then pulled slightly further into the exhibition by the introductory text on a wall to the right of the entrance. The text reads:

During war, life changes dramatically. Fear and

uncertainty prompt decisions which sacrifice individual

freedoms in service of security for the whole. At times in

our history, these decisions have been unjust.

The experiences of Japanese-Americans living along the

West Coast of the US during WWII tell this story.

LISTEN! LEARN! ASK: What would you do?

Nearby, a kiosk dispenses RFID cards shaped and threaded like the family tags shown in the introductory photograph. These tags were assigned to and required to be worn by all Japanese-Americans imprisoned during WWII. Explanatory text tells the visitor that “each RFID card corresponds to a single narrative of one of five real families. The family story which is activated by your RFID card will unfold

slowly as you walk through the exhibit and use your card at designated points. One member of each of the five families is a contemporary public person and is profiled near the end of the exhibit in a subsection called ‘Survivors.’”

Use of the cards personalizes and emphasizes the details of the imprisonment experience. Visitors who come in groups share the same walk-through experience/information, but through the RFID interactives gather somewhat different information from one another. This provides an opportunity for deeper discussion of the exhibit as they exchange information.

After receiving a tag, the visitor walks up an incline to reach the first major section of the exhibit, 1941.

SECTION CONTENT

IMAGE: Large-scale photo, The Mochida Family Waiting for the Evacuation, Dorothea Lange, photographer

INTERACTIVE: Supply of RFID cards each programmed with one of five “family story” lines

INTERACTIVE: Kiosk for dispensing RFID cards to visitors

VISITOR NARRATIVE

“There was talk of sending us away, and we just couldn’t believe that they would do such a thing.”

— Mary Tsukamoto

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Hayward, Calif.-- Members of the Mochida family awaiting evacuation bus. Identification tags are used to aid in keeping the family unit intact during all phases of evacuation. Mochida operated a nursery and five greenhouses on a two-acre site in Eden Township. He raised snapdragons and sweetpeas. Evacuees of Japanese ancestry will be housed in War Relocation Authority centers for the duration.

Photographer: Lange, Dorothea -- Hayward, California. May 8, 1942

Creditline: War Relocation Authority Photographs of Japanese-American Evacuation and Resettlement Series 14, Preevacuation;The Bancroft Library. University of California, Berkeley

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1941“1941” starts off on the left with a timeline of Japanese-American immigration patterns starting in 1869 and continuing to 1941. The timeline includes information about immigration laws and immigration policy affecting Japanese-Americans prior to 1941. The immigration information helps to establish the scene for the Japanese-Americans in the Western United States. It serves as a transition element into the first subsection of “1941” entitled “Life in the Western States.”

LIFE IN THE WESTERN STATES

From the right, the visitor hears low, inviting radio broadcast sounds of 1941 pop musicians like Glenn Miller/Duke Ellington/Andrews Sisters. On the right are movie posters, samples of advertising, newspaper headlines, record jackets and several models of early 1940’s radios to establish a sense of the pop culture at the time.

Next on the right the visitor sees photos of Japanese American teens pursuing various everyday activities---with family, in school and at play, mixed in with authentic labels from Japanese run farms and fishing businesses, a photo of Little Tokyo in San Pedro and images from Japanese-American farms in the Central Valley with text and labels describing the daily activities of Japanese-American families and teens.

Following these are definitions of “Issei” and “Nisei” and text about family structure. And, at the end of this subsection is a poster advertising “No Japs in Our Schools-Citizen’s Mass Meeting” from 1906. Additional text establishes a long-held racial prejudice against Japanese-Americans.

Located in this section is the first “dialog table,” an interactive computer kiosk that is activated by either touch, gesture or the RFID cards, where visitors gather to learn and exchange information. The information revealed at this dialog table is biographic telling stories of “home” and “normal” for Japanese-American teens in 1941. This table also supplies the first element of the “family story” contained on the visitor’s RFID card.

SECTION CONTENT

INTERACTIVE: Immigration timeline, mounted waist height

AUDIO: 1941 pop musical recordings

OBJECTS: Early 1940’s movie posters, advertising samples, newspaper headlines about pop culture, record album covers

OBJECTS: Several 1940’s radios

IMAGES: Photos of everyday family and teen activities in early 1941

OBJECTS: Packaging labels from Japanese run fishing and farming businesses

OBJECT: Poster, “No Japs in Our Schools-Citizens’ Mass Meeting”, 1906

INTERACTIVE: ‘Dialog table,’ an interactive computer kiosk controlled through gesture and touch, that is programmed with stories and quotations about home and the everday for Japanese-American in 1941 before Pearl Harbor

VISITOR NARRATIVE

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DECEMBER 7,1941

The visitor next enters the subsection titled “December 7, 1941.” On the left is a large-scale picture of the sinking of the USS California at Pearl Harbor. The sounds of radio music give way to sounds of an air raid: explosions, airplanes, sirens and pandemonium. Lighting effects on the image of the USS California flash to simulate bombing and are timed with the sounds of explosions. Radio broadcasts announcing the bombing and reactions expressed on Dec. 7th are playing. The experience is one of chaos and urgency.

Explanatory text gives details of the time and place of the attack and highlights the significance of the bombing of Pearl Harbor to our story.

SECTION CONTENT

IMAGE: Large-scale print of USS California Sinking at Pearl Harbor, December 7, 1941

AUDIO: Sound effects of an air raid including explosions, sirens, airplanes dive bombing; Radio broadcast tapes from December 7, 1941

LIGHTING: Light effects for bombing synced with sound effects

“Over night, things changed for us.” — Yuri Kochiyama

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Crew abandoning the damaged USS California (BB-44) as burning oil drifts down on the ship, at about 1000 hrs on the morning of 7 December 1941, shortly after the end of the Japanese raid. The capsized hull of USS Oklahoma (BB-37) is visible at the right.

Official U.S. Navy Photograph, from the collections of the Naval Historical Center.

USS Arizona (BB-39) sunk and burning furiously, 7 December 1941. Her forward magazines had exploded when she was hit by a Japanese bomb.

At left, men on the stern of USS Tennessee (BB-43) are playing fire hoses on the water to force burning oil away from their ship

Official U.S. Navy Photograph, now in the collections of the National Archives.

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AMERICA REACTS

On the right hand side, the visitor encounters the next subsection, “America Reacts.” Diary excerpts tell of Japanese-American experiences on Dec. 7th. Also included are a photo and newspaper accounts of the immediate arrest of some Japanese-American men considered “a threat” because of their professions and positions as community leaders.

Accounts of happenings on Dec. 8th follow, including a photo of FDR signing the Declaration of War against Japan. A number of diary excerpts about reactions of non-Japanese friends and teachers toward Japanese-American students at school are displayed. The visitor is challenged to ask:

What would I have done? What if my best friend were Japanese-American and I were not? or What if I were Japanese-American and my best friend, who is not, ignored me?

As the visitor moves to the end of this subsection, the year becomes 1942, and America’s reaction continues to unfold. The right-hand wall holds headphones to hear recordings of speeches and headlines leading up to the signing of Executive Order #9066. Above the headphones are newspaper articles and explanatory text establishing the background for #9066. The visitor can read the actual transcript of the #9066 and is challenged to ask: What would you do, if you were President?

SECTION CONTENT

OBJECT: Excerpts from Stanley Hayami Diary and diaries of other Japanese-Americans (who were teenagers during their time of imprisonment) regarding December 7th, 1941 and December 8th at school

IMAGE: Photo of police frisking man of Japanese descent on December 7th

OBJECT: Newspaper accounts of arrests made on December 7th of Japanese-Americans

IMAGE: Photo of FDR signing the Declaration of War against Japan on December 8th

INTERACTIVE: Taped recordings of speeches and radio broadcasts leading up to the signing of Executive Order #9066 listened to through 3 sets of headphones

OBJECT: Newspaper articles in reference to Executive Order #9066

OBJECT: Executive Order #9066

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LEAVING HOME

In order for the visitor to better understand the shock and difficulty of being ordered from your home, the exhibit continues on the left with the next subsection, “Leaving Home.” With the use of diary excerpts, news articles, photos of property sales and explanatory text, Japanese-American reactions to #9066 are detailed. The visitor is challenged to ask: What would you do? How would you react?

Next the visitor can read a copy of the Exclusion Order for San Jose which ordered all Japanese-Americans living in San Jose to be moved to assembly centers and eventually to permanent prison camps. It specifies that each person is allowed to pack only what he or she could carry. A display case shows an authentic duffle bag from Gila River Camp — what one teenager would carry — and an authentic, handmade canvas bag for packing extras. A portion of an essay written by Estelle Ishiguro is displayed above the case and describes the difficulty of making decisions about what to pack.

Next to the display case, the visitor is invited to a “packing interactive.” A number of

household/personal items appropriate for teens in the early 1940’s are displayed. Each item is bathed in its own spot light. The visitor is invited to “Look at these objects. What would you bring?” A button can be pushed and lights are extinguished for all items which the government would not allow to be taken to camp. Explanatory text accompanies this activity. The last element is a photo of a grandfather and grandchildren wearing tags and awaiting evacuation.

As the visitor passes the elements on the left, across the hall on the right appears a large-scale interactive map describing which camps Japanese-Americans were sent to from their homes in major West Coast areas of Japanese-American settlement.

“We got our order to pack our things and dispose of our business and belongings as we’re going to be in an Assembly Center in one week . . . carrying whatever we were able to.”

— Ben Tsutomu Chikaraishi

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Through various lighting systems, the map enables the visitor to learn, for example, where Japanese-Americans residing in Seattle, Washington, were sent to first and then subsequent assignments. The major assembly centers, relocation centers and permanent camps are identified and labeled and the differences defined. RFID tags activate specific locations relevant to the individual stories associated with the tags.

This “1941” section ends with the lighting darkening and a final image of a “slot box truck taking children to internment center” from San Pedro, California, with accompanying label and explanatory text to lead the visitor into the next major section of the exhibition---an experience of a permanent imprisonment camp.

The path narrows as it turns to the left and descends slightly into the “Behind Barbed Wire” space.

SECTION CONTENT

OBJECT: News accounts regarding Japanese-American reactions to EO 9066

OBJECT: Diary excerpts from Japanese-Americans (who were teenagers during their time of imprisonment) regarding reactions to EO 9066

IMAGE: Photo of grocery store with sign “I Am an American”

IMAGE: Photo of man with toddler putting “Evacuation Sale” sign in store window

IMAGE: Photo of grandfather and grandchildren, tagged and awaiting evacuation

OBJECT: Exclusion Order for San Jose Japanese Imprisonment

OBJECTS: Authentic duffel bags in display case from Gila River Camp and from Ernie Kurima

OBJECT: Extract from Essay “Lone Heart Mountain” by Estelle Ishiguro regarding decisions about what to pack

INTERACTIVE: Packing interactive case, lighting and programming with OBJECTS: Variety of toys, clothing, cameras, radios, food etc. objects from 1941 for packing interactive

INTERACTIVE: Interactive map detailing where Japanese-Americans from major areas on the West Coast were sent for “assembly”, “relocation” and “confinement” programmed to include access for the continuing RFID card stories

IMAGE: Large-scale print of “Slot box truck taking children to internment center, San Pedro, California.” Credit: Clem Albers Courtesy of National Archives, April 5, 1942

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Slot box truck taking children to internment center San Pedro, California. Trucks were jammed high with suitcases, blankets, household equipment, garden tools, as well as children, all bearing registration tags as the last Redondo Beach residents of Japanese ancestry were moved to assembly center at Arcadia, California.

Clem Albers Courtesy of National Archives April 5, 1942

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“What was I doing behind a fence like a criminal? . . . Maybe I wasn’t considered American anymore. Maybe my citizenship wasn’t real. Then what was I?”

— Monica Sone

Behind the Barbed WireVISITOR NARRATIVE

As the visitor descends, the already darkly lit space becomes darker and the passageway narrows to convey the experience of not knowing what is coming next. The visitor is following light and is initially “hit” with a very bright light. A wooden gateway reminiscent of the prison camp fencing frames the visitor as this section is entered. On the right is a large-scale image of Toyo Miyatake’s “Boys Behind the Barbed Wire.”

The visitor is unable to see much beyond this entrance way. The space behind, like life in the camps for an actual prisoner, remains a mystery. As the visitor passes through the gate and past the Miyatake image, the entirety of the large, expansive section “Behind Barbed Wire” becomes visible. It includes a reconstructed barrack, a guard tower and a full video wall of images from a number of the camps. The intent is to shock. To the visitor’s left begins the first subsection, “Setting Up.”

SETTING UP

To depict arrival and set up at the camps, a collection of photos of Japanese-Americans arriving, standing in lines and stuffing mattresses with straw are interspersed with explanatory text and exhibited along

SECTION CONTENT

OBJECT: Constructed wooden gateway reminiscent of prison camp fencing

IMAGE: Large-scale print of Toyo Miyatake’s “Boys Behind Barbed Wire”

LIGHTING: Designed to create shock of light as one enters the section from the darkness of the last

IMAGES: Variety of photos from the camps showing arriving, lining up for everything and stuffing mattresses etc.

OBJECTS: Diary excerpts and writings from Japanese-Americans, who were teenagers during their time of imprisonment, regarding the early struggles of setting up and the bleakness of the camps

the wall. References are made to the early struggles, the bleakness of the camps and the efforts to create order. As throughout the exhibit, the factual information of the documents is underscored with quotes and diary excerpts from teens. At this point, the visitor arrives in the front of the next subsection, “My Space”.

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Boys Behind Barbed Wire by

Toyo Miyatake

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“Then, the first day, we have to get in lines, constant lines. Then they tell you to fill up this mattress with straw. I mean, being from the city, I had no idea what straw was or anything . . . .”

— Pat Aiko

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MY SPACE

In front of the visitor is a walkthrough diorama of one family’s space in a prison camp barrack. The “My Space” subsection recreates the typical dimensions, 18’ x 20’, assigned to one family in camp. The idea of a walkthrough barrack is to help detail the reality of daily life for the Japanese-American prisoners including the lack of privacy and claustrophobic living space.

The visitor sees the space through the side which is marked on the ground. The remaining three walls are at full scale. The front wall, on the right, has doors and windows and is constructed of wood and plaster with an outside wall of black tar paper, like a wall from an actual camp barrack. Within the space, the lighting is subdued.

The wall to the left displays a large image of an authentic interior of one family’s space in a prison barrack with explanatory text. The wall in front of the visitor has an indication of a pitched rooftop with scrapbook notes, paintings and drawings as well as photos of families in their barracks taped over it. Text will explain the mock-up in which the visitor is standing and challenges the visitor to ask: How would you organize this space with your family? Where would you put your belongings?

On the floor are two dimensional outlines of a dresser, chair and wash stand, all clearly labeled. There are several raised platforms marked “bed” where visitors can sit to think about the space. These “beds” have homemade-looking straw mattresses on them. In the corner sits a full-scale reproduction of a heating stove. On the beds are copies of Japanese-American teens’ sketchbooks and notebooks to page through while sitting.

Once seated, the visitor can take in the space of the barrack and also see out through the windows and door to a large video wall of edited archival footage of the camps, detailing what the full sized camps were like.

The experience is one of sitting in an actual barrack, looking out to the moving environment. From this place the visitor can see, through the missing fourth wall, the rest of the “Behind Barbed Wire” section, but is removed from it as well. The low sound of wind on the open plains of the camps can be heard and the experience of the empty, dusty location of the prison camps is suggested.

Visitors move either across the outlined fourth wall, where they entered, or through the barrack’s front door toward the video wall to exit.

SECTION CONTENT

EXHIBIT: Constructed 18’ by 20’ three-walled barrack area/diorama complete with door and windows, one exposed exterior wall and furniture lines drawn and labeled on the floor

IMAGE: Large-scale print of a family’s cramped barracks quarters

IMAGE: Photos of families in their barracks quarters

OBJECT: Scrapbook notes, paintings and drawings from teens’ diaries

OBJECT: Three raised platforms topped with straw-filled mattresses for sitting with

OBJECT: Reproduction of a heating stove

OBJECT: Laminated copies of teens’ sketch books and notebooks for visitors to peruse

AUDIO: Sound effects of constant wind across open plains

“The only bad thing I really remember about our first day in camp was the bathrooms . . . . There’s these open stalls, not even a partition in bewtween them. There were like six toilets. . . . So my sisters and I would hold our coats around each one as we’re doing it.”

— Pat Aiko

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“The dust, no trees — just barracks and a bunch of people standing against the fence, looking out.”

— Mary Tsukamoto

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FAMILY LIFE

After exiting “My Space”, the visitor sees the next subsection entitled “Family Life.” Here the visitor learns through photos, diary excerpts and text, the details of everyday camp life including what was eaten, how it was served, what the bathing/ toileting facilities were like, how the laundry was done, what were the work responsibilities and how “cycle of life” events were handled---weddings, funerals and births. The theme of “No Privacy” is featured throughout. Reprinted articles from the Manzanar Free Press, a newspaper published by prisoners about their daily life inside the barbed wire, are exhibited.

The visitor learns also about the disruption of the Japanese-American family structure — children/teens hanging out with one another and no longer with their families and the reliance the government placed on the Nisei rather than the traditional head-of-household, the Issei — from explanatory text, photos and diary excerpts.

In a “tribute” to the coping abilities of the Japanese-Americans while in prison, there is a collection of photos showing activities like dances, games, gardens/crops grown in the desert, furniture building and several hand-carved/hand-crafted objects that all tell of triumph over difficult circumstances.

There is a dialog table on the floor in this area which contains information about camp experiences for the RFID families and others.

SECTION CONTENT

IMAGES: Variety of photos depicting daily camp activities, e.g. eating, bathing, laundry, toilet facilities, working, cycle of life events

OBJECTS: Diary excerpts describing eating, bathing, laundry, toilet facilities, working, cycle of life events

OBJECT: Articles from Manzanar Free Press describing eating, bathing, laundry, toilet facilities, working, cycle of life events

OBJECTS: Diary excerpts and photos describing the breakdown in the traditional family structure

IMAGES: Photos of activities such as games, dances, carving, planting crops, furniture building and elaborate gardens

OBJECTS: Several authentic hand-carved/hand-crafted items made in the camps

INTERACTIVE: Dialog table programmed with stories of camp experiences for the RFID families and others

“What bothered me most was there was virtually no family dining. Young people ate with their friends. Men dined together. And women ate in their own groups.”

— Mrs. Hatsumi Nishimoto

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LOYALTY

Turning from the “Family Life” subsection, the visitor is drawn toward a prison guard tower atop a base on which sits another set of exhibit walls. These walls represent the next subsection, “Loyalty.” On one side of the triangularly shaped kiosk are photos and authentic dog tags related to the 100th and the 442nd Japanese-American WWII service units. This subtheme is called “My Brother in the Service.” Diary excerpts from teens about the service of their older brothers are included.

On another wall of the guard tower is the subtheme “Questions 27 & 28” along with explanatory information about the loyalty oaths, including stories and photos about how resistance was expressed and suppressed. Questions 27 & 28 are somewhat interactive. Each question is printed and mounted above text which details the consequences of different answers to the question.

SECTION CONTENT

EXHIBIT: Constructed prison guard tower built using the principles of foreshortening to appear both larger and higher than it is

IMAGES: Photos related to the 100th and the 442nd , the Japanese-American Service units during WWII

OBJECT: Authentic dog tags from the 100th and the 442nd

OBJECT: Diary excerpts from teens related to older brothers serving in the100th and the 442nd

OBJECT: Text of “Question 27 and Question 28”

TEXT: List of consequences to the possible answers to Q27 and Q28

IMAGES: Photos related to expression of resistance

“Are you willing to serve in the armed forces of the United States on combat duty wherever ordered?”

— Question 27

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“Will you swear unqualified allegiance to the United States of America and faithfully defend the United States from any or all attack by foreign or domestic forces, and forswear any form of allegiance or obedience to the Japanese emperor, to any other foreign government, power or organization?”

— Question 28

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“I was just barely 16 and consequently, I finished high school in camp.”

— Hirosha Mayeda

GROWING UP IN CAMP

Behind the guard tower is an alcove space set apart from the main area of “Behind Barbed Wire.” This subsection is called “Growing Up in Camp.” It takes its design cues from photos of prison camp classrooms and includes three desks in which visitors can sit and rest. There are other elements which help to set this place apart — chalkboards and student work on the walls.

The overall look includes reproductions as well as references to actual spaces in the prison camps, much like the “My Space” area. A large-scale photo of the interior of a camp school room appears on the right. Visitors can sit in the school chairs and look through reproductions of the Manzanar high school yearbooks.

The other walls contain photos, drawings, personal writings and information about daily life for teens in the camps, including high school activities like proms, ice skating, Scouts and baseball.

SECTION CONTENT

EXHIBIT: Three school desks and chalkboard to recreate the feeling of a classroom

IMAGE: Large-scale print of the interior of a camp classroom

OBJECT: Laminated reproductions of Manzanar High School yearbooks for visitors to peruse

IMAGES: Photos pertaining to teens daily life in the camps including school activities, proms, ice skating, Scouts and baseball

OBJECT: Diary excerpts and writings pertaining to teens daily life in the camps

OBJECT: Sketches/drawings pertaining to teens daily life in the camps

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“We used unfinished buildings for temporary classrooms, and we hastily tried to keep everybody busy.”

— Mary Tsukamoto

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Leaving the “Growing Up in Camp” area and the “Loyalty” area, the visitor passes “My Space” on the left and on the right is the super-large video wall described in the “My Space” narrative. Also included in this area is a descriptive bar regarding the video documentaries. On the left outside of the “My Space” area are exhibition cabinets for items from the prison camps related to home life: included are dishes, children’s shoes, a family tag, hand-made items like the Miyatake camera and barbed wire preserved from one of the camps.

CONTENT

VIDEO: A wall of large video panels playing documentary video footage from the camps looped for continuous play

EXHIBIT: Descriptive bar built waist height near the video screens

EXHIBIT: Two cabinets with objects from the prison camps, including dishes from a camp, children’s shoes worn in a camp, authentic family tag and Miyatake camera, hand-made in camp, piece of authentic camp barbed wire

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What Now?VISITOR NARRATIVE

Leaving the “Behind Barbed Wire” section and entering the final major section, “What Now?”, the visitor is greeted with introductory text about the closing of the prison camps and the question of “What now?” faced by the internees.

Visuals in the introduction include a map of the U.S. that shows the internment camps and where the majority of internees went after the camps closed. The map has an interactive feature that responds to the RFID cards and shows where “the family” profiled on the card goes upon leaving camp. To underscore chronology there is a timeline of camp closings.

CHANGING OPINIONS

On the left is the subsection entitled “Changing Opinions.” First the visitor can read a reprint of an article, “All but the Blind”, written by Clara Breed, a school teacher, during the imprisonment period expressing how inappropriately Japanese-Americans were treated, followed by

CONTENT

INTERACTIVE: Interactive map showing the camp closings and the subsequent destinations of the Japanese-American prisoners and programmed to include the RFID families

OBJECT: Newspaper article by Clara Breed entitled “All But the Blind”

OBJECT: Authentic ceremonial copy of 1976 Order to Rescind Executive Order #9066 signed by President Ford and the signing pen used by President Ford

OBJECT: Authentic ceremonial copy of HR442 signed by President Reagan in 1988 and the signing pen used by President Reagan

AUDIO/VIDEO: Listening and viewing stations of signing ceremonies

explanatory text highlighting the significance of this article.

Next on the left is explanatory text and an exhibition cabinet containing two documents and the accompanying signing pens. One is the Order signed by President Ford in 1976 rescinding Executive Order #9066 and the other is HR 442 signed by President Reagan in 1988 which offered an apology and a payment of $20,000 to each Japanese-American imprisoned in the US during WWII. Audio and video of the signing ceremonies are available for viewing/listening with headphones.

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SURVIVORS

On the right, in the subsection, “Survivors,” the visitor is asked, “Do you know these Japanese-Americans?” With the use of photos, images, objects and text, nine Japanese-American public personalities who were living during WWII are introduced and their stories briefly told: Toyo Miyatake, photographer; Estelle Ishigo, artist; Jeanne Houston, author; George Takei, actor; Iwao Takamoto, animator; Ruth Asawa, artist; Norm Mineta, politician; Pat Morita, actor; and Senator Daniel Inouye, politician.

Visitors may begin to realize that some of these people represent the family stories they have been following throughout the exhibit with the use of the RFID tags.

REMEMBRANCE

On the left, visitors are invited to step into a quiet space entitled “Remembrance.” Ahead they will see the Remembrance Wall, a slightly opaque wall with the branches of a cherry tree etched into it (the tree is also visible from the back on the outside of the exhibition). Visitors can fill out and attach to the tree cherry-blossomed-shaped sticky notes to leave notes to the families they have learned about and the kids whose stories they have read about or other victims of the imprisonment camps. The sticky notes placed on the tree can also be viewed from outside the exhibit. In this space is a bench for resting, thinking and writing. The bench would be commissioned from Ruth Asawa whose own imprisonment story is told with the other contemporary personalities in the “Survivors” subsection.

SURVIVORS CONTENT

IMAGES: Large prints of nine public personalities who were imprisoned during WWII and some objects which are representative/explanatory

PROFILE: Toyo Miyatake and his photos

PROFILE: Estelle Ishigo and her artwork

PROFILE: Jeanne Houston and a first edition of Farewell to Manzanar

PROFILE: George Takei and scenes from Star Trek

PROFILE: Iwao Takamoto and Scooby Doo cels

PROFILE: Ruth Asawa and her artwork

PROFILE: Norm Mineta as Secretary of Transportation with President GW Bush, former Congressperson

PROFILE: Pat Morita and scenes from movies

PROFILE: Daniel Inouye, US Senator from Hawaii and photos/dog tags

TEXT: Brief WWII story for each of the nine personalities

REMEBRANCE CONTENT

INTERACTIVE: Opaque, Lucite-like wall with etched trunk and branches of a Japanese cherry tree, extra-sticky, cherry-blossom-shaped sticky notes for leaving messages on the “branches”

OBJECT: Seating bench commissioned from Ruth Asawa

Jeanne Wakatsuki Houston Toyo Miyatake (self portrait) Estelle Ishigo

Ruth Asawa with one of her many commissione metal works.

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George Takei (as Capt. Sulu) Iwao Takamoto Ruth Asawa (with her sculpture) Norm Mineta (US DoT official photo) Pat Morita (as Mr. Miyagi) Senator Daniel Inouye (during the Watergate Hearings

Takei as a kindergartener at Rohwer

Miyatake family in a barrack

Takamoto’s Scooby Doo

Jeanne Houston’s Farewell to Manzanar

Pat Morita as Arnold on Happy Days

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ConclusionAs the visitor moves toward the exit , the wall to the right asks, in large-scale letters: “What can we learn?” and “If the country of my parents is at war with the US, what does that mean for me?” and “How much personal freedom should be sacrificed to secure a greater sense of safety for the country?”

The last activity is a computer interactive in front of these questions which is activated by the RFID cards and which allows visitors to write their answers to the above questions, comment on the exhibition, and match their card with the personality whose story they heard (at the same time the interactive retrieves the RFID card).

Visitors then exit.

CONTENT

TEXT: Questions written on the wall

INTERACTIVE: Four computer setups activated by the RFID cards and programmed to accept answers to the questions on the wall, encourage a review of the exhibit and identify the visitor’s “family story” personality in case they did not figure it out in the “Survivor” section; the set-up will be designed in such a way to also retrieve the visitor’s RFID card

SIGNAGE: Clearly marked EXIT signs

“The Japanese proved to be patient, adaptable, and courageous.” — Elaine Black Yoneda

VISITOR NARRATIVE

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DesignBlues and reds contrasted with blacks and grays form the basic color structure for the We Are Americans. These colors are offset by natural materials made of wood, weathered steel and plaster that form the elements influenced by the actual internment camps — the gates, the barracks, the guard tower, the barbed wire.

The type treatments have been chosen to reference the document objects. These objects were printed in time of manual typewriters, and often included details filled in by hand.

All of the elements combine in a contemporary way aided by an emphasis on interactive technologies that is approachable to our target audience of 11-14 year olds.

The approach is serious but still hip.

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LabelsType treatment and section logos

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America ReactsTITLE ROCKWELL BOLD, 140 PT

MAIN TEXT UNIVERS 55 ROMAN, 80/100

TEXT UNIVERS 55 ROMAN, 40/50

SIDEBAR ROCKWELL, 70/84

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Bul hil conde cas ex mus et dius, qua det vivividit. Ro cumus iuro, tat. Cupient idicibe mendam, cla vesis conlos estus pri cla diem intia. Raelutertil habus duconsus mantius?

Os is halemussena Forem. Untiuro, robus ultum is se

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Programming WEEKLY PROGRAMING

GUIDED TOURS Every day at 12:30 pm and 5 pm. DURATION: 45 minutes

MONDAYS PROGRAM: Book readings LOCATION: Remembrance wall TIME: 6 pm

TUESDAYS PROGRAM: Films and Documentaries LOCATION: Auditorium TIME: 6 pm

WEDNESDAYS PROGRAM: Art talks LOCATION: Auditorium TIME: 6 pm

THURSDAYS PROGRAM: Conferences LOCATION: Auditorium TIME: 6 pm

FRIDAYS PROGRAM: Films and Documentaries LOCATION: Auditorium TIME: 6 pm

SATURDAYS PROGRAM: Workshops LOCATION: Depends on the activity TIME: 10 am

PROGRAM: Plays LOCATION: Auditorium TIME: 2 pm

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ART TALKSTalks about artists held in the camps, and their art work before, during and after.

Every Wednesday afternoon at 6 pm. PLACE: National Museum of American History Auditorium.

Masumi Hayashi Hisalo Hibi Estelle Ishigo

Kenjiro Nomura Roger Shimomura

Henry Sugimoto Chiura Obata

LECTURES & PERFORMANCES

The performances will take place every Saturday afternoon at 2 pm. Each play will be performing twice a month. The book readings will be every Monday afternoon at 6 PM. PLACE: Remembrance wall.

PLAYS

Reservations on-line

Farewell to Manzanar Recommended age: 3–12th

QUESTION 27, QUESTION 28: When Loyalty is Questioned in Times of War By Chay Yew. Recommended age: 11 and up.

Citizen 13559: The Journal of Ben Uchida Adapted by Naomi Iizuka from the book by Barry Denenberg. Recommended age: 9 and up.

BOOKS READINGS

Maximum attendance: 15. Readings of specific paragraphs of the book; some reveal stories of teenagers in the camps.

Adios to Tears: The Memoirs of Japanese-Peruvian Internee in US Concentration Camps, Seiichi Higashide (1993). Recommended age: 11 and up.

Desert Exile: The Uprooting of a Japanese-American Family, Uchida, Yoshiko (1982). Recommended age: 11 and up.

BOOKS READINGS (CONT’D) I Am An American: A True Story of Japanese Internment, Jerry Stanley. (1994).

Japanese American Women: Three Generations 1890–1990, Mei Nakano (1990). Recommended age: 9 and up.

Journey to Topaz, Uchida, Yoshiko (1971). Recommended age: 9 and up.

Nisei Daughter, Monica Stone (1991). Recommended age: 11 and up.

Storied Lives Japanese American Students and World War II, Gary Okihiro (1999). Recommended age: 9 and up.

The Children of Topaz: The Story of a Japanese American Internment Camp, Michael Tunnell and George Chilcoat (1996).

CONFERENCES Conferences about Japanese Americans personalities held in the camps.

Every Thursday afternoon at 6 pm. PLACE: National Museum of American History Auditorium.

Emiko Omori (DOCUMENTARY DIRECTOR)

George Takei (ACTOR)

Iwao Takamoto (CREATOR, SCOOBY DOO)

Isamo Noguchi (ARTIST)

Noriyuki “Pat” Morita (ACTOR)

Ruth Asawa (ARTIST)

Toyo Miyatake (PHOTOGRAPHER)

Yoshiko Uchida (TANFORAN, TOPAZ)

FILMS AND DOCUMENTARIESEvery Tuesday and Friday in the afternoon at 6 pm. Place: National Museum of American History Auditorium.

Topaz (1945) Filmed by internee Dave Tatsuno (1913-2006)

Farewell to Manzanar (1976) Director: John Korty

The Departure (1983) Director/producer: Emiko Omori

Come See the Paradise (1990) Director: Alan Parker

Eagle Against the Sun (1992) Director: John Akashoshi

Picture Bride (1994) Director: Kayo Hatta

Beyond Barbed Wire (1996) Director/Camera/Editor: Steve Rosen.

Heart Mountain: Three Years In An Internment Camp (1997) Executive Producer: David Hosley

Little Iron Men Director: Jesse T. Kobayashi

Day of Waiting (1998) Director/Producer: Steven Okazaki

Children of the Camps (1999) Director/editor: Stephen Holsapple

Rabbit in the Moon (1999) Director: Emiko Omori

The Cats of Mirikitani (2006) Director: Linda Hattendorf

Conscience and the Constitution (2000) Director: Fank Abe

Forsaken Fields (2001)

Forced Out (2001) Producers: Corita Gravitt, KVIE-TV Production

In Time of War (2004) Producer: North by Northwest Entertainment, in collaboration with Whitworth College

Hidden Internment: The Art Shibayama Story (2004) Director: Casey Peek. Producer: Irum Shiekh.

From a Silk Cocoon (2005) Director: Stephen Holsapple

Take Me Home (2005) Study Guide. Directors/Writers/Editors: David Tanner & Andrea Palpant.

The American Pastime (2007) Director: Desmond Nakano

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EDUCATIONAL PROGRAMS

SCHOOL PROGRAMS

CLASS ACTIVITIES BEFORE YOU VISIT US:

1. Glossary workshop. Get familiar with certain words that you might find at the exhibit.

2. A review of the constitutional rights. What makes you an American?

3. Background and segregation activity. Find out if someone of your family was born somewhere else. Activity based on the children’s background.

4. Japan and United States: two different cultures. Differences and similarities between Japanese culture and American culture.

5. Move out activity. Recreation the situation by bringing just two objects form home to school and then classify which ones were allowed.

6. Write a letter to your friend. He was your classmate, but now he is in the camp, because of their nationality.

7. Discussion about Incarceration vs. Internment.

CLASS ASSIGMENTS:

1. Essay about Japanese Immigration to USA. Investigate the reasons for Japanese to come to this country.

2. Investigation about World War II. Research the causes and effects of WWII.

3. Investigation about the internment camps. Find out what other wars used internment camps. Describe types, locations and conditions of the WWII USA camps

4. Essay about the Japanese in Latino America brought to the USA. What countries were involved? What happened to these people after the incarceration ended?

GUIDED TOURS Every day at 12:30 pm and 5 pm. Duration: 45 minutes. Groups of five or more. Tours for Schools will be programmed in advance.

WORKSHOPS AND COURSESEvery Saturday morning at 10 am

Origami workshop. Recommended age: All. Duration: 45 minutes. Location: My Space

Kangi, calligraphy workshop. Recommended age: All. Duration: 45 minutes. Location: Hall

Tea ceremony workshop. Recommended age: ten and up. Duration: 45 minutes. Location: Remembrance wall

Manga and Animat workshop. Recommended age: All. Duration: 45 minutes. Location: auditorium

Cartoon workshop. Recommended age: All. Duration: 45 minutes. Location: auditorium

Food tasting. Recommended age: All. Duration: 1 hour. Location: Remembrance wall

How to make Mochi. Recommended age: All. Learn how this artisan Japanese candy is made. Location: Remembrance wall

What is a Bento Box? Recommended age: All. Location: Remembrance wall

American History: Pearl Harbor, World War II and Constitution rights courses. Recommended age: 12 and up. Duration: 1 hour and a half each. Location: auditorium

Art interpretation course. Recommended age: 12 and up. Duration: Five days, 1 hour and a half each session. Location: auditorium

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5. Scrapbook activity. Start a scrapbook. Exhibition of the scrapbooks at the end of the year

6. Alimentation discussion. What kind of food do you think they ate in the camps? What this type of food the kind they were used to? Did this food have the nutritional values that they needed, specially the children?

7. Circle of life discussion. Where people were born? Did they get married in the camps? People died in the camps, where they were buried?

CLASS ASSIGMENTS FOR AFTER THE VISIT:

1. Essay about life in the camps. Make a comparison essay of your life now and the life at the camps in the 40’s. Locate everything that is in your house in one of the camps. How they live inside? Describe a regular day for them. What new roles they developed to survive? How these new activities help them go through this period of time? Did they have stores to buy things? Were this camps open for everybody? Can people from inside go out?

2. Investigation about the camps now. Graphic project: compare 1940’s camps and today’s fields with photographs. What are these camps now?

3. Scrapbook. Add your experience at the exhibition in the scrapbook. Exhibition of the scrapbooks.

4. Situations and reactions essay. Relate this part of history with others. Example: Sept. 11. Ask your self the question: Why should I care?

5. Field trip to the 100th/442nd Memorial.

6. Essay about survival. Write an essay with the topic: How sometimes can bad situations bring the best in you?

7. Research of Japanese Americans today (oral presentation for class). Write a biography of someone that is interesting for you..

10. Art in camps (oral presentation for class). Investigate what kind of art the interns developed. Can art tell us the emotions of the people’s life inside?

TEACHERS RESOURCES

BOOKS:

Farewell to Manzanar. Jeanne W. Houston

I Am An American: A True Story of Japanese Internment. Jerry Stanley. (1994)

Journey to Topaz. Uchida, Yoshiko. (1971)

My Name is America. By Scholastic

ONLINE:

Teaching about the camps, World War II and Immigration Download interviews, photographs and short films Chronology of the camps, before and after Bibliography Videography Links to other on-line exhibits:

A More Perfect Union. (National Museum of American History) In the Shadow of my Country. (Densho. Roger Shimomura’s exhibit) Face to Face: Stories from the Aftermath of Infamy. (ITVS Independent Television Service) Exploring the Japanese American Internment through Film and the Internet. (Asian American Media Organization) Dear Ms. Breed: Letters from Camp. (Japanese American National Museum)

Digital archives from the National Museum of American History Links:

1. JARDA: Japanese American Relocation Digital Archives from CALISPHERE — “A World of Digital Resources” and more. University of California. Scrapbooks, art in the camps, interviews and photographs: www.calisphere.universityofcalifornia.edu/jarda/

2. Utah Education Network, Themepark. Information if each one of the internment camps, including links: www.uen.org/themepark/liberty/japanese.shtml

3. National Park Service; Manzanar Camp site: www.nps.gov/manz/index.htm

4. Densho. Densho’s mission is to preserve the testimonies of Japanese Americans who were unjustly incarcerated during World War II before their memories are extinguished. We offer these irreplaceable firsthand accounts, coupled with historical images and teacher resources, to explore principles of democracy and promote equal justice for all. www.densho.org

5. Masumi Hayashi’s Japanese American Concentration Camps. www.masumihayashi.com

6. National Japanese American Historical Society. www.nikkeiheritage.org/index.htm

7. Asian American Media. www.asianamericanmedia.org

8. Japanese American National Museum. www.janm.org

9. The Authentic History Center. Primary resources from American popular culture. www.authentichistory.com/ww2.html

EXHIBITION:

1. Hand outs tools in different sections of the exhibition 2. Interpretative elements 3. Dialogue tables 4. RFID Radio Frequency Identification 5. Interactive maps 6. Time Line 7. Guard tower 8. Diaries 9. Packing exercise 10. Video wall 11. Remembrance wall

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Budget

ADMINISTRATION Position Salary for Project Manager Development Officers

Staff Administration Supplies and Equipment Travel

Opening Reception Salary for Coordinator Caterer Invitation / Announcement / Programs Salary for Graphic Designer Materials

Printing Mailing

Public Affairs Salary for PR Staff Press Previews Printing Mailing Advertising

CURATORIAL Position Salary for Curator Research Staff

COLLECTIONS Manage & Track Collection Salary for Collections Manager Acquire Objects Purchase Packing & Shipping

Arrange Loans Insurance Packing & Shipping

Conservation & Storage Salary of Conservator Salary of Collection Recorder

Arrange Storage of Items Supplies Treatments

PUBLIC PROGRAMS Position Salary for Educator Salary for Interpretive Developer Docent Costs

Educational Guides Salary for Graphic Designer Salary for Editor Materials Printing Shipping Translators

Workshops & Courses Salary for Course Teachers Supplies & Materials

Brochures / Gallery Guides / Handouts Salary for Graphic Designer Salary for Editor Materials Printing Translators Rights, Fees

Banners / Posters Salary for Graphic Designer Salary for Editor Materials Printing

Film Programs / Series Rights, Fees

Website Salary for Web Developer

Conferences Salary for Coordinator Speakers Costs

Performances Play Rights, Fees Performance Costs Production Costs

EXHIBIT DESIGN Position Salary for Exhibit Designer Salary for Exhibit Detailer Salary for Graphic Designer Salary for Interactive Designer

EXHIBITS PRODUCTION / INSTALLATION Position Salary for Fabricators/Installer Salary for Art Producer Salary for Maintenance Staff

Materials & Supplies

Exhibit Furniture and Components

Graphic Panels and Signage

Multi-Media Components

Mechanical Interactives

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EXHIBIT DESIGN Position Salary for Exhibit Designer Salary for Exhibit Detailer Salary for Graphic Designer Salary for Interactive Designer

EXHIBITS PRODUCTION / INSTALLATION Position Salary for Fabricators/Installer Salary for Art Producer Salary for Maintenance Staff

Materials & Supplies

Exhibit Furniture and Components

Graphic Panels and Signage

Multi-Media Components

Mechanical Interactives

Team ReportFEB 14: Class Meeting - Introduction to Class (CLASS CANCELLED – Due to snow )

FEB 21: Class Meeting - Introduction to Class / Meet with the Curator

• Team and roles are assigned Kyoko Arakawa, Curator Susan Bergner, Interpretive Developer Christopher Edwards, Designer Adriana Rojas, Museum Educator James Rosolanka, Project Manager

• Gained knowledge of curator’s (Dr. Franklin Odo) goals and vision for an exhibition on the internment of Japanese-Americans during WWII with intended audience of 6th, 7th, and 8th graders

• Given potential floor space size and location in the museum for exhibit

FEB 28: Class Meeting – Introduction to Class/Developing the Statement of Purpose and Big Idea

• Discussed team roles, reviewed Dr. Odo’s briefing from the previous meeting, and discussed basic materials given out by Ann Rossilli

• Began discussing over arching interpretive theme (Big Idea) — How much or how little of Japanese-America history do we go into

• Setup website for group internal discussions

MAR 7: Class Meeting – Developing the Statement of Purpose and Big Idea

• Solidified audience, and began honing in on focus of Japanese-American experience (all of history or just maybe World War II)

MAR 14: Class Meeting – Development of Big Idea and Bubble Plan

• Continued work on further development of the “Big Idea” and began initial work on the Bubble with Major Theme (Bubble Plan) and possible sub-themes

• Identified interpretive goals and objectives to support the “Big Idea” – Anne give her ideas

• Began work on content list and educational programs

MAR 21: Class Meeting – Development of Interpretive Techniques and Floor Plan

• Continued development of the Bubble Plan with sub-themes, and just scratched the surface on a possible floor plan and layout with the given space

• Continued work on content list and educational programs

MAR 25: Team Meeting

• Further developed the Bubble Plan and sub-themes, continued the initial layout of exhibit

MAR 28: Class Meeting – Exhibit Text and Activities

• Continued on development of the Bubble Plan and the floor layout of the exhibit

• View initial label presentations

APR 4: Class Meeting/Team Meeting – Preparation of Presentation of Preliminary Conceptual Exhibition Plan

• Provided preliminary discussions on what and how to give briefing to Dr. Odo

APR 9: Team Meeting

• Discussed how the group would give the preliminary conceptual design briefing to Dr. Odo

APR 11: Class Meeting – Presentation of Preliminary Conceptual Exhibition Plan to the Curator

• Gave preliminary briefing to Dr. Odo who provided feedback which took about an hour

• Had wonderful Japanese treats after briefing and discussions

APR 14: Team Meeting –

• Worked on Content listing, Education Programs, and final Bubble Plan with Exhibit layout

• Began intense writing of Narrative Description

APR 18: Class Meeting – Incorporate Curator’s Feedback Into Design / Communication and Aesthetic Design Elements

• Had intense group discussion on Dr. Odo’s suggestions for the exhibit

• Continued work on Narrative Description and Content list

APR 25: Class Meeting – Putting Together of Final Presentation

• Worked on initial outline and layout of Final Presentation

MAY 2: Class Meeting – Production of Final Presentation

• Began putting all pieces together of Final Presentation – got thorough discussion on Budget section

MAY 7: Team Meeting –

• Put together the final briefing for Dr. Odo

MAY 9: Class Meeting – Final Presentation to Curator / Final Class

• “THE END”