Now, therefore, by virtue of the authority vested in me as President of the United States, and Commander in Chief of the Army and Navy, I hereby authorize and direct the Secretary of War, and the Military Commanders whom he may from time to time designate, whenever he or any designated Commander deems such action necessary or desirable, to prescribe military areas in such places and of such extent as he or the appropriate Military Commander may determine, from which any or all persons may be excluded, and with respect to which, the right of any person to enter, remain in, or leave shall be subject to whatever restrictions the Secretary of War or the appropriate Military Commander may impose in his discretion. – Excerpt from Executive Order 9066. Signed February 19, 1942 by President Franklin Delano Roosevelt.
When I was in graduate school I was assigned Only What We Could Carry for a course on visual and material culture. This text used objects, poetry, photography, and art to reveal the wide ranging experiences of Japanese Americans (and permanent residents) that were forced, seventy-five years ago, from their homes into internment camps.
One of the first artifacts photographed is an evacuation tag. At first glance looks like a label you would place on an inanimate object with basic reference information. For the evacuees forced to leave their homes, this tag removed identities paring individuals down to a name, family number, and a time and a place to report. Continue reading “75 Years Later: Allegiance and Executive Order 9066”→
I am afraid. Folded in by the weight of postcards and calls links and 140 characters. Always thinking about the invisible scales of equality between the unborn, the refugee, the immigrant, and those not living in privilege.
I am certain that I have fingers toes, a heart with blood pumping slowly through my veins — as do you, and them, and us, but those that lead find different ways to say You Don’t Belong.
I question my ability my strength for this test. Yet I know that one cannot expect miracles And God cannot do all the work
And so —
Although I am afraid, I am certain. Although I question, I am ready. I can be brave. I must be brave. I will be brave.
Whenever I begin writing my annual New Year’s post I take a look at what I wrote the year before. Here is what I said in January 2016:
I’m sure everyone is on the edge of their seats waiting for my annual New Year’s Post.
This isn’t it.
I’m struggling a bit this year – trying to find a way to stay optimistic and see the promise of the future in a world that feels like it’s gone a little bit crazy. And then there was my two-week cold that pretty much demanded a lack of productivity.
I had intended for this to go up in the waning days of last year but found myself wanting to spend my vacation away from my computer rather than in front of it. So here we are, with some final thoughts on the other side of the new year.
A final post, one last time, on Hamilton: An American Musical.
This piece will mark my sixth and final blog post on my unabashed love for this genius historical musical. I swear.
In a lot of ways, this year has been the year of Hamilton for me. On some level it allowed some respite from the real world, while opening the floodgates on an already complex conversation about art, diversity, and our American past.
In 2016 I have been privileged to see the show on Broadway and like so many others devoured the Hamilton Mixtape, finished the Hamilton: The Revolution (henceforth the Hamiltome, the book about the making of the musical – with annotations!), and watched Hamilton’s America – the incredible PBS documentary that put the musical in its historical context. Continue reading “Hamilton: One Last Time”→
I am standing in line to vote. It is the longest voting line I have ever waited in and admittedly not the longest citizens will wait today. It is winding, not unlike our first political cartoon that shows a fragmented snake, (1754, Pennsylvania Gazette) split into seperate colonies. Below the image a proclamation from Benjamin Franklin “Join, or die.”
At the time this was a call for unity. A call for a fragmented people to come together. Today, that snake looks awfully familiar. For the last year I have had it coiled within me, an invisible knot in my chest, twinging when I thought about today.
Who says you can’t write about summer vacations in October? At the end of July I traveled to Colorado Springs for an epic family reunion. Naturally I couldn’t make a trip to a different state and not play tourist for a little while. I wrote about one part of my trip, a visit to Hotel de Paris in Georgetown for Saving Places. The piece, which I had a lot of fun writing, is about the hotel’s proprietor, Louis Dupuy, a man who was a fugitive, journalist, and an infamous chef.
In addition to Georgetown I also spent a few hours in Denver, checking out the state capitol, the Emerson School (home of the National Trust Denver Field Office), and the Molly Brown House. The latter site is pretty great, mostly because it does what most historic houses do, but flips the perspective, telling us about Molly Brown’s legacy rather than just the male inhabitants. Continue reading “Summer in October: Photos from Colorado”→
The great force of history comes from the fact that we carry it within us, are unconsciously controlled by it…history is literally present in all that we do. – James Baldwin
Over the last year or so I’ve watched as the new National Museum of African American History and Culture (NMAAHC) rose up on the National Mall. From the outside it felt like an inspired decorative container, monolithic from afar but interwoven and detailed from close up. My impression changed once I stepped inside. Clean lines, curved staircases, and the decorative metalwork of the exterior provided an incredible sense of openness, a constant reminder as I traveled from gallery to gallery that this is a museum embedded in the landscape of the core of Washington D.C.
A foundation. A place to start.
And so in trying to frame my first NMAAHC visit I thought about writing a traditional exhibit review —discussing content, display choices, and interpretive design—but that just didn’t feel quite…right. Rather, my first visit felt incredibly emotional. In some ways indescribable, walking through the museum felt like when you peer through new glasses for the first time. Everything seemed clearer, more in tune, more complete. Continue reading “Still I Rise: The National Museum of African American History and Culture”→
A few months ago two friends of mine asked me to do a reading at thier wedding, and after I offered to write it for them they said yes. I wanted to share the piece with you along with a recording of a portion I had to cut due to time constraints (and that it didn’t quite fit in with the broader piece).
Here is the final reading from the ceremony this weekend.
In the first post of this series I wrote of how the miniseries Roots and Guy Gavriel Kay’s Children of the Earth and Sky tackled a simple question of individual identity amidst displacement – “Who am I?” But there is a second question that both the show and the book addressed that looks beyond the status quo and the present revealing active identity creation. “Who do I want to be?” is a question that is both aspirational and forward looking.
And so two other art/history pieces I experienced this spring – the Smithsonian’s Crosslinesand the Folger Shakespeare Library’s District Merchants– demonstrate that not everyone wants or chooses to internalize their heritage in the same way. Rather they make it clear that answering the question “Who do I want to be?” is a combination of conscious and unconscious choices we make in the process of forging identities.
“And he, Marin Djivo, younger son of a merchant? What was his life about? Trade? Clever, profitable dealings? He was from a city state that flourished by letting no one hate them enough to do anything disagreeable. Where you are situated in the world, Marin thinks, digging a grave in a Sauradian meadow, shapes how you act in the world.
Then he amends that thought: It is one of the things that does so. Rasca Tripon and Danica Gradek might frame it differently. Or the old empress living with the Daughters of Jad on Sinan Isle might do so. They are all exiles, he thinks, taken from what they were, where they were.”
–Excerpt from Children of the Earth and Sky by Guy Gavriel Kay (emphasis mine)
For those of you that are fans of musical theatre the title of this piece may prompt you to belt out a singular name. A man whose identity at the moment of questioning had long been obscured by a series of numbers.