Hello Kitty: From Coin Purse to Cultural Icon – A UCLA Perspective

Introduction

Hello Kitty, the globally recognized character, has transcended mere commercial appeal to become a cultural phenomenon. This article explores Hello Kitty's history, impact, and connection to the Japanese American community, drawing on insights from UCLA-affiliated experts and events.

The Genesis of a Global Icon

Born in 1974 in Japan as a character on a coin purse by Sanrio, Hello Kitty arrived in the United States two years later. Since then, her image has been emblazoned on a staggering array of products, ranging from toys and bowling balls to high-end fashion items like Judith Leiber clutches. She has inspired artistic creations, including a controversial song by Avril Lavigne, sculptures by Tom Sachs, and a memorable dress worn by Lady Gaga.

Hello Kitty's Enduring Appeal

Christine R. Yano, an anthropologist from the University of Hawaii and visiting professor at Harvard, has dedicated years to studying Hello Kitty. According to Yano, Hello Kitty's success lies partly in her "blankness." Her lack of a defined mouth allows people to project a range of emotions and possibilities onto her. "People see the possibility of a range of expressions," Yano explains. "You can give her a guitar, you can put her on stage, you can portray her as is. That blankness gives her an appeal to so many types of people." This adaptability distinguishes her from other "cute" characters. Hello Kitty possesses a "cool factor" that elevates her beyond simple cuteness.

Unveiling the Untold Story

Despite her ubiquity, many aspects of Hello Kitty's background remain unknown to the general public. Yano, who served as curator for the Japanese American National Museum's retrospective, sheds light on some surprising facts:

Hello Kitty is not a cat: Sanrio has firmly stated that Hello Kitty is a cartoon character, a little girl, and a friend, but not a cat. She is always depicted walking and sitting like a two-legged creature and even has her own pet cat named Charmmy Kitty.
Hello Kitty is British: Known as Kitty White, she has a complete backstory. She is a Scorpio, loves apple pie, and is the daughter of George and Mary White. She has a twin sister, is a perpetual third-grader, and lives outside of London. This British identity reflects the Japanese fascination with Britain in the 1970s, which represented an idealized childhood.

Hello Kitty and the Japanese American Community

Hello Kitty holds a special significance for Asian Americans. In the mid-1970s, she was primarily found in Asian enclaves like Chinatowns and Japantowns. As Yano notes, "In talking to Japanese Americans who grew up in the 1970s, they say, 'That figure means so much to us because she was ours.' It’s something they saw as an identity marker." This connection is why the Japanese American National Museum (JANM) has hosted exhibitions dedicated to Hello Kitty, aiming to reconnect her to this community.

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UCLA's Connection to Japanese American Culture

UCLA has a long-standing commitment to preserving and promoting Japanese American history and culture.

The Japanese American National Museum's Roots and Growth

The Japanese American National Museum (JANM) was founded to preserve and share the history of Japanese Americans. Incorporated in 1985 through the combined efforts of a band of Japanese American World War II veterans and a group of Little Tokyo businessmen, JANM progressed from a small nonprofit to a national organization that raised almost $60 million to renovate a historic former Buddhist temple building in 1992 and to construct an adjacent modern Pavilion in 1999.

Early Exhibitions and Focus

Despite having its dedication disrupted by the civil unrest after the first Rodney King trial, JANM opened to the public in May of 1992. Beginning with its inaugural exhibition, Issei Pioneers: Hawai`i and the Mainland, 1885-1924, the Museum has dedicated itself to documenting and presenting the core Japanese American experience from the point of view of the participants. That approach, articulated by JANM Chief Curator Dr.

Arts, Culture, and Collaboration

Recognizing that arts and culture are essential elements of the Japanese American story, JANM opened its first art exhibition, The View from Within: Japanese American Art from the Internment Camps, 1942-1945, at the Wight Art Gallery at UCLA in October of 1992. That same year, Their Imperial Majesties Emperor Akihito and Empress Michiko of Japan visited JANM and were the last visitors to tour the Issei Pioneers exhibition. In November, JANM premiered America’s Concentration Camps: Remembering the Japanese American Experience, a groundbreaking exhibition that drew record crowds, including thousands of former inmates.

Later Exhibitions and Collaborations

JANM continued to highlight the arts and culture by collaborating with photographer kip fulbeck (kip fulbeck: part asian, 100% hapa), publisher Eric Nakamura (Giant Robot), and musician Mike Shinoda of Linkin Park for a series of art shows starting in 2006 and running through 2012.

A Period of Expansion

In January of 1999, JANM opened its Pavilion, a modern 85,000-square-foot structure designed by Gyo Obata, principle of Hellmuth, Obata and Kassabaum (HOK). Besides more public spaces for exhibitions and for the Manabi and Sumi Hirasaki National Resource Center, the Pavilion contains back-of-the-house work spaces for collections and the Frank H. Watase Media Arts Center. It installed two prestigious traveling exhibitions in 2004: Isamu Noguchi and Modern Japanese Ceramics, from the Arthur M. Sackler Gallery, Smithsonian Institution; and September 11: Bearing Witness to History, from the National Museum of American History, Smithsonian Institution.

Community Engagement and Outreach

Beginning in 2014, JANM has hosted Okaeri: A Nikkei LGBTQ Gathering every two years. The events have included workshops, plenaries, and presentations. On-site events for families continued to be a priority, with the on-going series of JANM Free Family Days as well as the annual Oshogatsu Family Festival for New Year’s and the Natsumatsuri Family Festival in August.

Giant Robot: A UCLA Alumnus's Impact on Pop Culture

Eric Nakamura, who earned a degree in East Asian studies from UCLA in 1993, played a significant role in elevating Asian and Asian American popular culture through his magazine "Giant Robot." The magazine, which ran from its first print issue to its last in 2011, featured sharp, smart writing on art, film, music, television, food, and politics. Its influence continues to resonate throughout the cultural landscape.

Nakamura co-curated the film festival "A Film Series for You: Celebrating Giant Robot’s 30th Anniversary," presented by the UCLA Film & Television Archive in partnership with the Yanai Initiative for Globalizing Japanese Humanities at UCLA. The festival, held over seven nights, showcased films that reflected the magazine's focus on Asian and Asian American pop culture.

"Giant Robot" magazine began as a Xeroxed zine, a vehicle for Nakamura to write about his interests. Its early issues featured articles on sumo wrestling, underground filmmaker Jon Moritsugu, Hello Kitty, Pizzicato Five, and Southern California’s Cambodian-run donut shops. Steeped in Nakamura’s DIY punk ethic, Giant Robot quickly attracted a like-minded readership. By the time it published its final issue, what Giant Robot thought was cool when no one else did - ramen, Jackie Chan, Japanese candy - was suddenly everywhere.

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tags: #hello #kitty #ucla #history