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Echoes of History: Sound Artist Alan Nakagawa and the Hiroshima Legacy

ダリル・モリ

“You could feel everyone in the park staring,” Alan Nakagawa says. “Why do they get to go in the Dome? It was like being a goldfish in a goldfish bowl. However, the moment we were inside, having only an hour of access, we went straight to work.”

Echoes of History: Sound Artist Alan Nakagawa and the Hiroshima Legacy

ダリル・モリ

“You could feel everyone in the park staring,” Alan Nakagawa says. “Why do they get to go in the Dome? It was like being a goldfish in a goldfish bowl. However, the moment we were inside, having only an hour of access, we went straight to work.”

Echoes of History: Sound Artist Alan Nakagawa and the Hiroshima Legacy

ダリル・モリ

“You could feel everyone in the park staring,” Alan Nakagawa says. “Why do they get to go in the Dome? It was like being a goldfish in a goldfish bowl. However, the moment we were inside, having only an hour of access, we went straight to work.”

Echoes of History: Sound Artist Alan Nakagawa and the Hiroshima Legacy

ダリル・モリ

“You could feel everyone in the park staring,” Alan Nakagawa says. “Why do they get to go in the Dome? It was like being a goldfish in a goldfish bowl. However, the moment we were inside, having only an hour of access, we went straight to work.”

Echoes of History: Sound Artist Alan Nakagawa and the Hiroshima Legacy

ダリル・モリ

“You could feel everyone in the park staring,” Alan Nakagawa says. “Why do they get to go in the Dome? It was like being a goldfish in a goldfish bowl. However, the moment we were inside, having only an hour of access, we went straight to work.”

Echoes of History: Sound Artist Alan Nakagawa and the Hiroshima Legacy

ダリル・モリ

“You could feel everyone in the park staring,” Alan Nakagawa says. “Why do they get to go in the Dome? It was like being a goldfish in a goldfish bowl. However, the moment we were inside, having only an hour of access, we went straight to work.”

Echoes of History: Sound Artist Alan Nakagawa and the Hiroshima Legacy

ダリル・モリ

“You could feel everyone in the park staring,” Alan Nakagawa says. “Why do they get to go in the Dome? It was like being a goldfish in a goldfish bowl. However, the moment we were inside, having only an hour of access, we went straight to work.”

Echoes of History: Sound Artist Alan Nakagawa and the Hiroshima Legacy

ダリル・モリ

“You could feel everyone in the park staring,” Alan Nakagawa says. “Why do they get to go in the Dome? It was like being a goldfish in a goldfish bowl. However, the moment we were inside, having only an hour of access, we went straight to work.”

Echoes of History: Sound Artist Alan Nakagawa and the Hiroshima Legacy

ダリル・モリ

“You could feel everyone in the park staring,” Alan Nakagawa says. “Why do they get to go in the Dome? It was like being a goldfish in a goldfish bowl. However, the moment we were inside, having only an hour of access, we went straight to work.”

Echoes of History: Sound Artist Alan Nakagawa and the Hiroshima Legacy

ダリル・モリ

“You could feel everyone in the park staring,” Alan Nakagawa says. “Why do they get to go in the Dome? It was like being a goldfish in a goldfish bowl. However, the moment we were inside, having only an hour of access, we went straight to work.”

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DMo is a writer based in Los Angeles, specializing in the arts and the nonprofit sector. A Sansei and a native of Southern California, he has written for UCLA and the Japanese American National Museum, where he serves as a volunteer. He currently works in fundraising and external relations for Art Center College of Design.

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