THE DARKSIDE OF SANDON, BC

This is part of an ongoing series entitled ‘Vacationing with Death: What I did this Summer’.

When I set out on our Sandon ghost town day visit, I had no idea about its darker historical involvement with Canada’s internment of Japanese residents and citizens during WWII. Neither did my family members who had visited Sandon years earlier. On our way to Sandon, we stopped in New Denver, a few short kilometres way. We visited the small but impactful Nikkei Internment Memorial Centre (306 Josephine St., New Denver, BC, https://newdenver.ca/nikkei/ ). I’ve visited concentration camps in Europe and are still moved to silence today by the memories of those visits, but this visit took me out of my skin. The beauty of the gardens, the well conserved (but few remaining) buildings and the smiling faces in the photographs (so many photographs) mask the traumas and tragedies that our mid-20th C government inflicted on over 22,000 Japanese-Canadians.

Fred Brigden (871-1956), Sandon in Watercolour, 1944, watercolour. Brigden, artist from Toronto, created this as part of a series of West Kootenay views he painted. Watercolour mistakenly called “A Typical Japanese Village” by gallery in Toronto. Sam Eto is a young boy front and centre. SOURCE https://gregnesteroff.wixsite.com/kutnereader/post/sandon-in-watercolour-1944 and Sandon Museum + Historical Society volunteers (July, 2022)
Nikkei gardens, 2022, photo Dr.Dam
Nikkei Internment Camp 1942044 Shack, 2022, photo Dr. Dam

The two photographs above feature one of the immaculate gardens and a typical building that housed 2 families, with as many as 16 people in a 14×28 foot space. Toilets were a communal series of outhouses serving up to 50 people. There were as many as 200 of these ‘shacks’ in the area known as the Orchard. Official records state 1,500 men, women, and children were forcibly removed from their homes, businesses, and schools, and confined here. Older internees chose to remain in New Denver, rather than move yet again to places unknown after the interments ended. They lived in newer buildings (built in late 1950s, but not much more than the original shacks) until the 1980s.

Christmas Party, New Denver, 1942. Photo source: https://nikkeimuseum.org/www/item_detail.php?art_id=A2653

In both New Denver, and Sandon, we learnt of the harsh realities of being forced to live in such a desolate place, with few comforts or access to proper necessities of life. Sandon, however, was different – it’s houses, many abandoned years earlier were livable, and a newspaper report in The New Canadian (Vol. V, No.57) dated June 24, 1942, mentions the arrival of the first of nearly 970 Japanese internees to Sandon. The article mentions how Sandon avoids “some of the difficulties which have arisen in other towns” because it came with its own hydro-electric generator station, and “sanitary facilities”. The paper goes onto note that the main street with storefronts were being refurbished, and to quote “as store after store and service after service is again opening up to enjoy the new life of the town”.

Historical documents such as these, combined with the photographs could lead one astray, into believing that life here was good, and the people were happy, possibly because they smile into the camera (but who doesn’t ‘smile for the camera’? That’s rhetorical). The Nikkei Internment Memorial Centre displays letters, and official correspondents between Internees, their representatives, and government departments that tell a different story. One of loss, pain, fear, and indignities.

One example from the many thousands of digitalized artefacts, letters, photographs, audio recordings, films, and official documents found at https://nikkeimuseum.org/index.php

Letter from T. Nakatani, Steveston B.C., to E. Nakatani, Grand Forks, B.C.; 1942

The letter is written from Mr. Takao Nakatani to Mr. Esumatsu Nakatani. The sender is writing to his uncle, Esumatsu about the injustice of forced removal by expressing his sadness of being apart from many people, and his home and community in Steveston. He mentions his vivid image of saying ‘Good bye’ to many of his friends who already moved to Manitoba and Alberta by train. His main purpose of writing the letter is to ask his uncle to keep all the letters addressed to him since he gave Esumatsu’s address to all his friends who have left already. He is concerned of losing contact with his friends as he is also leaving his town soon. He does not want to separate from his family and if he goes to Greenwood (where the Catholic Church is) there will not be enough space for all his family. He does not know where he will move yet but will tell his uncle Esumatsu as soon as he decides: Part of the Esumatsu Nakatani Collection no. 2017.17.4.3.15

SIDENOTE: Nikkei Museum online is a remarkable accessible online resource – in the search window under Item I typed ‘new denver’ and found 880 digital items. https://nikkeimuseum.org/www/item_detail.php?art_id=A34550

The injustices inflicted upon Japanese-Canadians is, in part, responsible for Sandon’s continuing existence. The internees’ stories are visible, if we are willing to look for and listen to them. As an art historian with an interest in thanatology, I am further intrigued by the conflicting interpretations surrounding the remains of Sandon’s deceased internees. Reports claim 14 died during the interment in Sandon. A report entitled The Sandon Cemetery Restoration Project, dated 1996 and prepared for the Sandon Historical Society + BC Heritage Trust, goes into great detailed speculation about an area outside of the northern boundary being used for Japanese internee burials.

Once I read that I thought, wait, Japanese funeral customs is for cremation, not burial! The Nikkei Museum digital collection has an example of a Buddhist shrine, a large butsudan and butsugu (accessories) ­­­­­­­that includes a small red cloth covered book, possibly owned by Tamiko Nakamuro, and on the fifth page in English is written ‘The Buddhist Sutras compiled by Rev. R Hirahara, Sandon, BC and Rev S. Ikuta Raymond Alta Published by the Raymond Church Alberta’. This indicates that Buddhist practices were being followed, however, there are also a couple of photographs of funerals from the early 1940s in New Denver with mourners surrounding wreath covered caskets. I am not alone is wondering about this. Greg Nesteroff (https://gregnesteroff.wixsite.com/kutnereader/post/written-in-concrete ) questions the Sandon cemetery speculations as well. His own research found that between 1942 and 1979, of the 239 registered Japanese-Canadian deaths in New Denver and area, only 10% were buried. Between 1942 and 1944, the first three deaths in Sandon were cremated, the remaining 11 were cremated in New Denver. There are no burials reported. More research will have to be conducted, and if anyone knows more, please kindly share.

SOURCES:

https://nikkeimuseum.org/index.php

https://gregnesteroff.wixsite.com/kutnereader/post/written-in-concrete

https://www.historicplaces.ca/en/rep-reg/place-lieu.aspx?id=15382

https://www.sandonmuseum.com/

http://www.sandoninthekootenays.ca/

HASHTAGS:

#deathpositive            #deathpositivity          #hepburnskeleton      #whatIdidthissummer

#artanddeath  #sandon          #ghosttownsBC           #nikkeisandon #canadianinternmentcamps #canadianhistory          #summervacation            #deathandart              #darktourism #nikkeimuseum            #sandon

US. UNDERNEATH IT ALL

Well, this happened. My own piece of Memento Mori – Remember Death – permanently on me. At all times reminding me that this life is finite. Use it well. Do good. Take naps. 

Skulls have a long history in art as reminders to the viewer that death is inevitable. We cannot escape it so live life well. What ‘well’ looked like depended on time, place, societal expectations. The Dutch Golden age was when Memento Mori art was taken to new levels. Memento Mori or Vanitas paintings were popular with wealthy Dutch merchants who wanted to spend their money without looking like they had money, so they commissioned religious works for their homes. Wealthy and pious, a 17th C winning combination. Images with skulls, mirrors, hourglasses, flower arrangements in different states of decomposition, bread, or a watch or clock all symbolised the temporality of our existence.

Me. Underneath it all
Jacobsz, Dirck. Pompeius Occo, Banker, Merchant and Humanist. ca. 1531. Oil on panel, Rijksmuseum.

The skull in combination with other symbols created detailed reminders of how to live a good life, and die well. For example, place a skull, as symbol of mortality, and a carnation, emblem of the hope for eternal life, together in a work, such as found in Dirck Jacobsz’s portrait of Pompeius Occo. This banker, merchant and humanist was reminded that living a pious life meant being rewarded in the afterlife. A candle and a skull reminded the viewer, versed in Christian symbolism of the day, that life was short and death comes to all.

The Romans borrowed from the Egyptians the use of symbols as “representing man’s corporeal state after death” (Janson 423) but rather than a mummy the Romans used a skeleton. Early Christians only used the skeleton in artworks to represent the grave of Adam and it was placed beneath the cross of the crucified Christ. They also used the skeleton in the Vision of Ezekiel (37:1-8), where Ezekiel resurrects the dead. Sometime around the 12th C the full skeleton was reduced to a skull (presumed by viewers to represent Adam) and a handful of bones. By the Middle Ages the skeleton was still in use, but not as a reminder of salvation through Christ, but to use the horrors of death and the corruption of the body to “evoke greater piety” (Janson 427). The human skull was condensed and abstracted by the Renaissance Italians into what became a universal symbol of death.

C. Allan Gilbert. 1892, All is Vanity. Illustration                  
Dior Ad Poison Perfume.  inspired by Charles Allen Gilbert’s painting, “All is Vanity”

However, Michael Kearl thoroughly outlined a confluence of cultural trends racing towards the Millennium that emptied the symbolic reminder of our mortality. By the 1990’s the skull had been eroticised, politicized and commodified. The 20thC century and photography brought new interpretations of the skull that included combining death and sex, death and politics, and death and capitalism.

Louis Jules Duboscq-Soleil (French, 1822-1894). Still life with skull. ca. 1850. daguerreotype. 8.3×6.9cm. (1/6 plate). George Eastman House.
Philippe Halsman, Dali and the Skull (in Voluptate Mors), 1951, photograph.
Alexander McQueen. Classic silk skull scarf. Silk. Fashion scarf.  2010

Throughout the 20th C skulls would become associated with mass genocides, organized crime, and capitalism, for example Dior’s perfume from the 1980’s ad that plays off of Gilberts 19thC work, or Damien Hirst’s infamous use of skulls for art, and consequently of great value, seen in his works “For the Love of God’ (2007) and its accompanying piece “For Heaven’s Sake”, an authentic infant skull covered in platinum and diamonds. Sold respectively for $100 million and $50 million. Death is no longer the great equalizer, if you want to own a symbol of it, at least…

Damien Hirst, For the Love of God., Part: 3/4 view. 2007; skull with diamonds
Damien Hirst. For Heaven’s Sake., Part: 3/4 view. 2008. Child’s skull with pink diamonds http://www.damienhirst.com/for-heavenas-sake

Skulls have never gone out of fashion. A quick amazon search returns over 100,000 products with skulls associated with them. I own a number of artworks by artists that are of skulls, such as my pandemic purchase by Caitlin McCormack (https://www.caitlintmccormack.com/about )

Caitlin McCormack, Grow Back, 2019, fibre, pins, resin. Photo credit SC Dam

My tattoo skull is not only a reminder, it is also a self-portrait. It’s the red glasses that give it that personal touch but this could represent anyone. Skulls are universal. We all have one. Unique in its shape, protecting our lifetime of wounds, memories, and imaginations. But it’s also a universal reminder: this is all of us. Underneath it all. 

#deathdoula

#deathpositivity 

#deathpositive 

#artanddeath 

#hepburnskeleton 

#deathtalk 

#talkingaboutdeath 

#deathandlife 

#deathawareness

#endoflifeplanning

#endoflifedoula 

#skulls

#tattooskulls

#mementomori

#rememberdeath

#underneathitall

#caitlinmccormack

#phillippehalsman

SOURCES:

Kearl, Michael C. “The Proliferation of Skulls in Popular Culture: A Case Study of How the Traditional Symbol of Mortality Was Rendered Meaningless.” Mortality, vol. 20, no. 1, Feb. 2015, pp. 1–18. EBSCOhost, doi:10.1080/13576275.2014.961004.

Janson, Horst W. “The Putto with the Death’s Head.” The Art Bulletin, vol. 19, no. 3, 1937, pp. 423–49. JSTOR, JSTOR, doi:10.2307/3045691.

IMAGES: either author’s photographs or from artstor.org, unless otherwise stated.