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<h2 class="hd hd-2 unit-title">Hakodate</h2>
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<h3>Hakodate</h3>
<p>Perry’s crew also travelled to the northern town of Hakodate, the second port opened under the Treaty of Kanagawa. First, watch Professor Dower’s introduction to Hakodate and the <span style="line-height: 1.6;">1854 </span><span style="font-size: 1em; line-height: 1.6em;">arrival of Perry’s fleet.</span></p>
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<legend id="ce4a52b377d0448a897a567aaf685e0c_2_1-legend" class="response-fieldset-legend field-group-hd">Despite the initial hostility shown by Japanese officials in Matsumae, relations between the Japanese and Americans soon improved. What three sites of contact does Professor Dower mention? Check the three that apply.</legend>
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<h3 class="hd hd-2">Lecture 2.16: Kojima‘s Book</h3>
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<legend id="f45106da98a14452a483c79536216119_2_1-legend" class="response-fieldset-legend field-group-hd">Kojima&#8217;s account is quite acerbic, but how would you characterize his evaluation of Perry&#8217;s men?</legend>
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<h2 class="hd hd-2 unit-title">Social Encounters, Banquets, Click Thru: Sumo</h2>
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<h3>Social Encounters</h3>
<p>In addition to diplomatic negotiations and casual encounters on shore in both Hakodate and Shimoda, there were several formal social encounters. We will look at two of them in this section: banquets given by both the American and Japanese sides, and a sumo-wrestling match.</p>
<p>First, listen to Professor Dower discuss the rowdy banquet on the expedition‘s flagship, the<em> Powhatan</em>.</p>
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<h3 class="hd hd-2">Lecture 2.18: Banquets</h3>
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<h3>Juxtaposition: Banquets</h3>
<p>Look closely at these two banquets: one hosted by the Americans, and the other by the Japanese. Can you tell how people are sitting? What are they eating? What entertainment is being offered?</p>
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<td>Image 1<a href="/assets/courseware/v1/21f9d0dd4b2bbda2c17423165b2b3137/asset-v1:MITx+VJx+3T2018+type@asset+block/18_157_DinnerPowhatan_2500w.jpg" class="modal-content"><img src="http://ocw.mit.edu/ans7870/21f/21f.027/black_ships_and_samurai/gallery/images/18_157_DinnerPowhatan.jpg" alt="American image of dinner given to Japanese on American ship. Large american flags drape across large, crowded dining hall. Scores of people seated at long tables eating. Small clusters of Japanese people at front of image smoking, drinking, and talking" /></a></td>
<td>Image 2<a href="/assets/courseware/v1/c5ad129573aba3fb65a343b6b591ff41/asset-v1:MITx+VJx+3T2018+type@asset+block/bss100_1854_AN01311814_BritishMuseum_dinner_2500w.jpg" class="modal-content"><img src="https://files.edx.org/vjx/bss100_1854_AN01311814_BritishMuseum_c.jpg" alt="Japanese image of Japanese reception of Americans. Orderly scene of Americans sitting in row facing Japanese sitting in row. Americans kneel at small individual tables with plates of food" /></a></td>
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<p>Image 1: Heine, William. <em>Dinner Given to Japanese Commissioners On Board the Powhatan</em>. ca. 1856. Lithograph. Narrative of the Expedition. Edited by Francis L. Hawks. Washington, D.C., 1856. <a href="http://creativecommons.org/licenses/by-nc-sa/2.5/" target="[object Object]">CC BY NC SA</a>. [<a href="http://ocw.mit.edu/ans7870/21f/21f.027/black_ships_and_samurai/gallery/pages/01_375L_narr_Dinner.htm" target="[object Object]">01_375L</a>]</p>
<p>Image 2: Hibata Ōsuke and Ōnuma Chinzan. <em>The Mission of Commodore Perry to Japan, 1854</em><em style="line-height: 25.6px;">, </em><span style="line-height: 25.6px;">detail. </span><span style="font-size: 1em; line-height: 1.6em;"> 1854-1858. Hand scroll. (c) Trustees of the British Museum. [</span><a href="http://www.britishmuseum.org/research/collection_online/collection_object_details/collection_image_gallery.aspx?partid=1&assetid=1344258&objectid=3505637" target="[object Object]" style="font-size: 1em; line-height: 1.6em;">2013_3002_1</a><span style="font-size: 1em; line-height: 1.6em;">]</span></p>
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<legend id="26f0dc0acc5d4b3db2f222371d5b3fe7_2_1-legend" class="response-fieldset-legend field-group-hd">In Image 1, what clues suggest that the banquet was not just a friendly get-together, but also an expression of power? Check all that apply.</legend>
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var data = ['01_371L_narr_Sumo.jpg', '<strong>Title:</strong> Wrestlers at Yokuhama <br><strong>Creator:</strong> Peters, W. T. <br><strong>Date:</strong> ca. 1856 <br><strong>Format:</strong> lithograph from a watercolor painting; book illustration <br><strong>Medium:</strong> ink and color on paper <br><br><strong>Source of Copywork:</strong> Perry, Matthew Calbraith. <em>Narrative of the expedition of an American squadron to the China seas and Japan : performed in the years 1852, 1853, and 1854, under the command of Commodore M.C. Perry, United States navy, by order of the government of the United States / compiled from the original notes and journals of Commodore Perry and his officers, at his request and under his supervision by Francis L. Hawks.</em> Vol. 1. Washington, D. C., 1856. <br><br><strong>Description:</strong> Perry's return visit to Japan in March of 1854 left time for greater interaction between the Americans and the Japanese. Entertainments included a Japanese demonstration of Sumo wrestling. The enormous Sumo wrestlers proved a source of great fascination to Perry and his men.',
'01_367w_narr_sumo.jpg', '<strong>Title:</strong> Sumo Wrestlers <br><strong>Creator:</strong> William Heine (1827-1885) <br><strong>Date:</strong> ca. 1856 <br><strong>Format:</strong> woodcut; book illustration <br><strong>Medium:</strong> ink and color on paper <br><br><strong>Source of Copywork:</strong> Perry, Matthew Calbraith. <em>Narrative of the expedition of an American squadron to the China seas and Japan : performed in the years 1852, 1853, and 1854, under the command of Commodore M.C. Perry, United States navy, by order of the government of the United States / compiled from the original notes and journals of Commodore Perry and his officers, at his request and under his supervision by Francis L. Hawks.</em> Vol. 1. Washington, D. C., 1856. <br><br><strong>Description:</strong> The official Narrative of Perry's Expedition was graced with woodcut illustrations, including details such as a Sumo wrestler next to an ornate letter 'A' in this chapter heading graphic.',
'30_012b2_detail_sumo.jpg', '<strong>Title:</strong> Sumo detail from Pictoral Description of American People and Steamship <br><strong>Title Variant:</strong> Gasshūkoku junbutsu narabini jōkisen zue <br><strong>Creator:</strong> Unknown <br><strong>Date:</strong> ca. 1854 <br><strong>Format:</strong> woodblock print <br><strong>Medium:</strong> color on paper <br><strong>Repository:</strong> Ryosenji Treasure Museum <br><strong>Source of Copywork:</strong> a slide from Ryosenji <br><br><strong>Description:</strong> This detail depicts sumo wrestlers surrounded by gaping Westerners. Taken from a larger work, Pictorial Description of American People and Steamship.',
'10_112_Sumo_rice.jpg', '<strong>Title:</strong> Sumo Wrestler <br><strong>Creator:</strong> Unknown <br><strong>Date:</strong> ca. 1854 <br><strong>Format:</strong> painting <br><strong>Repository:</strong> Collection of DeWolf Perry <br><strong>Source of Copywork:</strong> Reynolds, Robert L. <em>Commodore Perry in Japan.</em> New York, 1963. <br><br><strong>Description:</strong> From John Dower's Core Exhibit: "In the decade following the Perry expedition, the larger-than-life sumo wrestler continued to provide a small vehicle for iconographic bravado. After a new commercial treaty was signed in 1858 and foreigners began to flood into the country, woodblock artists portrayed these native heroes tossing around, not bales of rice, but the hairy barbarians themselves."',
'28_095_Sumo_Perry.jpg', '<strong>Title:</strong> Perry and Sumo Wrestler <br><strong>Creator:</strong> Unknown <br><strong>Date:</strong> late 19th century <br><strong>Format:</strong> woodblock print <br><strong>Medium:</strong> ink on paper <br><strong>Repository:</strong> DeWolf Perry <br><strong>Source of Copywork:</strong> Dulles, Foster R. <em>Yankees and Samurai. America's role in the Emergence of Modern Japan: 1791-1900.</em> New York, 1965. <br><br><strong>Description:</strong> A humorous Japanese sketch of an American impressed by the bulk of a sumo wrestler.',
'18_192_Sumo_marines.jpg', '<strong>Title:</strong> Marines Examine Sumo Wrestler, 24 March 1854 <br><strong>Creator:</strong> Unknown <br><strong>Date:</strong> 1854 <br><strong>Format:</strong> drawing <br><strong>Medium:</strong> ink on paper <br><strong>Source of Copywork:</strong> Roger Pineau, ed. The Japan Expedition, 1852-1854; the Personal Journal of Commodore Matthew C. Perry. Washington, D.C., 1968. <br><br><strong>Description:</strong> Inscription reads "nishi no kata ōzeki kagamiiwa" (the second rank champion on the West, Kagamiiwa). The Americans were fascinated and repulsed by the sumo. Here we see several marines examining one.',
'30_032g_GlorySumo.jpg', '<strong>Title:</strong> The Glory of Sumo Wrestlers at Yokohama <br><strong>Creator:</strong> Unknown <br><strong>Date:</strong> 1860 <br><strong>Format:</strong> woodblock print <br><strong>Medium:</strong> ink and color on paper <br><strong>Repository:</strong> Ryosenji Treasure Museum <br><strong>Source of Copywork:</strong> a slide from Ryosenji. <br><br><strong>Description:</strong> This is an imaginary wrestling match in Yokohama between a French strongman, said to be over two meters tall, and a Japanese sumo wrestler.<br><br> From John Dower's Core Exhibit: "In the decade following the Perry expedition, the larger-than-life sumo wrestler continued to provide a small vehicle for iconographic bravado. After a new commercial treaty was signed in 1858 and foreigners began to flood into the country, woodblock artists portrayed these native heroes tossing around, not bales of rice, but the hairy barbarians themselves."',
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<h3>Sumo: Click Thru Image Sequence</h3>
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<p>Next, let‘s turn to the sumo wrestlers, who captured the attention of both Japanese and Americans.</p>
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<h3>Juxtaposition: Sumo</h3>
<p>Japanese portrayals of sumo wrestlers indicate how impressed the Americans were by these immensely strong men—but accounts of sumo by Perry’s men suggest they were not all that impressed. How might you explain the difference between, say, these two images?</p>
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<td>Image 1<a href="http://ocw.mit.edu/ans7870/21f/21f.027/black_ships_and_samurai/gallery/images/07_055b_Sumo.jpg" class="modal-content"><img src="http://ocw.mit.edu/ans7870/21f/21f.027/black_ships_and_samurai/gallery/images/07_055b_Sumo.jpg" alt="black-and-white 1854 American drawing of sumo wrestlers. Two men wearing sumo-wrestler loincloths leaning against each other, each at a forty-five degree angle. Neither wrestler is particularly large." /></a></td>
<td>Image 2<a href="http://ocw.mit.edu/ans7870/21f/21f.027/black_ships_and_samurai/gallery/images/10_112_Sumo_rice.jpg" class="modal-content"><img src="http://ocw.mit.edu/ans7870/21f/21f.027/black_ships_and_samurai/gallery/images/10_112_Sumo_rice.jpg" alt="1854 drawing of large man carrying two large barrels full of rice. Another man clothed in western attire in front attempts to life one barrel" /></a></td>
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<p>Image 1: Dudley, T.C. <em>Sumo Wrestling</em>. 1854. Drawing. Smithsonian Institution. Peri raikō kankei shiryō zuroku. Edited by Yokohama Kaikō Shiryōkan. Yokohama: 1982. <a href="http://creativecommons.org/licenses/by-nc-sa/2.5/" target="[object Object]">CC BY NC SA</a>. [<a href="http://ocw.mit.edu/ans7870/21f/21f.027/black_ships_and_samurai/gallery/pages/07_055b_Sumo.htm" target="[object Object]">07_055b_Sumo</a>]</p>
<p>Image 2: <em>Sumo Wrestler</em>. ca. 1854. Painting. DeWolf Perry collection. Commodore Perry in Japan. By Robert L. Reynolds. New York, 1963. <a href="http://creativecommons.org/licenses/by-nc-sa/2.5/" target="[object Object]">CC BY NC SA</a>. [<a href="http://ocw.mit.edu/ans7870/21f/21f.027/black_ships_and_samurai/gallery/pages/10_112_Sumo_rice.htm" target="[object Object]">10_112_Sumo_rice</a>]</p>
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<input type="radio" name="choice" id="poll-448baaa8b57a43928eb12323f3bd9c59-answer-R" value="R"
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<label class="poll-answer-text" for="poll-448baaa8b57a43928eb12323f3bd9c59-answer-R"><p>People on both sides tried to exaggerate their own strength: the Japanese by showing the power of sumo wrestlers, and the Americans by downplaying the wrestlers' strength.</p></label>
</div>
<div class="poll-answer">
<div class="poll-input-container">
<input type="radio" name="choice" id="poll-448baaa8b57a43928eb12323f3bd9c59-answer-B" value="B"
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<label class="poll-answer-text" for="poll-448baaa8b57a43928eb12323f3bd9c59-answer-B"><p>Artistic conventions in Japan tended to favor more exaggerated features, meaning there is a level of hyperbole in images such as Image 2.</p></label>
</div>
<div class="poll-answer">
<div class="poll-input-container">
<input type="radio" name="choice" id="poll-448baaa8b57a43928eb12323f3bd9c59-answer-G" value="G"
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<label class="poll-answer-text" for="poll-448baaa8b57a43928eb12323f3bd9c59-answer-G"><p>Perry's men were embarrassed by their weakness compared to the sumo wrestlers, and tried to mask their embarrassment by dismissing the wrestlers' strength.</p></label>
</div>
<div class="poll-answer">
<div class="poll-input-container">
<input type="radio" name="choice" id="poll-448baaa8b57a43928eb12323f3bd9c59-answer-O" value="O"
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<label class="poll-answer-text" for="poll-448baaa8b57a43928eb12323f3bd9c59-answer-O"><p>Observers on both sides recognized that sumo wrestling was a metaphor for a possible military face-off between the two countries, and thus used images of the wrestlers as symbols for the entire country of Japan.</p></label>
</div>
<div class="poll-answer">
<div class="poll-input-container">
<input type="radio" name="choice" id="poll-448baaa8b57a43928eb12323f3bd9c59-answer-1468701107956" value="1468701107956"
/>
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<label class="poll-answer-text" for="poll-448baaa8b57a43928eb12323f3bd9c59-answer-1468701107956"><p>Image 2, a Japanese graphic showing a sumo wrestler lifting two huge bales of rice while an American fails to lift even one was clearly directed to a Japanese audience that craved reassurance of Japanese superiority to the foreigners.</p></label>
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</div>
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<div class="poll-voting-thanks
poll-hidden">
<span>Thank you.</span>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
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<h2 class="hd hd-2 unit-title">Methodologies: Sorting a Database</h2>
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<h3>Methodologies: Sorting a Database</h3>
<p style="text-rendering: optimizelegibility; margin-top: 0px; margin-right: 0px; margin-left: 0px; padding: 0px; border: 0px; outline: 0px; font-family: 'Open Sans', 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; vertical-align: baseline; text-transform: none;"></p>
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<h3>Gallery-Sort Exercise (Optional)</h3>
<p>
<script>// <![CDATA[
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<p>Look through the gallery below. You can zoom in on each image. As you mouse over each image, you will be able to select one or more categories in which the image fits. O<span style="line-height: 1.6;">f course, t</span><span style="font-size: 1em; line-height: 1.6em;">here are no hard-and-fast definitions: our goal is to identify discrete sets of images for further analysis, so try to identify the category that makes the most sense.</span></p>
<p>The categories with which you should tag each image are:</p>
<p><strong>Gender:</strong> which images offer insight into the relations between men and women, and/or contemporary understandings of sexuality?</p>
<p><strong>Race and ethnicity:</strong> which images shed light on ideas about race and/or ethnicity?</p>
<p><strong>Religion:</strong> which images illustrate religious figures or settings?</p>
</div>
<div id="vjxMain">
<div id="display">Show Images of:<br /> <input type="checkbox" id="genderbox" />Gender<br /> <input type="checkbox" id="racebox" />Race and ethnicity<br /> <input type="checkbox" id="religionbox" />Religion<br /> <input type="checkbox" id="nonebox" />Unlabelled</div>
</div>
<p>Now that you’ve made your choices, go back to the top and use the check boxes to display your results and look at the patterns and variations. Note that the captions appear below with additional information.</p>
<p></p>
<p></p>
</div>
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<p>All images from the gallery sort are <a href="http://creativecommons.org/licenses/by-nc-sa/2.5/" target="[object Object]">CC BY NC SA</a>, and can be found on the Visualizing Cultures website by clicking on the image number.</p>
<p>Brown, Eliphalet. <em>Mother and Child, Simoda</em>. ca. 1856. Daguerreotype. <em>Narrative of the Expedition</em>. Edited by Francis L. Hawks. Washington, D.C., 1856. [<a href="http://ocw.mit.edu/ans7870/21f/21f.027/black_ships_and_samurai/gallery/pages/01_405L_narr_MotherChild.htm" target="[object Object]">01_405L_narr_MotherChild</a>]</p>
<p>Brown, Eliphalet. <em>Japanese Women, Simoda</em>. ca. 1856. Lithograph. <em>Narrative of the Expedition</em>. Edited by Francis L. Hawkes. Washington, D.C., 1856. [<a href="http://ocw.mit.edu/ans7870/21f/21f.027/black_ships_and_samurai/gallery/pages/01_397_narr_Women.htm" target="[object Object]">01_397_narr_Women</a>]</p>
<p>Brown, Eliphalet. <em>Japanese Women, Simoda</em>. ca. 1856. Lithograph. <em>Narrative of the Expedition</em>. Edited by Francis L. Hawkes. Washington, D.C., 1856. [<a href="http://ocw.mit.edu/ans7870/21f/21f.027/black_ships_and_samurai/gallery/pages/01_418W_narr_Women.htm" target="[object Object]">01_418L_narr_Women</a>]</p>
<p>Heine, William. <em>Spinning and Weaving</em>. ca. 1856. Illustration. <em>Narrative of the Expedition</em>. Edited by Francis L. Hawks. Washington, D.C., 1856. [<a href="http://ocw.mit.edu/ans7870/21f/21f.027/black_ships_and_samurai/gallery/pages/01_458W_narr_Spinning.htm" target="[object Object]">01_458W_narr_Spinning</a>]</p>
<p><em>Assembled Paintings of Commodore Perry's Visit</em>. 19th century. Eight-fold screen. Historiographical Institute, University of Tokyo. [<a href="http://ocw.mit.edu/ans7870/21f/21f.027/black_ships_and_samurai/gallery/pages/40_016_woman.htm" target="[object Object]">40_016_woman</a>]</p>
<p><em>Black Ship Scroll</em><em style="line-height: 25.6px;">, </em><span style="line-height: 25.6px;">details. </span> 1854. Hand scroll. Honolulu Academy of Arts. [<a href="http://ocw.mit.edu/ans7870/21f/21f.027/black_ships_and_samurai/gallery/pages/51_026_bsscroll_geisha.htm" target="[object Object]">51_026_bsscroll_geisha</a> and <a href="http://ocw.mit.edu/ans7870/21f/21f.027/black_ships_and_samurai/gallery/pages/51_010_bsscroll_Chinese.htm" target="[object Object]">51_010_bsscroll_Chinese</a>]</p>
<p><em style="font-size: 1em; line-height: 1.6em;">Black Ship and Crew</em><span style="font-size: 1em; line-height: 1.6em;"><em style="line-height: 25.6px;">, </em><span style="line-height: 25.6px;">detail. </span> ca. 1854. Painting. Ryōsenji Treasure Museum. [</span><a href="http://ocw.mit.edu/ans7870/21f/21f.027/black_ships_and_samurai/gallery/pages/30_013c2_detail_crew2.htm" target="[object Object]" style="font-size: 1em; line-height: 1.6em;">30_013c2_detail_crew2</a><span style="font-size: 1em; line-height: 1.6em;">]</span></p>
<p>Kojima Matajirō. "A Black Man." 1854. Book illustration. <em>Commodore Perry's Expedition to Hakodate</em>. By Kojima Matajirō. Hakodate: Hakodate Kyōdō Bunkakai, 1953 [1854]. [<a href="http://ocw.mit.edu/ans7870/21f/21f.027/black_ships_and_samurai/gallery/pages/80_002_hakodate.htm" target="[object Object]">80_002_hakodate</a>]</p>
<p>Kojima Matajirō. <em>A Cantonese; Crew of the Macedonia</em>. 1854. Ink on paper. <em>Commodore Perry's Expedition to Hakodate</em>. By Kojima Matajirō. Hakodate: Hakodate Kyōdō Bunkakai, 1953 [1854]. [<a href="http://ocw.mit.edu/ans7870/21f/21f.027/black_ships_and_samurai/gallery/pages/80_008_hakodate.htm" target="[object Object]">80_008_hakodate</a>]</p>
<p><em>Marine Guard and Pose of Admiral Perry upon Landing in Japan, 1853</em>. ca. 1853. Color on paper. Chrysler Museum of Art. [<a href="http://ocw.mit.edu/ans7870/21f/21f.027/black_ships_and_samurai/gallery/pages/52_553_Chrysler_Perry.htm" target="[object Object]">52_553_Chrysler_Perry</a>]</p>
<p>Brown, Eliphalet. <em>Buddhist priest, Shimoda, in costume</em>. ca. 1856. Lithograph. <em>Narrative of the Expedition</em>. Edited by Francis L. Hawks. Washington, D.C., 1856. [<a href="http://ocw.mit.edu/ans7870/21f/21f.027/black_ships_and_samurai/gallery/pages/01_408bL_narr_Priest.htm" target="[object Object]">01_408bL_narr_Priest</a>]</p>
<p>Brown, Eliphalet. <em>Buddhist priest, Shimoda</em>. ca. 1856. Lithograph. <em>Narrative of the Expedition</em>. Edited by Francis L. Hawks. Washington, D.C., 1856. [<a href="http://ocw.mit.edu/ans7870/21f/21f.027/black_ships_and_samurai/gallery/pages/01_409L_narr_Priest.htm" target="[object Object]">01_409L_narr_Priest</a>]</p>
<p>Heine, William. <em>Mariners Temple at Shimoda</em>. ca. 1854. Lithograph. <em>Narrative of the Expedition</em>. Edited by Francis L. Hawks. Washington, D.C., 1856. [<a href="http://ocw.mit.edu/ans7870/21f/21f.027/black_ships_and_samurai/gallery/pages/01_411L_narr_Temple.htm" target="[object Object]">01_411L_narr_Temple</a>]</p>
<p>Heine, William. <em>Japanese Funeral at Shimoda</em>. ca. 1854. Lithograph. <em>Narrative of the Expedition</em>. Edited by Francis L. Hawks. Washington, D.C., 1856. [<a href="http://ocw.mit.edu/ans7870/21f/21f.027/black_ships_and_samurai/gallery/pages/01_426_narr_Funeral.htm" target="[object Object]">01_426_narr_Funeral</a>]</p>
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<h2 class="hd hd-2 unit-title">Race & Ethnicity in the Perry Expedition Graphics</h2>
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<h3>Race & Ethnicity in the Perry Expedition Graphics</h3>
<p>To conclude today’s lesson, let us briefly dig into one category from the gallery-sort exercise: race and ethnicity. Often, race is used as shorthand to explain social difference. As you work through this exercise, think about the importance of using a mix of images to develop a more nuanced interpretation of historical events and ideas.</p>
<p>First, compare these two representations of black sailors in Perry's fleet.</p>
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<p><a href="http://ocw.mit.edu/ans7870/21f/21f.027/black_ships_and_samurai/gallery/images/30_013c2_detail_crew2.jpg" class="modal-content"><img alt="Black Sailor" src="http://ocw.mit.edu/ans7870/21f/21f.027/black_ships_and_samurai/gallery/images/30_013c2_detail_crew2.jpg" /></a></p>
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<p><em>Black Ship and Crew</em><em style="line-height: 25.6px;">, </em><span style="line-height: 25.6px;">detail. </span>ca. 1854. Painting. Ryōsenji Treasure Museum. <a href="http://creativecommons.org/licenses/by-nc-sa/2.5/" target="[object Object]">CC BY NC SA</a>. [<a href="http://ocw.mit.edu/ans7870/21f/21f.027/black_ships_and_samurai/gallery/pages/30_013c2_detail_crew2.htm" target="[object Object]">30_013c2_detail_crew2</a>]</p>
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<p><a href="/assets/courseware/v1/46856a796967a7eec277b68ddac0928d/asset-v1:MITx+VJx+3T2018+type@asset+block/52_553a_Chrysler_Perry_update_crop.jpg" class="modal-content"><img alt="Black Sailor 2" src="/assets/courseware/v1/46856a796967a7eec277b68ddac0928d/asset-v1:MITx+VJx+3T2018+type@asset+block/52_553a_Chrysler_Perry_update_crop.jpg" type="saveimage" target="[object Object]" width="1107" height="682" /></a></p>
<p><em>Marine Guard and Pose of Admiral Perry upon Landing in Japan, 1853</em><em style="line-height: 25.6px;">, </em><span style="line-height: 25.6px;">detail.</span> ca. 1853. Color on paper. Chrysler Museum of Art. <a href="http://creativecommons.org/licenses/by-nc-sa/2.5/" target="[object Object]">CC BY NC SA</a>. [<a href="http://ocw.mit.edu/ans7870/21f/21f.027/black_ships_and_samurai/gallery/pages/52_553_Chrysler_Perry.htm" target="[object Object]">52_553_Chrysler_Perry</a>]</p>
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<p>This next image, by a Japanese artist, shows a minstrel show performed by Perry’s men in black-face. What does this suggest about American and Japanese ideas of race in 1854?</p>
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<p><a href="http://ocw.mit.edu/ans7870/21f/21f.027/black_ships_and_samurai/gallery/images/40_014_minstrel.jpg" class="modal-content"><img alt="Minstrels in blackface" src="http://ocw.mit.edu/ans7870/21f/21f.027/black_ships_and_samurai/gallery/images/40_014_minstrel.jpg" /></a></p>
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<p><em>Assembled Paintings of Commodore Perry's Visit</em>. 19th century. Eight-fold screen. Historiographical Institute, University of Tokyo. <a href="http://creativecommons.org/licenses/by-nc-sa/2.5/" target="[object Object]">CC BY NC SA</a>. [<a href="http://ocw.mit.edu/ans7870/21f/21f.027/black_ships_and_samurai/gallery/pages/40_014_minstrel.htm" target="[object Object]">40_014_minstrel</a>]</p>
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<p>As this simplistic set of images shows, it is difficult to rely on race alone as a marker of status or social rank. Moreover, race means much more than social status, and it means different things in different places—many of the black sailors in Perry’s fleet would not have been American blacks, but rather sailors from the Caribbean, Africa, or the South Pacific Islands.</p>
<p>As you mull this over, listen to Professor Dower’s discussion of the minstrel show and attitudes toward race at the time of Perry's expedition in the final clip for today’s lesson.</p>
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<p>As Professor Dower suggests, the images of a minstrel show and its program would strike most Americans today as highly offensive—yet Perry considered them model forms of U.S. popular entertainment. Race, gender, and class—to take just the examples from today’s lesson—are enormously complex concepts, not only in a particular historical moment, but also in the ways they shift over time. This complexity makes it crucial to find as much evidence as possible to justify our interpretations.</p>
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