+6 Interview: Writer & Executive Producer Patsy Iwasaki of The Katsu Goto Documentary
Interview: Writer & Executive Producer Patsy Iwasaki of The Katsu Goto Documentary
Interview: Writer & Executive Producer Patsy Iwasaki of The Katsu Goto Documentary
Interview: Writer & Executive Producer Patsy Iwasaki of The Katsu Goto Documentary
Interview: Writer & Executive Producer Patsy Iwasaki of The Katsu Goto Documentary
Interview: Writer & Executive Producer Patsy Iwasaki of The Katsu Goto Documentary
Interview: Writer & Executive Producer Patsy Iwasaki of The Katsu Goto Documentary
Interview: Writer & Executive Producer Patsy Iwasaki of The Katsu Goto Documentary
Interview: Writer & Executive Producer Patsy Iwasaki of The Katsu Goto Documentary
Patsy Y. Iwasaki, Ph.D. is an associate professor of English at the University of Hawai‘i at Hilo. She received her Ph.D. in Learning Design and Technology from the University of Hawaiʻi at Mānoa and also has an M.Ed. in education. Her research interests and teaching practices include documentary film, instructional design and development, digital humanities, English studies, media studies, migration narratives and storytelling in graphic novels, place and community-based, community engagement, culturally relevant resources in education, and cross-cultural exchange and collaboration.
Dr. Iwasaki received a research grant from the Goto of Hiroshima Foundation which inspired her to collaborate with artist Berido to create the graphic novel Hāmākua Hero: A True Plantation Story about Katsu Goto, a 19th century labor advocate and key figure in the Japan-Hawai‘i immigration, labor and social evolution narrative. In addition to conducting research and developing educational projects about Goto, she is currently creating and producing a documentary film about him.
She has conducted extensive research activities, published articles, and given presentations in the United States, Asia and Europe in these areas. She is currently writing and preparing a book for publication on documentary film studies, drawing on in-depth interviews and knowledge from seasoned filmmakers.
Her teaching and research awards include the Chancellor’s Award for Excellence in Teaching, the Koichi and Taniyo Taniguchi Award for Excellence and Innovation, and the Pulama ‘Ike Award for connecting research to community and promoting the mission and spirit of UH Hilo. She is active in the community, serving on the boards for several organizations dedicated to education, youth and community building.
She balances her work, projects, and family with snacking on dark chocolate and watching The Mandalorian.
Follow Along:
- Katsu Goto Documentary Official Site
- Hāmākua Hero Curriculum Site
- UH Hilo Feature (March 4th) Details & Photos
- UH Hilo Feature (March 11th)
- Katsu Goto Legacy Week
- UH Hilo Feature on Hāmākua Hero
- Katsu Goto Featured As Top UH Story
- International Humanities Conference
For our readers who may not be familiar, can you tell us a bit about Katsu Goto’s story?
Katsu Kobayakawa Goto, a Japanese national who was a labor recruit aboard the ship City of Tokio, arrived in Hawai‘i in 1885. He waspart of the first group of Kanyaku Imin (First Ship Immigrants) Japanese laborers under a government agreement between Japan and Hawai‘i to work on the prosperous sugar cane plantations in the Kingdom of Hawai‘i.
He was educated and as the oldest son in his Kobayakawa family, it was necessary for him to be adopted “in name only” by the Goto family, in order to legally leave Japan and emigrate to Hawai‘i. After being processed at the Hawaiian Board of Immigration on O‘ahu, Goto was assigned to the Soper, Wright & Co. sugar plantation near Honoka‘a on Hawai‘i island.
The labor-intensive,10-hour work days on the sugar plantations were extremely demanding and living conditions were poor. The three-year contract required laborers to work 26 days a month at $9 for males and $6 for females.
After leaving the sugar plantation, Goto opened up a general store in Honoka‘a in 1888 and became the first Japanese store owner there. Prices were competitive and he stocked Japanese groceries and merchandise from O‘ahu that helped ease the settling of the Japanese immigrants.
The store quickly became a gathering place for the fledgling migrant Japanese community. Due to his English proficiency and leadership skills, Goto became a community leader and mediator between Japanese plantation workers and management at Honoka‘a (Overend) Plantation.
He advocated for improved working conditions and wages by serving as the liaison and interpreter. Consequently, Goto’s business success and labor facilitation made him a target as an instigator of worker unrest.
Goto, 27, was unfortunately lynched and hung on a telephone pole on October 28, 1889, by sugar plantation associates a short four years after his arrival for being a champion for sugar plantation worker rights and dignity.
What inspired you to tell this story?
I was the first recipient of the Goto of Hiroshima award! Before applying for the scholarship, I didn’t know about Katsu Goto at all. When I read about him briefly to apply for the award, I was inspired by his life and legacy; and when I met Goto’s niece Dr. Fumiko Kaya, she greatly impressed me with her character and strength. She incredibly turned a negative into a positive.
Katsu Goto left Japan to make a new life in a new land; his story of hardship, success and tragedy . . . is really a journey about self-discovery, following one’s dreams and taking risks . . . universal themes of life. His story resonated in my heart.
I didn’t know about his story and so many people don’t know about his story in Hawai‘i or beyond. When I learned about this story, I wanted to know more. I conducted more research and learned more about him, Japan and Hawai‘i at that time period, and talked to many people.
Then I felt compelled to tell this story. To share his story with others. And this goal, this idea landed squarely on my head, my shoulders. It dropped down on me and took hold of me, energized my heart and mind: first with the graphic novel and then with the documentary film.
A filmmaker friend said ideas and projects are floating around in the air looking for someone to land on. They’re floating and looking around; they don’t just land on anyone, but someone they know who won’t brush them off, reject them or abandon them. Someone who they know will give birth to them. After it’s born, it will become a toddler and start walking around and even running and you have to keep up with it.
That was me.
You’ve also written a book about Katsu Goto, Hāmākua Hero: A True Plantation Story. Did you already have the documentary in mind while writing this?
No, I didn’t. I decided to go with a graphic novel because my kids were really into comic books, manga at the time. I had first thought about writing something academic, but my goal was for more people, especially youth, to know Goto’s story. My kids would devour comic books: One Piece, Naruto, Bleach and others, but might not even open a traditional text. So I went with the graphic novel to share this story and I’m really glad I did.
After the graphic novel was completed, I saw that the pages acted like storyboards for a film. The panel-to-panel transitions, that includes “moment-to-moment,” close-ups and subject-to-subject transitions, propel the story along like a film.
Page 50 of the graphic novel is a good example of that. The first panel is a group shot with Goto speaking to the workers who were accused of setting a fire to the canefields and they go to Goto for help.
Goto is saying: We have to stick together to come to a solution.
Then there’s a close up of his face, his eyes. To make that emotional connection.
Lots of dramatic tension in this scene because Goto was already being targeted as an instigator of unrest among the plantation workers.
He was told by the manager that he was a dead man if he was caught talking to workers and helping them.
Then there’s an exterior shot with voice over from Goto.
“I feel that my life is in danger by being here. . . but I am not afraid.”
Testimony from people in the actual trial included the fact that there were dogs barking outside the home they were meeting in. And it makes sense that the dogs would be barking because Goto was being watched. They were waiting to attack him. So it also adds this multi-sensory experience like a film.
The idea for a documentary became an organic and natural next step for the graphic novel. The goal is to share Goto’s story with more people. I’m extremely interested in documentary film because it’s a powerful and influential information and communication medium that is widely recognized and used successfully. It effectively captures viewers’ attention through visual stimulation, enhances information retention, and provides a more engaging and accessible learning experience.
Which aspect of this documentary would you say has been the most challenging for you and your team?
I’d say these aspects have been the most challenging:
1) Funding. Since this is my baby, my work and services as the creator and executive producer has been donated as in-kind services. However, I need to pay everyone else, especially my film director and editor, and for everything else, and that is always difficult.
2) My original director and editor Danny Miller unfortunately and tragically passed away in 2018 after a resurgence of cancer. After taking time to process and heal from the great loss, it was a long journey to find an editor with the film and video skills, qualifications and especially heart to take on this very special project. Thankfully, after a lot of searching and meetings with many editors, Ryan Kawamoto of Kinetic Production will be finishing the project.
3) The Covid-19 pandemic also put the film’s final production segments on hold.
Are there any particular elements of the Katsu Goto story that you are excited to bring to life?
To enhance the storytelling, new editor Ryan Kawamoto and I agreed there was a need for additional reenactment scenes to expand Goto’s character. Our goal was to provide a more robust background and character development to deepen and enrich the story.
When Katsu Goto left Japan in 1885, the country was in the midst of the Meiji period (1868-1912), a transformative era of rapid modernization and industrialization. Significant political, economic, and social changes collectively moved the nation from a feudal society to a major world power. New ideas and Western cultural influences were embraced, leading to significant changes in dress, customs, and daily life.
I wanted to capture this vibrant and pivotal time of Japan in the documentary, and I thought one way to do that was to include a lovely Western ballroom scene for Katsu Goto in Japan. I turned to UH Hilo students, community members and two amazing people, “costumer extraordinaire” Jackie Pualani Johnson, a UH Hilo emerita professor of Performing Arts and UH Hilo dance lecturer Kristi “Kea” Kapahua, to choreograph a lovely Ostville waltz. When Johnson couldn’t find what she needed, she sewed, glued and decorated! She also created the hats that matched the Meiji period dancer dresses from the UH Hilo costume shop by glue-gunning and decorating, even using a plastic salsa container, with fabric, ribbon and accessories! Dance rehearsals, costume fittings, and a touch of magic brought my abstract vision to life as an enchanting reality.
Another scene that I felt was important was to convey Katsu Goto leaving his Kobayakawa family in Japan. Goto was 23 years old; he had a mother and father, three brothers and two sisters. Leaving one’s household and home to migrate to an unknown country is a monumental act. To say a final farewell to your loved ones with the possibility of never seeing them again and no return home; to board a ship over the Pacific Ocean was a traumatic and irreversible experience. It is a profound rupture, a breaking from which one never fully recovers. I wanted to capture that feeling, that experience, and share it with viewers. Johnson expertly outfitted the actors with Japanese yukata from the costume shop at UH Hilo, the Hawai‘i Japanese Center collection and the kimono collection from UH alumna Sharyse Molina. There was one problem. Johnson couldn’t find the right fit for actor Kimo Apaka in the role of Katsu Goto. Apaka’s height and long arms wouldn’t match any of the yukata, so she spent hours sewing his custom-made yukata! Remarkable!
My heartfelt gratitude goes out to everyone involved in this UH Hilo reenactment collaboration of the documentary film project – the cast, crew, faculty, staff – our shooting location staff, and all the community members for their incredible contributions and support. We had the very best number one team and our theme for the project was “Reach for the Stars!”
What are your current goals at this stage in the filmmaking process?
Now that all of the production elements have been completed, we’d like to move into the post production phase of editing.
How can readers contribute to this project?
Readers can donate via the official website here and they can also subscribe to our newsletter to get updates on production and events.
As a literary magazine, we have to ask: which books would you consider to be your top 5 favorites?
I really enjoy books for youth, especially all of the Caldecott Medal and Honor winners with outstanding illustrations and graphics, such as Grandfatherʻs Journey by Allen Say and Rain Makes Applesauce, words by Julian Scheer, pictures by Marvin Billck. I love all of Say’s beautiful books! All of the YA Newbery Medal and Honor winners with excellent writing such as Cynthia Kadohata’s Kira-Kira. Fantasy classics such as the Chronicles of Narnia series and Lord of the Rings trilogy. Graphic novels that explore migration narratives such as Shaun Tan’s Arrival, American Born Chinese by Gene Luen Yang, Maus I & II by Art Spiegelman and my totally unbiased favorite Hāmākua Hero: A True Plantation Story. More than five I know!
Finally, what media/music/miscellany have you been loving lately?
As a professor at the University of Hawai‘i at Hilo, I read a lot of academic material. Streaming through a mix of series helps me get my head out of my work and projects. Some of my favorites and what I’m watching now: Star Wars Andor, Game of Thrones, House of Dragon, The Gilded Age, Star Trek: Strange New Worlds, Star Trek Discovery, Peaky Blinders, The Blacklist, all of Hayao Miyazaki films, all kinds; just watched Agora about the early Alexandria astronomer Hypatia. I also like learning through manga, comic books, and Japan has an infinite variety of them in English about all sorts of things, like even a guide on how to change a tire. I recently finished The Manga Guide to Japanese Food by Hiroshi Nagashima that featured a very deep and detailed history on Japanese food and culture using a very engaging comic design format.
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