Okinawa ReportHank Bull, curator
I first visited Okinawa in June of 2000 on a cultural tour organized by
the Japan Foundation. Discovering Okinawa and meeting some artists, I
knew immediately that their story should be told in Vancouver. After
five years of planning, an exhibition of contemporary art from Okinawa
is now on display at the Vancouver International centre for
Contemporary Asian Art, also known as Centre A.The project was first suggested in a conversation between myself and
Onaga-san, whose informative history of modern art in Okinawa acted as
a basic text for me. In developing the concept for the exhibition, I
wanted to describe the complex set of relationships between Okinawa’s
classical production of lacquer, dance, textiles and cermanics, its
history of exchange with Japan, China and other Asian nations, it’s
strong connection to nature and its current political situation. I
thought this story would be interesting to the audience in Vancouver, a
city which has its own “champuru” ﾐ a history of cultural mixing on the
edge of the Pacific Ocean. I also thought it might be a way to open
communication with Vancouver’s small but vibrant Okinawa community.Shimada Yoshiko, a Tokyo artist, gave encouragement to the Okinawa
exhibition project and helped top set up a correspondence. In October,
2003, three artists were recommended: Hanashiro Ikuko, Maeda Hiroya,
and Ie Ryujin. I recommended the title “champuru” because it reflected
the mix of culture and ideas that we wanted to explore. Through
Hanashiro Masami, a Canadian-Okinawan licing in Vancouver, links were
set up with the local community and plans were made for a symposium and
mini festival of Okinawan dance, music and cuisine.Meanwhile, Centre A opened its gallery in the summer of 2000. In its
first five years, it produced over 40 exhibitions, involving artists
from Japan, China, Philippines, India, Indonesia, Vietnam and Iran.
Because so many people of Asian descent live in Canada, and Vancouver
has a reputation as an Asian city, many of Centre A’s projects are by
Canadian artists. Centre A also produces symposiums and publications,
and operates a library and study centre for Asian arts and culture. In
June, 2005, Centre A moved to a large new space. The Okinawa exhibition
was chosen as the opening exhibition for this space.The opening reception on June 3, 2005, attracted over 200 people. As a
live performance event, Ie-san made a giant sumi-e over 6 metres high
by three metres across, using adan-brush and inviting the audience to
contribute. There was significant interest from the press including a
live interview one the CBC Early edition, one of the most popular radio
programs in the city.The following day, a symposium was held at the Japanese Language
School. This historic building was the only building returned to the
Japanese-Canadian community after the internment of World War II. The
morning session featured the artists talking about their work. The
audience was fascinated to see how these artists have taken various
traditions of Okinawa ﾐ urushi, sumi and burial customs ﾐ and
re-invented them, bringing new life to cultural forms threatened by
modernity. This was not done in a sentimental or nostalgic way that
romanticizes the popular myth of Okinawa as a tropical paradise. The
past was not preserved as an unchanging museum exhibit. It was clear
from the exhibition and artists’ talk that the intention of these
artists is to engage the real life of Okinawa today, experiencing its
problems and contradictions, as well as its deep fund of art and
spiritual tradition. In there contemporary world it is impossible to
regain a single identity associated with a mythical, authentic past.
The only way discover Okinawa’s future is to accept multiple identities
and a diversity of values. This is the same challenge of pluralism
faced by all societies today.There was also a discussion of the Okinawa Prefectural Museum of
Contemporary Art. The audience was very impressed by the size of the
project and the ambitious plans for its artistic program. The opening
exhibition will be an important opportunity to inform the world about
the history of modern and contemporary art in Okinawa. At the same
time, projects like Ryo-do-tai and Meijima Art Centre insure a strong
cultural ecology. Like a river, healthy margins insure a healthy
mainstream.The symposium luncheon, provided by the local community, featured many
Okinawa specialities, including boya champuru, pork with seaweed, and
murasaki imo. This was followed by high quality performances of
Okinawan san-shin, dance and taiko. The afternoon concluded with a
sumi-e workshop led by Ie-san. The artists said that the feeling was
like an Okinawa wedding.This project has been an important one for Centre A and for Vancouver.
The audience reaction to the exhibition continues to be very positive.
Like the general audience, the Vancouver Okinawa community very much
appreciated the opportunity to learn more about contemporary art in
Okinawa. We look forward to future collaborations.Hank Bull
June 8, 2005
Both Vancouver and Okinawa have a rich mix of Asian cultures, and both
have interesting histories of modern and contemporary art.
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