On June 17, 2024, 29 Stanford e-Fukuoka students gathered at the American Center, a division of the U.S. Consulate in Fukuoka, to engage in a Q & A session with U.S. Ambassador to Japan Rahm Emanuel. The Japanese high school students were curious: “What challenges did you face as Mayor of Chicago?” “Did you study abroad when you were a student?” “How can I find a job in international relations?” They also wanted to know more about the works of art that were, until recently, exhibited at his residence and at the U.S. Embassy in Tokyo. 

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The 18 pieces of art were created by Japanese and Japanese American artists during their imprisonment in U.S. incarceration camps during World War II. The paintings (reproductions) are part of the Japanese American National Museum (JANM) collection and were exhibited as an acknowledgement of the past, a way of learning from our mistakes, and a means to build a more inclusive future. They were loaned to the U.S. Consulate in Fukuoka earlier this year, thanks to Chie Inuzuka, Director of the American Center. I had the opportunity to incorporate them into my Stanford e-Fukuoka course this past spring, for a lesson on U.S.–Japan relations through an art history lens. (Photo above courtesy U.S. Consulate Fukuoka.) 

Using digital images and outside resources, my students and I explored the artwork in our virtual classroom. For many, this was their first time to look at art closely and critically. It was refreshing to see them express themselves knowing that there was no right or wrong way to look at art and that there could be infinite interpretations of a given work. The paintings were a prompt to practice critical thinking and communications skills by sharing observations, asking questions, and exploring perspectives made by others. 

Upon arriving in Fukuoka, I worked with Inuzuka-san and contractors to install the exhibit in the atrium of ACROS Fukuoka (a cultural center and exhibition space in downtown Fukuoka City). On the exhibit’s opening day, each student selected a painting that resonated with them. They stepped out of their comfort zones and stepped into the shoes of the artists and the Japanese and Japanese American subjects of the paintings. Visitors paused to take a look at the artwork and listened to the impassioned high school students describing the works in English. The following are comments that my students shared with the public or made later during class. Their comments addressed themes of empathy, resilience, and gratitude and reflected the power of art in self-reflection and cross-cultural understanding. (Photo below courtesy Kasumi Yamashita.)

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Empathy

Many students were drawn to a painting by Henry Yuzuru Sugimoto (1900–90) titled “Fresh Air Break from Fresno to Jerome Camp.” In the foreground, military police point guns at men, women, and children en route to a concentration camp in rural Arkansas, nearly 2,000 miles away. Family members, young and old, step off the train to stretch in a fenced area along the tracks. A locomotive pulling a load of coal and passenger cars stands still, momentarily, in the background. The colors are sandy and somber.

“I was inspired by this painting. We see many children and adults resting while under the watch of the armed guards. I used to think that wartime conditions were different, but I realize that they were similar to ours: they exercised, played catch, and jumped rope just like us. Now, I feel closer to them more than ever because I can imagine their pain. Before seeing this picture, I thought that paintings by Japanese American artists only showed the tragedy of war. However, this picture changed my view. I think that wars limit possibilities, which is very sad. I'll continue studying Japanese American history because it is our history and it’s necessary to build better relationships between our two countries.”  —Aoi

“Seeing this painting, I felt that we must not forget that it is not only the people who fight, but the everyday people who are affected by war. There are many innocent people who are deprived of their freedoms and their lives. I think that I shouldn’t look away from these facts and should be thankful that we can live our daily lives in a safe environment.”  —Kano

Resilience

Students interpreted the artwork in many ways. Some reacted to the colors on an emotional level while others identified with the subjects of the paintings. Some explored underlying narratives while others questioned their assumptions and offered alternate readings. One student described how art leveraged a “soft power” and had the potential to move the public and influence the world.

In “Study,” Hisako Hibi (1907–1991) painted a young girl of four or five with a short bob and trimmed bangs. She rests her head on her arm, outstretched over a table, and grips a pencil with her other hand. Her eyebrows are slightly furrowed as she gazes upon a large, blank piece of paper. 

“At first, I wasn’t sure why I was interested in this picture. Now, I think there are two reasons for my interest. First, I feel that the girl in the painting looks like me. Her hair, her round face, and her expression when she is studying really looks like me! Second, I felt the importance of studying. Even in tough situations, we can always improve ourselves. I was impressed that her parents made her study in the camp.”  —Yuna

Tokio Ueyama (1889–1954) painted his wife gently leaning back on a folding chair. She is knitting and biding time. Her back faces a doorway to the outside where tar paper barracks of the Santa Anita Assembly Center stand in rows. Curtains, tied back, are all that separate her from the dusty ground and scorching heat. 

“I was surprised when I found out that even though the Japanese Americans in the camps lived hard lives, they found small joys and pleasures and found the hope to live. In other words, they lived their lives without losing their humanity. We can express our thoughts to people through art as well as through literature and music. Today, science and technology are popular, but I’m sure that ‘soft power’ such as art is an important tool to connect people all over the world.” —Nanako

“Looking at this picture, I imagine that this woman does not enjoy knitting. Is she trying to make something, or is she just keeping busy? I paid attention to the contrast between the outside scenery and the atmosphere inside the house. The woman’s facial expression shows that she doesn’t care about the sunny weather. I thought the painter of this picture wanted to express how the Japanese Americans lived their lives, without any big changes, and how they entertained themselves as much as they could.”  —Ayame

“This painting is not a scene from a home but from an American incarceration camp. The woman is knitting. It’s a scene that could be found anywhere, but it is interesting because the artist chose this one. Why was he trying to record this daily activity? Was he afraid that the routine would soon disappear? The more I look at this picture, the less I think I know what the artist was thinking.” —Niko 

The Power of Art

Stanford e-Fukuoka students experienced the transformative power of art. Taking the time to explore the 18 works of art in depth gave them space to understand and empathize with people in contexts very different from their own. It allowed them to acknowledge common ground in light of cultural differences and historical conflicts.

“I think art is a common language because it can teach us about a lot of things without using any words. We don’t learn about these things in school but students in Japan should know about this. I would like to tell my family and friends about learning about history through art.” —Mai

“Looking at the art in ACROS Fukuoka changed my view of art quite significantly. It made me think about the stories behind art pieces. Art is such a wonderful and powerful way of sending a message.”  —Tomoyuki

“These stories must be told to future generations. I want to tell my classmates and my family to imagine that time. This class was so important for me to learn about immigration history and about Japanese American people.” —Shunya

Gratitude

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Students found abstract concepts like “U.S.–Japan relations” easier to understand and more meaningful through an art history lens. The idea of diplomacy through culture and soft power broadened their understanding of the responsibilities of governments and the role of ambassadors. Stanford e-Fukuoka students sent letters to Ambassador Emanuel to thank him for his visit to Fukuoka and for encouraging them to make “new discoveries.” (Photo above courtesy U.S. Consulate Fukuoka.)

“Dear Ambassador Rahm Emanuel, thank you for sending the paintings to Fukuoka. This exhibition was very shocking to me, and I felt that we should learn about the history of Japanese Americans. The picture that impressed me most was of the child studying (“Study” by Hisako Hibi). It was very hard to imagine children younger than us studying diligently even though they probably didn’t understand the changes that were taking place in the world during the war. I think it’s important to understand what’s happening in the world. After all, we often don’t have the opportunity to learn about wartime history and about people’s lives from perspectives other than our own. There were a lot of new discoveries for me in this exhibition. Thank you very much!” —Sota

Stanford e-Fukuoka was launched in spring 2022 and is made possible through a partnership between Stanford University, the U.S. Consulate Fukuoka, and the Fukuoka Prefectural Government. I would like to extend my gratitude to the Honorable Seitaro Hattori (Governor, Fukuoka Prefecture), Akie Omagari (Deputy Governor, Fukuoka Prefecture), and Chie Inuzuka (Director, Fukuoka American Center) for their collaboration and support in making Stanford e-Fukuoka possible. Special thanks to Inuzuka-san for arranging my students to meet with Ambassador Emanuel. This course offers students throughout the prefecture with an opportunity to learn about U.S.–Japan relations, Sustainable Development Goals (SDGs), and entrepreneurship. Stanford e-Fukuoka is one of SPICE’s local student programs in Japan.

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