Editing Taiko (section)

===North American ''sansei''===
Taiko performance was an important part of cultural development by third-generation Japanese residents in North America, who are called ''[[sansei]]''.{{sfn|Izumi|2006|p=159}}{{sfn|Yoon|2001|p=422}} During [[World War II]], second-generation Japanese residents, called ''[[nisei]]'' faced [[Internment of Japanese Americans|internment in the United States]] and [[Japanese Canadian internment|in Canada]] on the basis of their race.{{sfn|Terada|2001|pp=40–41}}{{sfn|Izumi|2001|p=41}} During and after the war, Japanese residents were discouraged from activities such as speaking Japanese or forming ethnic communities.{{sfn|Izumi|2001|p=41}} Subsequently, sansei could not engage in Japanese culture and instead were raised to assimilate into more normative activities.{{sfn|Terada|2001|p=41}} There were also prevailing stereotypes of Japanese people, which sansei sought to escape or subvert.{{sfn|Terada|2001|p=41}} During the 1960s in the United States, the [[civil rights movement]] influenced sansei to reexamine their heritage by engaging in Japanese culture in their communities; one such approach was through taiko performance.{{sfn|Izumi|2001|p=41}}{{sfn|Terada|2001|p=41}} Groups such as [[San Jose Taiko]] were organized to fulfill a need for solidarity and to have a medium to express their experiences as Japanese-Americans.{{sfn|Yoon|2001|p=424}} Later generations have adopted taiko in programs or workshops established by sansei; social scientist Hideyo Konagaya remarks that this attraction to taiko among other Japanese art forms may be due to its accessibility and energetic nature.{{sfn|Konagaya|2001|p=117}} Konagaya has also argued that the resurgence of taiko in the United States and Japan are differently motivated: in Japan, performance was meant to represent the need to recapture sacred traditions, while in the United States it was meant to be an explicit representation of masculinity and power in Japanese-American men.{{sfn|Konagaya|2005|p=140}}