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<p><span lang="EN-US" style="font-size: 12.0pt; line-height: 115%; font-family: 'Calibri',sans-serif; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi; mso-ansi-language: EN-US; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;">This book provides the first history of the Silk Screen Shop (1943-45) at the Granada War Relocation Center (“Amache”) in Colorado, a World War II incarceration site for Japanese Americans.&#xa0; The Shop printed training posters for the Bureau of Naval Personnel. In addition, in their free time, the Amache workers designed and printed material, such as dance invitations and Christmas cards, for community organizations and individuals. In the years after incarceration, the objects’ connection to the silk-screen shop was lost. This volume documents and studies the objects produced by the Shop, reconstructs workers’ experience and identity, traces the Shop as a site of community, and argues that young adult printmakers collectively developed subversive visual conventions of protest.</span></p>

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Collective Agency and Resistance during Japanese American Incarceration

  • 书籍

  • 发表日期：

    2025年

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  • Melissa Geisler Trafton

摘要

This book provides the first history of the Silk Screen Shop (1943-45) at the Granada War Relocation Center (“Amache”) in Colorado, a World War II incarceration site for Japanese Americans.  The Shop printed training posters for the Bureau of Naval Personnel. In addition, in their free time, the Amache workers designed and printed material, such as dance invitations and Christmas cards, for community organizations and individuals. In the years after incarceration, the objects’ connection to the silk-screen shop was lost. This volume documents and studies the objects produced by the Shop, reconstructs workers’ experience and identity, traces the Shop as a site of community, and argues that young adult printmakers collectively developed subversive visual conventions of protest.