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At Honouliuli there was much to endure. Whether it was the blistering heat, trapped and stagnant in the deep gulch where the camp was built, the swarming insects that made their homes in the hale koa trees, or the constant presence of the guards, detainees had much to endure. But the one thing they could control was how to cure the threat of boredom. A variety of talented individuals were incarcerated at Honouliuli and across the islands. From chefs that worked at high-end restaurants in Waikiki to carpenters, tailors, farmers, artists, and musicians, people applied the Japanese value 頑張りganbari (tenacity, endurance) to keep their minds sharp and their hands busy. As a result, what came out of Honouliuli was an array of craftsmanship that could only be done by resourceful artists, songs and poetry were composed speaking from an experience so few can relate to, and all of those artforms gave future generations a glimpse into history that couldn't be experienced otherwise. Tanka PoetryOne of the oldest forms of Japanese poetry, tanka, or "short song", is often described as similar to a sonnet. The rules for its construction are quite strict, as it follows a 5/7/5/7/7 syllable format, the first three lines of which are what the haiku is based. Tanka poems have no punctuation or rhyming component; the poem itself places readers into the story through a pivotal image and a pivotal response. The first three 5/7/5 lines (kami no ku) set up an image for the reader, whereas the last two 7/7 lines (shimo no ku) transitions to a personal response. Try writing your own Tanka poem. Many of the tanka poems written by incarcerated citizens and internees described their lives in the camps through this artform. As Tanka is such a classic form of Japanese poetry, it also proved that despite being in the camps, the Japanese detainees' connection to their culture remained unbroken. Art in the CampsAcross the Japanese American confinement sites, many people entered the camps as teachers, chefs, farmers, shop keepers - and left artists. More nisei (second-generation) were allowed jobs and responsilbiites within the camp, so their parent's generation, the issei, looked to the arts to pass time. Not only was creating a common pastime to stave off boredom, for some it evolved into a career choice after being released. For others, they quietly packed away their creations and never looked at them again. Whichever they chose, the art created in the camps remained. In fact, so many art pieces were created that the Smithsonian Institution's Renwick Gallery released an exhibit featuring them. The Smithsonian also created a video featuring "The Art of Gaman" in conjunction with the exhibit.A list of museum exhibitions featuring Japanese American incarceration can be found here. Much of this new-found creativity was born of necessity. When the removed Japanese entered the buildings that were to be their new homes within the camps on the mainalnd, they found they had little to no furniture. As a result, with what little materials were available, people began to craft the items they required for basic living. This resourcefulness allowed them to obtain the necessities they needed to survive several years of incarceration. One of the most popular activities that spread across the camps, even to Hawai‘i, was the art of crafting wooden bird pins. These delicate, wooden, lacquered pins did not require many materials and so were a suitable choice to keep one's mind busy for little cost. Those held at Honouliuli also undertook the art of crafting bird pins and tropical fish pins. People also became very creative and resourceful with the items on hand too. Some of the most impressive items that came out of Honouliuli internment camp were crafted by Masao "Sam" Nishimura. He took toothbrushes and would soften the material using hot water, then would bend the malleable plastic around a rod to create a ring. Using sandpaper and makeshift tools, he would carve down the body of the toothbrush to create a "gem" focal point of the rings. These toothbrush rings are works of art that prove the resiliency of those incarcerated in the face of perpetual boredom. Sam Nishimura was a tailor and you can see where his store used to be in Haleiwa today. Please see Plan Your Visit for more information. Other crafts that were created at Honouliuli were woodworking items (bowls, a miniature tansu, wooden chest, sewing chest), shell jewelry, and toys. Many of these arts and crafts were created as gifts for their children and family members. Sketches were also created by incarcerated Dan Nishikawa. Several of his sketches were used by archaeologists Mary Farrell and Jeff Burton to find sites and features at Honouliuli. Music in the CampsSeveral of the incarcerated played musical instruments and also taught others as well.Shozo Takahashi learned the violin from fellow incarcerated Tsuneo Suzuki. According to Shozo, a guard also asked to borrow his violin and played cowboy songs and would join them. Shozo has created a song for Honouliuli. Shozo’s violin is now in the collection of the Japanese Cultural Center of Hawaii. Minoru Urata and Kotaro Taira both played guitars. Urata opened a music studio and taught Japanese songs after the war ended. Minoru Urata was also a music teacher and his contributions continue to this day at the Smithsonian Institution Center for Folklife and Cultural Heritage. Masao Koga was a skilled musician of the samisen. The ukelele was also played at the camp. Though used for religious purposes, a taiko drum was also used at Honouliuli. "Chinrai bushi", which was a well-known Japanese song at the time, had lyrics written at Sand Island Detention Center to reflect being sent away on a ship to the mainland. Honouliuli residents sang this song to their fellow incarcerated friends who would leave Hawaiʻi and be sent away to a camp on the continent. Our present day arts, music, and cultural institutions and organizations have a direct link to Honouliuli as well:
You can learn more about different artists from the other camps below: Pictures of Belonging: Miki Hayakawa, Hisako Hibi, and Miné Okubo Japanese American Incarceration Era Collection The Art of Aloha The Life and Work of George Hoshida (Hoshida illustrated all the pictures for Poets Behind Barbed Wire) Ruth Asawa |
Last updated: March 24, 2025