Mixed Race Studies

The Discourse of Konketsuji: Racialized Representations of Biracial Japanese Children in the 1950s

University of Toronto
March 2017
79 pages

Zachery Anthony Nelson

A thesis submitted in conformity with the requirements for the degree of Master of Arts, Department of East Asian Studies University of Toronto

This study examines textual representations of biracial Japanese children as featured in the print media of 1950s Japan. Attention is paid to the complex discursive process of racialization that produced knowledge of biracial Japanese under the label konketsuji or “mixed-blood child.” This “discourse of konketsuji” is deconstructed and analyzed towards the aim of illustrating how it functioned to disassociate the figure of the konketsuji from the category of “Japanese.” This study situates konketsuji and Japanese racial identity discourse into their proper historical contexts before transitioning to an analysis of primary source material. The discourse of konketsuji is revealed as having racialized konketsuji in a plural and complex manner. Racializing statements about konketsuji referenced difference in phenotype, social origin, political potential, birth circumstances, mentality, intellect, and cultural proclivities so as to position biracial children as a group outside a normative construction of Japanese raciality.

Read the entire thesis here.

Japan Reborn: Mixed-Race Children, Eugenic Nationalism, and the Politics of Sex after World War II

Columbia University
2015
DOI: 10.7916/D83F4NS4

Kristin A. Roebuck, ‎Mellon Postdoctoral Fellow in History
Cornell University, Ithaca, New York

In April 1952, Japan emerged from Allied occupation free, peaceful, and democratic.

Japan’s presses marked the occasion by declaring a state of crisis: the “konketsuji [mixed-blood children] crisis.” By all accounts, Allied soldiers had sired and abandoned two hundred thousand “mixed-blood” orphans in Japan. However, Chapter One reveals this to be a fabricated crisis or “moral panic.” Surveys found only a few thousand konketsuji nationwide, very few of them orphans. Yet these discoveries did little to change the tenor of “crisis.” Opposition politicians deployed wrath and fear over “blood mixing” to discredit the dominant Liberal Party and its alliance with the United States. They were abetted by an array of postwar activists who used the “crisis” to reconstruct Japanese nationalism, laid low by defeat and occupation, on a new basis: the “pure” race rather than the failed state.

Chapter Two explores how the panic over “blood mixing” inevitably embroiled not just children but women as well. Japanese women were subject to intense pressures to eschew sex and family formation with Western men, and to abort “mixed” fetuses on eugenic grounds rather than bear them to term. 1948 marked the beginning of the end of criminal prosecution of abortion in Japan. The law that inaugurated this shift, the Eugenic Protection Law (EPL), is generally viewed as an advancement in women’s rights, despite the fact that the EPL envisioned and promoted the use of abortion as a means of managing the “quality and quantity” of Japan’s population.

Scholarship on the links between eugenics and the decriminalization of abortion in Japan is vast, but scholars have yet to probe deeply into how eugenic abortion was applied to control—or forestall—“race mixing” after the war. Although it was politically impossible for the government to impose abortions outright on women who might be pregnant with the children of Japan’s conquerors, such women were nonetheless targeted for eugenic intervention. For these women, abortion was not an option granted in a liberal democracy concerned with women’s rights. Abortion was an imperative imposed by a diverse array of governmental and non-governmental actors united behind an ideology of “pure blood.”

Chapter Three explains how postwar scientific presses framed konketsuji born in the wake of World War II as an unprecedented presence. Geneticists, physical anthropologists, clinicians, and other researchers from the late 1940s through the 1970s deployed a “system of silences” to erase Japan’s prewar konketsuji community from view. They thereby not only constructed the Japanese as a racial community bounded by “pure blood,” but denied that the racialized nation ever had or ever could assimilate foreign elements. Scientific spokesmen effected the discursive purification of Japan despite resistance from “mixed-blood” adults who organized to contest the rising tide of racial nationalism. In the process, these scientists severely undercut the “mixed” community’s advocacy of a civically rather than biologically constituted nation.

Chapter Four contrasts the decline of race science and eugenics in the West with their efflorescence in postwar Japan, where conditions of occupation heightened the relevance of racial eugenics as a prescription for national unity and strength. It is well known that Anglophone genetics and physical anthropology were led at the mid-century by immigrants and minorities, prominently including Theodosius Dobzhansky and Ashley Montagu. Yet without comparative analysis, it is difficult to weigh the significance of this fact, or of the fact that minorities did not lead the Japanese sciences. Japanese geneticists and anthropologists who identified as having “pure Japanese blood” never questioned that biopolitical category or the costs it imposed on those it excluded.

I argue that who practiced science counts for much more than is allowed by objectivist narratives of self-correcting scientific “progress.” My project explains for the first time why racial nationalism and an ethos of ethnic cleansing triumphed in Japan at the very moment these forces receded in other contexts.

Embargoed until 2017-06-30.

Looking at Okinawa: Race, Gender, Nation

2017 UC Berkeley Graduate Student Conference: On Belonging: Gender, Sexuality and Identity in Japan
University of California, Berkeley
Moffitt Undergraduate Library
340 (BCMN Commons Seminar Room)
Berkeley, California
2017-04-09, 10:00-16:00 PDT (Local Time)

Ishikawa Mao, Photographer

Wendy Matsumura, Assistant Professor of Professor
University of California, San Diego

Annmaria Shimabuku, Assistant Professor of East Asian Studies
New York University

This is a one-day event being held in order to create a dialogue on issues of race and gender in the study of Okinawa, and to contemplate the relationship between the study of Japan and the study of Okinawa.

We will initiate this dialogue with a lecture by photographer Ishikawa Mao, whose work explores the complex relationships of gender, race, and national identity in Okinawa and Japan. Her works have included including candid photographs of African American servicemen and their Okinawan and Japanese wives and girlfriends in Okinawa in the 1970s; and portraits of Japanese and Okinawan people with the national flag of Japan, interacting with it in various ways to demonstrate their complicated and often troubled relationship with the nation of Japan. Ishikawa is to give a slide show and talk about her work, focussing on her photographs of African American servicemen.

In the afternoon, we will hold a discussion between scholars, students, and members of the public, to be led by Professor Wendy Matsumura (UCSD) and Professor Annmaria Shimabuku (NYU), who, from the fields of cultural studies, sociology, and history, have been engaged in thinking about the role of Okinawan studies and its place in Japanese studies more generally. We will discuss what it means to study Okinawa in the American academy, and, drawing on Ishikawa’s work, we will examine the complicated role of race and gender in Japanese studies and Okinawan studies.

Sponsored by: Center for Japanese Studies (CJS), Townsend Center for the Humanities, Department of African American Studies, Asian American Studies, Department of Ethnic Studies, Department of Gender and Women’s Studies, Center for Race and Gender, and Department of East Asian Languages & Cultures

For more information, click here.

mao ishikawa’s stunning photographs of her friends in 70s okinawa

i-D
2017-03-27

Paige Silveria

The cult Japanese photographer gives her first-ever English language interview, about her new book ‘Red Flower, The Women of Okinawa.’

This Tuesday, at New York’s subterranean photobook shop Dashwood, cult Japanese photographer Mao Ishikawa is signing her first monograph to be published in the United States: Red Flower, The Women of Okinawa. The newly released silkscreen book features striking black-and-white photographs of Mao and her girl friends, who worked in segregated GI bars, along with their boyfriends – the black army soldiers who frequented those bars in American-occupied Okinawa from 1975 to 1977. The images of carefree 20-year-olds as they laugh and cry, drink and fall in love, contrast sharply with the divisive tensions of the militarily controlled island…

Read the entire article here.

Red Flower, The Women of Okinawa

Session Press
2017
112 pages
Photography: Mao Ishikawa
Text: Mao Ishikawa
English Translation: Jun Sato
Design: Studio Lin, NYC
Printing: Die Keure, Brugge, BE
Color Proofing: Colour & Books, Apeldoorn, NL
Silkscreen soft cover covers and silkscreen text pages
closed 229 x 330 mm (9.02 x 12.99 inches), open 458 x 330 mm (18.03 x 12.99 inches), 3 lbs
ISBN: 978-0-692-81744-5

Mao Ishikawa

Session Press presents Red Flower, The Women of Okinawa, the first United States monograph by Okinawan photographer Mao Ishikawa. Red Flower consists of 80 b/w photographs that date from 1975 to 1977 in Koza and Kin, Okinawa, primarily from Ishikawa’s first book Hot Days in Camp Hansen by A-man Shuppan in 1982, but it also includes unpublished work from the same period. Red Flower exhibits Ishikawa’s celebration of the courageous and honest lives of women she met and befriended while working at military bars at a time when social and political tensions between the US and Japan were on high alert. It consists of five chapters of pictures, followed by her essay dedicated to the publication: girls gossiping about boys, working at bar, meeting their boyfriends at home, enjoying themselves at the beach, and their children for the future of Okinawa. Red Flower is the pivotal work for Ishikawa, since it marks the starting point of her subsequent long career as a photographer.

Her attendance of Shomei Tomatsu’s class at WORKSHOP photography school in spring 1974 seems to have had a strong influence on her style; their close association as friends and teacher/student continued till his death in 2012. Martin Parr identifies her work as ‘post-Provoke’ in The Photobook: A History Volume III (page 90), observing the strength of her photography is charged by its directness and rawness, in contrast to the stylized symbolism preferred by the previous generation of Provoke photographers. Most importantly, it is crucial to note that her work is often delivered from the result of her pure pursuit of her subject matter. Especially for this particular project, Ishikawa’s engagement to the subject was enormous; she worked as a server at the bars along with the other girls and had relationships with boys she met there for two years. Thus, her personal involvement enables her to capture the actual events and scene without theorizing or romanticizing. In Red Flower, Ishikawa reveals her very honest personal documentary in all sincerity, while still maintaining enough detachment from the subject to be able to perfectly capture the scenes with her sharp eyes.

Okinawa has been one of the most popular subjects in the history of Japanese photography, having attracted many renowned Japanese photography masters such as Tomatsu Shomei, Daido Moriyama, Nobuyoshi Araki, and Keizo Kitajima. Born and raised in Okinawa, Ishikawa is, however, the only female photographer for still vigorously making work of Okinawa (and living in Okinawa) in spite of whatever taboo or challenges she came across along the way.

Previously Ishikawa made two publications on the same subject. Her first book, Camp Hansen is not, in fact, her monograph since another photographer, Toyomitsu Higa took the photos in the second half of the book. Also, it was regretfully banned due to claims from two girls in the book shortly after it was released, so it is extremely rare and expensive. The other volume of Ishikawa’s Okinawa work was published on the occasion of her exhibition at Yokohama Civic Art Gallery Azamino in 2013. Since it mainly functions as reference to her general work, and it was laid out with large white framing surrounding smaller format photos, it loses the boldness, honesty and urgency which are characteristic of her work. Red Flower features full-bleed images in a large format with intense black and white printing, and successfully makes the original lively spirit and tension of Ishikawa’s legendary Camp Hansen work available again for wider public appreciation.

Half-Japanese, half-Ghanaian brothers sing about prejudice they faced

The Mainichi: Japan’s National Daily Since 1922
2017-03-26

Hiromi Nagano, Los Angeles Bureau

The Yano Brothers, from left, eldest brother Michael, middle brother David, and youngest brother Sanshiro, are seen in Los Angeles, on Feb. 22, 2017. (Mainichi)

LOS ANGELES — Three half-Japanese, half-Ghanaian brothers who moved from Ghana to Japan as young children and grew up experiencing prejudice and feeling they were different have put their experiences into song.

Forming a musical unit called the Yano Brothers, the three men, born to a Japanese father and a Ghanaian mother, say they were discriminated against as “gaijin“ (foreigners) since they were young, due to their dark skin. Last month, the three spoke about these experiences and sang at the Japanese American National Museum in Los Angeles. Drawn in by their words and their heart-moving music, I could not bring myself to move from my spot for a while…

Read the entire article here.

Two Halves Of A Whole: On Japan’s Habitual ‘Labeling’ Of Bicultural Kids

Savvy Tokyo
2017-03-15

Louise George Kittaka

Half Or Double, It’s About Time We Let Them Speak For Themselves

In Japan, Japanese are nihonjin and foreigners are gaikokujin and never the twain shall meet. But what does this mean for our bicultural offsprings?

The term hafu (literally, half) is commonly used in Japan for anyone who has one Japanese parent and one from another cultural background or nationality. The term grates on many foreign parents because it implies that the non-Japanese side of their background somehow renders them “incomplete.”

I certainly disliked the term when I became a mom for the first time following the birth of my son. I spent a lot of time and energy earnestly asking people, friends and strangers alike, to refer to my child as “daburu” or “double.” I even wrote an article for a bilingual magazine, entitled “Please Don’t Call My Baby a ‘Half’” and advocating for the use of the term “double” instead.

Looking back at the article now, I cringe inwardly. By the time the second of my two daughters arrived to complete my trio of kids, I was beginning to tire of the “what to call bicultural children” conversation. I began to think, “Why do we need to label them at all? They are kids who just happen to have parents from two different backgrounds. Get over it already!” Older and wiser, I now know that it isn’t that simple…

Read the entire article here.

Memories of race: representations of mixed race people in girls’ comic magazines in post-occupation Japan

Sayuri Arai

University of Illinois, Urbana-Champaign
2016-11-30

As the number of mixed race people grows in Japan, anxieties about miscegenation in today’s context of intensified globalization continue to increase. Indeed, the multiracial reality has recently gotten attention and led to heightened discussions surrounding it in Japanese society, specifically, in the media. Despite the fact that race mixing is not a new phenomenon even in “homogeneous” Japan, where the presence of multiracial people has challenged the prevailing notion of Japaneseness, racially mixed people have been a largely neglected group in both scholarly literature and in wider Japanese society.

My dissertation project offers a remedy for this absence by focusing on representations of mixed race people in postwar Japanese popular culture. During and after the U.S. Occupation of Japan (1945-1952), significant numbers of racially mixed children were born of relationships between Japanese women and American servicemen. American-Japanese mixed race children, as products of the occupation, reminded the Japanese of their war defeat. Miscegenation and mixed race people came to be problematized in the immediate postwar years.

In the 1960s, when Japan experienced the postwar economic miracle and redefined itself as a great power, mixed race Japanese entertainers (e.g., models, actors, and singers) became popular. This popularity of multiracial entertainers created a konketsuji boom (mixed-blood boom) in Japanese media and popular culture. As such, the images and stereotypes of racially mixed people shifted considerably from the 1950s into the 1970s.

Through a close textual analysis of representations of mixed race stars and characters in major Japanese girls’ comic magazines published during the 1950s and 1960s, my dissertation illuminates the ways in which the meanings of mixed race people shifted from strongly negative to ambivalent, or even positive, in the context of postwar economic growth. Closely looking at the changing U.S.-Japan relations in the aftermath of World War II and in the Cold War context, this project provides insight into the ways in which memories of World War II and of the U.S. Occupation are reconstructed through representations of mixed race people in Japanese media and popular culture in postwar Japan.

As this dissertation project suggests, girls’ comic magazines are one of the few pivotal spaces where issues of race mixing in postwar Japan are allowed to be openly and regularly discussed, and where a wide range of multiracial people are portrayed in imaginative ways. As I argue, in the early post-occupation years, the overrepresentation of Black-Japanese occupation babies in girls’ comic magazines inadvertently contributed to foisting the blame of the former Western Occupation onto Black bodies and to reconstructing the image of the West.

Subsequently, during the 1960s, the whiteness of mixed race stars and characters, glorified in consumerist media culture, greatly contributed to overshadowing the image of the West as the former enemy and to dissociating racially mixed people from the stigma of being “occupation babies,” intimately entangled with the memory of Japan’s defeat in World War II.

My dissertation demonstrates that representations of racially mixed people in girls’ comic magazines played a crucial role in remaking the meanings of mixed race Japanese and reconstructing memories of World War II and the U.S. Occupation, in part because girls’ comic magazines have elaborated a distinct aesthetics, ethics, and worldview shaped within girls’ culture.

Login to read the dissertation here.

Definitive Hapa Japan Books To Launch In LA

Kaya Press
Los Angeles, California
2017-02-15

Kaya Press is thrilled to announce the official publication of Hapa Japan: History Vol. 1 and Hapa Japan: History Vol. 2 edited by Duncan Ryūken Williams.

Described by Ruth Ozeki as “essential reading for all citizens of our transcultural, transnational, boundless, borderless, beautifully mixed-up world,” these volumes bring together scholarship on the rich historical and contemporary experiences and representations of global Hapa Japanese…

Read the entire press release here.

Hapa Japan: History (Volume 2)

Kaya Press
2017-02-28
400 pages
Paperback ISBN: 9781885030542

Edited by:

Duncan Ryūken Williams, Associate Professor of Religion and East Asian Languages and Cultures
University of Southern California

The film Kiku and Isamu (1959) was one of the first cinematic depictions of mixed-race children in postwar Japan, telling the story of two protagonists facing abandonment by two different Black GI fathers and ostracism from Japanese society. Bringing together studies of the representations of the Hapa Japanese experience in culture, Hapa Japan: Identities & Representations (Volume 2) tackles everything from Japanese and American films like Kiku and Isamu to hybrid graphic novels featuring mixed-race characters. From Muslim Japanese-Pakistani children in a Tokyo public school to “Blasian” youth at the AmerAsian School close to a US military base in Okinawa, the Hapa experience is multiple, and its cultural representations accordingly are equally diverse. This anthology is the first publication to attempt to map this wide range of Hapa representations in film, art and society.