Abstract
This article examines post-1980 musical responses to the Japanese Internment in the United States during WW II. It argues that these works differ because they were created at different points in the history of the Asian American movement. While the early works by Jon Jang and Glenn Horiuchi – written around the time of the 1988 Civil Liberties Act – focused on political action, later works by Anthony Brown and Soji Kashiwagi were more concerned with education and the personal traumas of former interns.- The author retains copyright over the work.
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