DISSENTERS IN A DIVIDED COMMUNITY Remarks by Frank Abe for “Lesser Known Stories of the Internment: Dissidence: Resister and Renunciants” NOTICE TO ALL: California Conference on the Internment of Japanese Americans Radisson Miyako Hotel, San Francisco Our topic today is Dissidence. This is a meaty topic because history has shown that Japanese America has zero tolerance for dissent: then and now. But thanks in part to Civil Liberties programs at the federal and state levels, the stories of the resisters and renunciants are finally being restored to their proper place in history. The title for our panel is Lesser Known Stories of the Internment. If these are Lesser Known Stories, what then is the Best Known Story? That’s easy. It’s the JACL master narrative, the one that says our response to this massive violation of 20th century civil rights was either passive resignation – shikataganai, it can’t be helped – or patriotic self-sacrifice – Go For Broke, spill your blood to prove your loyalty. That word loyalty again. JACL branded those who did not demonstrate absolute loyalty as criminals or traitors. A few quick hits:
You get the idea. This is the price one pays for dissent in Japanese America: name-calling and slander. You get called pro-Japan, which is understood to be a very bad thing. Roger Daniels says in our film:
Or is it? Shortly after we announced the start of production on our film, George Yoshinaga had this to say in his “Horse’s Mouth” column in the Rafu Shimpo newspaper of September 1992:
He goes on to talk about the Japanese language school in Mountain View, indoctrination in “emperor worship,” and the singing of “Kimigayo,” the Japanese national anthem.
When we started on our film, we set a goal of shifting the paradigm of Japanese American history, to recognize a hidden legacy of resistance alongside the stories of submission to authority and patriotic self-sacrifice. Evidence of that change is our presence here today, inside the walls instead of pressing our noses in from the outside. For that, I give much of the credit to these Civil Liberties funds. These programs, both the federal program in 1997 and the state program starting in 1998, could have become instruments for the perpetuation of the master narrative. Such a concern was not without reason. During the first stages of the redress campaign, Mike Masaoka and Bill Hosokawa had lobbied against individual payments. They favored community block grants. That way they argued the money wouldn’t be wasted. But many feared it was a means for JACL to control the funds. In fact, a prominent JACL’er, the late Fred Hirasuna of Fresno, became furious when his project to document the history of the JACL Legislative Education Committee did not get more than $25,000. It really galled him to learn that a documentary about the draft resisters got the biggest possible grant. He said this in a Letter to the Editor in the Nichi Bei Times, August 1997:
In the Fresno JACL Newsletter, April 1998, he wrote:
Fred’s message was this: if we have public dollars, they should be earmarked for the most popular narrative, the JACL model minority, Go For Broke narrative, not for the stories of dissenters who were in the minority. Fortunately, the original Civil Liberties board, chaired by attorney Dale Minami, drew clear guidelines that relied on the quality of proposals and gave preference to those that told “Lesser Known Stories.” That was huge. Because consider this: when we started on our project, there was no film, no book, that gave the full story of the Heart Mountain Fair Play Committee. Nothing on the renunciants since the UC Berkeley study published as The Spoilage and Michi Weglyn’s Years of Infamy. There were mentions here and there, footnotes and anecdotes. But nothing for students to sink their teeth into and learn from. And that was just seven years ago. And since then, really in the last five years, since 2000, we’ve had three or more films on the subject, several books including Eric Muller’s and Frank Chin’s, and support for new research by Barbara Takei. All supported by various Civil Liberties funds. It wasn’t just the money. It was also the legitimacy the funding conferred in the eyes of a big part of the audience. It showed we weren’t wild-eyed radicals. Civil liberties funding helped break the hold of JACL and the Nisei Vets in the telling of our story. Interestingly enough, ever since our film came out, in concert with all the other books and films, the critics went silent. I encourage you to go see the Friday night event with Heart Mountain resisters Frank Emi, Yosh Kuromiya and Mits Koshiyama. Look at the title of that: “A Divided Community.” Ours is indeed A Divided Community. But that’s OK. I get annoyed, whenever this topic comes up, with people who keep saying we need “healing” and “reconciliation,” as if there has to be a happy ending somewhere, or so that we can “put this behind us.” Some old wounds need to be attended to. The scab needs to be picked
at. I, for one, want to keep this story in front of us, not behind. We’re done with playing the model minority. We no longer need to pretend to be a monolithic community with a single master narrative, a single face we present to the public. Civil liberties funding has been critical to that work, of everyone here on this panel. For my part, Conscience and the Constitution continues
to be screened in a variety of contexts by humanities forums, student
activists, and arts advocates. We continue to maintain two websites at
PBS Online and Resisters.com. Excerpts from the raw interviews are scheduled
for streaming online by Tom Ikeda’s Densho Project. In the works
is a DVD of Conscience with extra features, including extended stories
from the Fair Play Committee and journalist James Omura, a featurette
on the JACL public apology ceremony in 2002, and materials for use by
students and educators. New programs should also ensure that the artifacts of all the Civil Liberties projects are housed in a permanent archive and made available online for easy access by students who are Googling to do their homework. Let our “Lesser Known Stories” become part of the new paradigm for the Japanese American history that we leave for the 22nd century. # # # HOME | DOCUMENTS | STUDY CENTER | NEWS | LINKS | ABOUT US | E-MAIL Updated: June 8, 2005 |