It’s almost your last chance to see the
exhibition Gambatte! Legacy of an Enduring Spirit. Closing April 28, the
exhibition features contemporary photos taken by Pulitzer Prize-winning
photojournalist Paul Kitagaki Jr. displayed next to images shot 75 years ago by
War Relocation Authority (WRA) photographers such as Dorothea Lange and Clem
Albers during World War II. Each pairing in the exhibition features the same
individuals or their direct descendants as the subject matter. Paul spent years
tracking down the formerly unknown subjects in WRA-era photos. After countless
hours at the National Archives in Washington, DC, and through tips from family,
friends, and the public, he found more than 60 individuals or their descendants
to photograph. One such pair of photos in the exhibition features Yukiko
Yukiko Okinaga Hayakawa was two years old in
1942 when she was photographed waiting at Los Angeles’s Union Station, not far
from her home in Little Tokyo, for a train that would take her and her mother
to the Manzanar concentration camp. In the photo, she’s holding a partially
eaten apple in one hand and a tiny purse in the other. Peeking out from her corduroy
jacket is is the paper family identification tags worn by those forcibly
removed, serving as a reminder of their second class status during this time. Photographer
Clem Albers captured the far-off look in her eyes–a look of confusion and
uncertainty. This now-famous photo has become representative of innocence lost
during that time in history.
In 2005, Paul Kitagaki Jr. traveled with Yukiko
on her first visit to Manzanar since her incarceration. He took her photo in a
field near the camp’s Block 2, where she had once lived. Among the last of the incarcerees
released, she and her mother left Manzanar in October 1945 for Cleveland, Ohio,
where another Japanese American family sponsored them. Her mother went on to
work as a cleaning woman and later as a seamstress. Yukiko went to Lake Forest
College in Illinois and then graduate school at Tulane University in New
Today Yukiko Okinaga Llewellyn (née Hayakawa) is
a retired Assistant Dean of Students and Director of Registered Student
Organizations at the University of Illinois, Champaign-Urbana, where she worked
with Asian student groups and helped establish the university’s Asian Studies program.
She taught about the incarceration experience and was active in the redress
movement.In fact, in the fall of 1986, she wrote to her congressman,
Representative Terry Bruce, and spoke with his staff about the movement.
Through her persistence, the “little girl with the apple” helped win Rep.
Bruce’s support. To this day, Yukiko continues to educate others about what
happened to Japanese Americans in the 1940s in the hope that it doesn’t happen
again to someone else.
Have you seen our exhibition Gambatte! Legacy of an Enduring Spirit yet? It features large-format contemporary photos taken by Pulitzer Prize-winning photojournalist Paul Kitagaki Jr. displayed next to images shot 75 years ago by War Relocation Authority (WRA) photographers such as Dorothea Lange and Clem Albers during World War II. Each pairing in the exhibition features the same individuals or their direct descendants as the subject matter.
Paul has spent years tracking
down the formerly unknown subjects in WRA-era photos. After countless hours at
the National Archives in Washington, DC, and through tips from family, friends,
and the public he has found more than 60 individuals or their descendants to
photograph. We caught up with Paul via email to ask him a few questions about
this project, his process, and what he has learned by working with his
JANM: What are the
similarities and differences between your Gambatte
work versus your job as a photojournalist?
Kitagaki Jr: I’ve been a photojournalist for 40 years and have worked at seven
different newspapers on the West Coast. This project has been similar to an
investigative piece, taking a tremendous amount of research, looking for clues to
the identities of unidentified people from over 70 years ago. Once the subject
had been identified, I had to gain their trust to participate. It was very slow
for the first few years. It has taken over 13 years to build this body of work,
matching 61 historical photos with the same subjects today sharing their stories.
I started with an idea of finding the identities of the subjects photographed
by Dorothea Lange, I never thought I would find the amount of subjects in the
exhibition and book. These are the images that have been burned in my memory when
I first learned of Executive Order 9066 as a teenager in 1970.
my first trip to the National Archives in 1984, I searched over 900 Dorothea
Lange photographs looking for my family. As I looked through the boxes of
images of the government historical record of the incarceration, the faces of
the unidentified Japanese Americans haunted me and I wanted to know what had
happened to them and if their experience was the same or different from my
family. Maybe I could learn more than what my parents hadn’t spoken of.
In your Gambatte portraits, are you
more spontaneous with your subjects or are you trying to capture an idea you
When I photograph a subject I have an open mind of how they will be
photographed. I look at the historical photograph of the subject and try to
find a feeling from the image that I might be able to incorporate in my
contemporary photograph. It might be the location of the historical image or
something from the subject’s life today that relates to being a Japanese
American. When I meet them at their home, I collaborate with the subject and
ask for something that might relate to their story. I might ask them if they have
anything personal they brought to camp with them. Many times they don’t have
anything from that time in their lives.
Since you’re dealing with serious, oftentimes painful memories, how do you make
your subjects feel at ease and comfortable?
The subject is very serious, often with painful memories that haven’t been
shared outside of the family and sometimes not even in the family. I explain to
them how important their stories are and that they are the only ones who can
create a lasting personal and historical record of Executive Order 9066. You have to remember that many Sansei, Yonsei, and
Gosei never heard the stories of the incarceration and the emotional and
financial toll it took on their parents, grandparents, and great-grandparents.
Many of the Issei and Nisei didn’t share their stories with their own families.
Are there any lasting lessons you’ve learned from the camp survivors you’ve photographed?
common theme the survivors voiced is that they don’t want this to happen again,
to anybody. There was nobody to speak out and defend them as they silently went
into the incarceration camps. They all have an inner strength. They wanted to move on and not burden their children
with the shame they endured so many years ago. We saw how their civil rights
had been violated, but they triumphed over adversity, they didn’t give up, they
keep trying to do their best in the most difficult situations while locked away
in the incarceration camps during WWII and that is the spirit of the word gambatte.
Can you tell us a little bit about your upcoming book?
PK: The book will be out in April 2019 and is titled Behind Barbed Wire. The 152-page hardcover book with 137 photographs will have 61 stories of the Japanese Americans incarcerated in the camps. We look at the time before forced removal, the forced removal days, and life in the camps. The book is based on 13 years of research from the interviews and photographs from the national touring exhibition Gambatte! Legacy of an Enduring Spirit that has been shown across the country. We are hoping to share the book and exhibition in more places across the US and abroad.
What would you like the legacy of this project to be?
I want the stories and photographs of Executive Order 9066 to be shared with a
diverse audience who might not know what had happened during WWII to Japanese
American citizens. Many of the subjects have said they don’t want this to
happen to anybody else and feel the importance of sharing this story.
am still looking for more subjects and hope to add a multimedia video component
to the project. Hearing the voices will be a powerful addition to the story
In many public and private schools across the nation, this chapter of American history is rarely being taught. This exhibit and book offers a visual opportunity to learn about this time in history and to educate a new generation of gatekeepers, as well as the older generations, about the tragedy of war and the importance of standing up for the constitutional rights of all people. Although the Japanese American incarceration occurred over 70 years ago, events such 9/11, the upheaval that followed, and the racial turmoil in the US reveal that the message of this exhibit is more relevant than ever. I hope that future generations will be inspired by these stories and images. Hopefully, we can get it to more educational institutions such as high schools and universities as part of the reading curriculum. Many school education materials have a few paragraphs, or nothing at all, on the factual information of the incarceration but not the human toll it took on the Issei, Nisei, and Sansei and how it changed their lives forever.
On Saturday, February 9, see Paul Kitagaki Jr. at JANM in conversation with subjects of his work to discuss his creative process, stories about the images, and the effects this project has had on those both behind and in front of the camera. An audience Q&A follows the discussion. On the same day, if you are a JANM member, join Paul Kitagaki Jr. for a members only meet-and-greet and/or a gallery tour of Gambatte! Legacy of an Enduring Spirit (tour limited to 25 participants). RSVP here.
Another fulfilling year is about to come to a close. JANM presented many significant exhibitions and interesting events in 2018—here’s a look back at some of the highlights.
In January Contested Histories: Art and Artifacts from the Allen Hendershott Eaton Collectionshowcased a collection of arts and crafts Japanese Americans made while incarcerated at American concentration camps during World War II, along with a large number of photographs taken in the camps. Saved from the auction block through the action of Japanese American community leaders throughout the country, the collection serves as a testament to the creative spirit enduring in even the darkest of times. A pop-up version of this is now touring the country. Viewers are asked to contribute any information they have about the objects and the people depicted in the photos.
The Transpacific Borderlands: The Art of Japanese Diaspora in Lima, Los Angeles, Mexico City, and São Paulo exhibition, which opened in 2017 but continued into the first two months of 2018, highlighted the experiences of artists of Japanese ancestry born, raised, or living in either Latin America or predominantly Latin American neighborhoods of Southern California. The show examined the complexities surrounding identity and how the concepts of homeland and cosmopolitanism inform the creativity and aesthetics of this hybrid culture. Continuing on the topic of cultural identity, JANM opened hapa.me– 15 years of the hapa project in April. In this exhibition by artist Kip Fulbeck, photographs from his 2006 exhibition Kip Fulbeck: Part Asian, 100% Hapa were paired with new portraiture of the same individuals. The subjects of the photographs identify as hapa—of mixed Asian/Pacific Islander descent. The photographs were accompanied by each subject’s responses to the question, “What are you?”
In August, to mark the thirtieth anniversary of its signing, two original pages of the Civil Liberties Act of 1988, on loan from the National Archives, were displayed along with the pen that President Ronald Reagan used to sign it. This Act formally apologized for the incarceration of Japanese Americans during World War II and paid monetary reparations to surviving victims of America’s concentration camps. This law came after many years of hard-fought battles and activism by the Japanese American community. Also marking the thirtieth anniversary of the signing, JANM re-imagined a section of its core exhibition Common Ground: The Heart of Community to include more information about the redress movement.
In the autumn, JANM opened Kaiju vs Heroes: Mark Nagata’s Journey through the World of Japanese Toys and Gambatte! Legacy of an Enduring Spirit; both are currently on display. Kaiju vs Heroes showcases the vintage and contemporary Japanese vinyl toy collection of Mark Nagata and demonstrates how something as seemingly insignificant as a child’s plaything can help inspire an exploration of one’s identity. Gambatte! features modern and historical photographs documenting the stories of Japanese Americans who were forcibly incarcerated during World War II. Large-format contemporary photos taken by Pulitzer Prize-winning photojournalist Paul Kitagaki Jr. are displayed next to images shot 75 years ago by such noted photographers as Dorothea Lange, Ansel Adams, and others; each pairing features the same individuals, or their direct descendants, as the subject matter.
In addition to exhibitions, JANM hosted several public programs throughout 2018 that were a hit with the community. Highlights included artist Shinpei Takeda’s talk about his work in Transpacific Borderlands, a film screening of the original Godzilla movie, and, of course, the Natsumatsuri Family Festival. The summer festival featured fun for all ages, including crafts, music, tea ceremonies, and taiko drums. More recently, JAMN hosted a staged reading of Velina Hasu Houston’s play Little Women (A Multicultural Transposition). This re-imagination of Alcott’s classic novel presented the story of four Japanese American sisters living in post-war Los Angeles.
JANM members receive benefits at many of our events and exhibitions. These include invitations to exhibition openings and reduced-price tickets to events. Membership at the museum also includes invitations to Members’Only Learning at Lunch sessions at which JANM Collection Unit staff talk about recently acquired objects and other treasures we hold. Members also receive priority seating and access to express lines at family festivals. Think about becoming a member today!
Here’s to a great year. We hope to see you for JANM’s Oshogatsu Family Festival on January 6, 2019, as we celebrate the New Year and the Year of Boar with crafts, food, cultural activities, and performances! The NewYear, or Oshogatsu, is one of Japan’s most popular and important holidays. During this celebration, people in Japan spend time with friends and relatives and enjoy special holiday dishes. We will be offering lucky zaru soba (cold buckwheat noodles) and osechiryori (traditional new year foods), while supplies last. We’ll also present two taiko-infused mochitsuki, the beloved new year tradition of pounding of rice to make mochi. That’s just a small sampling of what’s in store for the day. You can find the complete schedule here.