Two exhibits examining the Japanese World War II experience are on display at the Kaua‘i Museum. Gokurosama: Contemporary Photographs of the Nisei in Hawai‘i represents the culmination of a four-year long documentary of the nisei (second generation) in Hawai‘i by
Two exhibits examining the Japanese World War II experience are on display at the Kaua‘i Museum. Gokurosama: Contemporary Photographs of the Nisei in Hawai‘i represents the culmination of a four-year long documentary of the nisei (second generation) in Hawai‘i by a yonsei (fourth generation) photographer Brian Sato. Of the 35 portraits displayed, two are from Kaua‘i: Masaji Kobayashi and Kazuo Senda.
Hitting even closer to home is the accompanying exhibit, Kaua‘i Morale Committee of World War II curated by third generation Kauaian Roy Miyake of Lihu‘e.
“This committee belongs to that earlier generation of Japanese who were too old to fight. The committee ended up as an expression of their way of proving their loyalty,” he said.
Miyake’s father served in public office on Kaua‘i for eighteen years.
“Senator Miyake was the first Japanese American voted into public office,” said Kaua‘i Museum curator Chris Faye in an e-mail. “He was already into his ninth term when the war occurred.”
Miyake described the installation as one that explores the idea of divided loyalty.
“World War II Japanese veterans don’t talk about this part of history,” he said. “My dad told me very little.”
Now in his seventh decade, Miyake dove into what he considers an important Kaua‘i story.
“We’re interested in Kaua‘i people sharing what happened with their families. This is not the answer to everything. There’s a lot more to be added. My hope is this is a stepping stone for a more in depth study.”
The exhibit explores the experiences of the Hawai‘i Japanese during a time when their homeland was at war with their adopted country. It is a complicated island story reflecting extremes in tolerance, loyalty and sacrifices of a small community impacted by world events, the press release states.
It also reflects the issues that separated the first two generations of Japanese Americans in an effort to prove their unquestionable loyalty to the United States.
“Their objective was education,” Miyake said. “It was a time of rah, rah, rah flag waving.”
In their attempt to Americanize the Japanese population on Kaua‘i, 22 Japanese schools were closed and people were asked not to speak their native tongue or even use chopsticks.
“In order to help ourselves we have to do this,” Miyake recited.
In the broader sense, the story tells of how the Territory of Hawai‘i comes of age as an integral part of the United States despite the oppressions of war and deprivations brought by martial law.
Kaua‘i Historical Society documents form the basis of the installation. Miyake also went to the University of Hawai‘i, Hawai‘i War Record Depository for research.
As companion exhibits, the two work as both micro and macrocosms — with the Gokurosama photographs providing the visual experience as an overview and the Kaua‘i Morale Committee providing an intimate experience of three isolated years in Kaua‘i history.
Displayed are stories including “The Battle of Ni‘ihau,” detainment and internment of “Enemy Aliens” and the surprising Kaua‘i elections of 1942.
