ANT - Local Art Festivals and Local Culture Tourism

Asian Journal of Tourism Research
Vol. 2, No.3, December 2017, pp. 25-49.

25-50
https://doi.org/10.12982/AJTR.2017.0016
Local Art Festivals and Local Culture Tourism:

Is Local Art ‘indigenized’ as local culture?
Kazuya Hashimoto*
Kyoto Bunkyo University
Abstract: This paper examines the phenomenon of local art festivals in the Japanese
hinterland, which have been subject to various degrees of promotion and support
under the Kankō Machi- tsukuri programmes (community development through
tourism). The paper focuses specifically on two significant local art festivals in Japan:
the Echigo- Tsumari Art Triennale (Daichi no Geijutsusai) in Niigata Prefecture and
the Setouchi International Art Festival in Kagawa and Okayama prefectures. With
reference to Actor- network theory, this paper shows how extraneous cultural
elements and ideas are adopted by mostly elderly communities, leading to the
rejuvenation of these communities and successful tourism development. The
artworks and sites themselves are agents in these relationships of cultural exchange
and localization.
Keywords:
Keywords: local
local culture
culture tourism,
tourism; local
local art
art festivals,
festivals; community
community development
development
through tourism, actor-network theory
through tourism; actor-network theory
Introduction
Since 2000, local art festivals (or art projects) have been a common
phenomenon in Japan. Likewise has been the discussion and promotion of
Kankō Machi- tsukuri (community development through tourism) . Local art
festivals are introduced into locales from outside, and the residents in the area
cooperate and support them in a manner consistent with Kankō Machi-
tsukuri. Art festivals and Kankō Machi- tsukuri together may be used to
revitalize communities. In this paper, I focus on two significant local art
festivals in Japan: the Echigo-Tsumari Art Triennale (Daichi no Geijutsusai)
in Niigata Prefecture and the Setouchi International Art Festival in Kagawa
and Okayama prefectures.
25
26 Kazuya Hashimoto
Art projects such as these can be said to occasion collaborations amongst

artists, volunteers and local residents. This is to speak however of only human
actors, such as local governments, producers, directors, artists, local residents,
volunteers etc. Non- human agencies also need to be considered as part of
these networks, such as technologies, materials, relational practices and
stories. Perhaps most obviously artworks themselves in local art festivals are
agents, affecting traffic and the flow of people, the sites of exhibition, other
artworks and artists, local residents and the tourists and art aficionados who
attend. Although it might be difficult for local residents to understand and
explain the complex meanings and purposes of contemporary art, individual
works of art may nevertheless have the capacity to act on the recipients
emotionally (Gell 2013) . In relational materiality, art makes humans feel,
think, and move.
Actors are
areperceived
perceivedas aasnetwork effects,effects,
a network and unconceivable without
and unconceivable
relations.relations.
without Agency isAgency
not strictly a human
is not strictlyaffair. All actors
a human affair.are
Allhybrids
actors
and so
are is agency,
hybrids and spun
so isbetween
agency,different actors indifferent
spun between networks.actors
Agency
in
thus comesAgency
networks. to represent a collective
thus comes capacity
to represent for actioncapacity
a collective by humans
for
and non-humans
action by humans(Jóhannesson
and non-humans.2005,(Jóhannesson
p. 139). 2005, p. 139)
The
The first
firstEchigo-Tsumari
Echigo- TsumariArt ArtTriennale
Triennale in in
2000 attracted
2000 162,800
attracted 162,800visitors, the
visitors,
4th
the festival in 2009
4th festival attracted
in 2009 375,311
attracted visitors,
375,311 and in
visitors, 2015
and the 5th
in 2015 thefestival drew
5th festival
488,848 visitors.visitors.
drew 488,848 The Setouchi International
The Setouchi Art Festival
International in 2016 attracted
Art Festival in 2016
more thanmore
attracted 1 million
than 1visitors.
million In this paper
visitors. I would
In this paper like to consider
I would whether
like to consider
such local
whether artlocal
such festivals can function
art festivals as Kankō
can function Machi-tsukuri;
as Kankō whether
Machi-tsukuri; they
whether
exemplify ‘local ‘culture
they exemplify tourism’,tourism’
local culture and whether
, and local arts can
whether localbearts
understood
can be
to constituteto‘local
understood cultures’.
constitute Most
‘ local local art
cultures’ festivals
. Most localare
artheld in areas
festivals are that
heldare
in
depopulated,
areas that are or consist of or
depopulated, rapidly aging
consist communities.
of rapidly Thus, if festivals
aging communities. Thus,do if
function as ‘local culture tourism’, they may contribute to a
festivals do function as ‘ local culture tourism’ , they may contribute to arevitalization of
these communities.
revitalization of these communities.
Here I define ‘ local culture tourism’ as a form of tourism that is operated by

local people to present ‘ local culture’ to tourists. This culture, which is
profoundly related to locality, is not only traditionally inherited but also
discovered or created, and fostered by the local people. Additionally,
extraneous elements (local art festivals) may be localized ( or indigenized)
and become part of a community’s self-identity. I describe this form of human
and non-human interaction as ‘local culture tourism’.
Local Art Festivals and Local Culture Tourism 27
Theoretical Background and Perspective
Actor-Network Theory
Firstly, from the perspective of Actor- Network Theory (ANT) , I would like
to clarify why these art festivals attract large numbers of visitors or
‘ appreciator- tourists’ (art enthusiasts, art tourists and casual tourists) , what
kinds of relations exist among non- human elements, and how multiple
relational orderings are constructed among different actors.
To arrive
To arrive atatsuch
such an an
understanding,
understanding, the totality of tourism
the totality beyondbeyond
of tourism the narrowthe
field of field
narrow appliedof business management
applied business needs to be
management considered.
needs The focus The
to be considered. has
alwayshas
focus been
alwayson human
been onactors,
humanespecially from the from
actors, especially perspective of Machi-
the perspective of
tsukuri ( community
Machi-tsukuri development)
(community . However,
development). here Ihere
However, aim Itoaim focus on non-
to focus on
human actors. “ To insist on the principle of symmetry
non-human actors. “To insist on the principle of symmetry ‘is to assert ‘ is to assert that
everything, more particularly, that everything you seek to explain or describe
everything,
should be approached in
should in the
thesame
sameway” way” (Law
(Law1994,
1994, p.p. 9- 10, Van der Duim
9-10;
2007, p.
2007, p. 963).
963). “It
“It thus
thus erodes
erodes distinctions (as between global and local, those
that drive and
that and thethe driven,
driven,macro
macroand andmicro,
micro,people
peopleand andthings)
things) that
thatareare
saidsaid
to
to reside
reside in in
thethe nature
nature of of things,
things, andand instead
instead asks
asks how how they
they gotgot
to beto be
thatthat
waywayas
a product
as a productor or
effect of of
effect processes
processes of of
ordering”
ordering” (ibid,
(ibid,p.p.12).
12). “Tourism
“Tourism studies
should
should come
comedown downtotofollowing
followingthetheactors as they
actors stitch
as they networks
stitch networks together and
together
one
and should observeobserve
one should the trailthe
of associations between heterogeneous
trail of associations elements”
between heterogeneous
(Van der Duim
elements” (Van2007, p. 962).
der Duim 2007, p. 962).
A network
network isisimagined
imaginedasasa medium
a medium or channel between
or channel nodes
between that
nodes
transports messages
that transports without
messages deforming
without deforming them.
them.For
For ANT,
ANT, the
emphasis is is on
on the
the work
work inherent
inherent inin networks.
networks. Hence,
Hence, ANT’
ANT’ss
understanding of
understanding of network is highlighted
highlighted with the concept of
translation”
translation” (Jóhannesson 2005,
2005, p. 135). Humans
Humans and non-humans
are involved in processes of translation where actors bring together
entities. “Through
quite different entities. “Through translation,
translation, associations with other
actors and actor-networks
actor-networks are
are established and stabilized. Translation
actor-networks from entities.
builds actor-networks entities (Van
(VanderderDuim
Duim2007,
2007,p.p.966).
966)
Humans and non-humans alike are treated as possible actors and are ascribed
agency. Tourist destinations have often been treated as more or less
territorially bounded destinations with the focus laid on organizational and
marketing strategies. The destination is seen as a container of attractions and
28 Kazuya Hashimoto
necessary facilities, such as transport, accommodation and catering services,

and in the case of the subjects of this study, artworks. These can affect the
traffic, the flow of people, the art sites and the residents, the artists and the
‘appreciator-tourists’.
Local Culture Tourism
Kankō Machi-tsukuri (community development through tourism) focuses on

‘ local culture’ that people have constructed, discovered or created ( or even
appropriated) by themselves, and the commodification and marketing of this
culture for the tourist industry. Local culture and locality have emerged in the
face of globalization, which attempts to impose uniformity on them. Locality
is an inherently fragile social achievement. “ Even in the most intimate,
spatially confined, geographically isolated situations, locality must be
maintained carefully against various kinds of odds” (Appadurai 1996, p. 179).
Moreover, “ it is ephemeral unless hard and regular work is undertaken to
produce and maintain its materiality”(Appadurai 1996, p. 180-181). “Locality
for the modern nation- state is either a site of nationally appropriated
nostalgias, celebrations, and commemorations or a necessary condition of the
production of nationals. Neighborhoods as social formations represent
anxieties for the nation- state, as they usually contain large or residual spaces
where the techniques of nationhood are likely to be either weak or contested”
( Appadurai 1999, p. 190) . “ The work of producing neighborhoods ― life-
worlds constituted by relatively stable associations, by relatively known and
shared histories, and by collectively traversed and legible spaces and places
― is often at odds with the projects of the nation-state. This is partly because
the commitments and attachments (sometimes mislabeled “primordial”) that
characterize local subjectivities are more pressing, more continuous, and
sometimes more distracting than the nation-state can afford. It is also because
the memories and attachments that local subjects have of and to their shop
signs and street names, their favorite walkways and streetscapes, their times
and places for congregating and escaping are often at odds with the needs of
the nation-state for regulated public life” (Appadurai 1996, p. 191).
The creation of locality is subject to suppressions by the nation- state or the

movements of residents. The authenticity of locality is also questioned at
various stages of Kankō Machi- tsukuri. Locality needs to be understood in
reference to Gellner’ s nationalism. “Nationalism uses the pre- existing,
historically inherited proliferation of cultures or cultural wealth, though it

uses them very selectively, and it most often transforms them radically. Dead
languages can be revived, traditions invented, quite fictitious pristine purities
restored. The cultural shreds and patches used by nationalism are often
arbitrary historical inventions. Any old shred and patch would have served as
well” (Gellner 1983, p. 55-56). Thus locality has fabricated tradition.
In
In many cases, Kankō Machi- tsukuri has fabricated tradition by
Machi-tsukuri by using
using ““the
the
pre-existing,
pre - existing,historically inherited
historically proliferation
inherited of cultures
proliferation or cultural
of cultures or wealth.”
cultural
It also invented traditions or borrowed the traditions of others.
wealth. ” It also invented traditions or borrowed the traditions of others.In this paper
In
Ithis
willpaper
focusI will
on twofocussuch
on cases:
two suchYufuin
cases:in Yufuin
Kyūshū inwhere theirwhere
Kyūshū traditions
their
have been have
traditions invented,
been and “Yosakoi
invented, and Sōran Festival”
“ Yosakoi SōraninFestival”
Hokkaidō, in which was
Hokkaidō,
borrowed
which wasfrom the “Yosakoi
borrowed from theFestival”
“Yosakoi in Festival”
Kōchi Prefecture.
in Kōchi Prefecture.
(a) Yufuin
In
In the 1970s, Yufuin
Yufuin in in Ōita
Ōita Prefecture
Prefecture launched
launched a new campaign to attract
tourists.
tourists. After
Afterthe
the1976
1976earthquake,
earthquake, although
although officials and hoteliers managed
managed
to contain the
to contain thenegative
negativepublicity
publicitycaused
caused bybythethe earthquake,
earthquake, the prefecture
the prefecture had
had no campaign
no campaign fundsfunds for newspaper
for newspaper advertisements.
advertisements. However,
However, they hadthey had
built a
built a four-wheeled,
four-wheeled, one-horse one-horse
carriage tocarriage
transport to tourists
transport touriststhebetween
between the
station and
station and their
their hotels, whichhotels,
receivedwhich
somereceived
newspaper some newspaper
coverage. coverage.
Yufuin Yufuin
recovered its
recovered its visitors through newspaper articles such as this
visitors through newspaper articles such as this communicated the wellbeing communicated
the wellbeing
of the of theasdestination
destination as meta-level
meta - level information. information. Subsequently,
Subsequently, Yufuin
Yufuin established
established a diversity
a diversity of festivals
of festivals and events and( music
eventsfestival,
(music film
festival, film
festival,
festival,
shoutingshouting
game and game and, so
so on) on), without
without any budget
any budget or advertising
or advertising funds.funds.
This
This exemplifies
exemplifies ‘ local‘local culture
culture tourism’,
tourism’ in which
, in which locallocal people
people create,create, foster,
foster, and
and promote
promote the the cultural
cultural resources
resources of ofthethe locality.Until
locality. Untilrecently,
recently,most
most tourist
destinations attempted to attract tourists
destinations attempted tourists by creating
creating new
new events,
events, butbut only
only aa
few
few succeeded. Yufuin
Yufuin is is an
an exception,
exception, and an example of ‘‘local local culture
tourism’
tourism’ that was created
created by the local people themselves.
the local people themselves.
(b) Yosakoi Sōran Festival in Hokkaidō
In 1954, the Yosakoi (dance)

In ( dance) Festival
Festival was
was created
created and
and established in a
commercial district of Kōchi Prefecture for the purpose of restoration and and
reconstruction. The
Thedance
danceteams
teamshave
haveincreased
increasedininnumbers
numbersover
overthethe
years – in
years –
in 2016,
2016, 200 200
teamsteams and 19,000
and 19,000 participants
participants performed
performed dances, costume
dances, wearing wearing
and heavyand
costume make-up (atsugeshō).
heavy make-up (atsugeshō).
30 Kazuya Hashimoto
In 1991, a university student from Hokkaidō who observed the Yosakoi

Festival was deeply moved by the performances. He proposed conducting a
similar festival in Sapporo, and thus began the “ Yosakoi Sōran Festival,”
which he localized with the inclusion of the Sōran Bushi (a folk song of
Hokkaidō). In 2016, 280 teams and 28,000 dancers performed before an
audience of 2 million at this festival.
This exemplifies the process of creating a new festival based on locality. The
organizers of the Yosakoi Sōran Festival appropriated the Yosakoi Festival
from Kōchi, and fostered their own festival by including something unique.
Since its inception, all the participants have fostered and promoted the
Yosakoi Sōran (now larger than the original Yosakoi Festival) as their own
‘local culture’.
Localization and indigenization of a culture
In the first
In the first stage
stageof ofadoption
adoption andand adaptation,
adaptation, locallocal
peoplepeople
who arewhoeither
are
either residents or provincials not living in their home
residents or provincials not living in their home village, adopt an extraneous village, adopt an
extraneous cultural
cultural element, in element,
this caseincontemporary
this case contemporary
art. The next art. stage
The next stage
is that of
is that of localization,
localization, where mostwhereof the most of the
materials, thematerials,
participants, theand
participants, and
the volunteers
the volunteers
at the event come at the from
event the
come from the
locality locality
itself. Theitself.
final The
stagefinal
is stage
that of is
that of indigenization,
indigenization, where anywhere any external
external management management
is replacedis replaced
by local by local
people.
people. In actuality,
In actuality, theand
the artists artists and
their theiroriginate
work work originate from outside
from outside the areathe area
where
where theseartlocal
these local art festivals
festivals are held.are held. Therefore,
Therefore, it is important
it is important to gauge theto gauge
stage
the stage these
at which at which theseare
festivals festivals areprocess.
at in this at in thisI believe
process.theyI believe
are now they are
in the
now in the process of ‘localization’, and have
process of ‘localization’, and have not yet reached the stage of not yet reached the stage of
‘indigenization’.
‘indigenization’.
It will be helpful to look briefly at ‘indigenization’ in another context: that of

Christianity and the game of rugby in Fiji. The process of Fiji’s modernization
displays the indigenization of Christianity, modern sports and political
character (Fijian democracy, political parties, administration etc). Christianity
was indigenized, and today it can be called “ Fijian Christianity. ” Fijian
Christians pray not only to God, but also to their ancestral gods for protection.
They say, “ Lotu lako vata na vanua” (Christianity goes with our tradition) .
They have the same passion for rugby and Christianity. In their narrative,
Fijian Christianity and rugby are considered the basis of their “Fijianness” or
Fijian identity (Hashimoto 2001, p. 1).
At the first stage, the indigenous people adopted the sport of rugby. At the
second stage, they localized it by playing it themselves, but without seeking
to control the Rugby Union or other regulatory institutions. In the final stage,
they indigenized it by taking control of all the agents and institutions of the
sport; players, coaches, judges and the union; and making it the national sport.
Consolidating this indigenization, the Fiji national rugby team won the first
Gold Medal of the Rugby Sevens at the 2016 Olympics.
Local Art Festivals in Japan
The
The sites of the two art festivals under discussion are located in areas
consisting
consisting of depopulated and rapidly aging
aging communities.
communities. The founders of of
the two festivals
the two festivals were both deeply concerned about their communities, which
they
they sought to revitalize through contemporary
contemporary art.
art. Fram Kitagawa, born in
Niigata
Niigata Prefecture, is the General Director of the two festivals and Sōichirō
Fukutake
Fukutake (Chairperson of Benesse
(Chairperson Corporation,
of Benesse born in Okayama
Corporation, born inPrefecture),
Okayama
is General Producer.
Prefecture), is General Producer.
In Japan, since the 1970s, exhibitions of art objects have been held in open-
air spaces or in facilities other than museums. In the 1980s, the concept of
‘ site- specific art’ took root, and the government established the Art Culture
Promotion Fund. During the Japanese bubble economy, under the guise of
‘ mecenat’ , many companies sponsored cultural events in response to the
governor's prompts to do so. The 1990s were an embryonic phase for art
projects in Japan, and in 2001, national and local governments established the
Basic Law for the Promotion of Culture and the Arts. Thus, administrative
policy changed from focusing on the construction of public buildings to
focusing on culture, and after the great Hanshin Earthquake Disaster of 1995,
artists began to connect more meaningfully with society. This represented a
movement toward increasing social interaction, in which the artists
collaborate in commissioning and presenting new performances, installations
and events, by creating art in direct communion with place and society.
Echigo-Tsumari Art Triennale (in Niigata Prefecture)
Approximately 200 works of art by artists from all over the world are dotted
across the 760-km² area of the Echigo-Tsumari art field. The Echigo-Tsumari
32 Kazuya Hashimoto
Art Triennale is one of the largest art festivals in the world, held once every
three years, and approaching its sixth incarnation. “ This Art Triennale has
been described as unique in its quality and scale by media abroad and highly
regarded as a new model of art festival. Community building through art has
drawn attention as the “ Tsumari Approach” and it has been referred to by
curators and people in the art industry in the US, Europe and Asia as well as
by delegations of local governments, international conferences and
symposiums” (http://www.echigo-tsumari.jp/eng/).
(Echigo-Tsumari Art Field 2018).
The
The homepage continues,
continues, ““Art
Art has become a catalyst for connecting
connecting people
with
with people,
people,and people
and to places.
people ThroughThrough
to places. networksnetworks
of supporters, volunteers
of supporters,
and privateand
volunteers sponsors
privatebuilt up over
sponsors builtmany years,many
up over the festival provides
years, the festivala
platform
provides fora exchange
platform between the region
for exchange and the
between thecity, complementing
region and the city, one
another.” Cooperation
complementing between
one another.” generations,
Cooperation regions,
between and genres
generations, has been
regions, and
successfully
genres has been operationalized. In Echigo-Tsumari,
successfully operationalized. artists
In Echigo- are required
Tsumari, to
artists are
create
requiredtheir artwork
to create onartwork
their someone onelse’s
someoneland, requiring
else’ interaction
s land, requiring with the
interaction
locals.
with theThe artists’
locals. Thepassion
artists’ and openness
passion to learning
and openness influences
to learning local people,
influences local
and they engage with artworks not as spectators, but as collaborators.
people, and they engage with artworks not as spectators, but as collaborators.
The Echigo- Tsumari Art Triennale has welcomed many young volunteers
from cities. They call themselves the kohebi-tai (little snake gang), and have
been involved with many different projects. “ The encounter between the old
who have spent their entire lives on farming thinly populated lands, and
students who don’t have a clear purpose in their city lives, resulted in collision
and confusions at first, but this transformed into appreciation and co-
operation, leading to an opening up of the region through the initiative of
these young people” (http://www.echigo-tsumari.jp/eng/).
After
After the Chūetsu earthquake
earthquake in in 2004, the Daichi no otetsudai (Help (Help the
Land)
Land) project
project was
was initiated
initiated inin which
which artists and volunteers from the cities
actively engaged with and helped
actively engaged with and helped those those affected
affected by by the
the earthquake.
earthquake. They
undertook
undertook tasks such as reconstruction
reconstruction work and snow removal, despite
continuous snowfall for
continuous heavy snowfall for two
two winters.
winters. “Through
“ Through such activities,
activities, it has
become
become apparent that Echigo-Tsumari
Echigo- Tsumari has become a place for hope for those
living in the cities.” Young people, as well as
cities”(http://www.echigo-tsumari.jp/eng/).
living in the cities” those
(http://www.echigo-tsumari.jp/eng/). Youngwith more
Youngexperience,
people, as
jointly
well participated
well as those in building a ‘new
those with more experience, jointly hometown’.
jointly participated The
participated in Echigo-Tsumari
in building
building aa ‘‘new
new
effort in community
hometown’.
hometown’ . The building
The Echigo-Tsumari
Echigo- has been
Tsumari acknowledged
effort
effort inin community
community beyond the framework
building
building has been
of art as a new model
acknowledged
acknowledged beyond
beyondofthe
communitarianism.
framework
the frameworkof artofItashas
a earned
artnew athenew
as model Furusato
of the Event
Machi-
model of
Award by the Ministry of Internal Affairs, the Tokyo Creation Award, and
communitarianism. It has earned the Furusato Event Award by the Ministry

tsukuri Commendation
communitarianism. It hasbyearned
the General Affairs
the Furusato Minister.
Event Award byThis
the approach
Ministry
of Internal Affairs, the Tokyo Creation Award, and the Machi- tsukuri
to community building through culture and art has drawn
of Internal Affairs, the Tokyo Creation Award, and the Machi- tsukuri great attention
Commendation by the General Affairs Minister. This approach to community
under the rubric
Commendation by of
the‘creative city’, Minister.
General Affairs and Echigo-Tsumari
This approachhas influenced
to community
building through culture and art has drawn great attention under the rubric of
other
buildingcommunity-based
through culture and projects
art hasindrawn
Tokushima, Ibaraki,
great attention Niigata,
under Ōsaka,
the rubric of
‘ creative city’ , and Echigo- Tsumari has influenced other community- based
and Setouchi. I will now introduce some artworks with stories
‘ creative city’ , and Echigo- Tsumari has influenced other community- based from the
projects in Tokushima, Ibaraki, Niigata, Ōsaka, and Setouchi. I will now
communities.
projects in Tokushima, Ibaraki, Niigata, Ōsaka, and Setouchi. I will now
introduce some artworks with stories from the communities.
introduce some artworks with stories from the communities.
Hachi and Seizo Tashima Museum of Picture Book Art
Hachi and Seizo Tashima Museum of Picture Book Art
The location is an abandoned Sanada Primary School. “ The main characters
The location is an abandoned Sanada Primary School. “ The main characters
are the three students who were the last to attend the school, and the space is
are the three students who were the last to attend the school, and the space is
used as if part of a picture book. The objects that can be found in the school
used as if part of a picture book. The objects that can be found in the school
building are objects of nature that have been painted, including driftwood and
building are objects of nature that have been painted, including driftwood and
nuts collected from around the seashore of the Izu Peninsula and the Sea of
nuts collected from around the seashore of the Izu Peninsula and the Sea of
Japan. At the entrance of the building is an enormous bamboo fountain run
Japan. At the entrance of the building is an enormous bamboo fountain run
by water that is shaped like a locust. This provides power to run the objects
by water that is shaped like a locust. This provides power to run the objects
inside. The artist attempts to recreate the once vibrant life in the school of
inside. The artist attempts to recreate the once vibrant life in the school of
students, teachers, and even ghosts” (http://www.echigo-tsumari.jp/eng/).
students, teachers, and even ghosts”(Echigo-Tsumari
(http://www.echigo-tsumari.jp/eng/).
Art Field 2018).
Figure 1. Goat and Ghost, Ghost (Toperatoto), and Driftwood from the sea
Figure 1. Goat and Ghost, Ghost (Toperatoto), and Driftwood from the sea
Source: the author.
Source: the author.
These are important stories about the last three students playing in the
These are important stories about the last three students playing in the
abandoned school building, and about the ‘ memory eater’ ( toperatoto) and
abandoned school building, and about the ‘ memory eater’ ( toperatoto) and
the ‘ pondering goat’ . The artist Tashima had learned about the situation of
the ‘ pondering goat’ . The artist Tashima had learned about the situation of
the community, and created this work of art in 2009. He now raises goats
the community, and created this work of art in 2009. He now raises goats
together with the Hachi villagers. The residents were so moved by the artist’s
together with the Hachi villagers. The residents were so moved by the artist’s
34 Kazuya Hashimoto
materialization of their memories of the abandoned school and its students,

and by the artist’ s passion, that they themselves joined in creating the
artworks as collaborators. They are now so attached to this art installation that
they have opened a community- run restaurant to attract more visitors to the
site.
Figure 2. Goat Yard, Students, and Hachi Cafe

Source: the author.
The Rice Field (2000, by Ilya & Emilia Kabakov, Russia)
When viewed from the Nō Butai, one can see sculptures in the site’ s terraced
rice fields combined with poems. This work of art brings together poetry,
landscape, and sculpture. The poetry describes traditional agriculture, while
the sculptures of rice farmers are placed on the opposite bank. Seen from the
viewing platform on Nō Butai, both text and sculpture seem to form a single
painting.
Figure 3. The Rice Field 1, The Rice Field 2, and The Arch of Life
Source: the author.
Ilya and Emilia Kabakov, the artists who created “ The Rice Field” , will
shortly present a new artwork called “ The Arch of Life” , consisting of five
statues. Each statue represents different stages of life, starting from a human
being with an egg-shaped head, a boy crawling on the ground, a man carrying
a box emitting light, a man trying to climb a wall, or an ‘ eternal exile’ , and a
worn-out man at the end of life.
In the Fine
In the Fine Art
Art Biblio
Biblio(https:
(Fine/ Art Biblio n.d.),
/ fineartbiblio. com/the artists ilya-
artworks/ explained these
and- emilia-
sculptures. The height of the nearest sculpture is 280 cm, and
kabakov/ 2224/ the- rice- fields) , the artists explained these sculptures. The the farthest is
300
heightcm.
of They are made
the nearest out of
sculpture semi-transparent
is 280 fiberglass.
cm, and the farthest is 300Thecm.sculptures
They are
are
made out of semi- transparent fiberglass. The sculptures are not rice
not round, but rather almost flat. The production cycle of served
round, but
as the subject of the sculptures: 1. tilling the land; 2. planting
rather almost flat. The production cycle of rice served as the subject of the the seed;
3. planting 1.
sculptures: of tilling
seedlings; 4. weeding;
the land; 2. planting 5. the
gathering
seed; 3.the harvest.
planting The figures,
of seedlings; 4.
clothing of the peasants, and their working instruments –
weeding; 5. gathering the harvest. The figures, clothing of the peasants, all of these areand
of
atheir
traditional
workingnature.
instruments – all of these are of a traditional nature.
After a meeting with residents, they learned about the realities of the location.
“It was the month of March, everything all around us was covered with snow,
and we felt as though we had entered into the wintry landscapes of Utamaro
and had become one of his figures. But from the organizers of the program as
well as after our meeting with the town mayor, Mr. Tatsuji Sekiya, what was
revealed to us was another, more prosaic, real side of this place: we learned
and were shown in one of the museums just how difficult the life and work of
the people living here are and how hard and what expenditures of labor the
production of rice demands. We also learned of the hardships this region is
experiencing at the present time – the new generation is not remaining in these
places, it is leaving here, because the supremely difficult, many months of
manual labor is ceasing to be attractive” (ibid).
The
The farmer whowho owned
owned thisthisrice
ricefield
fieldhad
hadnonosuccessor
successor andandwaswas advancing
advancing in
in age,
age, andand
hadhad
thusthus decided
decided to discontinue
to discontinue cultivating
cultivating the However,
the field. field. However,
whilst
whilst observing the creative process of the artwork on his
observing the creative process of the artwork on his land he began rethinking land he began
rethinking
the meaning theofmeaning
farming,of and
farming,
finallyand finally todecided
decided continue to continue
growing growing
rice for
rice for several
several more years.
more years. SinceSince his death,
his death, volunteers
volunteers fromthe
from thefestival
festival have
cultivated
cultivated the
the rice
rice field.
field. The
The artists
artists explained
explained thethe site
site as
as follows:
follows:
“ The“The ‘cultural
‘ cultural zone’zone’
aroundaround the ‘palace’
the ‘ palace’ and theandactual,
the actual, difficult
difficult production
on theproduction
other sideon ofthe
theother
river side of the
should be, river should
in our be, in
opinion, our opinion,
connected in such a
connected
way that in such of
for the visitors a way that forfor
the palace, thethe
visitors of the
residents palace,
of this for the lofty
region,
residents
significance of of this
this region, theoflofty
production, significance
the traditional of this
wealth of production, of
this place, becomes
the traditional wealth of this place, becomes clear, and that
clear, and that is why it became the subject of artistic depiction. For the is why
it became the subject of artistic depiction. For the visiting tourists
36
36 Kazuya
Kazuya Hashimoto
Hashimoto
it should beitclear
visiting that this production and the laborand
of these people these
visiting tourists
tourists it should
should be be clear
clear that
that this
this production
production and thethe labor
labor of
of these
peopledeserves
deservesto have
to haveits own
have monument,
its own
own monument, a group of monuments visible
people deserves to its monument, aa group
group of monuments
of monuments visible
visible
from from
any any place
place and and from
from any, any, the
even even the greatest,
greatest, distance
distance – and –this
andmonument
this
from any place and from any, even the greatest, distance – and this monument
is monument is not to heroes, but rather to simple people whothese
have
is not
not to
to heroes,
heroes, but
but rather
rather to
to simple
simple people
people who
who have
have labored
labored in in these fields
fields
labored in(ibid).
for centuries”
centuries” these fields for centuries” (ibid).
for (ibid).
Potemkin
Potemkin (Architectural
(Architectural Office
Office Casagrande
Casagrande &
& Rintala)
Rintala)
The
The creator
creator of
of this
this artwork
artwork is is quoted
quoted as as saying,
saying,
For
For me Potemkin is the starting point of
me Potemkin is the starting point of revolution.
revolution. II am
am continuing
continuing
mentally attached
mentally attached with
with Potemkin
Potemkin and and seeing
seeing where
where the
the revolution
revolution is is
taking me. Potemkin stands in the crossroads where
taking me. Potemkin stands in the crossroads where the modern manthe modern man
has
has to
to define
define his
his relationship
relationship with with the
the nature.
nature. We
We have
have allall the
the tools
tools
needed
needed for a sustainable solution of human existence in
for a sustainable solution of human existence in the
the
technological world. Now we also have all the tools
technological world. Now we also have all the tools to destroy the to destroy the
world.
world. Architects,
Architects, artists,
artists, urban
urban planners,
planners, environmental
environmental planners
planners
and
and humanists must find their position and responsibility
humanists must find their position and responsibility in in this
this
turning point. Potemkin stands as an Acropolis
turning point. Potemkin stands as an Acropolis to be the post- to be the post-
industrial temple
industrial temple to to think
think ofof the
the connection
connection between
between the
the modern
modern manman
and nature. I see Potemkin as a cultivated junk yard situated
and nature. I see Potemkin as a cultivated junk yard situated between between
the
the ancient
ancient rice
rice fields
fields andand river
river with
with aa straight
straight axis
axis toto the
the Shintō
Shintō
temple (www.echigo-tsumari.jp/eng/art-work/potemkin).
temple (www.echigo-tsumari.jp/eng/art-work/potemkin).
Figure 4. Potemkin 1, and Potemkin 2. Source: the author.

Figure 4.
Figure 4. Potemkin
Potemkin 1,
1, and
and Potemkin
Potemkin 2.
2. Source:
Source: the
the author.
author.
This sculpture is installed along the river near some rice fields, at a spot
This sculpture
This
whichsculpture is installed
used tois installed along the
along
be an illegal the river near
river
garbage near
dump.someThe
some riceartist
rice fields, at
at aa spot
fields,used spot which
which
discarded
used to be an illegal
used to be anmachines
construction garbage
illegal garbage dump.
dump.
and tires The
for The artist used
artist used
this work discarded
discarded
of art. construction
construction
The construction of
machines and
machines and tires
tires for
for this
this work
work of of art.
art. The
The construction
construction of of Potemkin
Potemkin
Potemkin
influencedinfluenced the to
the residents residents to stop garbage
stop dumping dumpingthere
garbage
and there
betterand better
maintain
maintain the riverside.
the riverside. Today,can
Today, visitors visitors
enjoycan
theenjoy the in
artwork artwork in the of
the comfort comfort
clean
of clean surroundings.
surroundings.
Setouchi International Art Festival
From July to October

From October 2010, the first “Setouchi Triennale” (the inaugural inaugural
edition
edition of the
the international contemporary
contemporary art festival)
festival) based on the theme
based on the theme
“Restoration of the Sea,” was organized in collaboration
“Restoration collaboration with Kagawa Kagawa
Prefecture. It was held across seven islands in the Setouchi area (Naoshima,
Prefecture. (Naoshima,
Teshima, Megijima,
Teshima, Megijima, Ogijima, Shōdoshima, Ōshima, Inujima), and
Ōshima, and Inujima), and
Takamatsu Port.
Takamatsu Port.TheThe festival aimed
festival to celebrate
aimed or revive
to celebrate ortraditions that were
revive traditions
specific
that weretospecific
each island,
to each focusing
island, on the lives
focusing and lives
on the history
andofhistory
the islands’
of the
inhabitants.
islands’ The Teshima
inhabitants. Art Museum
The Teshima was created
Art Museum wasincreated
the cornerin theof corner
a rice
terrace,
of a ricewith sweeping
terrace, with views
sweeping overviews
the Seto
overInland Sea by
the Seto the by
Inland Seathebyarchitect
the by
the architect Ryue Nishizawa and the artist Rei Naito specifically for“The
Ryue Nishizawa and the artist Rei Naito specifically for this festival. this
paddy fields
festival. “The around the museum
paddy fields around thewere restored
museum wereinrestored
collaboration with the
in collaboration
inhabitants
with of the area.ofThe
the inhabitants theartarea.
museum
The represents
art museum a symbol
representsof thea restoration
symbol of
of restoration
the Teshima, creating
of Teshima,a boundless
creating a harmony
boundless between
harmony nature,
betweenart and
nature,
architecture”(http://Setouchi-artfest.jp/en/artworks-
art and architecture” (Art setouchi n.d.).
artists/artworks/teshima/20.html).
The second Festival (March to November 2013)- “Setouchi Triennale 2013”
-The
wassecond
held Festival (March towith
in collaboration November
Kagawa 2013)- “Setouchi
Prefecture. TheTriennale
sessions 2013”
were-
was heldacross
divided in collaboration
a total ofwith 108Kagawa Prefecture.
days, into spring, The
summersessions
and were
fall, divided
so that
across a could
visitors total ofexperience
108 days, intothe spring,
seasonssummer and fall,
of the Seto so that
Inland Sea.visitors could
In addition
experience
to the seventheislands
seasonswhoof the Seto Inland
hosted Sea. In addition
the inaugural edition of to the
the seven islands
Triennale in
who hosted
2010, the eventthe was
inaugural
furtheredition of the
expanded to Triennale
include fivein additional
2010, the eventislandswas —
further expanded
Shamijima, Honjima,to include five additional
Takamijima, Awashima, islands — Shamijima,
and Ibukijima Honjima,
— constituting
Takamijima, Awashima, and Ibukijima — constituting
a total of 12 islands, apart from the areas around Takamatsu Port and a total of 12 islands,
Uno
apart Recently,
Port. from the areas around
in 2016, theTakamatsu Portofand
third edition theUno Port. Recently,
international in 2016,
contemporary
the festival
art third edition of theheld
was also international
across 12contemporary art festivalwas
islands. The Triennale wasorganized
also held
through intensive collaboration with local inhabitants and the intensive
across 12 islands. The Triennale was organized through festival’s
collaboration
Executive with local
Committee byinhabitants and the
creating strong festival’s
bonds with theExecutive Committee
local communities,
byparticular
in creating strong
throughbondsthewith
FoodtheProject,
local communities,
which focused in particular
on cuisinethrough
uniquethe to
Food
the Project, which focused on cuisine unique to the islands.
islands.
In conjunction with the Echigo-Tsumari Art Triennale in Niigata Prefecture,

In conjunction with the Echigo- Tsumari Art Triennale in Niigata Prefecture,
the first Setouchi International Art Festival (Triennale) began in 2010. In
the first Setouchi International Art Festival (Triennale) began in 2010. In
38 Kazuya Hashimoto
1985, 25 years before this festival, a meeting was held between the President
and Founder of Fukutake Publishing, and the Mayor of Naoshima. The
meeting resulted in the mutual agreement to initiate a series of developments
around Naoshima. Benesse House was inaugurated in July 1992, as a facility
that integrated a museum and a hotel. It commenced operations under the
name of Naoshima Contemporary Art Museum, holding temporary
exhibitions between 1992 and 1995. The exhibition of artwork displayed
outside the museum was based on the idea that “ the power of contemporary
art is heightened when surrounded by a rich natural environment. The
exhibition became an important step leading to the commissioning of site
specific works later on. ” Yayoi Kusama’ s “ Pumpkin” is still a symbol of
Naoshima at Miyanoura harbor.
Figure 5. Teshima Art Museum, and Yayoi Kusama’s Pumpkin

Source: the author.
Artists were invited to create artworks that were unique to Naoshima and their
focus turned toward commission- based site- specific works. Meanwhile, the
completed pieces began to be exhibited as permanent displays inside and
outside the Benesse House Museum. In 1998, the Art House Project, which
began in the Honmura District of Naoshima, obtained and restored old houses
that artists converted into works of art. The first work of this project, Kadoya,
was opened to the public in 1998. This became a great opportunity for
expanding the area dedicated to art projects, reaching out from the Benesse
House Museum toward the local town and its inhabitants, and engaging with
their daily routines, including areas such as the Miyanoura District, the
Mitsubishi Materials District and the Honmura District.
The Naoshima Fukutake Art Foundation established in 2004, later changed to

the Fukutake Foundation in 2012, aimed “ to create significant spaces by
bringing contemporary art and architecture in resonance with the pristine
nature of the Seto Inland Sea, a landscape with a rich cultural and historical
fabric.” (Fukutake and Ando 2011, p. 5-6) In all their ongoing activities, they
are “ committed to foster a relationship of mutual growth between art and the
region, aiming to make a positive contribution to the local communities”
(ibid).
I will now introduce some artwork and stories from this project with reference
to their website.
Shima Kitchen by Ryo Abe in Teshima
Designed by Ryo Abe, ““the

Designed the restaurant’s
restaurant’ s large
large roof
roof wraps
wraps around tables
providing seating
providing seating in
in an
an airy,
airy, semi- outdoor space.
semi-outdoor Local women have
space. Local
collaborated with chefs from the Marunouchi Hotel to develop an original
collaborated
menu of delicious
menu delicious cuisine based on local fish and produce, while the terrace
area is frequently
area frequently used for music, dance and other events and workshops.
Shima Kitchen has established itself
Shima itself as a real local platform, bringing people
together through
together through art
artand
andfood”
food”(Art(http: / / setouchi-
setouchi n.d.). artfest. jp/ en/ artworks-
artists/artworks/teshima/20.html).
Recently, Teshima became the center of a major scandal involving the worst
case of illegal dumping of industrial waste in Japan. A decades- long
grassroots movement pushed the nation to enforce tighter environmental
standards, and the hazardous waste, consisting mainly of shredded byproducts
from automobile manufacturing, is being recycled into slag in a special plant
on
on Naoshima. InIn tackling
tackling the
the industrial
industrial waste
waste issue,
issue, the remarkable
differences
differences of
of opinion
opinion within
within the
the communities
communities between the older generation
and
and the
the young,
young, and
and various
various external
external influences prevented the islanders
islanders from
from
arriving
arriving at a consensus.
consensus.
However, when the “ Shima Kitchen” was constructed in a vacant house and
its yard, some women became involved in the project to provide tourists a
feast from local cuisine. The general director, Kitagawa, says that this was
the starting point for rebuilding solidarity in the community. Since then, the
local women and volunteers have organized a birthday party every month.
Four days before the day, they visit all the 800 villagers from 270 families
40
40 Kazuya Hashimoto
Kazuya Hashimoto
40 Kazuya Hashimoto
individually and
individually and invite
invite them
them to
to the
the party,
party, where
where all
all the
the volunteers
volunteers and
and
villagers gather
gather
individually
villagers toinvite
andto dance them
dance and sing
and sing songs.
to the Thus
party,
songs. it has
where
Thus it hasallbecome
become aa community
community
the volunteers and
festival
festival (Kitagawa
villagers(Kitagawa 2015,
gather to 2015, p.
dance p. 169-170).
and sing songs. Thus it has become a community
169-170).
festival (Kitagawa 2015, p. 169-170).
Figure
Figure
Figure 6. 6. Shima
6. Shima
Shima Kitchen.
Kitchen.
Kitchen. Source: the
Source: the author.
author.
Source:
Figure the author.
6. Shima Kitchen. Source: the author.
Dream of
Dream of Olive
Olive by
by Wang
Wang Wen
Wen Chih
Chih inin Shōdoshima
Shōdoshima
Dream of Olive by Wang Wen Chih in Shōdoshima
A massive
A massive dome
dome constructed
constructed from
from over
over 4,000
4,000 pieces
pieces of
of locally-
locally- grown
grown
bamboo
A becomes
massive
bamboo dome aaconstructed
becomes stage for
stage for the
thefrom
third over
third time, 4,000
time, this time
this time on the
pieces
on the theme
oftheme of olives.
locally-
of olives.
grown
The interior
bamboo becomes
becomes
The interior a
a stage
becomes stage on which
for theonthird
a stage visitors
time,visitors
which can
this time wander
canonwander around.
the theme The
of olives.
around. The
dome’s
The
dome’s presence
interior transforms
becomes
presence theon
a stage
transforms the feelwhich
feel of the
of thevisitors
surrounding landscape.
can wander
surrounding around. The
landscape.
dome’s presence transforms the feel of the surrounding landscape.
Regent in
Regent in Olives
Olives Hisakazu
Hisakazu Shimizu
Shimizu byby in
in Shōdoshima
Shōdoshima
Regent in Olives Hisakazu Shimizu by in Shōdoshima
Figure 7.
Figure 7. Dream
Dream of
of Olive,
Olive, and
and Regent
Regent in
in Olives.
Olives. Source:
Source: the
the author.
author.
Figure 7. Dream of Olive, and Regent in Olives.
Figure 7.
Source: theDream
author.of Olive, and Regent in Olives. Source: the author.
An olive-
An olive- shaped
shaped head
head topped
topped by
by aa pompadour
pompadour hairstyle
hairstyle sits
sits in
in the
the middle
middle of
of
An
an olive-shaped
olive orchard.
olive-orchard.
an olive head
It
shaped head topped
looks like
topped
It looks aby
like by a pompadour
sculpture, but
a pompadour
a sculpture, it hairstyle
is actually
but ithairstyle sits
also
sitsalso
is actually in
an
in the the middle
unmanned
middle of
an unmanned
of an olive
an olive orchard.
orchard. It looks
It looks like a like a sculpture,
sculpture, but it is but it isalso
actually actually also an
an unmanned
unmanned
stall, with astall,
hollowwith a hollow
area createdareato lay created to lay outand
out vegetables vegetables
fruit. Theand fruit.
piece is
stall,
The with
piece a
is hollow
an area
experiment created
in to
using lay
an
an experiment in using an object to connect people and out vegetables
object to connect and fruit.
people The
and piece
generate is
an experiment in using an object to connect people and generate
communication.
communication.
communication.
Artworks
Artworks (ii) and (iii) are installed
installed in Shōdoshima, which is the second largest
Artworks
island (ii) and (iii)
island in the Seto Inland are
Inland Sea installed
withinaa Shōdoshima,
Sea with population of
population ofwhich is the
30,000.
30,000. Thesecond
climatelargest
and
island
stunning in the Seto Inland
setting coupled
stunning setting coupledwith Sea with a
witha athrivingpopulation
thriving olive
olive of 30,000.
industry
industry areare The climate
reminiscent
reminiscent and
of
of the
stunning
the setting Local
Mediterranean.
Mediterranean. coupled
Local with a thriving
industries
industries werewere olive industry
developed
developed in are reminiscent
harmony
in harmony withwith of and
the
nature,
nature,
Mediterranean.
and retain
retain Localtraditions.
time-time-honored
honored industries wereShōdoshima
traditions. developed
Shōdoshima wasinwasharmony
the the with
firstfirst
placeplacenature,
in and
in Japan
Japan to
retain
to time-
cultivate honored
olives traditions.
successfully Shōdoshima
about 100 was
years
cultivate olives successfully about 100 years ago, while local soy the
ago, first
while place
local in Japan
soy sauceto
cultivate
manufacturers
manufacturers olivesstill
successfully
use productionabout techniques
100 years ago, datingwhilebacklocalfour soy sauce
centuries.
manufacturers
Other specialty still
Other use production
products include sesame
include sesametechniques
oil and
oil dating
and somen back
somen noodles.
noodles. fourIncenturies.
addition,
Other specialty
Shōdoshima
Shōdoshima hasproducts
has aa rich include
richhistory
historyandsesame oil andRural
andtradition.
tradition. somen
Rural noodles.
kabuki
kabuki In addition,
thrived
thrived herehere
for
Shōdoshima
for several
several has a
centuries,
centuries, rich
with 30 history
with and
30 theaters
theaters tradition.
duringduring Rural kabuki
its heyday.
its heyday. While onlythrived
While here
twoonly for
two
remain,
several
remain, centuries, with
the traditional
the traditional 30
thatched- theaters
thatched-roofedduring
roofed structures its heyday.
structures While
continue
continue only two
to tohost remain,
host annual
the traditionalstaged
performances
performances thatched-
staged by the
by roofed
the local structures continue to host annual
local community.
community.
performances staged by the local community.
Figure 8. Rural Kabuki theater and Important tangible cultural property

Figure
Figure 8. Rural Kabuki
Kabuki theater
theater and
and Important tangible
tangible cultural
cultural property
property.
Source: 8.theRural
author.
Source: the
Source: the author.
It is not easy for visitors to access “ Dream of Olive” , which is constructed at
It
theisbottom
not easyoffor visitorspaddy
a terraced to access “ Dream
field. of Olive”
After walking , which
down is constructed
the steep slope fromat
the bottom of a terraced paddy field. After walking down the steep slope
the nearby bus stop situated at the top of the terrace among rice fields, there from
the
is a nearby
bamboo buswalkway
stop situated
along ata the top ofAtthe
stream. theterrace
end ofamong rice fields,
the walkway, therea
stands
is
higha bamboo walkway along
oval construction a stream.
of bamboo. TheAtinterior
the endbecomes
of the walkway,
a stage onstands
whicha
high oval construction of bamboo. The interior becomes a stage
dozens of visitors can wander around, or lie down with a comfortable feeling on which
dozens
of beingofinvisitors can wander
the middle around, or lie down with a comfortable feeling
of nature.
of being in the middle of nature.
42
42 Kazuya Hashimoto
Kazuya Hashimoto
Figure 9. Dream
Figure of Olive (exterior), and and
Dream of Olive (interior)
Figure 9.9. Dream
Dream of
of Olive
Olive (exterior),
(exterior), and Dream
Dream of
of Olive
Olive (interior)
(interior)
Source: the
Source: author.
the author.
Source: the author.
Firstly
Firstly inin 2010,
2010, seven
seven islands
islands in
in the
the Seto
Seto Inland
Inland Sea
Sea hosted
hosted thethe Setouchi
Setouchi
International
International Art
Art Festival,
Festival, and
and many
many other
other collaborative
collaborative art
art projects.
projects. Then
Then in
in
2013, twelve islands were participating. The communities were
2013, twelve islands were participating. The communities were all scarcely all scarcely
populated
populated and and rapidly
rapidly aging.
aging. The
The projects,
projects, artworks
artworks and
and their
their stories
stories have
have
significantly
significantly affected
affected both
both human
human andand non-
non-human
human actors
actors alike,
alike, revitalizing
revitalizing
many
many communities.
communities. In In summary,
summary, local
local art
art festivals
festivals have
have in
in this
this case
case proven
proven
to be a successful; vehicle for Kankō Machi-tsukuri (community
to be a successful; vehicle for Kankō Machi-tsukuri (community development development
through
through tourism).
tourism).
Discussion
Discussion
II would
would now
now like
like to
to discuss
discuss the
the three
three points
points in
in detail:
detail: the
the importance
importance ofof story
story
and
and translation in ANT, Local Culture Tourism and Local Art Festivals, and
translation in ANT, Local Culture Tourism and Local Art Festivals, and
the
the issue
issue of
of whether
whether localization
localization or
or indigenization
indigenization better
better describe
describe the
the subjects
subjects
of
of this
this study.
study.
Importance
Importance of
of Story
Story and
and Translation
Translation in
in ANT
ANT
Emphasis needsneeds to be be placedon on theimportance
importance ofstory story and translation
Emphasis needs to to be placed
placed on the the importance of of story andand translation
translation inin
in
ANT.ANT. Symmetry
Symmetry is is
one one
of of
the the
most most distinctive
distinctive featuresfeatures
of ANT, of ANT,
and and
humans
ANT. Symmetry is one of the most distinctive features of ANT, and humans
humans
and and non-humans should be approached in the same Inway. In the
and non-
non- humans
humans should
should be be approached
approached in in the
the same
same way.
way. In the the cases
cases
cases described
described above, above,
the actorsthecanactors
be caneither
seen be seen
as either as
‘patients’ or ‘patients’
as ‘agents’ or as
(Gell
described above, the actors can be seen either as ‘patients’ or as ‘agents’ (Gell
‘agents’
2013, p.(Gell
24) . 2013,
Thus p.in24). Thus inmateriality,
relational relational materiality,
art makes art makes
humans humans
(residents,
2013, p. 24) . Thus in relational materiality, art makes humans (residents,
(residents,
tourists tourists and artists) and
feel, think,Inand move. In fact, many in older
tourists and
and artists)
artists) feel,
feel, think,
think, and move.
move. In fact,
fact, many
many older
older women
women in the the
women
area in
worked the area worked
voluntarily on voluntarily
‘ vacant on
house ‘vacant
projects’ house
with projects’
the with
artists. the
The
area worked voluntarily on ‘ vacant house projects’ with the artists. The
artists.
elderly The elderly helped the artists in residence, and interacted with them.
elderly helped
helped thethe artists
artists in
in residence,
residence, and
and interacted
interacted with
with them.
them. Here,
Here, agency
agency
Here,
is not agency
strictly isa human
not strictly a human
affair. affair.houses
The vacant The vacant
in the houses in materials
area, the the area,
the materials
(marking (marking
pins, pins, black
black strings strings
for spider for spider
web) web)
used for theused
worksforof
theart,
works
and
of art, and their stories, all affect the elderly residents emotionally.
their stories, all affect the elderly residents emotionally. In this paper, I have In this
paper,
relatedI many
have related
stories many
aboutstories
places,about places, (abandoned
( abandoned school,
school, terraced riceterraced
field) ,
rice field), materials (olives, vacant houses, refuse), and humans
materials (olives, vacant houses, refuse) , and humans (students, farmers, (students,
farmers,
mothers andmothers
olderand older Iwomen).
women). I want the
want to reiterate to reiterate
importancethe of
importance
story, as it of
is
story, as it is the story that is able to move
the story that is able to move actors emotionally. actors emotionally.
In the case of “ Hachi & Seizo Tashima Museum of Picture Book Art” , the
stories about the abandoned primary school, the last three students, and the
space itself, all affected the artist to attempt to recreate the once vibrant life
in the school through students, teachers and ghosts (toperatoto) . The artist
had learned about the situation in the community, the stories of the abandoned
school and its last students. The residents were so moved by their own
memories of the school and its students, and also by the artist’ s depth of
engagement, that they involved themselves in the artwork as collaborators.
These stories also emotionally affect the tourists who visit the site and its
contents, forming connections between the communities and their visitors.
Translation functions when artists meet locals, and locals meet tourists,
artists, producers, and art project volunteers. They communicate with each
other differently. For example, when a contemporary artist met a farmer or
fisherman from the community, initially, the local would have difficulty
understanding the intentions and ideas of the artist, neither could the artist
understand the circumstances and cultural values of the local. When an artist
or art director surveyed a region and found a desirable vacant house for the
art project, the owner would not rent the house to a stranger with an arcane-
sounding purpose. Here translation was required. The art director and a
volunteer from the kohebi- tai ( little snake gang) would then visit the owner
regularly, to explain or translate the purpose of the project. This kind of
translation would not be impersonal, but an emotional experience through
which both parties became familiar with each other. After connecting with
the personalities of the strangers, the owner would in many cases offer them
the use of the vacant house despite any enduring confusion about the artist’ s
intentions.
At the next
At next stage,
stage,one
oneorora group
a groupof of
artists would
artists staystay
would in the
invillage and carry
the village and
out their
carry creative
out their activities.
creative This
activities. phase
This phaseagain
againrequired
requiredtranslation.
translation. For
44 Kazuya Hashimoto
44 Kazuya Hashimoto
example, during the process

process ofof creating
creating ““House
House Memory”
Memory” in a vacant house
example, during the process of creating “ House Memory” in a vacant house
Echigo- Tsumari, some
in Echigo-Tsumari, some local
local residents
residents helped the artist weave spider
spider webs
in Echigo- Tsumari, some local residents helped the artist weave spider webs
with acrylic fibers all over the house. Here, Here, anan artistic
artistic understanding was
with acrylic fibers all over the house. Here, an artistic understanding was
translated into a communal meaning.
meaning. The vacant house house became
became aa place
place to
to
translated into a communal meaning. The vacant house became a place to
pleasant conversation
have a pleasant conversation with
with the
the artist
artist and
and their
their neighbors.
neighbors. During
During the
have a pleasant conversation with the artist and their neighbors. During the
art festival, the local residents explained the creative
creative process
process of this artwork
art festival, the local residents explained the creative process of this artwork
visitors. In
to visitors. Inthis
thisinstance,
instance, translation
translation occurred between the community
community andand
to visitors. In this instance, translation occurred between the community and
‘appreciator-tourists’.
the ‘appreciator-tourists’.
the ‘appreciator-tourists’.
Figure 10. House

House Memory (Chiharu Shiota Y-072).
Y-072). Source: the author.
Figure 10.
Source: the House
author.Memory (Chiharu Shiota Y-072). Source: the author.
Local Culture Tourism, Local Art Festivals and Kankō Machi-tsukuri

Local Culture Tourism, Local Art Festivals and Kankō Machi-tsukuri
Kankō Machi- tsukuri ( community development through tourism) always
Machi- tsukuri (community
Kankō Machi-tsukuri ( community development
development through tourism)
tourism) always
focuses on local culture, which local people have constructed, discovered or
focuses on local
local culture,
culture,which
whichlocal
localpeople
peoplehave
have constructed,
constructed, discovered
discovered or
created, or even appropriated, on the basis of ‘locality”. In this case,
or created,
created, or or
eveneven appropriated,
appropriated, ononthethebasis
basisofof‘locality”.
‘locality”. In
In this
this case,
case,
enthusiasts of the area, kohebi- tai ( little snake gang at Echigo- Tsumari) and
enthusiasts of the area, kohebi-tai (little snake gang at Echigo-Tsumari)
enthusiasts of the area, kohebi- tai ( little snake gang at Echigo- Tsumari) and
koebi-tai (little shrimp gang at Setouchi) are included among the local people
and (little(little
koebi-tai
koebi-tai shrimpshrimp
gang gang at Setouchi)
at Setouchi) are included
are included among among thepeople
the local local
as well.
people
as well.as well.
Fram Kitagawa from Niigata Prefecture and Sōichirō Fukutake from
Fram Kitagawa from Niigata Prefecture and Sōichirō Fukutake from
Okayama created these art festivals. Thus, in some sense, they are also locals.
Okayama created these art festivals. Thus, in some sense, they are also locals.
However, the question is whether the residents of these places consider these
However, the question is whether the residents of these places consider these
‘local arts’ to be ‘local’ or not. In what scenario would local residents consider
‘local arts’ to be ‘local’ or not. In what scenario would local residents consider
an artwork created by a foreign artist to be their own? As part of both of these
an artwork created by a foreign artist to be their own? As part of both of these
festivals, many artists spent extended periods of time in the locations, learned
festivals, many artists spent extended periods of time in the locations, learned
the circumstances or stories of the community to gain inspiration, and created
the circumstances or stories of the community to gain inspiration, and created
artworks in collaboration with the residents. This is a process of localization
artworks in collaboration with the residents. This is a process of localization
of extraneous elements, which I will discuss in more detail below. If the artists
do not communicate familiarly with the locals, nor study the circumstances
of the community, they will not gain any inspiration from the local stories and
their artwork will remain extraneous, similar to what is in a museum, and will
never be localized. Fortunately, since most of the artists at the Echigo-
Tsumari Triennale and Setouchi Art Triennale were well selected under the
policy of the general director and the general producer, their artwork was
accepted and highly esteemed by the local people.
In this discussion of local culture tourism, local people produce their own
tourism commodities, somehow inscribed with the ‘ locality’ or its identity
that they have discovered, created or appropriated. The artists, being outsiders
or not locals, come to stay and create art for several months in the location. If
the artists in residence develop some connection with the area, they are
recognized as locals, and local residents are proud to present their artwork to
appreciator- tourists as their own culture. This is a perfect model for local
culture tourism. On the other hand, the locals could consider themselves to be
exploited by the artists or the producer of the festivals, and the artwork might
be deemed as foreign to their culture. Local culture and locality as a material
reality have emerged here in the form of art projects or local art festivals.
The authenticity of locality is questioned at various stages of Kankō Machi-

tsukuri. In many cases, it has been noted that Kankō Machi-tsukuri fabricated
traditions by using “ the pre- existing, historically inherited proliferation of
cultures or cultural wealth” (Gellner 1983, p. 55) . They also invented
traditions or borrowed the traditions of others. However I would rather call
these activities ‘local culture tourism’, because the local people create, foster,
and promote the cultural resources of their community and its locality. As I
mentioned above, Yufuin is an exceptional and special example of local
culture tourism that was created by the local people themselves.
Just as the Yosakoi Sōran Festival was modeled on the Yosakoi Festival in
Kōchi out of a sense of respect, and has been promoted as a festival of
Hokkaidō, local art festivals have an opportunity to be localized or accepted
by the residents as their own culture.
46 Kazuya Hashimoto
Localization or Indigenization?
Are the contemporary arts localized or indigenized in our two subject

localities? Initially, especially at Echigo-Tsumari, the art project was strongly
opposed by the residents of the town of Tōkamachi, which is now the main
stage of the festival. They were hostile to contemporary art generally and
skeptical that the art project might revitalize their depopulated community.
However, villagers in depopulated and rapidly aging mountainous areas were
Figure 11. Ubusuna House in Tōkamachi Higashishitakumi
more amenable to the art project in spite of not understanding it completely.
Source: http://image.search.yahoo.co.jp/search?rkf=2&ei=UTF-8&gdr
They realized that there was no other way to revitalize their villages, since it
=1&p=Ubusuna+House
was the art project that was bringing newcomers to their community.
For instance, ““The
For The Rice Field” ((2000) 2000) by
by Ilya
Ilya and
and Emilia Kabakov was
composed
composed of sculptures, poems poems and and landscape.
landscape. The poetry described
described
traditional
traditional agriculture, while the
agriculture，while the sculptures
sculptures of
of traditional
traditional rice farmers were
placed
placed in the terraced rice fields. As mentioned earlier, the farmer who owned
owned
this
this rice field, having no successor and being too old, had decided decided not
not to
to
continue cultivating the
continue cultivating thefield.
field.However,
However,observing
observingthethe creative
creative process
process of
of the
the artwork on his land, he recognized value enough to continue
artwork on his land, he recognized value enough to continue farming for farming for
several
several more years. Since Since hishis death,
death, the volunteers have cultivated his rice
field. Local Art Festivals and Local Culture Tourism 47
field. II would
would describe
describe this
this as
as the
the localization
localization of
of an
an extraneous
extraneous art
art project.
project.
“Ubusuna House” organizes events to enjoy freshly harvested rice and tea
ceremonies. It is a minka house (Japanese-style house) built in 1924 that has
been refurbished as a part of the Echigo-Tsumari Art Triennale 2006. A team
of local women runs a restaurant serving food on the ceramic dishes made by
Figure 11. Ubusuna House in Tōkamachi Higashishitakumi
the artists.
Source: http://image.search.yahoo.co.jp/search?rkf=2&ei=UTF-8&gdr
The =1&p=Ubusuna+House
village around Ubusuna House was extremely conservative and the
village women always stayed in the background and never came out in public.
For instance,
The arrival of“ The Rice
artists Field” the
changed ( 2000) by Ilya
village. The and
womenEmilia Kabakov
worked for was
the
composed talked
restaurant, of sculptures, poemsand
with the guests, and
madelandscape.
a profit ofThe poetry yen
20 million described
during
traditional
one summeragriculture，while
alone. They created the sculptures
and servedoforiginal
traditional ricetofarmers
dishes were
the tourists,
using
placedlocally producedrice
in the terraced fresh ingredients,
fields. As mentionedin collaboration with the
earlier, the farmer whoceramic
owned
artists.
this riceThe menhaving
field, of village
no recognized
successor andthe value
being oftoo
theold,
women’s activities
had decided notandto
appreciated the results. The women have since found voice to express
continue cultivating the field. However, observing the creative process of the their
opinions,
artwork on andhis
have become
land, influentialvalue
he recognized in the enough
village. toWould we describe
continue farming thisfor
as localization
several or indigenization?
more years. Since his death, the volunteers have cultivated his rice
field. I would describe this as the localization of an extraneous art project.
To answer this question we must consider the various stages in the
indigenizing process. The first stage is constituted by the adoption by local
people of an extraneous cultural element, in this case contemporary art. The
second stage is that of localization described above, and the third stage is that
of full indigenization, in which local people replace all the external
artists. The men of village recognized the value of the women’s activities and
appreciated the results. The women have since found voice to express their
opinions, and have become influential in the village. Would we describe this
as localization or indigenization?
To answerHouse”
“Ubusuna this question
organizeswe mustto consider
events enjoy freshly the various
harvestedstagesrice andin thetea
indigenizing process. The first stage is constituted
ceremonies. It is a minka house (Japanese-style house) built in 1924 that has by the adoption by local
people of an extraneous
been refurbished as a partcultural element, in this case
of the Echigo-Tsumari contemporary
Art Triennale 2006.art. The
A team
second
of localstage
women is that
runsofa localization
restaurant serving described foodabove,
on theand the third
ceramic dishesstage
madeis that
by
of full
the artists.indigenization, in which local people replace all the external
management staff, and the contemporary art festivals are under the full
The village
control of localaround
people,Ubusuna
who create House andwaspresentextremely
all aspects conservative
of materialand the
culture
village women always stayed in the background and never
that the festival involves. In actuality, since the artists and their works come came out in public.
The arrival
from outside of theartists changed
areas where thesethefestivals
village.areThe held,women worked are
these examples for still
the
restaurant,
at the stagetalked with the guests,
of localization. and madeinasome
Nevertheless, profitareas
of 20local
millionwomenyen during
began
one summer alone. They created and served original
producing their original ceramic dishes – a kind of artwork – and also took dishes to the tourists,
usingmanagement
over locally produced of the fresh ingredients,
restaurants Shima in collaboration
Kitchen and Ubusuna with House.
the ceramic This
artists. The men of village recognized
represents the beginning of indigenization. the value of the women’s activities and
appreciated the results. The women have since found voice to express their
opinions,
Conclusion and have become influential in the village. Would we describe this
as localization or indigenization?
In ANT, humans and non- humans alike are treated as possible actors and are
ascribed
To answer agencythiswithin a series
question weofmustconnected
consider and overlapping
the variousnetworks.stages inMany the
works of art from the two festivals under discussion
indigenizing process. The first stage is constituted by the adoption by local have been affected by
stories
people of connected
an extraneousto thecultural
physicality
element, of in places,
this case andcontemporary
the activitiesart. of Thethe
48 Kazuya Hashimoto
communities
second stage isthat thatlive there. Thedescribed
of localization agency ofabove, localand artstheand
thirdnarratives has
stage is that
affected the flow of people and traffic, the physical
of full indigenization, in which local people replace all the external sites themselves, the
residents, the artists and the visitors. Although it
management staff, and the contemporary art festivals are under the full is still difficult for some the
residents
control oftolocal
relate to contemporary
people, who create and art, nevertheless,
present all aspects it hasofacted on most
material cultureof
them
that theemotionally. Thus, In
festival involves. in actuality,
terms of since relational materiality,
the artists and theirartworkshas made
come
humans (residents, tourists and artists) feel, think, and
from outside the areas where these festivals are held, these examples are still move.
at the stage of localization. Nevertheless, in some areas local women began
The two local art festivals have functioned efficiently as Kankō Machi-
producing their original ceramic dishes – a kind of artwork – and also took
tsukuri. Initially, most Tōkamachi citizens were decidedly opposed to the art
over management of the restaurants Shima Kitchen and Ubusuna House. This
project. However, since recognizing how effective the project is as a strategy
represents the beginning of indigenization.
for revitalizing their communities, they have supported it whole-heartedly. At
the office of tourism, an officer in charge of the art festival explained the
Conclusion
content and promotion of activities as a city project, and said that some staff
had been humans
In ANT, so impressed
and non-by the
humans art festival
alike arethattreated
they had applied for
as possible actorsa position
and are
at the office.
ascribed agency Thewithin
residents around
a series the Potemkin
of connected keep the sitenetworks.
and overlapping clean along Manythe
riversides,
works of art which
fromusedthe twoto function as an discussion
festivals under informal refuse have beendump. The art
affected by
festivals have givento
stories connected courage, confidence,
the physicality ofand pride and
places, to manythe local people,
activities of andthe
have also attracted
communities migrants
that live there.from Thebigagency
cities. of local arts and narratives has
affected the flow of people and traffic, the physical sites themselves, the
The local art festivals can be recognized as an instance of local culture tourism
because of the degree to which they have become localized. They were
introduced from outside, but the local people accepted, promoted, and
presented them to visitors in collaboration with the artists. In that sense, the
artworks have now become the communal wealth of these communities.
at the office. The residents around the Potemkin keep the site clean along the
riversides, which used to function as an informal refuse dump. The art
festivals have given courage,Kazuya
48 confidence, and pride to many local people, and
Hashimoto
have also attracted migrants from big cities.
residents,
The local artthefestivals
artists and canthe
be visitors.
recognized Although it is stillofdifficult
as an instance for some
local culture the
tourism
residents
because of to relate
the degreeto contemporary
to which they art, have
nevertheless,
becomeitlocalized.
has acted on They most of
were
them emotionally.
introduced from outside,Thus, in butterms of relational
the local people materiality,
accepted, promoted,art has made and
humans
presented(residents, touristsin
them to visitors and artists) feel,with
collaboration think,theand move.In that sense, the
artists.
The
Manytwo local
artists whoartlearned
festivals have
about the functioned
community,efficiently as Kankō
and were affected Machi-
by various
tsukuri. Initially,items,
stories, material most Tōkamachi
individualscitizens
and placeswerehave
decidedly
become opposed
‘ locals’to ,the
so art
to
project. However, since recognizing how effective the
speak. Thus, the artworks created by ‘ locals’ have become local culture; project is as a strategy
for revitalizing
inscribed with the their communities,
locality in whichthey theyhave
weresupported
produced.it whole-heartedly. At
the office of tourism, an officer in charge of the art festival explained the
content and promotion
Nevertheless, most areas of activities
are still inasthe a city project,
process of and said that rather
localization some staff
than
had been so impressed
indigenization. Except by forthe art festival
some projectsthat likethey had Kitchen
Shima- applied for andaUbusuna
position
at the office.
House, The have
the locals residents around the
not created andPotemkin
presentedkeep the site clean
any products along the
or artwork of
riversides, whichisused
their own. There to function
no educational as an informal
institution for fosteringrefuse dump.
artists here,The
and art
no
indigenous
festivals haveartists
given have emerged
courage, in these and
confidence, areas. In fact,
pride to many the local people,
community and
have
does also attracted migrants
not financially managefrom thesebig artcities.
projects and festivals yet. It is very
difficult for locals to control and organize such a large- scale event, but they
The
can local art festivals
participate in thecan be recognized
formulation as an instance
of plans. of local culture
Thus, extraneous tourism
elements are
because of the degree to which they have become
localized or partially indigenized as local culture, and now the local people localized. They were
introduced
proudly considerfrom theseoutside,
works butofthe
art aslocal
theirpeople accepted,
own cultural promoted, and
wealth.
presented them to visitors in collaboration with the artists. In that sense, the
Notes
Many artists who learned about the community, and were affected by various
stories, material items, individuals and places have become ‘ locals’ , so to
*Kazuya
speak. Thus,Hashimoto is a Professor
the artworks created of byFaculty
‘ locals’of have
SyntheticbecomeSociology, Kyoto
local culture;
Bunkyou University
inscribed with (untilinMarch
the locality which of they2018). He has been the president of
were produced.
Japan Society for Tourism Studies from 2014 (to 2020). He conducted
Nevertheless, most
anthropological fieldareas are still on
researches in Christianity
the process of in localization
Fiji, Fijian ratherrugby than
and
indigenization. Except for some projects like Shima-
Tourism development of Fiji. At present his researches are mostly in Kitchen and Ubusuna
House,
the the of
theme locals
Local have ArtnotFestivals
created and presented
in Japan. Hisany products or
publications areartwork
includedof
their own.forThere
Strategy is no educational
the Anthropology of institution
Tourism (1999).for fostering artists here,
Anthropology and no
of Tourist
indigenous artists have emerged in these areas. In
experiences (2011) and An Essay on Local Culture Tourism (2018). Email: fact, the local community
does not financially manage these art projects and festivals yet. It is very
bulahashimoto@po.kbu.ac.jp
difficult for locals to control and organize such a large- scale event, but they
can participate in the formulation of plans. Thus, extraneous elements are
localized or partially indigenized as local culture, and now the local people
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Echigo-Tsumari Art (until
Field March of Available
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at: http://www.echigo-tsumari.
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ANT - Local Art Festivals and Local Culture Tourism

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Asian Journal of Tourism Research

Vol. 2, No.3, December 2017, pp. 25-49.

Local Art Festivals and Local Culture Tourism:

Art projects such as these can be said to occasion collaborations amongst

Here I define ‘ local culture tourism’ as a form of tourism that is operated by

Theoretical Background and Perspective

necessary facilities, such as transport, accommodation and catering services,

Local Culture Tourism

Kankō Machi-tsukuri (community development through tourism) focuses on

The creation of locality is subject to suppressions by the nation- state or the

historically inherited proliferation of cultures or cultural wealth, though it

(b) Yosakoi Sōran Festival in Hokkaidō

In 1954, the Yosakoi (dance)

In 1991, a university student from Hokkaidō who observed the Yosakoi

Localization and indigenization of a culture

It will be helpful to look briefly at ‘indigenization’ in another context: that of

Local Art Festivals in Japan

Echigo-Tsumari Art Triennale (in Niigata Prefecture)

communitarianism. It has earned the Furusato Event Award by the Ministry

materialization of their memories of the abandoned school and its students,

Figure 2. Goat Yard, Students, and Hachi Cafe

The Rice Field (2000, by Ilya & Emilia Kabakov, Russia)

Figure 4. Potemkin 1, and Potemkin 2. Source: the author.

Setouchi International Art Festival

From July to October

In conjunction with the Echigo-Tsumari Art Triennale in Niigata Prefecture,

Figure 5. Teshima Art Museum, and Yayoi Kusama’s Pumpkin

The Naoshima Fukutake Art Foundation established in 2004, later changed to

Shima Kitchen by Ryo Abe in Teshima

Designed by Ryo Abe, ““the

Figure 8. Rural Kabuki theater and Important tangible cultural property

example, during the process

Figure 10. House

Local Culture Tourism, Local Art Festivals and Kankō Machi-tsukuri

The authenticity of locality is questioned at various stages of Kankō Machi-

Are the contemporary arts localized or indigenized in our two subject

Gellner, E. (1983). Nations and Nationalism. Oxford: Blackwell Publishing.

References K. (2001). Narrative on sports and its Indigenousness:

Fine Art Biblio [online]. Avaliable at:

Jóhannesson, G. ( 2005). Tourism Translations: Actor- Network Theory and

Kitagawa, F. (2014). Hiraku Bijutsu –Chiiki to Ningen no Tsunagari wo

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