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Manbo Bill T. - Colors of confinement : rare Kodachrome photographs of Japanese American incarceration in World War II

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    Colors of confinement : rare Kodachrome photographs of Japanese American incarceration in World War II
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In 1942, Bill Manbo (1908-1992) and his family were forced from their Hollywood home into the Japanese American internment camp at Heart Mountain in Wyoming. While there, Manbo documented both the bleakness and beauty of his surroundings, using Kodachrome film, a technology then just seven years old, to capture community celebrations and to record his familys struggle to maintain a normal life under the harsh conditions of racial imprisonment. Colors of Confinement showcases sixty-five stunning images from this extremely rare collection of color photographs, presented along with three interpretive essays by leading scholars and a reflective, personal essay by a former Heart Mountain internee.
The subjects of these haunting photos are the routine fare of an amateur photographer: parades, cultural events, people at play, Manbos son. But the images are set against the backdrop of the barbed-wire enclosure surrounding the Heart Mountain Relocation Center and the dramatic expanse of Wyoming sky and landscape. The accompanying essays illuminate these scenes as they trace a tumultuous history unfolding just beyond the cameras lens, giving readers insight into Japanese American cultural life and the stark realities of life in the camps.
Also contributing to the book are:
Jasmine Alinder is associate professor of history at the University of Wisconsin-Milwaukee, where she coordinates the program in public history. In 2009 she published Moving Images: Photography and the Japanese American Incarceration (University of Illinois Press). She has also published articles and essays on photography and incarceration, including one on the work of contemporary photographer Patrick Nagatani in the newly released catalog Desire for Magic: Patrick Nagatani--Works, 1976-2006 (University of New Mexico Art Museum, 2009). She is currently working on a book on photography and the law.
Lon Kurashige is associate professor of history and American studies and ethnicity at the University of Southern California. His scholarship focuses on racial ideologies, politics of identity, emigration and immigration, historiography, cultural enactments, and social reproduction, particularly as they pertain to Asians in the United States. His exploration of Japanese American assimilation and cultural retention, Japanese American Celebration and Conflict: A History of Ethnic Identity and Festival, 1934-1990 (University of California Press, 2002), won the History Book Award from the Association for Asian American Studies in 2004. He has published essays and reviews on the incarceration of Japanese Americans and has coedited with Alice Yang Murray an anthology of documents and essays, Major Problems in Asian American History (Cengage, 2003).
Bacon Sakatani was born to immigrant Japanese parents in El Monte, California, twenty miles east of Los Angeles, in 1929. From the first through the fifth grade, he attended a segregated school for Hispanics and Japanese. Shortly after Pearl Harbor, his family was confined at Pomona Assembly Center and then later transferred to the Heart Mountain Relocation Center in Wyoming. When the war ended in 1945, his family relocated to Idaho and then returned to California. He graduated from Mount San Antonio Community College. Soon after the Korean War began, he served with the U.S. Army Engineers in Korea. He held a variety of jobs but learned computer programming and retired from that career in 1992. He has been active in Heart Mountain camp activities and with the Japanese American Korean War Veterans.

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Colors of Confinement

DOCUMENTARY ARTS AND CULTURE

A series edited by Tom Rankin and Iris Tillman Hill

2012 THE UNIVERSITY OF NORTH CAROLINA PRESS

Outside the Frame: Bill Manbos Color Photographs in Context,
2012 Eric L. Muller.

Unless otherwise noted, all photographs are by Bill Manbo. Bill Manbo photographs 2012 Takao Bill Manbo. Bill Manbos Kodachrome images are reproduced here with only minor adjustments to color and contrast.

Kodachrome is the registered trademark of the Eastman Kodak Company for its brand of color film.
All rights reserved. Manufactured in China.
Designed and set by Kimberly Bryant in Calluna types.

The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. The University of North Carolina Press has been a member of the Green Press Initiative since 2003.

Documentary Arts and Culture Drawing on the perspectives of contemporary artists and writers, the books in this series offer new and important ways to learn about and engage in documentary expression, thereby helping to build a historical and theoretical base for its study and practice.

Center for Documentary Studies at Duke University documentarystudies.duke.edu

Library of Congress Cataloging-in-Publication Data Manbo, Bill T., 19081992.
Colors of confinement : rare Kodachrome photographs of Japanese American incarceration in World War II / edited by Eric L. Muller; with photographs by Bill Manbo.
p. cm.(Documentary arts and culture)
Includes bibliographical references and index.
ISBN 978-0-8078-3573-9 (cloth : alk. paper)
1. Japanese AmericansEvacuation and relocation, 19421945
Pictorial works. 2. Heart Mountain Relocation Center (Wyo.)
Pictorial works. 3. World War, 19391945Concentration
campsWyomingPictorial works. 4. Manbo, Bill T., 19081992.
I. Muller, Eric L. II. Title.
D769.8.A6M327 2012
940.531778742dc23
2011052817
16 15 14 13 12 5 4 3 2 1

to the Manbo & Itaya families

Contents A section of photographs appears after page Foreword TOM RANKIN - photo 1

Contents
  • A section of photographs appears after page
Foreword

TOM RANKIN

Colors of Confinement exemplifies the resonant power of documentary expression - photo 2

Colors of Confinement exemplifies the resonant power of documentary expression made at a particularly charged moment in history. The Kodachrome images taken by Bill Manbo have not only lasted through the years but reverberate anew years later in a time far removed from their original creation. While a range of documentarians and journalists made various kinds of records of the realities of Japanese incarceration camps during World War II, Bill Manbos work is more personal, intimate, and complex. Perhaps beginning with the universal documentary impulse to use the camera to reflect and remember, Manbo made images that bear witness to what he, his family, and others experienced in the internment drama at the Heart Mountain Relocation Center in Wyoming. Now, many years later, his images provide an even wider and more compelling view of this history, one that begins with the personal and extends across the landscapes of time and place.

As Eric Muller eloquently suggests in his opening essay, its the ambivalence inherent in Manbos images that keeps us coming back to look and reconsider. And in the essays that follow by Bacon Sakatani, Jasmine Alinder, and Lon Kurashige, we are guided through the photographs and their full depictions from multidimensional vantage points rich in history and ideas of visual representation. While he directly records the strange and unfortunate circumstances of confinement, he does so through photographs that render much more than the isolation and limitation of camp life. Showing the range of daily life and mobility at Heart Mountain, Manbos photographs allow us to understand on a fuller level the naturethe true colorof being confined in an imprisonment camp in an unfamiliar and remote place, as people discover myriad ways to maintain individuality, culture, and resilience in a harsh institutional order.

Whether we are initially drawn to these images because of the history of the Japanese American experience or the disquieting brilliance of the visual representation, we find we stay around to look and delve deeper, to try to understand the confluence of narratives represented in Bill Manbos images. One of the keys to the power of the documentary view is the importance of personal expressions lasting through time. With the introduction of Kodachrome film by Kodak in 1936, amateurs and professionals could make stellar color images with 35mm, hand-held cameras. The longevity of Kodachrome film is an important element in the survival of these rare images. That Manbo decided to make his record on color film is profoundly fortunate and that he chose Kodachrome as his film of choice is the reason we can see them so clearly, so fully.

Bill Manbos camera and homemade tripod Acknowledgments I am grateful to - photo 3

Bill Manbos camera and homemade tripod.

Acknowledgments

I am grateful to Bacon Sakatani for bringing Bill Manbos color photographs to - photo 4

I am grateful to Bacon Sakatani for bringing Bill Manbos color photographs to my attention, and to the photographers son Bill for trusting me to bring his fathers work to a wider audience through the publication of this book. The dedication to the project from Lon Kurashige and Jasmine Alinder has been inspiring from the first moment, and I am indebted to them for their thoughtful and provocative contributions. Roger Daniels and Lane Hirabayashi offered wise advice that helped improve the book tremendously. The staffs of the University of North Carolina Press and the Center for Documentary Studies at Duke University have helped in countless ways to create this beautiful book; Chuck Grench deserves a special thank you for helping me conceptualize the book at an early stage.

My wife, Leslie Branden-Muller, and our daughters, Abby and Nina, offered their eyes, minds, and hearts to me on this project. I love them and am indebted to them in more ways than I can name.

E. L. M.

Colors of Confinement

Introduction Outside the Frame

Bill Manbos Color Photographs in Context

ERIC L. MULLER

In a family portrait Junzo Itayas tie flips in the Wyoming wind From left to - photo 5

In a family portrait, Junzo Itayas tie flips in the Wyoming wind. From left to right: Junzo Itaya, Riyo Itaya, Sammy Itaya, Mary Manbo, and Eunice Itaya.

The photos in this book help us appreciate what the singer-songwriter Paul Simon meant about Kodachrome: its nice bright colors really can make you think all the worlds a sunny day. But what if the subject isnt so sunny? That is the problem presented by Bill Manbos Kodachrome photos of life behind the barbed wire of the Heart Mountain Relocation Center.

The images he made are beautiful. The camp comes alive in the bright white light of midday and the salmon hues of sunset. The subjects are vibrant in their fancy portrait clothing and their scouting uniforms and kimonos. So seductive is the beauty of Bill Manbos work that we can almost forget we are looking at a site of suffering and injustice. These are photographs of life in a kind of prison camp. However broad their smiles, the people in these pictures were living interrupted lives, or shattered ones. The music of their bright dances and parades masked a hum of dissent and discontent.

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