Perceptions of uniqueness

Early consciousness of identity Finding parallels through art Refusing to use a Chinese name to identify as Asian American The Hapa Project Perceptions of uniqueness Defusing myths through The Hapa Project Difficulty responding to the question "What are you?" Lessons learned from The Hapa Project Differing responses by gender to the Hapa Project Identity as a conscious ongoing process Japanese Americans are more aware of their Hapa identity Hapa as his primary identity Discomfort at being labeled by others International dimensions of hapa identity Issues of identity outside of America Imposing identity upon others Changing fortunes of "identity art" The right to say who you are Defining the term "Hapa"

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One interesting story about the Hapa Project is that I would get people from very homogenous areas. I had a woman write me from Oklahoma who wrote me and said “You must fly out to Oklahoma to photograph me for this because you’ll never believe it, I’m black and Korean!” I didn’t know what to say, that her world was that small, that to her that she was the only one in the world. In some sense that’s great, but I had to write to her, I said “I would love to photograph you, but I can’t fly out there, and I’ve photographed probably fifty people that are black Korean. Just so you know there’s other people out there.” I wanted it to be a kind of positive thing, that she’d know, but I think she kind of felt like she wasn’t “the one” anymore, she wasn’t Keanu Reeves in The Matrix, and she never wrote me back again.

Date: May 3, 2006
Location: California, US
Interviewer: Jim Bower
Contributed by: Watase Media Arts Center, Japanese American National Museum.

arts hapa identity multi racial