200 Ansel Adams Pictures Expose the Rigors of Life in Japanese Internment Camps Throughout WW II

Pictures cour­tesy of the Library of Con­gress.

Actor George Takei was as soon as finest often known as Star Trek’s Mr. Sulu. He nonetheless is, in fact, however over the past cou­ple a long time his pal­ly, intel­li­gent, and depraved­ly enjoyable­ny pres­ence on social media has land­ed him a brand new pop­u­lar function as a civ­il lib­er­ties advo­cate. Takei’s activist pas­sion is knowledgeable not solely by his sta­tus as a homosexual man, but additionally by his youngster­hood expe­ri­ences. On the age of 5, Takei was spherical­ed up together with his Amer­i­can-born par­ents and tak­en to a Japan­ese intern­ment camp in Arkansas, the place he would dwell for the subsequent three years. In an inter­view with Democ­ra­cy Now, Takei spoke frankly about this his­to­ry:

We’re Amer­i­cans…. We had noth­ing to do with the conflict. We sim­ply hap­pened to appear like the peo­ple that bombed Pearl Har­bor. However with­out expenses, with­out tri­al, with­out due course of—the enjoyable­da­males­tal pil­lar of our jus­tice system—we had been sum­mar­i­ly spherical­ed up, all Japan­ese Amer­i­cans on the West Coast, the place we had been pri­mar­i­ly res­i­dent, and despatched off to 10 barb wire intern­ment camps—jail camps, actual­ly, with sen­strive tow­ers, machine weapons level­ed at us—in a number of the most des­o­late locations on this coun­strive.

Takei and his fam­i­ly had been amongst over 100,000 Japanese-People—over half of whom had been U.S. cit­i­zens—interned in such camps.

Into certainly one of these camps, Man­za­nar, locat­ed within the foothills of the Sier­ra Nevadas, cel­e­brat­ed pho­tog­ra­ph­er Ansel Adams man­aged to realize entrance by means of his pal­ship with the conflict­den. Adams took over 200 pho­tographs of life contained in the camp.

In 1965, he donat­ed his col­lec­tion to the Library of Con­gress, writ­ing in a let­ter, “The pur­pose of my work was to point out how these peo­ple, suf­fer­ing below a fantastic injus­tice, and lack of prop­er­ty, busi­ness and professional­fes­sions, had over­come the sense of defeat and dis­pair [sic] by construct­ing for them­selves an important com­mu­ni­ty in an arid (however magazine­nif­i­cent) envi­ron­ment.”

Adams had anoth­er pur­pose as nicely—as schol­ar of the peri­od Frank H. Wu describes it—“to doc­u­ment some points of the intern­ment camp that the gov­ern­ment didn’t wish to have proven.” These embrace “the barbed wire, and the guard tow­ers, and the armed sol­diers.” Professional­hib­it­ed from doc­u­ment­ing these con­trol mech­a­nisms direct­ly, the pho­tog­ra­ph­er “cap­tured them within the again­floor, in shad­ows,” says Wu: “In a few of the pho­tos if you look you’ll be able to see simply faint­ly that he’s tak­ing a pho­to of some­factor, however in entrance of the pho­to you’ll be able to see barbed wire, or on the bottom you’ll be able to see the shad­ow of barbed wire. Among the pho­tos even present the blur­ry out­line of a soldier’s shad­ow.”

The pho­tographs doc­u­ment the dai­ly activ­i­ties of the internees—their work and leisure rou­tines, and their strug­gles to important­tain some sem­blance of nor­mal­cy whereas liv­ing in hasti­ly con­struct­ed bar­racks within the harsh­est of con­di­tions.

Although the land­scape, and its cli­mate, could possibly be des­o­late and unfor­giv­ing, it was additionally, as Adams couldn’t assist however discover, “magazine­nif­i­cent.” The col­lec­tion contains sev­er­al broad pictures of stretch­es of moun­tain vary and sky, typically with pris­on­ers star­ing off lengthy­ing­ly into the dis­tance. However the main­i­ty of the pho­tos are of the internees—males, girls, and chil­dren, typically in close-up por­traits that present them look­ing var­i­ous­ly hope­ful, hap­py, unhappy­dened, and resigned.

You possibly can view the whole col­lec­tion on the Library of Con­gress’ on-line cat­a­log. Adams additionally pub­lished about 65 of the pho­tographs in a ebook titled Born Free and Equal: The Sto­ry of Loy­al Japan­ese Amer­i­cans in 1944. The col­lec­tion rep­re­sents an impor­tant a part of Adams’ work dur­ing the peri­od. However extra impor­tant­ly, it rep­re­sents occasions in U.S. his­to­ry that ought to nev­er be for­bought­ten or denied.

Notice: An ear­li­er ver­sion of this submit appeared on our website in 2015.

Relat­ed Con­tent:

How Dis­ney Fought Fas­cism with Professional­pa­gan­da Automobile­toons Dur­ing World Struggle II & Avert­ed Finan­cial Col­lapse

Dr. Seuss’ World Struggle II Professional­pa­gan­da Movies: Your Job in Ger­many (1945) and Our Job in Japan (1946)

Ansel Adams Reveals His Cre­ative Course of in 1958 Doc­u­males­tary

Dis­cov­er Ansel Adams’ 226 Pho­tos of U.S. Nation­al Parks (and Anoth­er Facet of the Leg­endary Pho­tog­ra­ph­er)

Dr. Seuss Attracts Anti-Japan­ese Automobile­toons Dur­ing WWII, Then Atones with Hor­ton Hears a Who!

Josh Jones is a author and musi­cian based mostly in Durham, NC.