Photographic archive belonging to Mitsuzo and Yoshi Daita, Issei residents of San Jose, California in the 1940s and 50s. There are approximately 160 photographs documenting Japanese American life in California and elsewhere, dating from around 1900-1960. Most are loose images, ranging in size from small snapshots up to beautiful large-format prints. There is also a small album of photographs and 12 panoramas.

In the collection, there are about 60 photographs showing traditional Japanese performances, including dance, theater, and music. Of these images, a handful of them have stamped credits for various California photo studios, most of them belonging to Japanese-Americans. These studios / photographers include R.B. Laing and the Kido Studio of San Francisco; the Jumura Studio and the Keith Cole Studio of San Jose; the Bill Nakahara Studio; and the Nimomiya and Toyo Miyatake Studios of LA.

The collection also features two images of the San Jose Chidori Band, of which Mitsuzo Daita was a founding member, shot by Pat Itatani of San Jose. From an article in the San Jose Nichi Bei, “The San Jose Chidori Band was formed in response and has since performed a mix of Japanese classics, pop and instrumentals for the Nikkei community in and around San Jose, and performing at a select number of annual Obon festivals.”

Though we have been unable to find much information about either Yoshi or Mitsuzo Daita available, an interview with Masayo (Yasui) Arii as part of the “REgenerations Oral History Project” does shed some light. In describing the formation of the San Jose Chidori Band, Arii recounts her time at the Gila River concentration camp, where she met Daita:

Mr. Mitsuzo Daita, he was always working with recreation department… They're the ones that were always with the camp recreation, and one of them, of course, was stage performances. They would be involved with different programs. They would put together plays, dances, bands, shows for the people in camp. They would usually [be] organizing these things.

It is possible that many of the images in the collection were sent by actors and musicians who collaborated with the Daitas while they were interned. One image in the collection, showing a woman applying make-up to a young actor, has a heartfelt caption on the verso which reads:

To Mrs. Daita,
An expert artist in the art of costumizing (sic) male actor for a dramatic role. Your expression brings forth a very satisfactory paint work. Thank you for everything you have done for me in every way. With profound appreciation -
Very sincerely,
Geo. Ichimoto.

The remainder of the collection consists of numerous portraits, including wedding photographs, many created by Japanese-American studio photographs. Many are signed by the subjects to the Daitas with warm regards, which speaks to how they were admired and respected by their community. There is also a small album, showing scenes in Japan and California, and nine panoramic photos. The majority of the panormas are in poor condition, cracking where they have been rolled up, but there is quite a lovely image showing the Golden Anniversary of the San Jose Buddhist Church. There is also a very interesting panorama showing a Sumo contest in the US in 1931. While the condition is extremely poor, the subject matter is quite unusual and fascinating. There are five panormas showing funerals (one in good condition), and two showing groups in traditional dress.

Overall, a rich and compelling photographic archive documenting traditional performance in relation the Japanese American experience in the first half of the 20th-Century.