Bodies and Structures 2.0: Deep-Mapping Modern East Asian HistoryMain MenuGet to Know the SiteGuided TourShow Me HowA click-by-click guide to using this siteModulesRead the seventeen spatial stories that make up Bodies and Structures 2.0Tag MapExplore conceptsComplete Grid VisualizationDiscover connectionsGeotagged MapFind materials by geographic locationLensesCreate your own visualizationsWhat We LearnedLearn how multivocal spatial history changed how we approach our researchAboutFind information about contributors and advisory board members, citing this site, image permissions and licensing, and site documentationTroubleshootingA guide to known issuesAcknowledgmentsThank youDavid Ambaras1337d6b66b25164b57abc529e56445d238145277Kate McDonald306bb1134bc892ab2ada669bed7aecb100ef7d5fThis project was made possible in part by a major grant from the National Endowment for the Humanities.
Portrait of smiling man
12020-04-30T18:07:03-04:00Kate McDonald306bb1134bc892ab2ada669bed7aecb100ef7d5f352When Gail Project members took the photos to Okinawa to share with people there, some remarked that the man in the picture was "definitely Filipino." This could indeed be accurate, given that many Filipinos did follow U.S. military labor networks from the Philippines to Okinawa.plain2021-09-16T16:29:19-04:00The Gail Project1952-1953Dustin WrightCharles Eugene GailThe Gail Project; University of California, Santa CruzUsed with permission.Dustin WrightDW-0029Kate McDonald306bb1134bc892ab2ada669bed7aecb100ef7d5f
This page is referenced by:
12020-04-30T18:05:34-04:00Okinawan Adults10Gail's portraits of Okinawan adultsstructured_gallery170992021-10-08T16:45:59-04:001952Dustin WrightGail, Charles
These images differ from those in the “Daily Life and Work” page in that here, labor does not appear to be the major focus of either Charles Gail or the people in the photographs. Instead, Gail seems particularly interested in trying to capture the portraiture (attire and physical characteristics of the people themselves), which he often described in writing on backs of the images.