Rising Out of the Shadows Program Guide by PEAC Institute

Rising Out of the Shadows

Using History to Teach Empathy

2022/23

PEAC Institute | Peace Education & Art Communication

Guide

For further questions visit us online at: http://education.peacinstitute.org Email us at: education@PEACInstitute.org

Contents Pilot Overview Lesson Overview Day 1 | History & Narratives Day 2 | Creative Expression Day 3 | Shadow Art Word Bank Suggestions Assessment Appendix

3 4 5 6 7 8 10 11 12

Handouts Core Standards Writing Rubric Shadow Art Rubric Critical Thinking Rubric Scoring Sheet Selection from Hiroshima Photographic & Film Details Character List Notes on Dada Artist & Alex Webb

14 16 18 19 20 21 22 26 32

Rising Out Of The Shadows

Guide

PILOT OVERVIEW Lesson Overview Rising Out Of The Shadows, ROOTS, was inspired by the atomic bombings of Hiroshima and Nagasaki in 1945. The shadow people were created by the heat and light of the bombs which left printed shadows on streets, bridges and granite steps. In this program students will look at stories of survivors and then write narratives from one of the survivor’s perspectives. Then they will choose a moment from their narratives and create a Shadow Art collage.

Shadow Art

Learning Objectives Students will be able to:

Original Shadows

•

Discuss visual media and write a descriptive narrative using sensory details.

•

Identify what life was like leading up to the atomic bombings, speculate what life was like directly following the bombings and what life is like now.

•

Clips from That Day and Hiroshima Revealed

•

5 x 8-inch cards

• Explore empathetic learning through writing journal entries from the perspective of a survivor. • Solidify the empathetic journey by making a work of creative expression (Shadow Art) from the perspective of another.

A pre-packaged, powerful lesson which is already linked to the Common Core State Standards and comes complete with examples & assessment/scoring rubrics. Students will learn about war & peace in an empathetic way. Give your students a chance to travel to Japan and/ or get involved with an international community of young thought-leaders.

Materials

Student Handout: Photographic & Film Details Examples of art created by past participants

•

Hiroshima by John Hersey (The New Yorker, August 31, 1946) (optional)

•

Glue

•

Paper

•

Drawing materials (markers, pens, crayons, etc.)

Rising Out of the Shadows

Using History to Teach Empathy

LESSON PLAN Grades: Junior High and High School (6–12) Subjects: Language Arts, Visual Arts, History, Social Science, Humanities Time Required: 3-4 class periods plus independent research (based on 50min class periods) Lesson Overview Students will write narratives from the perspective of atomic bomb survivors depicted in rare photographs and multimedia biographical information. They will then engage in creative expression (a collage) depicting a moment from their narratives.

Learning Objectives

Students will be able to: • Discuss visual media and write a descriptive narrative using sensory details. • Identify the events leading up to the atomic bombings and speculate what life was like directly following the bombings and what life is like now. • Write journal entries from the perspective of a survivor. • Create a collage in response to a moment from their narratives.

Materials • • • •

•

Media clips & photographs 1 5x8-inch cards per student Glue, paper, drawing materials Student handouts: • Photographic & film details • Character list from Hiroshima, by John Hersey Hiroshima by John Hersey (The New Yorker, August 31, 1946) (optional)

Lesson Steps: Days 1 and 2 1. Show the film clips and display the photographs included with this lesson plan. Have students take the time to look closely at the photographs. Then ask them the following questions: • What do you see? • What do you notice about these people? What else? • What are these people wearing/not wearing? • What else do you notice? • Look closely at the background. What can you identify? • What is on the ground? How do you know this? MEDIA ASSETS Link

PHOTO ASSETS Link HANDOUTS Link

Rising Out of the Shadows

Using History to Teach Empathy

2. Distribute 5 x 8-inch cards and ask students to write a paragraph that describes the film and photographs which includes a minimum of five sensory details. Instruct students to consider what they could see, hear, smell, taste, or touch if they were in the photographs. Next have students select a single figure from the film or photographs. Pass out the handout Photographic & Film Details. Instruct students to look closely at all the details about the person they choose to focus on, and then answer the questions in the handout. Discuss responses as a class. 3. Instruct students to identify the events leading up to the atomic bombings. The following Web resources might be helpful: “HIROSHIMA AND NAGASAKI REMEMBERED” on the Hiroshima and Nagasaki Remembered website (http://www.hiroshima-remembered.com) 4. Distribute the character list from John Hersey’s Hiroshima. Explain that these people, like most of the stories of what happened directly following the atomic bombing, were almost invisible in U.S. history. Additionally, you could have students orally recite one of the character synopses. You may want to take a look at “Hiroshima” on The New Yorker‘s Website (http://www.newyorker.com/ magazine/1946/08/31/hiroshima) NEW PDF of Hiroshima added to handout page.. 5. Have students select one person from the videos, photographs, or book and write five (5) to ten (10) journal entries from the perspective of that individual. Explain that they will create journals in a biographical narrative format. Further explain that all information surrounding the bombing was censored by both the US & Japanese governments. Possible journal topics could include the following: • Type of work they did before the bomb • Details about their family • The day the bomb was dropped • Their day-to-day life after the bomb • A dramatic moment • How they felt 5 years, 10 years, 20 years, 50 years after Remind students to include many sensory details in their writings. The journal entries should span the years of the individual‘s life from right before/right after the bomb to now. Students can conduct research with Web resources like “Hiroshima” on The New Yorker‘s Website) (http://www.newyorker. com/magazine/1946/08/31/hiroshima) NEW PDF of Hiroshima added to handout page. 6. Tell students to select a moment from their journals and develop a collage that illustrates the moment. Show students an example of such artwork from the past workshops: (https://youtu.be/ yLtD06_hjWA).

HOMEWORK CORNER | DAY 1

Have students finish their journal entries and begin to think about what they will do for their collages.

CREATIVE EXPRESSION Materials Paper, crayons, markers, watercolors, paint, contemporary magazines, scissors and provided images. Lesson Steps: Days 2 through 4 1. Show students examples from the Dada Collage’s & Alex Webb’s photographs. (See the image bank and descriptions of the Dada movement and Alex Webb’s photographs) 2. Ask the students what they believe the artist was trying to say through their art. Have them break into groups and discuss. 3. Tell students to select a dramatic moment in their

journals or a reaction to the survivors’ story from which they will create their collage. 4. Have the students choose 3 to 5 words or symbols from the word bank and 3 to 5 images for their collages. (Students are welcome to add their own images or words.) 5. Have the students begin manipulating the images by cutting them and rearranging them. Ask them to find two different ways of arranging them. Have the students think about the meaning they want to portray and how to combine the images, words and color to get their point across. 6. *Bonus - Ask the students if they can make the opposite meaning with the same

images and words. 7. Before the student’s finalize their collages, by gluing them down, have them pair up and ask the following questions: • What feelings or emotions come up when you look at the collage? • Where do your eyes go? • What do you focus on? 8. Have the students finalize their collages by gluing down the images and words. Have them add color to make their statements stronger. 9. Here are some questions you can ask for a

final discussion: • What are shadow people? • Are their any shadow people in your life? • What current events are happening now that involve shadow people? • If you were a world leader what would you change now that you have learned more about what happened in Hiroshima & Nagasaki? • Are there things in your schools that you don’t like? How can you change them? • Was dropping the bomb an extreme form of bullying?

HOMEWORK CORNER | DAY 2-3

Final journal entry: Imagine you are one of the US leaders or bombardiers, what would you say to the character you chose?

Collage Process

Step 1 Choose the words, symbols and images you will work with. We recommend 3 to 5 words and symbols and 3 to 5 images. Students are welcome to use their own. Step 2 Play with the images. Cut them and move them around. Find two different ways of arranging the images.

Step 3 Think of the meaning you wish to portray and how to combine the images, words, and color to best get your point across.

Step 5 Before finalizing the collage get into pairs and ask the following questions: Where did your eyes go? On what did you focus? What feeling/ emotion came up for you?

Step 4

Step 6

Can you use the same images, words and colors to make the Opposite meaning?

Glue down your images and words. Add color to make your statement stronger.

WORD BANK

Rising Out of the Shadows

Using History to Teach Empathy

Suggestion: Give added value to the art-creation process by reading an excerpt about shadow people from John Hersey’s Hiroshima. From p. 72 of Hiroshima by John Hersey released in 1989“The scientists noticed that the flash of the bomb had discoloured concrete to a light reddish tint, had scaled off the surface of granite, and had scorched other types of building material, and that consequently the bomb had in some places, left prints of the shadows that had been cast by its light . The experts found, for instance, a permanent shadow thrown on the roof of the Chamber of Commerce Building (220 yards from the rough center) by the structure’s rectangular tower; several others in the lookout post on top of the Hypothec Bank (2,050 yards); another in the tower of the Chugoku Electric Supply Building (800 yards); another projected by the handle of a gas pump (2,630 yards); and several on granite tomb stones in the Gokoku Shrine (385 yards). By triangulating these and other shadows with the objects that formed them, the scientists determined that the exact center was a spot a hundred and fifty yards south of the torii and a few yards southeast of the pile of ruins that had once been the Shima Hospital. (A few vague human silhouettes were found, and these gave rise to stories that eventually included fancy and precise details. One story told how a painter on a ladder was monumentalized in a kind of bas-relief on the stone facade of a bank building on which he was at work, in the act of dipping his paint brush into his paint can; another, how a man and his cart on the bridge near the Museum of Science and Industry, almost under the center of the explosion, were cast down in an embossed shadow which made it clear that the man was about to whip his horse.)”

Rising Out of the Shadows

Using History to Teach Empathy

Assessment Are there shadow people in your neighbourhood?

Students will be assessed on their participation in group discussions and their ability to provide five (5) to ten (10) journal entries with sensory details from the perspective of the individual they selected. Students’ Shadow Art should reflect a moment from their journal entries. Click here for the rubric that will help you assess the journal entries. All resources can also be found in the appendix or on the Handout Page.

Upload work here:

http://education.peacinstitute.org/shadow_art

What tools can we use to make positive change?

What’s one thing you can do everyday to make change?

Conclusion At the end of the class ask students to share their Shadow Art, what the experience has meant to them and what it makes them feel. Ask the students what Shadow Art means to them. Encourage students to upload pictures of their Shadow Art to http://education.peacinstitute. org/shadow_art to share what they made with an international audience and apply to PEAC's 75th Memorial Hiroshima Tour.

Appendix Core Standards

Handouts:

Writing Rubric Shadow Art Rubric Critical Thinking Rubric Scoring Sheet Selection from Hiroshima Photographic & Film Details Character List Notes on Dada Artist & Alex Webb

Rising Out of the Shadows

Using History to Teach Empathy

COMMON CORE EDUCATION STANDARDS COMMON CORE EDUCATION STANDARDS ADDRESSED Standards for English Language Arts: SPEAKING AND LISTENING Comprehension and Collaboration

WRITING Production and Distribution of Writing

(Grade 6-8) 1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively. 2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.

(Grade 6-8) 4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience. (Grade 6-12)

RESEARCH Research to Build and Present Knowledge (Grade 6-8) 1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively. 2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally. 7. Conduct short as well as more sustained research projects based on focused questions, demonstrating understanding of the subject under investigation. 8. Gather relevant information from multiple print and digital sources, assess the credibility and accuracy of each source, and integrate the information while avoiding plagiarism. 9. Draw evidence from literary or informational texts to support analysis, reflection, and research.

3. Write narratives to develop real or imagined experiences or events using effective technique, well chosen details, and well-structured event sequences. 9. Draw evidence from literary or informational texts to support analysis, reflection, and research. 11. Develop personal, cultural, textual, and thematic connections within and across genres as they respond to texts through written, digital, and oral presentations, employing a variety of media and genres.

READING Comprehension and Drawing Reactions and/or Conclusions (Grade 6-12) 10. Read and comprehend complex literary and informational texts independently and proficiently. 11. Respond to literature by employing knowledge of literary language, textual features, and forms to read and comprehend, reflect upon, and interpret literary texts from a variety of genres and a wide spectrum of American and world cultures.

Rising Out of the Shadows

Using History to Teach Empathy

Standards for Literacy in History/Social Studies Science, and Technical Subjects: READING (Grades 6–8) 8. Distinguish among fact, opinion, and reasoned judgment in a text. Integration of Knowledge and Ideas (Grades 11–12) 7. Integrate and evaluate multiple sources of information presented in diverse formats and media (e.g., visually, quantitatively, as well as in words) in order to address a question or solve a problem.

WRITING (Grades 6-12) 2. Write informative/explanatory texts, including the narration of historical events, scientific procedures/ experiments, or technical processes.

Standards for Visual and Performing Arts Grades 9–12 (Proficient) 2.0 Creative Expression 2.6 Create a two or three-dimensional work of art that addresses a social issue.

Anchor Standard 1: Generate and conceptualize artistic ideas and work. HS Advanced 1.1.III Visualize and hypothesize to generate plans for ideas and directions for creating art and design that can affect social change. eriments, or technical processes.

Standards for Media Arts Anchor Standard 1: Generate and conceptualize artistic ideas and work. HS Proficient 1.1.I Use identified generative methods to formulate multiple ideas, develop artistic goals, and problem solve in media arts creation processes.

HS Accomplished

1.1.II Strategically utilize generative methods to formulate multiple ideas, refine artistic goals, and increase the originality of approaches in media arts creation processes.

HS Advanced

1.1.III Integrate aesthetic principles with a variety of generative methods to fluently form original ideas, solutions, and innovations in media arts creation processes.

May have random organization, lacking internal paragraph coherence and using few or inappropriate transitions. Paragraphs may lack topic sentences or main ideas, or may be too general or too speciﬁc to be effective. Paragraphs may not all relate to central ideas.

No appreciable organization; lacks transitions and coherence.

Shows a logical progression of ideas and uses fairly sophisticated transitional devices; e.g., may move from least to more important idea. Some logical links may be faulty, but each paragraph clearly relates to central idea.

Lists or arrange ideas randomly rather than using any evident logical structure. Transitions are present, but they are likely to be sequential (ﬁrst, second, third) rather than logical. Each paragraph may relate to a central idea, logic is not always clear. Paragraphs have topic sentences but may be overly general, and arrangement of sentences within paragraphs may lack coherence.

Responds appropriately to the assignment. Clearly states a central idea, but has minor lapses in development. Acknowledges the complexity of a central idea and the possibility of other points of view. Shows careful understanding of sources, but may not evaluate them critically. Attempts to deﬁne terms, not always successfully.

Less effective at coherently responding to the assignment. Presents a general central idea, often depending on platitudes or clichés. Usually does not acknowledge other views. Shows basic comprehension of sources, perhaps with lapses in understanding. When deﬁning terms, often it depends on dictionary deﬁnitions.

Does not respond to the assignment, lacks central idea, and may neglect to use sources where necessary.

Does not have a clear central idea or does not respond appropriately to the assignment. May be too vague or obvious to be developed effectively. May misunderstand sources.

Developing - Score: 3 | 4

Emerging - Score: 1 | 2

Uses a logical structure appropriate to subject, purpose, and audience. Sophisticated transitional sentences often develop one idea from the previous one or identify their logical relations. It guides the reader through the chain of reasoning or progression of ideas.

Excels in responding to assignment. Interesting, demonstrates sophistication of thought. Central idea is clearly communicated, worth developing; limited enough to be manageable. Recognizes some complexity of its central idea: may acknowledge its contradictions, qualiﬁcations, or limits and follow out their logical implications. Understands and critically evaluates its sources, appropriately limits and deﬁnes terms.

Mastering - Score: 5 | 6

Rising Out of the Shadows

Organization & coherence

Ideas

Writing Rubric 16

Handout | 1

Using History to Teach Empathy

Writing Rubric

Support

Mechanics

Style

Using History to Teach Empathy Rising Out of the Shadows

Emerging - Score: 1 | 2

Developing - Score: 3 | 4

Mastering - Score: 5 | 6

Uses irrelevant details or lacks supporting evidence entirely. May be unduly brief.

Begins to offer reasons to support its points, perhaps using varied kinds of evidence. Begins to interpret the evidence and explain connections between evidence and main ideas. Its examples bear some relevance.

Almost entirely free of spelling, punctuation, and grammatical errors.

Chooses words for their precise meaning and uses an appropriate level of speciﬁcity. Sentence style ﬁts narrative’s audience and purpose. Sentences are varied, yet clearly structured and carefully focused, not long and rambling.

Often uses generalizations to support its Uses evidence appropriately and points. May use examples, but they may be effectively, providing sufﬁcient evidence too obvious or not relevant. Often depends and explanation to convince. on unsupported opinion or personal experience, or assumes that evidence speaks for itself and needs no application to the point being discussed. Frequent lapses in logic may be present.

Depends on clichés or overgeneralization for support, or offers little evidence of any kind. May be an essay rather than personal narrative.

Usually contains many awkward sentences, misuses words, and employs inappropriate language.

Uses relatively vague and general words, may use some inappropriate language. Sentence structure generally correct, but sentences may be wordy, unfocused, repetitive, or confusing.

Usually contains several mechanical errors, which may temporarily confuse the reader but not impede the overall understanding.

May be too vague and abstract, or very personal and speciﬁc. Usually contains several awkward or ungrammatical sentences; sentence structure is simple or monotonous.

Usually contains so many mechanical errors that it is impossible for the reader to follow the thinking from sentence to sentence.

May contain a few errors, which may annoy the reader but not impede understanding.

Generally uses words accurately and effectively, but may sometimes be too general. Sentences generally clear, well structured, and focused, though some may be awkward or ineffective.

Usually contains either many mechanical errors or a few important errors that block the reader's understanding and ability to see connections between thoughts.

Handout | 1

The written descriptive narrative only uses vague sensory details and/or is loosely be seen or heard in the Shadow Art.

Appropriate, but with inconsistencies Successfully created a piece of Shadow Art thematically, in the creation of a piece of depicting a moment from their 5 - 10 Shadow Art depicting a moment from their journal entries. 5 - 10 journal entries.

The written descriptive narrative fails to use sensory details and/or cannot be seen or heard in the Shadow Art.

Style is inconsistent or inappropriate. Work is unfocused and poorly organized; lacks logical connection of ideas. Format is absent, inconsistent or distracting in the creation of the Shadow Art piece depicting a moment from their 5 - 10 journal entries.

Interpretation

Application

Rising Out of the Shadows Using History to Teach Empathy

Handout | 2

The written descriptive narrative uses sensory details that is visible or heard in the Shadow Art.

Able to discuss with vivid detail the visual media and identify the events leading up to the atomic bombings. Shows ability to speculate what life was like directly following the bombings and what life is like now for the survivors. Feels confident discussing responses in a group/class setting.

Able to discuss with adequate detail the visual media and appropriately but routinely identifies the events leading up to the atomic bombings. Selectively speculates what life was like directly following the bombings and what life is like now for the survivors. Feels somewhat confident discussing responses in a group/class setting.

Not able to discuss with detail the visual media and inappropriately identifies the events leading up to the atomic bombings. Speculation on what life was like directly following the bombings and now for the survivors is simplistic, inappropriate or not related to topic. Does not feel confident discussing responses in a group/class setting.

Analysis

Mastering - Score: 5 | 6

Developing - Score: 3 | 4

Emerging - Score: 1 | 2

Shadow Art Rubric 18

Critical Thinking Rubric

Assesses conclusions, implications, and consequences

Analyzes supporting data and evidence

In many places, language obscures meaning. Grammar, syntax, or other errors are distracting or repeated. Little evidence of proofreading. Style is inconsistent or inappropriate. Work is unfocused and poorly organized; lacks logical connection of ideas. Format is absent, inconsistent or distracting. Few sources are cited or used correctly.

Fails to identify conclusions, implications, and consequences, or conclusion is a simplistic summary. Conclusions are absolute, and may attribute conclusion to external authority.

No evidence of selection or source evaluation skills. Repeats information without question or dismisses evidence without justification. Does not distinguish between fact and opinion. Evidence is simplistic, inappropriate or not related to topic.

Emerging - Score: 1 | 2

Conclusions consider evidence of consequences extending beyond a single issue. Presents implications that may impact other people or issues. Presents conclusions as only loosely related to consequences. Implications may include vague reference to conclusions.

Demonstrates adequate skill in selecting and evaluating sources to meet information need. Use of evidence is selective, discerns fact from opinion and may recognize bias. Appropriate evidence is provided although exploration is routine.

Developing - Score: 3 | 4

Identifies and discusses conclusions, implications, and consequences. Considers context, assumptions, and evidence. Qualifies own assertions. Consequences are considered and integrated. Implications are developed and consider ambiguities.

Evidence of source evaluation skills. Examines evidence and questions accuracy and relevance. Recognizes bias. Sequence of presentation reflects clear organization of ideas, subordinating for importance and impact.

Mastering - Score: 5 | 6

Communicates effectively

Handout | 3

In general, language does not interfere Language clearly and effectively communicates ideas. May at times be with communication. nuanced and eloquent. Errors are not distracting or frequent, although there may be some problems with Errors are minimal. Style is appropriate for more difficult aspects of style and voice. audience. Organization is clear; transitions Basic organization is apparent; transitions between ideas enhance presentation. connect ideas, although they may be Consistent use of appropriate format. Few mechanical. Format is appropriate problems with other components of although at times inconsistent. Most presentation. All sources are cited and used sources are cited and used correctly. correctly, demonstrating understanding or economic, legal, and social issues involved with the use of the information.

Using History to Teach Empathy

Rising Out of the Shadows

Critical Thinking Score

Personal Expresion Score

Score:

Total

Grade as Percentage

Using History to Teach Empathy

Handout | 4

Total /66

Total /18

Total /30

Rubric Scoring Sheet

Rising Out of the Shadows

Writing Score

Overall Assessment

Communicates effectively

Assess conclusions, implications, and consequences

Analyzes supporting data and evidence

Critical Thinking Rubric

Application

Interpretation

Analysis

Shadow Art Rubric

Mechanics

Style

Support

Organization & coherence

Ideas

Writing Rubric

Rising Out of the Shadows 20

Selection from Hiroshima

From p. 72 of Hiroshima by John Hersey released in 1989“The scientists noticed that the flash of the bomb had discoloured concrete to a light reddish tint, had scaled off the surface of granite, and had scorched other types of building material, and that consequently the bomb had in some places, left prints of the shadows that had been cast by its light . The experts found, for instance, a permanent shadow thrown on the roof of the Chamber of Commerce Building (220 yards from the rough center) by the structure’s rectangular tower; several others in the lookout post on top of the Hypothec Bank (2,050 yards); another in the tower of the Chugoku Electric Supply Building (800 yards); another projected by the handle of a gas pump (2,630 yards); and several on granite tomb stones in the Gokoku Shrine (385 yards). By triangulating these and other shadows with the objects that formed them, the scientists determined that the exact center was a spot a hundred and fifty yards south of the torii and a few yards southeast of the pile of ruins that had once been the Shima Hospital. (A few vague human silhouettes were found, and these gave rise to stories that eventually included fancy and precise details. One story told how a painter on a ladder was monumentalized in a kind of bas-relief on the stone facade of a bank building on which he was at work, in the act of dipping his paint brush into his paint can; another, how a man and his cart on the bridge near the Museum of Science and Industry, almost under the center of the explosion, were cast down in an embossed shadow which made it clear that the man was about to whip his hours.)”

Handout| |58 Handout

Photographic & Film Details

Rising Out of the Shadows Program Pilot 2015/16

Tricycle of a young child found within 1 mile of the Hiroshima bombing. Aug 6th, 1945.

Jacket of a young child found within 1 mile of the Hiroshima bombing. Aug 6th, 1945.

Pocket watch which stopped at the time of the Hiroshima bombing. Aug 6th, 1945.

The US Army surveying the damage of the first atomic bomb. Hiroshima. Aug 6th, 1945.

Near the epicenter of the Hiroshima atomic blast.

A young boy shows his keloid scars following the healing of burns caused by the atomic bomb.

A Japanese family living in wreckage following the atomic bombing of Nagasaki in 1945.

A young woman shows her keloid scars following the healing of burns caused by the atomic bomb.

Survivors are sheltered at the Hiroshima Second Military Hospital’s tent. Handout | 6 Handout | 5

Photographic & Film Details

Rising Out of the Shadows Program Pilot 2015/16

Rising Out of the Shadows

Using History to Teach Empathy

Hatsuyo Nakamura

Terufumi Sasaki

Wilhelm Kleinsorge

Toshiko Sasaki

Masakazu Fujii

Kiyoshi Tanimoto

Teruko’s Story at Red Cross Hospital

Mito’s Story at Her Home

Yuko Ono’s story of What She Saw

Koko’s Story On The River Handout | 6 Handout | 5

Photographic & Film Details

Rising Out of the Shadows Program Pilot 2015/16

Raoul Hausmann “The Art Critic”

Raoul Hausmann “ABCD”

Hannah Höch “Dompteuse Tamer”

Hannah Höch “Untitled”

Hannah Höch “The Beautiful Girl”

Hannah Höch “Love”

Hannah Höch “Indian Dancer”

Hannah Höch “Cut With the Kitchen Knife”

David Plunkert “Brainy Beautiful”

Handout | 6 Handout | 5

Photographic & Film Details

Rising Out of the Shadows Program Pilot 2015/16

Rising Out of the Shadows

Using History to Teach Empathy

Alex Webb Tehuantepec, Mexico

Alex Webb Etroits, La Gonave, Haiti

Alex Webb Thessaloniki, Greece

Alex Webb Nuevo Laredo, Mexico

Alex Webb Haiti

Alex Webb Istanbul, Turkey

Alex Webb Tijuana Baja California

Alex Webb Havana, Cuba

Alex Webb Dallas, Texas

Handout | 6 Handout | 5

Rising Out of the Shadows

Using History to Teach Empathy

Character List from Hiroshima, by John Hersey Mrs. Hatsuyo Nakamura A tailor’s widow raising three young children on her own, Mrs. Nakamura is caring and resourceful, as well as a dedicated citizen. As Hersey puts it, she “had long had a habit of doing as she was told.” She and her children survive the explosion without any external physical harm, but she and her daughter, Myeko, later come down with radiation sickness and suffer with it for years. Of the six people profiled in Hiroshima, Mrs. Nakamura is the only one in charge of a family—although some of the male characters are married, their wives and children are not present in the narrative—and the only person who struggles with poverty as a direct result of the war. Perhaps because she is busy caring for herself and her children after the bombing, as opposed to being involved with the larger community, she never emerges as a clearly defined character. We get a glimpse into her psyche when, in Chapter Four, Hersey says that after hearing that they poisoned the city, she begins to hate America even more than she did during the war. When this rumor is later dispelled, however, she returns to an attitude of general passivity, summing up her position regarding the war with the expression “Shikata ga nai,” or “It can’t be helped.” Mrs. Nakamura’s role in the narrative seems to be that of an ordinary victim of an extraordinary event. She suffers from -radiation sickness and, consequently, extreme poverty, for many years—yet she does not harbor hatred or resentment about her predicament. She eventually manages to get a good job, and when we last see her she is financially well off and content. Mrs. Nakamura shows us that even after being unwilling guinea pigs in the worst act of war in history, many citizens of Hiroshima simply continued on with their lives as best as they could.

Handout |7 Handout | 7

Rising Out of the Shadows

Using History to Teach Empathy

Dr. Terufumi Sasaki A twenty-ﬁve-year-old surgeon at the Red Cross Hospital in Hiroshima, Dr. Sasaki is hardworking, idealistic, and ambitious. We learn the extent of his selﬂessness early, when Hersey describes how he risks penalties by treating sick patients in the suburbs without a permit. As the only physician at the hospital who is unharmed in the explosion, he treats thousands of the dying and wounded people of Hiroshima. Dr. Sasaki contributes to important medical advances in the analysis and treatment of radiation sickness after the bombing, and for years he spends most of his time trying to remove keloids—the red, rubbery scars that grow over severe burns—only to discover that much of his work caused more damage than good. He later leaves the city to set up a private clinic, distance himself from his gruesome memories, and make a clean start. We are kept at more of an emotional distance from Dr. Sasaki than from any other character. This distance emphasizes how Dr. Sasaki does not seek recognition or praise for his hard work. Thus, it is a bit shocking when he expresses his anger by saying that those responsible for the bomb should be hanged, but at the same time we see how he was deeply traumatized by his experiences after the bombing. While other characters attempt to simply continue on with their lives, Dr. Sasaki makes a break with the past by leaving the hospital. This drastic action suggests a deep level of suffering and a desperate need to forget what he experienced. Hersey illustrates Dr. Sasaki’s emotional disengagement from the bomb victims with a memorable turn of phrase: “He lived enclosed in the present tense.”

Handout |7 Handout | 7

Rising Out of the Shadows

Using History to Teach Empathy

Father Wilhelm Kleinsorge A German Jesuit priest living in Hiroshima, Father Kleinsorge selﬂessly comforts many of the dying and wounded in the immediate aftermath of the bombing, as well as in the years following. While he is not seriously injured by the bombing, he falls prey to radiation sickness and becomes weak and tired, often requiring lengthy -hospital stays.

silently and with dignity.

Father Kleinsorge is the only non-Japanese person proﬁled in the narrative. Although before the bombing he often felt that he was under suspicion as a foreigner living in Japan, his experiences afterward are not very different from those of the other victims. His experiences demonstrate how the bomb served as an equalizer: all people affected by it suffered and came together to help, regardless of their background. At the same time, Father Kleinsorge gives the readers a distinct, non-Japanese view of some signiﬁcant events, such as his amazement at how the majority of Japanese victims suffer

Father Kleinsorge’s life does not drastically change after the bombing—when we ﬁrst meet him, he is already physically weak from the wartime diet—but he does become so enamored with the Japanese that he decides to become a citizen himself, taking the name Father Makoto Takakura. This unexpected gesture reﬂects positively on the Japanese people, and also symbolizes the community strength and dedication that came about in response to the bombing.

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Using History to Teach Empathy

Toshiko Sasaki Miss Sasaki is a twenty-year-old clerk who works hard to take care of her siblings and parents. The bomb collapses the factory where she works, and she becomes pinned underneath a bookcase that crushes her leg. For weeks she receives no real medical care for her badly fractured and infected leg, and she remains crippled for the rest of her life. After the war she suffers greatly as a bomb victim and a cripple. Her ﬁancé abandons her, and she is scarred emotionally as well as physically. After Father Kleinsorge encourages her to convert to Christianity and become a nun, she has a distinguished career, travels around the world, and becomes optimistic about her future. Miss Sasaki comes closest to representing the many nameless, wounded survivors of the bomb. Several doctors treat her callously; because her injury is severe but not mortal or mysterious, she garners very little sympathy from anyone. She is completely immobilized, so she does not become involved in the communal efforts that most of the other characters take part in. As a result, she suffers mostly in isolation.

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Using History to Teach Empathy

Dr. Masakazu Fujii A successful physician, Dr. Fujii owns a small, private medical clinic and has a wife who lives in Osaka. When the bomb strikes, his entire clinic topples into the water. Dr. Fujii rebuilds his Hiroshima clinic in 1948 and has a successful career mainly treating and socializing with members of the American occupation. He drinks, plays golf, and studies languages. Dr. Fujii’s life changes very little as a result of the bombing. His injuries heal and he is able to continue his profession comfortably and lucratively. Of all the characters, however, his life ends under the worst circumstances. He dies after being in a coma for eleven years, with his family in discord. Hersey notes that his wife and son squabble over his inheritance after his death, leading to a lawsuit.

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Using History to Teach Empathy

Reverend Mr. Kiyoshi Tanimoto A thoughtful and kind Methodist pastor, Mr. Tanimoto works endlessly to help bring many of the nameless dying and wounded to safety. He is unhurt by the bomb and feels ashamed to be healthy while surrounded by so much human misery; so he spends more time and energy than any other character helping the wounded. He is later affected by radiation sickness and he loses much of his vitality and energy. After the war, he travels to America to give speeches and raise money for a peace center in Japan. He lavishes praise on the American people and government, calling them generous and “the greatest civilization in human history.” His newfound popularity ends up backfiring, as many in both Japan and America consider him a publicity seeker. Nevertheless, Kiyoshi Tanimoto never gave up acting for people and especially raising money for his parish in the USA and a project called "the Hibakusha Maidens project”. The focal point of the Hibakusha Maidens project was the treatment of about sixty young girls who had been disfigured or crippled by the bombing. Kiyoshi Tanimoto became their crusader and benefactor. He brought them together, gave them things to do, individually and collectively, and provided focus for their lives. He also joined forces with his US connections to have them receive surgery in the US. Of the six people profiled in Hiroshima, Mr. Tanimoto comes across as the most complex and difficult to understand. With his dedicated hard work in the days after the bombing, he seems to embody the personal humility and group-consciousness characteristic of Japanese culture. Yet at the same time, his actions seem very self-conscious because he, of all the characters, feels the strongest ties to America, ties that he knows cause suspicion. The pressure he feels to prove his loyalty to Japan reveals an important cultural dynamic at the time: Japanese citizens with foreign ties were even more suspect than actual foreigners such as Father Kleinsorge. As a Japanese man with ties to America, Mr. Tanimoto feels a constant guilt and drive to prove his loyalty. Despite all his hard work, however, Mr. Tanimoto fails to achieve the respect he craves from the Japanese. Of all the characters, Mr. Tanimoto undergoes the most drastic postwar lifestyle changes, constantly traveling around the U.S., appearing on television, and striving in order to have his Peace Center be successful. Hersey spends more time writing about him than about anyone else, and he ends the narrative with a description of an aging Mr. Tanimoto in his comfortable, modern home. Mr. Tanimoto’s life could serve as a twentieth-century political allegory of what happens when good intentions are coupled with miscalculated methods and an exaggerated need to please. Handout |7 Handout | 7

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Using History to Teach Empathy

Notes Dada Artist & Alex Webb DADA (C.1916-1922) Dada was not a style of art like Fauvism or Cubism. It was a form of artistic anarchy born out of disgust for the social, political and cultural establishment of the time which it held responsible for Europe's descent into World War. The Dada movement started in Zurich and spread as far as New York. • Dada was a form of artistic anarchy that challenged the social, political and cultural values of the time. Dada embraced elements of art, music, poetry, theatre, dance and politics. • Dada aimed to create a climate in which art was unrestricted by established values. • Dada was anti-establishment and anti-art. • The name 'Dada' means 'hobbyhorse' or the exclamation “Yes-Yes". • The Cabaret Voltaire in Zurich was the birthplace of Dada. • After the war the Dadaists relocated to Berlin, Cologne, Hanover and New York. • Dada was a form of artistic anarchy that challenged the social, political and cultural values of the time. • Dada embraced elements of art, music, poetry, theatre, dance and politics. • Dada aimed to create a climate in which art was unrestricted by established values. • Dada was anti-establishment and anti-art. The name 'Dada' means 'hobbyhorse' or the exclamation "Yes-Yes". The Cabaret Voltaire in Zurich was the birthplace of Dada. After the war the Dadaists relocated to Berlin, Cologne, Hanover and New York. Hannah Höch’s, a DADA artist, strategies to keep in mind: • Draw what you can’t ﬁnd • Use paint & found materials • Construction paper & empty space are your friend • Using the human body was a crucial part of Höch’s art and expression • She used odd combinations to reveal the absurdities of sexism & racism • Abstractions can speak of fractures and text can help guide people to your message • Large photos can be used as backgrounds • Have fun, ask questions and answer them with your creation, create a dialogue with your art

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Notes Dada Artist & Alex Webb Alex Webb: Philosophy “Colors are the deeds and suffering of light.” – Johann Wolfgang Von Goethe “I only know how to approach a place by walking. For what does a street photographer do but walk and watch and wait and talk, and then watch and wait some more, trying to remain confident that the unexpected, the unknown, or the secret heart of the known awaits just around the corner.” – Alex Webb A simple way to be more inspired with your photography is to walk more. It is important to photograph things that fascinate (and scared) you. By harnessing this curiosity and raw emotion — we can dig deep and make powerful photographs. - Eric Kim “That first three-week trip to Haiti transformed me— both as a photographer and as a human being. I photographed a kind of world I had never experienced before, a world of emotional vibrancy and intensity: raw, disjointed, often tragic. I began to explore other places— in the Caribbean, along the U.S.-Mexico border— places, like Haiti, where life seemed to be lived on the stoop and in the street. Three years after my first trip to Haiti, I realized there was another emotional note that had to be reckoned with: the intense, vibrant color of these worlds. Searing light and intense color seemed somehow embedded in the cultures that I had begun working in, so utterly different than the gray-brown reticence of my New England background. Since then, I have worked predominantly in color.” - Alex Webb “Over the years, my way of seeing in color, which first emerged in the tropics, has expanded into various projects, leading me not just to other parts of Latin America and to Africa, but also to Florida and to Istanbul. I have been consistently drawn to places of cultural and often political uncertainty— borders, islands, edges of societies— where cultures merge, sometimes clashing, sometimes fusing.” - Alex Webb “It’s not just that that and that exists. It’s that that, that, that, and that all exist in the same frame. I’m always looking for something more. You take in too much; perhaps it becomes total chaos. I’m always playing along that line: adding something more, yet keeping it short of chaos.” - Alex Webb To make more interesting and engaging photos— don’t explain your photos to your subject. Don’t make them too simple and easily understandable. Make them mysterious— openended, and open to interpretation. When you have a photo that is open-ended, it becomes much more interesting because the viewer becomes an active participant, rather than just a passive on-looker. The viewer makes his/her own stories of the photographs— and let their imaginations flourish. They become part of the image, and it becomes a much more personal experience for them. - Eric Kim

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Using History to Teach Empathy

You think your pain and your heartbreak are unprecedented in the history of the world, but then you read. It was Dostoevsky and Dickens who taught me that the things that tormented me most were the very things that connected me with all the people who were alive, or who ever had been alive. Only if we face these open wounds in ourselves can we understand them in other people. James A. Baldwin

Rising Out of the Shadows

Using History to Teach Empathy

Rising Out Of The Shadows

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