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/

 

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Shinju Matsuri Festival – Broome

5 & 6 Septemeber 2014 7:30pm Broome Civic Centre

Old Broome families remember Yasukichi Murakami. Many have photographs of their family members taken by him in their homes. Others have grown up with Yasukichi’s children, and some to the Murakami family through marriage. People in Broome respect their history, and read the many books written about their town, many of which mention Yasukichi. There is a Murakami Road on the way to their new jetty with a sign erected by the Shire with information about him and his contribution to the town.

The audience in Broome were well-informed with their history, and soulfully connected to the story of Yasukichi Murakami – Through a Distant Lens. They laughed and cried a lot louder, they talked, as they saw projected, photographs of people they remembered. For Broome’s Nikkei community and their friends of mixed heritage who lived and worked together before Broome’s rapid population growth, this performance touched upon their specific history, their contribution to pearling, and their hardships, including the almost forgotten Japanese internment during WW2.

There were 212 people interned from Broome. In the audience were former internee and Broome Counsillor Philip Matsumoto and Ben Shiosaki, who had returned from Mullewa to Broome for the first time since he was 6 years old when he and his family arrested as enemy aliens.

Showing Yasukichi Murakami – Through a Distant Lens in Broome was important. As Annette Shun Wah from Performance 4a, the producer of this work aptly billed it, we were “bringing Murakami home to Broome.” With Shinju Matsuri Festival board member Chris Maher working diligently in the background, the Broome Shire President Graeme Campbell hosted a civic reception before the show opened for the Murakami family, welcoming them back to their town.

Shire President Graeme Campbell and Pearl Hamaguchi

Shire President Graeme Campbell and Pearl Hamaguchi

Murakami family members arrived in Broome for this occasion from Perth, Karratha, Fitzroy Crossing and Darwin. Nikkei community Elder Pearl Hamaguchi gave a moving speech honouring the family, and remembering those community members interned during the war, including her own father Jimmy Chi. She presented the Shire with a framed copy of Yasukichi Murakami’s invention – his improved diving suit design which became the basis for the modern-day scuba equipment.

After the Broome performance of Yasukichi Murakami - Through a Distant Lens. L to R - Fran Murakami,

After the Broome performance of Yasukichi Murakami – Through a Distant Lens. L to R – Fran Murakami, Colin Murakami, Kevin Murakami, Julie Murakami, Cr Philip Matsumoto, Ben Shiosaki, Joanne Shiosaki, Rodney Murakami and Mayu Kanamori.

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– Posted by Mayu Kanamori

 

Darwin Festival

19  August 2014 8:15pm & 20 August 2014 6pm & 8:15pm Brown’s Mart Theatre

Sitting at the very back of the packed-out Brown’s Mart Theatre on the world premier of Yasukichi Murakami – Through a Distant Lens, I thought I could hear every murmur, each gasp, laughter and finally, sniffle by the group of dozen Murakami family members who sat in the front row.

In making this work, listening became the most important thing to do. To listen carefully to the voice of Yasukichi Murakami’s spirit, the voices of the creative collaborators, and to my own inner voice of truth. This active listening required more effort than to speak out loud. For many years I had thought it a vital process of becoming an artist to express, and out loudly, but through this project,  I have learned expressive less, more receptive, let go, and allow the creative to emerge as it naturally flowed outwards.

Although those Murakami family members who had received a copy of the script gave their blessing, I was still very worried whether the family members would like how their ancestor was portrayed on stage. To my relief, when we met at the theatre forecourt after the show, it was obvious that they were pleased with the results.

Phew.

Cast and crew wht Murakami family members after the premier of Yasukichi Murakami Through a Distant Lens photo by Greg Aitkin

Cast and crew with Murakami family members after the premier of Yasukichi Murakami Through a Distant Lens photo by Greg Aitkin. Front row L to R – Veronica McLennan, Arisa Yura, Mayu Kanamori, Julie Murakami, Jacqueline Murakami, Annette Shun Wah, David Murakami, Terumi Narushima. Back row L to R -Malcolm Blaylock, Calvin Murakami, Maius Lai, Kevin Murakami, Peter Murakami, Yvonne Wood, Benjamin Brockman.

It was important to premier this work as part of Darwin Festival, Darwin’s most prestigious and recognised art festival, because this is where Yasukichi Murakami and his family were arrested as an enemy alien and it is where most of his descendants live today. Because of  this, Darwin is where the honour of his name and work need to be remembered, acknowledged and celebrated the most.

– Posted by Mayu Kanamori

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Murakami for recognition and rememberance for all

Unlike my usual visits to Yasukichi Murakami’s grave at the Japanese War Cemetery in Cowra,  on 9th of March 2014, I heard many voices of those alive today, and not just the dead and buried.

(L to R) Melissa Yoko Murakami (Perth), Julie Murakami (Darwin), Reiko Ruruka Minami Murakami (Japan) , Calvin Murakami (Darwin) and Sandra Seiko Murakami (Perth). Photo by Mayu Kanamori

(L to R) Melissa Yoko Murakami (Perth), Julie Murakami (Darwin), Reiko Ruruka Minami Murakami (Japan) , Calvin Murakami (Darwin) and Sandra Seiko Murakami (Perth). Photo by Mayu Kanamori

For sometime now I have entertained an irrational thought that Yasukichi Murakami’s ghost was calling to me to fulfill his wishes, and on this day, at least part of my irrational belief  as to his wishes came to be. Not only was his grave visited by 6 of his family members, but nearly 200 people gathered to commemorate the civilian internees who died in internment camps across Australia during World War II .

The commemoration was part of a series of events held in Cowra, NSW including a symposium, Civilian Internment in Australia during WWII: history, memories and community heritage, its related arts program, the Cowra Canowindra Civilian Internment Arts Program and an unveiling of an interpretive board with information about Japanese civilian internment in Australia during WWII at the entrance of the cemetery. This is the first time Japanese civilian internees and their families were publicly acknowledged in Australia.

(Back row L to R) Reiko (Ruruka) Minami Murakami, Calvin Murakami, Mayu Kanamori (Front row - L to R) Jacqueline Murakami and Julie Murakami. Photo by Mutsumi Tsuda

(Back row L to R) Reiko (Ruruka) Minami Murakami, Calvin Murakami, Mayu Kanamori (Front row – L to R) Jacqueline Murakami and Julie Murakami. Photo by Mutsumi Tsuda

Couple of years earlier, when I first visited Murakami’s grave with Dr Lorna Kaino, we met with Dr Keiko Tamura, a historian from the Australian National University there. By Murakami’s grave, the three of us discussed how the Japanese War Cemetery in Cowra needed an interpretive board to explain to visitors that many of the people buried there were civilians like Murakami. In fact many visitors to Cowra also visit the former Cowra Prisoner of War (POW) camp site, and have heard about the Cowra Breakout, and assuming all buried at the this cemetery were Japanese POWs who died during this mass breakout. The visitors walk into the cemetery, and after seeing the graves, wonder why there are babies and children buried there.

Former civilian internee Evelyn Suzuki and Cowra Mayor Bill West unveils the civilian internment interpretive board at Cowra Japanese War Cemetery. Photo by Mayu Kanamori

Former civilian internee Evelyn Suzuki and Cowra Mayor Bill West unveils the civilian internment interpretive board at Cowra Japanese War Cemetery. Photo by Mayu Kanamori

The three of us agreed there and then to contact our mutual friend Dr Yuriko Nagata from Queensland University (UQ), the author of Unwanted Aliens: Japanese Internment in Australia During WWII (1996, UQ Press), the definitive book on this subject with the view to  bring about change. The four of us formed a group  Nikkei Australia, and with Dr Nagata as our team leader, for the next two years, worked together with the Cowra Breakout Association and other dedicated organisations and peoples to realise  these series of events.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Perhaps it was  Yasukichi Murakami’s ghost that inspired us to work to facilitate this social change. After all, in his lifetime, Murakami was not only a photographer and artist, but also a leader in the Japanese communities in places  he once lived: Broome, Darwin and in Tatura Internment Camp in Victoria. Not only would he want his descendants to visit his grave – his wife and his deceased children are buried in Darwin – but would like his fellow community members who are buried in this cemetery to be remembered by their descendants, and for all of us to recognise and acknowledge their history.

Having said that, one of the most outstanding aspects of Murakami’s life was that he was not only part of the Japanese community. Historians such as Dr Lorna Kaino and Kate Lance, author of Redbill  tells us that Murakami and his friend and business partner Captain A.C. Gregory have acted as mediators during series of race riots in Broome (1907. 1914 and 1920), and their lifelong friendship “calmly flout(ed) every racial barrier of Broome society.” (Lance). And as such, our symposium consisted of  internment stories from those of Japanese, Italian, German and New Caledonian backgrounds as well as of regional museum curators from Tatura, Hay and Loveday, where the internment camps once were, academic researchers, artists and creative writers who’s work deal with WWII civilian internment in Australia.

Aoyama Temple, Sydney based Buddhist monks with Murakami family chanting sutra by Yasukichi Murakami's grave. Photo by Mayu Kanamori

Seianji Temple, Sydney based Buddhist monks with Murakami family chanting sutra by Yasukichi Murakami’s grave. Photo by Mayu Kanamori

And  9 March was about  remembering those civilians who are buried in Cowra, regardless of their backgrounds. The ceremony began with a ceremony for Australians who died during WWII at the Australian section of Cowra’s War Cemetery, next for those buried in the Japanese section, which not only includes Japanese and Nikkei civilians, but Chinese, Indonesian and New Caledonian peoples who were interned with the Japanese. We then moved to the Cowra General Cemetery to commemorate the Javanese Indonesian political prisoners who were interned and died in Cowra.

Artists Weizen Ho and Ria Soemardjo leading the attendees through the Cowra General Cemetery from the Indonesian graves to the Japanese War Cemetery as part of a Ceremonial Performance. Photo by Mayu Kanamori

Artists Weizen Ho and Ria Soemardjo leading the attendees through the Cowra General Cemetery from the Indonesian graves to the Japanese War Cemetery as part of a Ceremonial Performance. Photo by Mayu Kanamori

Ria Soemardjo, an Indonesian Australian performer sang by the Indonesian graves, then Weizen Ho, a Chinese Malaysian Australian performer  lead the attendees  back to the Japanese section, where local youth artists Bianca Reggio and Lauren Townsend and Shigeki Sano, a Japanese  Shinto musician residing in Cowra, and Alan Schacher, an Australian performer of Jewish background performed in ceremony along with a group of Sydney based Buddhist monks from Seizanji-ji

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Such were the events in Cowra.

Such were the wishes of Yasukichi Murakami – I believe.

-Posted by Mayu Kanamori

DNA and RNA: what and how of a role of artist and of being human

When I saw Kevin Murakami in Broome, my heart felt like it had stopped for a moment. The shock of seeing him took me to a place I had not prepared for. There was Yasukichi Murakami walking out of his car, I thought, approaching me to say hello.

Kevin Murakami, Broome, 2013  Photo by Mayu Kanamori

Kevin Murakami, Broome, 2013 Photo by Mayu Kanamori

This man of course wasn’t Yasukichi Murakami nor his ghost, but his great grandson, who travelled from Fitzroy Crossing to see me during my stay in Broome. He heard me give an interview with ABC Kimberley about my search for Yasukichi Murakami’s life and work, and contacted me.

I was working with my friend Sarah Yu in Broome on another project: Jetty-to-Jetty, a heritage walking trail of Broome’s foreshore commissioned by Nymaba Buru Yawuru. My specific task was to interview members of old families of Broome in connection to places and their relationships with one another; then create audio files of stories with multiple voices, which tourists could listen to via a phone app whilst walking from the Streeter’s Jetty where hte pearl luggers used to operate from and the site of  Broome’s old Jetty, where the Town Beach is today. They are families and places Yasukichi Murakami would have had intimate knowledge of. After all, he lived in Broome for 35 years of his life. Once again, my work connects past with present and present with future through people, stories, relationships, place and space.

Kevin had driven 400 kms to just to see me. More precisely, he had come to connect with his great grandfather Yasukichi Murakami so that he can then pass on this connection to his two daughters in Perth. He came so I can give him his ancestral family photographs that I have been collecting and digitizing whilst traveling between Sydney, Perth, Darwin, Broome, Tokyo, Yokohama and Tanami in Japan for my Murakami project.

To make my art, I travel many kilometers to ask others to assist me, to receive from them information I need to carry out my work. This time, however, it was Kevin who travelled to receive information that he needed, and he in turn will pass this information on to his children.

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Yasukichi Murakami, self portrait, by Yasukichi Murakami, 1905, Broome. Courtesy, Murakami Family Archives.

I felt as if this exchange touched upon something very mysterious and significant. It was as if I was given  some sort of a hint about how our creative practice, no matter how small it may be in the great scheme of things, is an important part of the whole. That this project is not only about Yasukichi Murakami nor just about my research nor about my art. That in so far as we are alive, there are things we are meant to do for something much bigger than us.

Kevin’s facial and physical features, so similar to what I have seen of Yasukichi Murakami through his self portraits reinforces these insights of being part of a continuum, in this particular case, the Murakami DNA. So then I begin not only to wonder about the role of DNA, but also the role of RNA in the scheme of things.

I remember studying biology in school. The DNA is said to be a molecule that encodes the genetic instructions used in the development and functioning of all known living organisms and  the RNA performs multiple roles in the coding, decoding, regulation, and expression of genes. I am not a scientist, but I think simply put DNA tells a cell what to do and  RNA carries this information for it to happen… or something similar.

Hm….

So then what and how is my role as an artist? As a human being?

-Posted by Mayu Kanamori

Listen to the ABC Kimberley interview here: http://www.abc.net.au/local/audio/2013/05/20/3762857.htm?site=kimberley

In Cowra finding Murakami’s grave

My collaborator Dr Lorna Kaino and I drove through the Blue Mountains, past Bathurst and arrived in Cowra in search for Yasukichi Murakami’s grave.

My first visit to Cowra was in 1997 when I arrived at the Japanese Gardens to install fifty photographs from my exhibition Unseen Faces of Japan which had been exhibited at the Japan Cultural Centre Sydney (Japan Foundation) six months earlier. Since then I have been here a dozen times, and as years pass and my understanding of history, war, peace, and people have deepened, so has my understanding of Cowra.

Yasukichi Murakami is buried in the Japanese War Cemetery in Cowra. All Japanese people who died in Australia during WWII are buried here. Unknown airmen, POWs and civilian internees, like Murakami.

His grave somehow feels out of place.

Lorna commented that she somehow had been expecting a monument more outstanding as he was an outstanding figure in our minds. Yet like all graves around the world associated with war, his grave looks identical to everyone else’s, all neatly in a row one after another. Even with all his achievements and leadership, friendships with people in high places along with his 47 years in this country, none of it made any difference in the end.

But then again, every single person here buried would have a story to tell, a mother and a father, people they loved and people who loved them, even the 3 day old baby and the unknown airman who air raided Darwin. When I remember this I realise that Murakami, although may have a common grave like everyone, else has earned his name. He is in the Australian Dictionary of Biography. And here we are, Lorna and I, searching and finding his grave 67 years after his death.

Yasukichi Murakami’s grave at Japanese War Cemetery, Cowra. Photo by Mayu Kanamori

– Posted by Mayu Kanamori

Visual collaboration in the cemetery

There is a photograph kept in the Broome Museum of a group of Japanese men dressed in formal looking clothes (white, much like the pearling masters) with one boy and a a man dressed like a Japanese Buddhist priest in front of Takazo (Tomasi) Nishioka’s grave. The caption on the photograph reads:

Japanese Men at Cemetery on eve of annual Bon Matsuri Festival. Boy standing in front of Yasukichi Murakami. Grave of T. Nishioka died 9/03/1901.

Murakami is the only one identified in this photograph, reminding me that he is one of the very few among thousands of Japanese who had been in Broome to have left his mark in history as an individual remembered by name. Someone in the community, perhaps many years after the war, remembered and identified him in this photograph.

I showed a copy of this photograph to Tomoko Yamada, a Japanese fiber and millinery artist who recently migrated from Osaka to Broome to live with her partner, and requested her collaboration. Together during the Shinju Festival this year, Tomoko and I will create a photograph at the Japanese Cemetery. I asked her to bring with herself, four other women and a girl of her choice and then to let me know the processes of the choice of people she brings to take part in this collaboration. They need not be Japanese necessarily. I requested women – simply because there are only men in this original photo. We will put up a tripod and I will stand in place of Murakami. She will be whoever she would like to be.

Tomoko noticed from the photograph and its caption that the men were dressed formally because of Bon. Bon in Japan is an annual celebration during the full moon in August when spirits of the dead is said to return to this world. People return to their homelands, visit their ancestral graves and enjoy festivities with food, sake and dance. The annual Shinju Festival (Matsuri) in Broome have their origins in Bon, when the Japanese in town held festivities at Broome’s Japanese Cemetery.

Artist Tomoko Yamada at her home. Photograph by Mayu Kanamori

– Posted by Mayu Kanamori