Panel Discussion on Japanese American Internment Camps Harnesses the Power of History for Positive Change

“Just the other day, they were talking about building another [immigrant prison] camp in Kelso, Arkansas. Whether you are a Republican or Democrat, a liberal or conservative, you know that’s a bad idea. I was out there the other day at Kelso. You could see the smokestack of the Rohwer camp from that site.” Richard Yada

RelocationPanelwithVivienneThe Ron Robinson Theater was filled with memory, emotion, and hope on Friday, July 13 at an unforgettable screening of Relocation, Arkansas: Aftermath of Incarceration.

Sponsored by the CALS Butler Center, the Clinton School for Public Service, and the Arkansas Psychological Association, the screening was followed by a panel discussion. Survivors and descendants of Japanese American internment camps appeared in person for the discussion, led by director Vivienne Schiffer.  President Bill Clinton was in attendance along with many leaders and well-known social justice figures from recent Arkansan history.

RelocationFilmIn the present day, the United States government faces an ethical crisis sparked by the incarceration of thousands of immigrants in prison camps. The audience heard in person from survivors of a similar imprisonment in American history that scarred psyches and families for decades. Testimony from survivors, descendants, and witnesses of past injustice brought home the power of historical lessons to change our present-day actions.

The film Relocation, Arkansas examines the aftermath of the internment of Japanese Americans in prison camps during World War II, when a wave of paranoia and prejudice caused the US government to imprison over 100,000 Japanese Americans nationwide. The families in the film were among the 8000 imprisoned in the Rohwer camp in Arkansas.

WomanRohwerPortraitThe incarceration had lifelong consequences not only for survivors, but for their children. The incarceration deprived these families of their jobs, their communities, and their homes, and left them to start over in strange towns. Even after release, the families still faced intense prejudice from many in the American population.

Paul Takemoto, cast member, grew up knowing that his mother Alice had survived the Rohwer incarceration. He had difficulty understanding or accepting the effects of that traumatic history on his own life and identity. At the age of 46, he met Rosalie Santine Gould, former mayor of McGehee, Arkansas, who had dedicated herself to supporting and hosting the survivors of the Arkansas internment camps.

“Sometimes you have these transformative single moments or events in life,” Mr. Takemoto said in the panel discussion. “For me, that event was hearing Ms. Rosalie talk about honoring the memory of events and people I had done my best to forget. There’s no greater gift you can give someone than their pride, and that’s what Ms. Rosalie did for us.”

Mr. Takemoto went on to relate how the artwork created by Japanese Americans incarcerated at Rohwer had been willed to Rosalie Gould, and was now on display at the Butler Center.

PresidentClintonLieRosaliecrop (4)
President Clinton with film director Vivienne Schiffer and activist Rosalie Santine Gould

“Giving Ms. Rosalie their art was the most appropriate gift [survivors] could give,” Mr. Takemoto said. “Places like the Butler Center are now using that art as an expression of the humanness of the experience.”

Rev. Don Campbell, also on the panel, was in high school in Arkansas during the incarceration. He described the silence about the camps in the American media. “I read two newspapers a day and never heard of the camps until the summer of 1945 as a freshman at Yale.”

Rev. Campbell spoke movingly of the prejudice that dominated American culture then. “I think you need to know the mindset in this country at the time. I remember saying that we might one day make peace with the Germans, but that the Japanese were not human. I believed that because all the movies and propaganda depicted the Japanese as fierce and subhuman. You need to know how powerful propaganda can be, and how it can change people’s minds. And we need to remember that today.”

His words were followed by a loud burst of applause.

Director Vivienne ‘Lie’ Schiffer pointed out the courage of the Takemoto family, Richard Yada, and the others in the film who had exposed their personal lives with vulnerability in order to preserve the history of the camps and their consequences.

ElizabethEckfordwithPanelists (2)
Elizabeth Eckford of the Little Rock Nine greets Alice and Paul Takemoto

That bravery was apparent to Elizabeth Eckford, a member of the Little Rock Nine who appeared in the film and was present at the screening. Ms. Eckford knows personally of racial prejudice and its effects, and though she had seen the film before, she saw a new aspect at this screening. “What struck me this time,” she said, “was that the older generation of survivors was reluctant to talk about this experience. So it was very brave that Paul’s mother [Alice Takemoto], was willing to come forward and speak in the film.”

The clear injustice and cruelty faced by the families in the film left attendees deeply moved.

WomanTraditionalPortraitAttendee Mariah Hatta said, “That is the hardest film I’ve ever watched. I am Japanese American, and my father is still a Japanese national. He fought in the Japanese army during World War II.”

Another attendee, Liz, had a very personal connection to the film. “My father was an assistant administrator at the Jerome camp [the other Arkansas internment camp]. I was living there when I was 3 or 4, though I don’t remember it. But the film gave me a new perspective, because my father never talked about it.”

Skip Rutherford, Dean of the Clinton School of Public Service, said, “The timeliness of the film can’t be overstated. We never thought it could happen again, but here we are today facing many of the same issues.”

DavidLeadsPanelists (2)
Butler Center Director David Stricklin and George West escort guests of honor Paul and Alice Takemoto

Butler Center Director David Stricklin said, “The CALS Butler Center work on the story of the camps in Arkansas is easily one of the most important things we’ve ever done. It is heartbreaking and inspiring at the same time.”

At the close of the panel discussion, Rev. Campbell emphasized both the need for action and hope for the present day. After telling the audience how certain young Arkansans had voiced fiercely racist sentiments and shunned the Rohwer survivors after their release, he explained that those persecutors later became the chief defenders of the Japanese Americans in school. He reminded the audience of one simple truth.

“Prejudice can be overcome.”

The artwork of the Rohwer camp survivors is now on display at the CALS Butler Center in Concordia Hall through December. The exhibition is a reflection on American identity entitled “A Matter of Mind and Heart.”


Three Generations of Artistry: Brewer Family Exhibition Opens July 13

“Sentinel of Freedom”

On Friday, July 13, “A Legacy of Brewers” will open in the Butler Center West Gallery, featuring works by three generations of Brewer painters. Some of the paintings have not been on public display for twenty years. Others have never been available to the public at all. The most famous painting, Adrian Brewer’s “Sentinel of Freedom,” is on loan from the Naval Academy in Annapolis, Maryland. This celebrated depiction of the American flag soared to popularity after its creation in 1941 and was used countless times as a patriotic emblem during and after WWII.

The Brewers contributed their significant talent to nurture the art scene in Arkansas in the 1930s. Nicholas (known as ‘N.R.’) and his son Adrian painted striking landscapes depicting southwestern states as well as Arkansas scenes. Edwin, the youngest, showed stylistic variety in his work as well as a more contemporary edge.

The three Brewers’ lush paintings, usually kept out of public view in private collections, will be exhibited together thanks to collaboration among Adrian’s grandsons, Larry and Lou Graham, and a number of other collectors who have loaned paintings to the Butler Center Galleries.

Viewers will be able to see common elements in the Brewers’ work as well as how trends in the art world may have influenced their stylistic differences and choice of subjects.

by N.R. Brewer

Nicholas ‘N.R.’ Brewer, the first generation painter, was known for romantic, moody landscapes as well as his portraits. Described by those who knew him as “grandiose,” and “larger than life,” N.R. had six sons. Three of them showed artistic talent, but Adrian was the one who inherited his father’s mantle and brought the family legacy to new heights. There was reportedly some rivalry between father and son after Adrian won a Texas art competition they had both entered, but they patched up their differences eventually.

by Adrian Brewer

Adrian’s work often shows brighter colors and sharper relief. His expert use of ‘raking light’ makes many of his landscapes appear to glow from within.  Adrian completed many southwestern landscapes. When Adrian was offered a commission to paint Franklin Delano Roosevelt, he instead gave the commission to his father N.R., who had always wanted to paint a president.

Adrian founded a teaching art studio in 1932 in downtown Little Rock, where he spent time with famed Arkansas poet John Gould Fletcher as guests played violin, recited poetry, or listened to Josef Rosenberg play the piano. The Brewers also assisted in the establishment of the Little Rock art community.

by Edwin Brewer

Youngest of the line was Edwin Brewer, who moved one step farther from the realistic landscapes of his father and grandfather. In addition to impressionistic scenes like the one shown here, Edwin’s work in the show includes black and white lithographs of Vietnam as well as one completely abstract painting.

There are some fascinating details in the life of the Brewer family that can only be imagined, even with the insightful commentary offered by Adrian Brewer’s grandsons Larry Graham and Lou Graham. Those details add to the human story for the thoughtful visitor to the exhibition.

Only one of N.R.’s sons became a celebrated artist, even though two of the other five sons tried their hands at art or craft.

Edwin had a twin brother named Adrian Jr., who finished only one painting before abandoning art in favor of hunting and outdoor pursuits.

One is left to wonder whether the sons of this family chose their careers from nature or from nurture. The talent may have been present in the genes, but it only blossomed in a few of the Brewers.

Were the fathers tender with their sons’ youthful work, as the boys grew up surrounded by paintings in art studios? Did adult hands guide young hands on brushes, and did fathers praise promising efforts? Or did N.R. and Adrian, both known for their passionate artistic temperaments, ever critique their sons harshly?

We may never get that glimpse of fathers and sons behind closed studio doors, but the paintings give us at least some idea of the rich artistic environment that nurtured these considerable talents.

The Brewer paintings are popular with collectors and have sparked an active collector community. “A Legacy of Brewers” will open at the Butler Center Gallery West on July 13 from 5pm to 8pm, and will remain on view through October 27.


The Butler Center is grateful to Larry Graham and Lou Graham, grandsons of Adrian Brewer, for their insightful commentary on the lives of the Brewers in an interview conducted at the Butler Center on July 12, 2018. Their comments are one source for this article.

Also consulted: Adrian Brewer: Arkansas Artist. Text by Jolynda Halinski with the assistance of Betty Brewer Rice and the family of Adrian Brewer. Department of Art, University of Arkansas at Little Rock, 1996.


Survivor of Japanese-American Internment Camp and Son Will Speak at Film Screening on July 13


Will history repeat itself as the USA faces an immigration crisis and incarcerates immigrants in camps?

Voices of experience will speak on the painful cost paid by their own families after a similar confinement of Japanese Americans in Arkansas during World War II.

Relocation, Arkansas: Aftermath of Incarceration will show on July 13 at 3:00 pm in the Ron Robinson Theater at Library Square. A panel discussion after the screening will feature the filmmaker and several participants from the film, one of whom is a survivor of the internment camp and others who are descendants of survivors. Admission is free.

The film is a powerful testimony to the ongoing effects of the incarceration of Japanese Americans during WWII. The psychological consequences continue to this day, not only for those confined in the camps, but also for their descendants. Relocation, Arkansas was produced and directed by Vivienne “Lie” Schiffer, a native of Rohwer.

The film screening accompanies the opening of  “A Matter of Mind and Heart,” the fourth exhibition of a Butler Center series on the Japanese internment camps at Rohwer, Arkansas.


The film touches directly on current ethical debates in the news.  The New York Times reported on June 22, 2018 that the Department of Health and Human Services was looking for a site for a new detainment camp to contain Latino children who have crossed the south border of the United States.  Reports said the federal agency was considering placing that new camp in Arkansas, only a few miles from the original Rohwer internment camp.

George Takei, beloved Star Trek actor who spent his youth in the Rohwer internment camp, posted the following Twitter comment:

“Just heard that they are considering a detainment center for immigrant children just two miles from where I spent my childhood behind barbed wire in a camp in Rohwer, Arkansas. I have no words.”

The screening is co-sponsored by the Clinton School for Public Service and the Arkansas Psychological Association.

Ron Robinson Theater at Library Square

(on the campus of the CALS Main Library in downtown Little Rock)

100 River Market Avenue

Little Rock, AR 72201

For more information, call 501-320-5715

“This kind of thing doesn’t just end with the person who was in the camp.” Ruth Takemoto McInroy