Uprooted: Russell Lee FSA Photo Exhibit

Uprooted from Uprooted Exhibit on Vimeo.

During the forced removal and incarceration of Japanese Americans, some 33,000 Nikkei left concentration camps to work as seasonal farm laborers, often in the sugar beet industry. UPROOTED introduces their story. This traveling exhibit features a selection of images from federal photographer Russell Lee’s documentation of farm labor camps in Oregon and Idaho. Through Lee’s photographs, new research, and firsthand accounts from farm laborers themselves, the exhibit uncovers the rarely told story of life in the camps.

Oregon Nikkei Legacy Center
February 11th to June 19th. 
121 NW 2nd Ave. Portland, OR 97209

Uprooted Exhibit 07

The Oregon Cultural Heritage Commission is proud to present Uprooted: Japanese American Farm Labor Camps During World War II. The exhibit features a selection of photographs from Russell Lee’s documentation of Japanese American farm labor camps near the towns of Nyssa, Oregon and Rupert, Shelley, and Twin Falls, Idaho. This is the first time many of these images have been exhibited. As a photographer for the Farm Security Administration (FSA), Lee captured nearly six hundred images of the Nikkei wartime experience. From 1935 to 1944, the FSA’s documentary photography program produced approximately 175,000 black-and-white film negatives and 1,600 color images.

Visitors will learn about Japanese American farm labor camps through Lee’s photographs, interpretative text panels, and a short documentary film featuring firsthand accounts about life in the camps. The exhibit’s website includes additional photographs, historic documents, video clips and transcripts from oral history interviews, and two lesson plans - How to Read Documentary Films and How to Read Documentary Photographs (Note: I developed both lessons).

Uprooted Exhibit 05

This exhibit was supported by grants from the National Park Service, Japanese American Confinement Sites Preservation Program; the Idaho Humanities Council, a State-based Program of the National Endowment for the Humanities; the Fred W. Fields Fund of The Oregon Community Foundation; the Malheur County Cultural Trust; and the Rose E. Tucker Charitable Trust.

Farm Labor ad from the Minidoka Irrigator (camp newspaper)For more information on this project please contact the Oregon Cultural Heritage Commission. For questions regarding the JACS grant program, please contact Kara Miyagishima, Program Manager, Japanese American Confinement Sites Grant Program, NPS, at 303-969-2885.

Click ad on left to enlarge  For more photos see Uprooted Photo Gallery 

Men on truck: Many of the single men and families came to the Rupert, Idaho camp from Minidoka, Heart Mountain, Manzanar, and Poston. The seasonal leave program drew a mix of people, some with previous agricultural experience and others without. Library of Congress, Prints & Photographs Division, FSA-OWI Collection, LC-USF34-073890-D.

The Ouchida family at the Nyssa, Oregon farm labor camp, pictured clockwise from the lower left: Jack, Shizuko, Henry, Thomas, Kiuda, Shizuyo, Mary, and Rosie. Library of Congress, Prints & Photographs Division, FSA-OWI Collection, LC-USF34-073354-D.

Newspaper Ad “You don’t need to wait any longer to get out.” From the Minidoka Irrigator.
Sugar companies posted recruitment notices and advertisements in public spaces throughout the camps, as well as in camp newspapers. Such advertisements emphasized seasonal labor as an opportunity to leave confines of camp, but also marketed the work as the patriotic duty of Japanese Americans, ignoring that they had been incarcerated and denied their civil liberties.
National Archives and Records Administration, Washington D.C., Record Group 210, War Relocation Authority.
 

New Deal Poster DBQ: Public Persuasion or Propaganda

Work pays America Prosperityjpg

My Social Studies Methods class at the University of Portland recently published a free multi-touch iBook – Exploring History: Vol II. It features ten engaging questions and historic documents that empower students to be the historian in the classroom. For more info on our project and free download of multi-touch iBook version click here.

To better publicize student work, I’m featuring each chapter in it’s own blog post. More in series here.

Essential Question: How did the WPA use art to influence public opinion?

The New Deal and the Art of Public Persuasion
by Kari VanKommer Download as pdf (6.6MB)

The Federal Arts Program or the FAP was one arm of the WPA solely dedicated to the creation and promotion of the arts in America. One of it’s major undertakings were the creation of promotional posters, today known as the WPA Poster Collection. Between the years 1935 and 1943, the WAP and FAB collectively created and printed more than 2 million posters on more than 35,000 unique subject matters.

There are several key techniques academics used when analyzing materials that is created to persuade and in this DBQ these techniques will be helpful to use as well. The most import questions to ask yourself when looking at all of the posters in this collection are below.

  1. What is the ideology and purpose of the propaganda?
  2. What is the context in which the propaganda occurs?
  3. Who is the propagandist?
  4. What is the structure of the propaganda organization?
  5. Who is the target audience?
  6. What techniques for persuasion are being used?
  7. What audience reactions are the techniques hoping to elicit?

Reflection by Kari VanKommer Twitter/@MissKVK

This project was such a great opportunity to try my hand at creating the type of relevant history lesson that I want to include in my curriculum as a future social studies teacher. Unfortunately, I did not fully take advantage of it as I wish I had. Initially I struggled narrowing down a subject, I wanted to land on something I felt a strong personal connection to which would also be relatively simple to construct a DBQ project around. Quickly settling on the topic of communism and the Red Scare, I felt confident, perhaps a little too confident. When I realized that someone had focused on that topic last year for this project, I decided that topic would no longer work for me. I could have carried on with the communist angle and perhaps focused more specifically on one aspect of it such as the Rosenbergs or the Cuban Missile Crisis, but my internal drive to be as close to original as possible forbid me from this. Instead I decided to switch gears entirely.

After debating various topics in my head from Civil War Reconstruction to the often forgotten historical figure of Noah Webster, of that dictionary we refer to from time to time (who I discovered in my preliminary research may have been a thoroughly unlikable fellow which is why his contributions to the founding of the USA have largely been forgotten…) but I digress. After bouncing around a variety of ideas after the Red Scare topic fell through, I finally settled on focusing my DBQ on the New Deal and the various forms of propaganda and art that came out of that time period in American life.

This period in history is complicated and filled with difficulties and political initiatives that mirror our own times to such a degree it is almost unsettling. Much as President Obama has needed to sell his ideas for recovery and change in the last six years such as the Affordable Care Act, so FDR needed to sell his plan for getting America out of the Great Depression. The poster collection created by the WPA and FAP between 1933-1943 is one of the first things I re-discovered when researching this topic. They are beautiful, modern and striking. The have an agenda, often times more than one and they have much to tell us about what art can do to shift public opinion, and what those responsible for creating those posters believed needed to be shifting.

Once I settled on a topic my drudgery through this project was not alleviated. I did not have a focused point of view or purpose for the posters though I know I wanted to use them. Peter Pappas helped me collate my thoughts on what things could be asked of students in relation to the artwork and what conclusions or inferences could be drawn that might be helpful. My resulting DBQ project is not the best thing I have every produced, but it is definitely a place to start. As one of my favorite authors Elizabeth Gilbert has said “You must be very polite with yourself when you are leaning something new.”

If I could do it again I would get started much sooner, put my head down and find a topic I felt was original and interesting. I might have focused on maps or the layout of cities in America or something closely related to that. The good news is I hope to be at this for a while and I think the benefit of DBQ questions can not be understated, so I might just get me do-over shot after all. For now it’s about doing the best you can and learning that procrastination does not a stellar project make.

Image credit: Work pays America! Prosperity.
Library of Congress: LC-DIG-ds-04632