Yasukichi Murakami Life Story

Yasukichi Murakami (1880−1944)Life Story:Through the photographs sent to his mother at home, an exhibition curated by Professor Mutsumi Tsuda (Photographer / Professor, Seian University of Art and Design) at the Wakayama University’s Institute of Kishu Economic and Cultural History Library was an important milestone in the history of Japanese migration to Australia. The exhibition showcased many original prints from the Yasuko Murakami – Minami Collection, which are Yasukichi Murakami’s photographs from Australia, which he had sent to his mother in Japan.

In 1970 when his daughter Yasuko Pearl Minami Murakami moved to Tanami, Yasukichi’s hometown in Wakayama Prefecture, she gathered these photographs, which were scattered amongst their extended family, and secured them in her care until this day. This exhibition is the first time Murakami’s photographs were exhibited in Japan.

Yasukichi Murakami Life Story, exhibiton curated by Mutsumi Tsuda

Front: Yasukichi Murakami Life Story, exhibiton curated by Mutsumi Tsuda

Yasukichi Murakami Life Story, exhibiton curated by Mutsumi Tsuda

Back: Yasukichi Murakami Life Story, exhibiton curated by Mutsumi Tsuda

Along with the photographs were other highly personal exhibits including Murakami’s children’s school records, letters he had written to his mother and a moving art video filmed by Tsuda of Murakami’s son, Joseph Kisaburo Murakami looking at his father’s photographs, reflecting, and speaking to Tsuda, and in effect, to himself and the viewers of the video.

The opening of the exhibition was  in conjunction with the 2016 Australian Studies Association Conference held at the Wakayama University. Murakami was born in Tanami, Wakayama Prefecture. Included in the program was a seminar by Dr Yuriko Nagata from University of Queensland about Yasukichi Murakami and other Nikkei Australians.

Joseph Kisaburo Murakami on video by Mutsumi Tsuda, Julie Murakami (left) and Ruruka (Reiko) Minami (right) at the exhibition opening. Photo by Mayu Kanamori

Joseph Kisaburo Murakami on video by Mutsumi Tsuda, Julie Murakami (left) and Ruruka (Reiko) Minami (right) at the exhibition opening. Photo by Mayu Kanamori

 

 

 

 

 

 

 

Visitors at Yasukichi Murakami Life Story, exhibition curated by Mutsumi Tsuda.

Visitors at Yasukichi Murakami Life Story, exhibition curated by Mutsumi Tsuda. Photo by Mayu Kanamori

Yasukichi Murakami Life Story, exhibits .

Yasukichi Murakami Life Story, exhibits. Photo by Mayu Kanamori

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Yasukichi Murakami Life Story, exhibits. Photo by Mayu Kanamori

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(Left to Right) Ruruka (Reiko) Minami, Julie Murakami and Mutsumi Tsuda. Photo by Mayu Kanamori

Seminar by Dr Yuriko Nagata. Photo by Mayu Kanamori

Seminar by Dr Yuriko Nagata. Photo by Mayu Kanamori

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(Left to Right) Ruruka (Reiko) Minami, Julie Murakami, Mutsumi Tsuda, and Mayu Kanamori next to a portrait of Yasukichi Murakami at the Yasukichi Murakami Life Story. Photo by Simon Wearne.

Art, Advocacy, & Accountability

Recently I was given the opportunity to speak at the 5th Asian Australian Studies Research Network (AASRN) conference “mobilities” (26-27 Nov 2015) at the Immigration Museum, Melbourne as part of a panel entitled “Creative politics, political creations”. Chaired by fellow artist Asian Australian artist  Owen Leong.

The talk was about ethics and social responsibilities of an artist, using examples from my theatre work Yasukichi Murakami – Through A Distant Lens. I would like to share it with you:

“When you have art, you have a voice. When you have a voice, you have freedom. When you have freedom, you have responsibility.” 

This quote by Indigenous artist, activist and leader Richard Frankland is what inspires my talk today. Using examples from my recent work, Yasukichi Murakami – Through a Distant Lens, I will discuss some of the issues that an artist may face in regards to our social responsibilities.

Here are some areas of my ethical concerns of late.

Identity, diaspora, imagined borders

  1. Story-telling and its limitations
  2. Historical or factual accuracies and theatrical licences
  3. Archiving and documentation
  4. Audience, stakeholders and authenticity
  5. Publicity, media and advocacy

I will go through each one of them.

  1. Identity, diaspora and imagined borders

I am a migrant artist. I was born in Japan and I’ve been telling stories about Japanese diaspora in Australia for some time. I can’t help but to wonder about the ethics of this.

Are we now not transnational / transcultural / trans everything, transcending those imaginary borders nations, heritage or ethnicity? I know it is my condition that I am of Japanese heritage, but do I need to keep making art about this? My ethics tells me to be inclusive of all people and not to draw borders between you and I, us and the other. To rise above those boundaries that keeps us separate.

Yes, my art is political…. But I actually believe that political leaders shouldn’t be divisive.

How I address this particular question is to believe  – this is a belief – that I am being of service to communities; to perhaps vainly believe that I am making some sort of a contribution. Firstly to the Japanese diasporic community by giving a voice, then to the wider Asian Australian community to speak as loudly as I can. And then contributing to a even the wider community; to tell a part of little known Australian story for all. And then finally, telling the kind of story that would unite humanity in resonance instead of that which would divide us.

For those who don’t know my recent work Yasukichi Murakami – Through a Distant Lens, it’s a story about a contemporary Japanese Australian photographer, Mayu, a character based on me, searching for the lost photographs of a historical Japanese Australian photographer, Yasukichi Murakami. It combines narration, documentary photographs and interviews, live music, dramatic action with actors and scripted dialogue between Mayu, Murakami’s ghost and ghost of Murakami’s first wife Eki Nishioka, who taught Murakami how to take photographs.

Murakami is not a fictional character. We know that he came to Australia in 1897, lived in Broome, then in Darwin as a photographer, inventor and entrepreneur. When WWII started, he was interned as an enemy alien, and died in the camp. And because of that, his life time worth of photographs have gone missing.

Before I made Murakami, I worried about telling stories about the war. Actually, I worried even more about not telling stories about the war. Since the year 2000, I had created several performance works to do with the Japanese diaspora in Australia… and so, then, I ask myself…. how could I keep avoiding telling stories about WWII?

When it comes to things Japanese… WWII is a major subject. A subject that cannot be ignored.

It isn’t easy for someone of Japanese diaspora, especially today with the current Japanese government and their ideas on the past  – conservative, divisive and alarming.

Making Murakami was a social responsibility I had to taken on. To be of service to the world I live in, I had to engage with the war without making heroes out of soldiers. Murakami was a civilian, like you and I – his life in the hands of people who wish divide us.

  1. Story-telling and its limitations

I call myself a story-teller…. yet I’m increasingly suspicious of story-telling.

Story-telling has become a major force in our times. You go see a counsellor or read a self-help book or a blog on how to become happy or to be rich or whatever. They all tell you to write your story or rewrite your story. That story-telling is one the main ingredients for positive transformations to occur in our lives. Even the corporate sector now talks of story-telling through its content on social media as the key to successful brand loyalties.

But there is also problem with story-telling. Because although often stories carry moral and ethical codes that appear universal, often they also carry messages that can and should be questioned. Sometimes it carries out-dated and out-moded narratives.

As a woman of Japanese heritage… the story of Madama Butterfly for an example.

And in reality, not everything fits into the format of hero rescues damsel in distress or rags to riches. There is something wrong about trying to fit truth with a capital T into a story format, acceptable and accessible to all.

Having said that, Murakami’s story is a typical quest. Like Homer’s Odyssey, Mayu goes on a search for Murakami’s photographs, meets up with a mentor – the ghost of Murakami and Eki, encounters mysteries and struggles, then returns from her journey having found some of Murakami’s lost photographs, and in the process, learns some valuable life lessons.

All neatly fits into a quest format. But I worry about the ethics of this.

On her quest to find Murakami’s photographs, she found some in Japan.  They were Murakami’s family photographs he had sent to his mother in Japan during his lifetime in Australia.

Thus one of the lessons that Mayu learns from her quest is the importance of family and that family photographs are a key to immortality of his photographs. Family photographs – its heart warming lesson….

But, well, nothing in reality is so clean cut.

What I left out in the play is that Murakami’s most important photographs –  important to him – were not his family photographs, but a set of photographs he took whilst conducting experiments for his ground breaking diving suit design.

He actually had the foresight to take a photo album of his diving suit experiments with him to the internment camp. After the war, one of the family members kept the album, but was lost in Darwin in the 1970’s. Some say it was the cyclone, others tell me that it was lent to a researcher – a some what well known person in Darwin – who I won’t mention the name –never returned it to the family.

But this didn’t fit into our one hour story.

This brings me to my next point of discussion:

  1. Historical or factual accuracies and theatrical licences

I worried a lot about not including what happened to Murakami’s diving suit album in the play . To me it felt unethical.

But then again, its been like this all along – from the beginning – I wrote in the script that Murakami and his family moved to Darwin circa 1935. But of course by the time we had creative development workshops everyone told me that I can’t use the word circa in a script … So in the play, Murakami’s ghost tells the audience, “… in 1935, we all moved to Darwin!”

Who cares about facts… really, I’ve got a ghost in the play!! But I worry about my social responsibility.

So… I actually saw a channeller…. To me…. It somehow felt more ethical to hear Murakami speak through a channeller than to put words in a dead man’s mouth.

So I guess it makes my feel better that I’m telling you all this today. And I’m hoping to put today’s talk up on my About Murakami process blog so its all on record.

Which brings me to my next point of discussion:

  1. Archiving and documentation

My process blog is where I write things that get sieved out of the actual artwork outcome. It includes process videos, photos and written thoughts during the entire process of the project. It also includes a full bibliography for future researchers.

I am also now preparing captions for the 200 or so photographs I found for archiving by the State Library of WA. If I don’t do this, Murakami’s photographs will be lost again.

My sense of social responsibility says I’ve got to do these things in service and contribution for the good of wider communities.

  1. Audience, stakeholders and authenticity

Social responsibility includes the audience. This means certain decisions need to be made which takes the audience into consideration… whether it be entertaining or inspiring or educational, I feel that audience needs to get something out of my show.

I also think that my creative collaborators need to get something out of it. As well as the Murakami Family – the descendants need to get something out of my arts practice.

So I think about what this something may be – but of course, it means for different things for different people.

The result is that best I keep good for all in mind, and that means that as long as universal values – what I believe are universal – of that which is to be human being are strong and constant enough – then the specifics should takes care of itself. And that means universals values throughout – not just in the art work itself, but in the process of creation and all other work I do, creative or other wise, that pertains to this project – and not just this project – but to live authentically in all that I do.

I know this sounds all airy fairy and unrealistic – nor am I perfect. And when conflicts arise, which inevitably it always does at some point, the only way to be is to refocus on higher ground, then let go.

  1. Publicity, media and advocacy

As artists we have a chance to talk to the wider world with help of media, traditional or through social media. Although often the immediate reason behind this is to publicise a show, I see it as a chance express higher thoughts and ways of being for the betterment of the whole.

To advocate being in service for humanity.

I’m just an independent artist. I’m not even a scholar…. But with my tiny tiny tiny being as an artist, I’m going to be the political leader – starting with my constituency, then extending wider – I am going to be the political leader I want all our politicians to be.

Thank you!

Mayu Kanamori Nov, 2015

More info: mobilities conference: https://aai5conference.wordpress.com/

More info: AASRN https://aasrn.wordpress.com/

 

The Moon and the Lustre

The day before the full moon lunar eclipse in September 2015, Melissa Murakami and I visited the Maritime Museum in Fremantle to see the Lustre exhibition. Melissa’s great great grandfather Yasukichi Murakami lived in Broome during the hey-day of the Australian pearl shell industry, and had made a quiet, yet significant contributions to the industry. Quiet, because until this exhibition, the stories of Australian pearling had not been told through the vision of curator Sarah Yu and her team Bart Pigram and Maya Shioji at Nyamba Buru Yawuru with the WA Museum team who had included individual narratives of lessor known black and yellow fellas who were part of the Australian pearling community.

Melissa Murakami and projected self portrait of Yasukichi Murakami at the Lustre: Pearling & Australia exhibition. Photo by Mayu Kanamori

Melissa Murakami and projected self-portrait of Yasukichi Murakami at the Lustre: Pearling & Australia exhibition. Photo by Mayu Kanamori

Murakami and his business partner Captain A.C. Gregory started Australia’s first cultured pearl farm, although the authorities had closed it down because of the local fear of ruining the natural pearl market, which in effect had set Australia’s cultured pearl industry back by 30 years. Murakami had invented a safer diving suit, which was the forerunner for the modern-day scuba gear, and although he had patented his design, its renewal fell due whilst he was interned as an enemy alien during WWII, allowing a French inventor to patent one of a very similar design. Significant contributions dwarfed by the course of history, and the way what stories are told by whom.

I had created short audio stories for this exhibition by using oral history interviews of people who were part of the cultured pearling industry for this exhibition. They included not only pearling masters and Japanese pearl divers, but lesser known stories of Indigenous pearl shell carvers, deck hands, boat builders, and shell graders, among many others.

Although my involvement had been small compared to all the work that had gone into preparing the exhibition, being in constant communication with Sarah Yu, who had put me up in her home whilst I was researching Yasukichi Murakami’s story for Yasukichi Murakami – Through a Distant Lens, gave me the opportunity to contribute some of Murakami’s story and photographs found in Tanami and Darwin for the exhibition

From the exhibition Lustre: Pearling & Australia. The photograph displayed of the boy on the left centre was taken by Yasukichi Murakami of his son Francis Yasunosuke Murakami at the Japanese Cemetery in Cossak. The x marking on the photo indicated the grave of Chiyo Araki, mother of Theresa Shigeno Murakami. The video display on the right was part of project In Repose by Wakako Asano, Satsuki Odamura, Vic McEwan and Mayu Kanamori. Photo by Mayu Kanamori

From the exhibition Lustre: Pearling & Australia. The photograph displayed of the boy on the left centre was taken by Yasukichi Murakami of his son Francis Yasunosuke Murakami at the Japanese Cemetery in Cossack. The x marking on the photo indicated the grave of Chiyo Araki, mother of Theresa Shigeno Murakami. The video display on the right was part of project In Repose by Wakako Asano, Satsuki Odamura, Vic McEwan and Mayu Kanamori.
Photo by Mayu Kanamori

I darted around the exhibition looking for images and stories pertaining to Murakami, making sure we did not miss any of them, pointing them out to Melissa with excitement, as if they were my own photographs on display. Melissa’s partner found the copy of a certificate exempting Murakami from a dictation test, issued by the Commonwealth of Australia as part of the Immigration Act 1901-1920. Displayed in one of the glass cabinets, the second page of the certificate was of his left palm, stamped by the customs and excise office in 1925.

There is something powerful about a hand print of someone who had once lived. Its proof of having-once-lived-ness enters our awareness vividly in rawness; much more so than a photograph of the deceased, perhaps because of our digital age and the proliferation of photographs.

Melissa studied the lines on her ancestor’s palm, then her own in comparison. It is often said in palmistry that the left hand shows traits a person was born with, and the right hand, the kind of a person they had become; and perhaps because of this, she found the shape of his palm and the lines similar to her own. She later told me of feeling a strong connection with this particular exhibit, as if “the only separation between was an ink pad, and not time.”

Melissa Murakami comparing her left palm to that of her ancestor Yasukichi Murakami. Photo by Mayu Kanamori

Melissa Murakami comparing her left palm to that of her ancestor Yasukichi Murakami. Photo by Mayu Kanamori

Before we left the museum, we took photos of each other, separately and together in groups at the entrance of the exhibition. Seen from the entrance was a screen hoisted from the ceiling, its shape round, probably because it emulated the shape of a pearl. Black and white images of people who worked in the Australian pearling industry were projected on to the screen, one by one. When it was Melissa’s turn to be photographed on her own, one of Murakami’s self portraits taken at Captain Gregory’s home appeared on the screen.

That afternoon on my way back to Perth, I saw a daytime super moon, full, just above the horizon in the clear blue sky, perfectly round like a cultured pearl. Was it my own little ego that made me see Yasukichi Murakami sitting in Gregory’s cane chair, on the moon, acknowledging my small contribution for his descendants and wider world to recognise his? Perhaps it was time to return to humility, and remember that as people, we all have a part to play, a small but significant purpose to fulfil as part of the whole.

Lustre: Australian Pearling will be on at the Western Australian Maritime Museum in Fremantle from 20 June to 25 Oct 2015 travelling to other locations.

More info:

Lustre by Sarah Yu, Bart Pigram and Maya Shioji on the Griffith Review

Lustre on-line text panels by WA Museum

Somehow, of love and immortality

Upon returning from photographing a wedding on Pearl Beach last weekend, I found a message from a man named Greg Leon in Melbourne:

I have just seen a news article at ABC Online… regarding Yasukichi Murakami and your biographical work on him. The article mentioned the scarcity of his photographs from his Darwin years. I have a set of 15 photographs that Mr Murakami may have taken of my parents when they were married in Darwin in May 1940. If you are interested please let me know… Regards, Greg

Interested?! This is what I’ve been doing for nearly 3 years: Looking for Yasukichi Murakami’s photographs, especially from Darwin.

I telephoned Greg immediately.

Back of the envelope

Back of the envelope found by Greg Leon.

Dear Mayu,

I was surprised and delighted to receive your call today. The timing was something of a coincidence as I was scheduled this afternoon to perform (inter alia) a song I wrote that refers to Murakami-san’s photos of my parents’ wedding in Darwin in 1940. For info, I am a part-time singer-songwriter (and a semi-retired IT Consultant, Project Manager, Business Analyst).

I have attached scans of the envelope in which I found the photos (as film negatives). I have also attached one of the images revealing the shadow of the photographer!

Imelda (nee Leahy) and Tony Leon on their wedding day in Darwin, 1940. Photo probably by Yasukichi Murakami

Imelda (nee Leahy) and Tony Leon on their wedding day in Darwin, 1940. Photo probably by Yasukichi Murakami

When I was a younger photographer working for Fairfax Media, many of my colleagues said wedding photography was not a path to pursue for a serious photojournalist. Yet I enjoyed enjoy being of service as a photographer who endeavours to leave memories of love.

Photographing a wedding gives a photographer a great chance for his / her work to serve for generations to come. In a sense, it is our best shot at immortality.

Greg added:

My parents were Imelda (nee Leahy) and Tony Leon. Both were born in Adelaide, but my father’s family were from Melbourne. I understand that they met in Darwin just three weeks prior to their wedding. I am not sure when they returned to Adelaide, but I assume it was prior to 1941. After the start of the “Pacific” war, my father enlisted and went to New Guinea, while my mother remained in Adelaide as a nurse in one of the military hospitals. After I was born in 1947, my parents moved to Melbourne where I have spent the rest of my life to date.

Looking a little more critically – and from an amateur photographer’s perspective – some questions spring to mind:

– Why would a professional photographer allow his shadow to fall within the frame?

– Wouldn’t a professional photographer retain the negatives, rather than returning them to the client?

– Looking at the photographs as a set, I cannot help thinking they are almost too casual for a pro.

So, the Big One: was Murakami-san the actual photographer, or did he just process the film as a service for the person who took the photographs? What do you think?

Looking forward to further discussion!

Best regards, Greg

Envelope found by Greg Leon. The handwriting is that of Yasukichi Murakami's.

Envelope found by Greg Leon. The handwriting is that of Yasukichi Murakami’s.

I do not know all the answers.

I know that when I had photographed weddings on negatives, I often gave the negatives to the bride and groom. They are best with them, and not for us to keep a hold on the work we have taken part and brought to creation.

Murakami did leave his shadow in two of his family photographs.  There could be many more. John E deB Norman told me once that he has a photograph of Eki Nishioka’s shadow. Perhaps it was Eki who taught Murakami to leave his shadow in a photo every so often.

Somehow, the words love and immortality to come to mind.

Emma Dean and Joon Yang at Pearl Beach 2014 Photo by Mayu Kanamori

Emma Dean and Joon Yang at Pearl Beach 2014 Photo by Mayu Kanamori

– Posted by Mayu Kanamori

OzAsia Festival – Adelaide

9 & 10 September 2014 7:30pm Space Theatre, Adelaide Festival Centre

My date on Yasukichi Murakami – Through a Distant Lens was beautiful Jacinta Thompson, former Artistic Director of OzAsia Festival. We met in the Space Theatre foyer with a heartfelt embrace. Many Asian Australian artists have developed their careers because of Jacinta’s vision and long-term curatorial commitment in nurturing the growth of an artist like myself. OzAsia Festival not only brings to Australian audiences art from Asia, but has actively invested in the Asian stories within Australia. The importance of their longer term curatorial vision must be congratulated and held in reverence.

Working with the professional people and facility at the Adelaide Festival Centre along with the excellent OzAsia team with current Artistic Director Joe Mitchell, our show excelled, bringing in many favourable reviews. We were blessed with great publicists throughout our Darwin, Broome and Adelaide tours, and have received much publicity, which is of course excellent for the show itself, but in the wider sense, we have been able to add to the legacy of Yasukichi Murakami and to rekindle the memory of the pre war Japanese contribution to Australia.

Reviews

Realtime: 8th OzAsia Festival 2014 Culture’s haunted houses by Ben Brooker

Realtime: 2014 Darwin Festival, Cultural syntheses: north-south, east-west by Nicola Fearn

BWW Review: OzAsia Festival 2014; Yasukichi Murakami – Through a Distant Lens Captivates and Informs by Barry Lenny 

The Clothesline: Yasukichi Murakami – Through a Distant Lens: An Enchanting Photographic Journey Betwden Past and Present by Michael Coghlan

The Advertiser: OzAsia migration lay Through a Distant Lens puts Japan in focus by Louise Nunn

In Daily: Murakami: a life lost and rediscovered by Gregg Elliott

Glamadelaide: OzAsia Theatre Review: Yasukichi Murakami – Through a Distant Lens

Selected Media Links

ABC Radio National Arts & Books Daily: Yasukichi Murakami: the photographer who captured Darwin by Georgia Moodie. Presented by Michael Cathcart

ABC Radio National Music Show: Yasukichi Murakami. Presented by Andrew Ford. Produced by Maureen Cooney / Jennifer Mills

ABC Radio National Drive: A Japanese-Australian photographer in pre-WW2 Darwin. Presented by Waleed Aly. Produced by Hélène Hofman

ABC News: Japanese photographer, pearling pioneer Yasukichi Murakami honoured in Broome

-Posted by Mayu Kanamori

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References: Yasukichi Murakami – Through a Distant Lens

Yasukichi Murakami

Bain, M. (1982). Full Fathom Five. 1st ed. Perth: Artlook Books.

Beaumont, J., O’Brien, I. and Trinca, M. (2008). Under suspicion. 1st ed. Canberra, A.C.T.: National Museum of Australia Press.

Caudle, R. (1979). Caudle, Rex Oral History Transcript. [Manuscript] NTRS 226 TS  26. 1979. Northern Territory Archives Service, Darwin, NT, Australia.

City of Darwin, (2001). A Secondary School Resource on the Bombing of Darwin. Darwin: Federation Frontline, pp.54 – 55.

Hamaguchi, P. (2013). Interview with Pearl Hamaguchi. Broome.

Jones, N. (2002). Number Two Home: A story of Japanese Pioneers in Australia 1st ed. Fremantle, W.A.: Fremantle Arts Centre Press.

Kaino, L. (2011). ˜Broome culture” and its historical links to the Japanese in the pearling industry. Continuum, 25(4), pp.479–490.

Kaino, L. (2013). On-Board train Australia: Some contest of the works of Kanamori and Murakami. Zeistschrift fur Australierstudien, (Issue 27), pp.pp 105 – 125.

Kilgariff, F. and Carment, D. et al (2008). MURAKAMI, YASUKICHI (1880-1944). In: Northern Territory Dictionary of Biographies, 2nd ed. Darwin: Charles Darwin University Press.

Lance, K. (2004). Redbill: From Pearls to Peace – Life in Times of A Remarkable Lugger 1st ed. North Fremantle: Fremantle Arts Centre Press.

Minami, Y. (2013). Interview with Yasuko Pearl Murakami Minami. Tanami.

Murakami Shigeno Theresa (and Yasukichi). (2014). [Manuscripts, letters, historical documents. Electronic document] A367 – c68988 National Archives of Australia. Canberra.

Murakami, J. (Dec 2011, Aug 2012 and Feb 2013). Interviews with Joseph Murakami. Tsunashima.

Murakami, J. (April 2012 and April 2013). Interviews with Julie Murakami. Darwin.

Murakami, K. (1979). Kathleen Murakami Oral History Transcript. [Manuscript] NTRS 226 TS  95. Northern Territory Archives Service. Darwin.

Murakami, P. (1979). Peter Murakami Oral History Transcript. [Manuscript] NTRS 226 TS 96 Northern Territory Archives Service. Darwin.

Murakami, Y. (1926). Application for Letters Patent for an invention, Improved diving dress. [Manuscript and diagrams] A627 – 4150944 National Archives of Australia. Canberra.

Murakami, Y. (1926). Application for Letters Patent for an invention, Improved diving dress. [Documents and diagrams. Electronic document] A267 – 1525/1926 National Archives of Australia , Canberra.

Murakami, Y. (1926). Application for Letters Patent for an invention, Improvements in diving dress. [Manuscript and diagrams] A627 – 4215206  National Archives of Australia. Canberra.

Murakami, Y. (1926-7). Application for Letters Patent for an invention, Improved diving dress [Manuscript and diagrams] A627 – 4216044 National Archives of Australia. Canberra.

Murakami, Y. (1927). Application for Letters Patent for an invention, Improvements in and relating to diving dresses. [Manuscript and diagrams] A627 – 4215757 National Archives of Australia. Canberra.

Murakami, Y. (circa 1988 – 1944). Handwritten text on back of original photographic prints, various. [Photographic prints, back].

Nagata, Y. (1996). Unwanted Aliens: Japanese Internment in Australia During WWII. 1st ed. St. Lucia, Qld.: University of Queensland Press.

No 10 of 1918, Yasukichi Murakami [bankruptcy]. (1918). [Manuscripts, transcripts, letters, ledgers. Electronic document] PP92/1 – 12038022 Australian National Archives . Perth.

Norman, J. (May 2013). Interview with John Norman. Broome.

Prisoner of War/Internee: Murakami, Yasukichi; Date of birth – 19 December 1880; Nationality – Japanese. (n.d.). [Electronic document] MP1103/1 DJ18100 National Archives of Australia. Canberra.

Prisoner of War/Internee; Murakami, Yasukichi; Year of birth – 1880; Nationality – Japanese. (n.d.).[Electronic document] MP1103/2 DJ18100 National Archives of Australia. Canberra.

Sack, E. (1979). Eve Sack Oral History Transcript. [Manuscript] NTRS 226 TS 114 Northern Territory Archives Service. Darwin.

Scott, T. (1979). Thomas Connor Scott Oral History Transcript. [Manuscript] NTRS 226 TS 616 Northern Territory Archives Service. Darwin.

Shigematsu, S. (2007). Research Note on Pearling and Japanese Contribution to Local Society in early 20th century Australia. The Otemon Journal of Australian Studies, 33, pp.91- 100

Sissons, D. (2014). Murakami, Yasukichi (1880 – 1944). In: Australian Dictionary of Biographies, 18th ed. [online] Carlton: Melbourne University Press.

Photography

Barthes, R. (1981). Camera Lucida. 1st ed. New York: Hill and Wang.

McAuley, G. (2008). Photography and Live Performance: Introduction. Still / Moving: Photography and Live Performance, About Performance, No 8, pp.7-13.

Benjamin, Walter (1936). 1999.  The Work of Art in the Age of Mechanical Reproduction. Illuminations. London: Random House

Nietzsche, F. (1872).  1995. The Birth of Tragedy. New York: Dover Publications.

Ritchin, F. (2009). After Photography. 1st ed. New York: W.W. Norton.

Sontag, S. (1977). On Photography. 1979. Middlesex: Penguin Books.

Photographs used in the production of Yasukichi Murakami – Through a Distant Lens are a courtesy of:

Australian War Memorial – ID 052384 & 052460 Photo by James Tait, Tatura Victoria

Bielby, Margo Photographic Archive

Broome Historical Society of Joseph Kisaburo Murakami Photographic Archives

Darwin Rondalla Archives

Gruchy, Mic Photography and Archives

Hamaguchi, Pearl Family Archives

Hang, Ted and Eunice Family Archives

Jones, Noreen Photographic Collection of Mise & Yamamoto Photographic Archives

Kanamori, Mayu Photography and Archives

Lance, Kate Photographic Collection

Murakami, Joseph Kisaburo Family Archives

Murakami, Julie Family Archives

Murakami, Yasuko Pearl Family Archives

National Archives of Australia –  A446  – 7648980 Kathleen Murakami

National Museum of Australia –  Book cover of Under Suspicion: Citizenship and Internment in Australia during the Second World War,  ISBN 9781876944605 

Northern Territory Library – Commemoration PH0200/0380 Mayse Young Collection; Cavenagh Street in the 1930’s / V. Fletcher, Harold Snell Collection; Bi-plane PH0282/0039 Unknown Collection; Rally PH0283/0012 Bill Allcorn Collection; Group PH0323/0014 D. Smith Collection; Float in street parade, Darwin circa late 1930s PH0340/0038 Jarvis Collection; Old Town Hall on Smith Street PH0386/0150 Bill Littlejohn Collection; Afternoon drink PH0444/0006 Bill & Betty Eacott Collection; Couple PH0375/0008 Marella Collection; The Residency PH0223/0005 J. Towers Collection; Serviceman PH0285/0053 Photo by Y. Murakami, Frank Blackwell Collection; and Divers on pearling lugger D36 PH0238/0174 Peter Spillett Collection

Other photographs from Northern Territory Library duplicate and supplied from Murakami family archives directly – Five men and a lady sitting in a car PH0096/0026 Fay Kilgariff Collection; Dampier Hotel PH0096/0024 Fay Kilgariff Collection; Mrs Theresa Murakami and Mr Yasukichi Murakami PH0096/0020 Fay Kilgariff Collection; Family PH0096/0019 Fay Kilgariff Collection; Man sitting in drivers seat of a car PH0096/0025 Fay Kilgariff Collection;  and A Japanese woman in Japanese dress PH0096/0017 Fay Kilgariff Collection.

Tsuda, Mutsumi Photography, Photographic Collection and Archives

Puertollano / Masuda, Cauline Family Archives

Sisters of St John of God Photographic Collection of Jones, Noreen Photographic Collection of Mise & Yamamoto Photographic Archives

All appropriate documents and photographs found for the research pertaining to Yasukichi Murakami – Through a Distant Lens, used or other wise in the final production have been donated to Julie Murakami (Yasukichi’s great grand daughter / Murakami family historian) and Broome Historical Society / Museum.

– Posted by Mayu Kanamori

Archives and collective memory

Even with my white cotton gloves on, as required  by the  NT Archives to view original documents, I feel my heart pounding with magical force when I sense that I may be touching original photographs printed by Yasukichi Murakami, the man who has been the centre of my creative work for the last 26 months.

Françoise Barr,  Research Librarian, NT Archives Photo by Mayu Kanamori
Françoise Barr, Research Librarian, NT Archives
Photo by Mayu Kanamori

I had taken my first step to involve myself in this project the day after the Great Tohoku Earthquake in Japan (11.03.11), when I met Dr Lorna Kaino at the Astor Theatre in Perth. Standing with a glass of wine in a noisy foyer after a piano concert by Les Ferers, I briefly chatted with her about collaborating on a project about historical Japanese photographers in Australia; thus I began my journey;  that  of being a contemporary Japanese born photographer working in Australia in search of Yasukichi Murakami’s life and work.  Since then, the creative force has gently unfolded, step by step, from A to B, B to C, C to D, and I recently found myself yet again sifting through thousands of photographs with the help of one very dedicated and experienced archivist, librarian, and for me, a great teacher, Françoise Barr at the NT Archives. Her knowledge of research and archiving fills the gap of my lack, and her warmth of character gives me the strength to carry out this inconspicuous, and potentially, a lonely fruitless task.

Mayu Kanamori at NT Archives Photo by Françoise Barr
Mayu Kanamori at NT Archives
Photo by Françoise Barr

I am looking for Murakami’s photographs which disappeared from official Australian history. Many of his photographs disappeared because of reasons which could be conveniently viewed through the framework of branches in Asian Australian studies, a view of Australian history through certain racialised filters, and or of those of Japanese diasporic studies, regarding unresolved aspects of Japanese involvement in WW2. It is fair to say that Murakami, having lived through racially oppressive times of the White Australia Policy, having been interned during the war, then dying whilst interned, would have contributed to the loss of his photographs. However truth never seems to fully surface when it is required of the researcher to present a coherent viewpoint and framework. Truth isn’t that clear cut. Truth is messy. And this may be one of the reasons why I am making art about Murakami, and my initial proposal to write a thesis was had not been accepted by academy.

There are many  reasons a photographer’s work disappears from history. The first and foremost seem to be the photographer’s attitudes toward their own work. That is to say whether Murakami understood the importance of his documentation for posterity, and furthermore, if he had thought that signing or stamping the back of his prints before they left his studio, attributing his part in the work was important for furthering his income, status or other gains. From my research to date, it seems that he encased his photographs in a cardboard border with his name on it during his early career at the Nishioka Photographic Studio (c. 1900- 1915), but unlike popular practice of photographers in Darwin during the late 1930’s, back of his prints seem to have not been stamped with the name of his studio. It is difficult to tell for sure, and I would need to spend further days in Darwin, next time at the NT Library to view original photographs to draw this conclusion. I have already viewed well over 7000 images on-line, but the back of the photographs are not part of the NT Library’s on-line collections.

There are other factors at play, such as whether his surviving family members placed similar importance to his photographs. Murakami’s photography was a means for him to earn a living and support his family, not so much a work of art, an investment in his name as an artist. My current lack of  knowledge of details of  the Australian Copyright Act of 1905 prevents me from even hypothesising where Murakami stood in regards to his copyright practices. The current Australian Copyright Act 1968 which contemporary photographers may adhere to came well after Murakami’s death in 1944.

Other factors that need consideration when understanding how a photographer’s work may disappear in time include how intermediary archivists such as amateur historians and private collectors conducted their part in the archival process, and or where the focus existed in standard archiving policies of the time. An example of this is when photographic albums were not kept as albums, but were taken out of their albums and mixed with others by subject matter before being donated to the official archives, or when archivists in the field photographed the original photographs for the official archives, but not have photographed the back of the prints.

Last month I was given the opportunity by Australian Japanese Association of Northern Territory (AJANT) to give a talk at Darwin’s Museum & Art Gallery Theatre, explaining this project, and calling for assistance in finding Murakami’s photographs. This event has prompted me to give interviews to ABC Darwin local radio and the Sunday Territorian. As a result, the word is out – there is a search on for Murakami’s photographs. I would like the people of Darwin to help find them, because Yasukichi Murakamis story is part of Darwin’s story, the town’s collective memory of their pre war history, forgotten because of the violence of war, and this project may help us remember together.

Sunday Territorian photographer Katrina Bridgeford with Julie Murakami. On the table are Yasukichi Murakami's  photographs. Photo by Mayu Kanamori
Sunday Territorian photographer Katrina Bridgeford with Julie Murakami. On the table are Yasukichi Murakami’s photographs. Photo by Mayu Kanamori
Julie Murakami and Mayu Kanamori on Sunday Territorian. Story by Nicole Mills
Julie Murakami and Mayu Kanamori on Sunday Territorian. Story by Nicole Mills

In the mean time, the people who came to the talk gave me leads to follow. Each stone is being turned over – one at a time. Step by step.

– Posted by Mayu Kanamori