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Artifacts of Loss
 Artifacts of Loss


Crafting Survival in Japanese American
Concentration Camps

Ja n e E . D u s s e l i e r

rutgers university press

new brunswick, new jersey, and london
Library of Congress Cataloging-in-Publication Data

Dusselier, Jane E. (Jane Elizabeth)

Artifacts of loss : crafting survival in Japanese American concentration camps /
Jane E. Dusselier.
p. cm.
Includes bibliographical references and index.
ISBN 978–0–8135–4407–6 (hbk. : alk. paper)
ISBN 978–0–8135–4408–3 (pbk. : alk. paper)
1. Japanese Americans—Evacuation and relocation, 1942–1945—Psychological
aspects. 2. Concentration camps—United States—Psychological aspects.
3. Concentration camp inmates as artists—United States. 4. Japanese American
decorative arts. 5. Japanese Americans—Material culture. I. Title.
D769.8.A6D87 2008
940.531773—dc22 2008007759

A British Cataloging-in-Publication record for this book is available from the Brit-
ish Library.

Copyright © 2008 by Jane E. Dusselier

All rights reserved

No part of this book may be reproduced or utilized in any form or by any means,
electronic or mechanical, or by any information storage and retrieval system, with-
out written permission from the publisher. Please contact Rutgers University Press,
100 Joyce Kilmer Avenue, Piscataway, NJ 08854–8099. The only exception to this
prohibition is “fair use” as defined by U.S. copyright law.

Visit our Web site: http://rutgerspress.rutgers.edu

Manufactured in the United States of America

 To Barbara Judd, who sparked my interest in this topic, and
Tobie Matava, whose support and love mean everything to me.
And in remembrance of all those imprisoned in Japanese
American concentration camps.
 Contents

List of Illustrations ix
Acknowledgments xiii

1 Visual Accounts of Loss 1

2 Remaking Inside Places 14
3 Re-territorializing Outside Spaces 51
4 Making Connections 88
5 Mental Landscapes of Survival 125
6 Contemporary Legacies of Loss 154

Notes 167
Index 197

vii
 Illustrations

1 Living unit at Tanforan 15

2 Cabinet made by a Tule Lake crafter 23
3 Table and chairs made from found materials at Topaz 24
4 Embroidered landscapes served as colorful wall hangings
at Heart Mountain 28
5 Carved clay tablet depicting the Heart Mountain landscape 28
6 Artificial flowers made at Manzanar 31
7 Artificial roses made at Manzanar 31
8 An example of ikebana from Jerome 33
9 Kobu was a popular art form in the Arkansas camps 37
10 A bon-kei and ikebana display at Amache 38
11 Nameplates helped internees distinguish their living unit
from that of their neighbors at Amache 39
12 A nameplate made from woven cotton yarn at Amache 40
13 Wooden spoons made from discarded apple crates at
Heart Mountain 44
14 Making furniture for schools at Heart Mountain 47
15 School furniture made by Manzanar internees 48
16 Intricately carved butsudans created by internees were
used in camp-wide services 49
17 Internees quickly transformed the areas around their
living quarters 54

ix
x i l l u s t r at i o n s

18 Garden in front of a Tanforan barrack 56

19 Internees arriving at Topaz found a flat, dust-filled landscape 61
20 Manzanar barrack garden 64
21 Harvesting daikon at Gila River 66
22 The climate and soil conditions at Rohwer produced
lush gardens 68
23 Preparing the soil for spring planting at Heart Mountain 70
24 Woman working in a Manzanar community garden 74
25 Potato planting at Tule Lake 77
26 Playing golf on Manzanar’s dirt- and dust-filled fairways 79
27 Ice-skating was a popular winter activity at Heart Mountain 82
28 Walkways constructed at Rohwer helped internees avoid
ankle-deep dust or muddy silt 85
29 Manzanar before and after 86
30 Camp-made outdoor play equipment at Tule Lake 91
31 Typical interior scene in one Manzanar barrack 95
32 Lapel pin made at Topaz 97
33 Picture of a dog drawn at Poston and mailed 100
34 Small items made with shells and wood were often given
as gifts 101
35 Small objects were easily mailed to friends beyond the
camp boundaries 103
36 Attending exhibits was a popular activity in most camps 104
37 Wood carvings made by students participating in the adult
education classes at Amache 105
38 Kobu used as a vase 106
39 Kobu artists at Rohwer and Jerome frequently displayed
their works 108
40 A wide range of art was exhibited at camp shows 112
41 Much needlework featured floral designs 114
42 Heart Mountain art class 117
43 Jewelry created from discarded tin cans at Rohwer 122
44 Some Japanese Americans were driven to suicide by their
internment experience 128
i l l u s t r at i o n s xi

45 Senninbari vests were made to protect friends, husbands,

sons, and brothers who joined the U.S. armed forces 130
46 Masahiro’s artwork was often mailed to his father, who was
imprisoned in a Department of Justice facility 133
47 Funeral wreaths at Heart Mountain 136
48 Women making artificial flowers 137
49 Boys carving model planes at Poston 140
50 Girls proudly display the dolls they made at the
Labor Day Festival 143
51 Father and son carve small wooden animals 147
52 Manzanar craftsman making getas 149
53 Bird lapel pins made from scrap wood 153
 Acknowledgments

Artifacts of Loss owes much to many archivists, librarians, and community

activists. I struck gold in Powell, Wyoming, both in terms of primary
sources and a new friend, when I met Ladonna Zall, who serves on the
board of the Heart Mountain Foundation, an organization committed to
remembering the imprisonment of Japanese Americans. Zall is the orga-
nization’s archivist and cares for a rich collection of artifacts. Jane Beck-
with welcomed to me Delta, Utah, and the archival holdings of the Topaz
Museum. She graciously and enthusiastically supported this project from
my first phone call to her. Beth Porter was my archival host at the East-
ern California Museum, providing encouragement as I worked my way
through the museum’s extensive collection of oral histories and artifacts.
She is an incredibly competent archivist who knows her collection. When I
arrived in McGehee, Arkansas, on a warm June afternoon, Rosalie Santine
Gould treated me to a delicious poor-boy sandwich at the local golf club
and then showed me her collection of Rohwer artifacts. She is devoted to
gathering and preserving camp-made art and contributed to the success-
ful efforts to designate Rohwer a national landmark. Johanna Lewis, a his-
tory professor at the University of Arkansas, Little Rock, helped me locate
oral histories and artifacts related to the Rohwer and Jerome camps.
Many of the archives waived their fees, which has allowed me to include
a powerful selection of photographs. Along with the aforementioned

xiii
xiv ack now l ed gm en ts

organizations, archives, and activists, the following archives granted

me permission to publish their images free of charge, for which I thank
them: the Department of Special Collections in the Charles E. Young
Research Library at UCLA; the Hinckley Library at Northwest College
in Powell, Wyoming; the Life Interrupted Papers at the University of
Arkansas, Little Rock; and the Department of Special Collections at
California State University, Sacramento.
I was lucky to have three supportive editors at Rutgers University
Press. Melanie Halkias expressed interest in this project from the start.
I first presented a paper on my work at an Association for Asian Ameri-
can Studies conference, where Gary Okihiro kindly chaired the panel
and acted as commentator. Melanie attended the panel and urged me
to expand the paper into a volume. Kendra Boileau and Leslie Mitchner
guided this book through the press. I’m especially thankful to Leslie,
who offered suggestions on how to improve the book and was committed
to including a wide selection of images. Thank you to Roger Daniels for
reading the manuscript. His suggestions made Artifacts of Loss a much
better book. And thank you to Kathryn Gohl, who was a thorough and
thoughtful copyeditor.
I also thank Edith Mitko and Haruko Moriyasu, who helped track
down oral histories and art created at the Topaz camp. Although they are
not archivists, they were generous with their time, energy, and support.
And finally, I thank Nancy Struna, Kandice Chuh, Jo Paoletti, and espe-
cially Robyn Muncy and the director of my dissertation, Seung-kyung
Kim, whose belief in this project never failed.
Artifacts of Loss
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