About TURN NOTETURN NOTE is a collection of words from TURN activities held
over a year.
In 2020, TURN required to cancel programs or reconsider how
to implement changes due to COVID-19. In response, we launched activities and approaches never undertaken before, such asincorporating online programs and publishing TURN JOURNAL in
response to an ever-changing society.
This TURN NOTE is a publication comprising words from the newprogram characteristics and forms of media, alongside words
triggered by the unexpected social changes.
TURN NOTE attempts to give a feel, wherever possible, for the
personality and presence of the speaker in each scene relaying
the words as they were delivered at the time.
Some words are nuanced, some straight-forward. How will wefeel about these words when we pick up this publication in five
yearsʼ time or in ten yearsʼ time? The gradation from nuanced tostraight-forward may alter in the individual, depending on thereaderʼs mental image and their circumstances and activities
going forward. We hope you pick this publication up from time
to time, and that it helps you to think about a diverse society.

This publication is based on the following documentations of TURN projectfrom January to December 2020.
The information is current as of December 31, 2020.

------------------------------------------------------------------------------------------------------

Transcribed data

TURN Meeting
A setting for sharing, speaking about and considering the possibilities of TURN.

●

TURN Meeting No. 10 was held at Tokyo University of the Arts, and Meetings
No.11 and No.12 were streamed online.
●

TURN Lab Study Groups

A study group discussing TURN Lab's research and keywords. Conducted online.
●

TURN LAND

In this program, social welfare organizations and local groups /communities
plan participatory programs together with artists, with the aim of creating asetting for the day-to-day implementation of TURN. 2020 activities included
online programs.
●

TURN Supporter Study Sessions

Held online as a study session for TURN supporters to acquire knowledge andinsight on accessibility, techniques for supporting projects and more.
------------------------------------------------------------------------------------------------------

Publications

TURN JOURNAL
A periodical journaling TURNʼs initiatives and their significance from different●

angles. Published in a tabloid format four times in 2020, with a view toresponding to an ever-changing society.
●“TURN on the EARTH: I Am the Echo of the Earth”

A publication summarizing TURNʼs overseas activities to accompany theexhibition “TURN on the EARTH: I Am the Echo of the Earth.”------------------------------------------------------------------------------------------------------

Other

●
●
●

Interviews by Hiroshi Tamura of RAKUDA STUDIO for documentary films of TURN.
Notes documenting emails and meetings with people involved in TURN.
Reports not published on the TURN official website etc.

Restoring peopleʼs sensibility

A bit late for that

The world will likely keep turning as if nothing happened

When I think about it, Takeshi and I were to some extent

after COVID-19 has come to an end. But letʼs assume moredistanced from society even before COVID-19. In other words,

people than usual are considering and putting into practice

you could say we had been forced into unconscious social

ways to have fun and be happy, given the present need to

distancing. I think Iʼve been working for twenty years or so tostay home and to pursue new lifestyles (putting the issue offill that distance. So when I heard about social distancing,the many people in different, dire situations to one side).

on some level I thought it was a bit late for that, and definite-

I believe this provides an opportunity to restore and regain

ly did not want to keep a distance.

the sensibility / humanity that is needed to improve oneʼs
life (lifestyle = way of life = way of working), which may have--------------------------------------------------------------------------------------

been dull even without COVID-19.

Midori Kubota (Director, Certified NPO Creative Support Let's)
From TURN JOURNAL AUTUMN 2020 − ISSUE 05 (September 26, 2020)--------------------------------------------------------------------------------------

Yoshinari Nishio (Artist)
From TURN JOURNAL SUMMER 2020 – ISSUE 04 (May 29, 2020)

We hear “diversity,” a lot but...

Different destinations for a seed

We get quite a few “unwanted guests,” but itʼs necessary to

Budding is not the only destiny, for a seed. It can be pressedknow how to deal with these people and how to find a place

for seed oil and used as feed for livestock. Not every seed

for them.

germinates, but it can function in other ways without doing

We hear a lot about “diversity,” but only spending time with

so. There are different destinations for a seed.

people who make you feel comfortable is not diversity...
Enabling diversity in the real sense, you need commitment.

--------------------------------------------------------------------------------------

Takuya Tomizawa (Head, Tokyo Cotton Village)--------------------------------------------------------------------------------------

Kanayo Ueda (Poet / Manager, NPO The Room for Full of Voice
Words and Hearts “Cocoroom”)
From TURN Meeting No.10 (February 2, 2020)

From TURN LAND Atelier La Mano “Tele-Hand Project” (June 28, 2020)

If there were no darkness

The body is inseparable from society

Cave paintings are proof that humans got their images from

The body is something that is inseparable from society,the dark, and I suspect that without darkness, humans would

so I think itʼs important that we accept straight the stress

not have been able to acquire the ability to give shape toof this global experience as a form of pain, and not fool

images in their minds.

ourselves.

Caves were a place you would go to for protection and shel-... None of us know how long it will take from hereon to fix

ter. In the so-called “ COVID crisis,” perhaps each house on

the pain that each of us has felt, but I think itʼs going to beearth could be called a cave... And from this experience per-important to restore our awareness and way of living on

haps new images will emerge, with the next new society

an individual basis. People started out as individuals anddeveloping on the basis of that culture...

have developed into effective groups for convenience.
My feeling is that the process and effort of restoration can--------------------------------------------------------------------------------------

make people resilient.

Katsuhiko Hibino (TURN Supervisor)

The same goes for our dancing; what kind of dance emerges

From TURN on the EARTH: I Am the Echo of the Earth (July 1, 2020)

from our individual pain.
I feel dancing is an important moment in terms of our bodies
belonging to society.
--------------------------------------------------------------------------------------

Yuki Aoki (Dancer / Choreographer)
From TURN JOURNAL SUMMER 2020 – ISSUE 04 (May 27, 2020)

“Existing” for people with deafblindness

The bounty of sharing books

What happens is that things a deaf-blind person cannot

Blind people might not often go to libraries or pick up books.

touch or experience physically do not exist for them.

They usually use text-to-speech technology to read a book.

On the other hand, it means they go on to understand things

Surprisingly enough I have books at home, many of which

they touch and things that they can experience throughare plays and so on which I bought after seeing my favorite

the intersection of words and images. So, the actual lack or

plays at the theater. Itʼs not very often that I discover a newabsence of something truly is a lack or absence for a deaf-

book by chance.

blind person: it means something doesnʼt exist. Conversely,

When I first touch a book, when the size is unusual or theeven a story like a fairy tale is taken as all being real.

cover feels distinct, I feel like asking somebody what sort ofbook it is, wondering if itʼs some sort of message. Then if I--------------------------------------------------------------------------------------

feel something is different while Iʼm handling the book, I do

Atsushi Mori (Publicist, General Affairs Section,

feel like itʼs a message of some sort. When there are telling

National University Corporation Tsukuba University of Technology)

differences as you touch them, the enjoyment of books

TURN Meeting No. 11 (September 19, 2020)

increases.
--------------------------------------------------------------------------------------

Rio Sekiba (Guide, Dialogue in the Dark)
From an interview for the production of TURN NOTE of 2020
(November 18, 2020)

Given time to be introspective

Unconsciously keeping our distanceThe daily situation in the world may be in turmoil, but at La

COVID-19 has made us aware of the importance of distanceMano, different cherry blossoms have started to bloom,

from others. As well as feeling distress at having to restrict

and life goes on at a gentle pace.

ourselves even if we want to get closer, it is important to be

Having said that, from this week facility users switched toaware of the existence of a consciousness of “discrimination”

working at home, so there was only one user at the studioin our hearts when we unconsciously keep our distance.

today. In April, we had to ask volunteers to refrain from

By doing so, we will be able to take a step towards eliminat-

coming in, so now we have a situation where there arenʼt any

ing the friction with others that arises from unconscious

people at La Mano - a place which prioritizes connections

distancing.

and relationships.
Under these circumstances, I was much encouraged by Mr--------------------------------------------------------------------------------------

Hibinoʼs message. Now is exactly the sort of time when we

Yoshikazu Ueno (Program Officer, Higashiyama Zoo

have to consider how to think and what to do. Amid theand Botanical Gardens, Nagoya City)

speed of life these days, I canʼt help feeling that exercisingvarious forms of self-restraint has given us time to be
introspective.
Living, and the importance and value of life, are the samething. Through TURN, I hope to share the future that will
emerge from these difficult times.
--------------------------------------------------------------------------------------

Kenji Takano (Director, Atelier La Mano)
From his response to notification of the cancellation of TURN FES 2020
(April 8, 2020)

From TURN JOURNAL AUTUMN 2020 – ISSUE 05 (August 25, 2020)

The biggest obstacle

Communicating what you find greator wonderful

The form of expression non-disabled people expect ofpeople with disabilities is one that differs from their own.

If you donʼt communicate that something is great or

However, people with disabilities have a fascination

wonderful when you think so, then valuable things wonʼtwith trends like non-disabled people do. And in somecease to exist. I think this can be said of almost anything

respects they donʼt necessarily make a priority of being

including culture, not just material things. The people who

individual or unique. But when you say youʼre making

work closest with visitors are probably TURN supporters,

something with people with disabilities, people aroundso I think TURNʼs activities can be enriched and made more

you inevitably expect to see something theyʼve never seen

enjoyable by supporters telling visitors in their own words

before. I think thatʼs one of the biggest obstacles.

what they personally like and find interesting.

----------------------------------------------------------------------------------------------------------------------------------------------------------------------------

Miyuki Tanaka (Curator / Producer)

Ai Oomasa (Hajimari Art Center)

From the first TURN Lab Study Groups (July 27, 2020)

From the third TURN Supporter Study Sessions (October 26, 2020)

Iʼd like to discover unseen dances

The ability to imagine living environmentsthat differ from our own

In an online dance class, there was one student who had
the screen switched off the entire time. The student suffered

From the nature of humans as animals, the scope that we arefrom social anxiety and could not introduce themselves.

able to imagine or recognize is limited because the behavior

But the report the student submitted afterwards containedthat is also in a sense natural, i.e. of ensuring our safety indetailed written feedback on the dance they worked on at

the face of insecurity and fear, is exaggerated, which is whyhome alone.

we may scrutinize everything and everyone else so strictly.

Knowing this, I felt a thrill as I looked at the blank screenItʼs as if we perceive everything / everyone as the enemy thatthe next time we had a lesson. There was unseen dance on

threatens us.

the other side of the blank screen. I couldnʼt see it, but I

Unless we have the ability to imagine living environments

could imagine the student dancing their heart out on thethat differ from our own, before we know it, it may seem that

other side. Sometimes itʼs good to have dance like that.

society consists solely of the world we ourselves see.

Iʼd like to discover more unseen dances in future.
---------------------------------------------------------------------------------------------------------------------------------------------------------------------------

Ibuki Ozawa (Child psychiatrist)

Osamu Jareo (Dancer / Choreographer)

From TURN JOURNAL AUTUMN 2020 – ISSUE 05 (September 8, 2020)

From the second TURN Supporter Study Sessions (September 12, 2020)

Focussing on learning

A slight change in the sensory channels

We have a tendency to use a lot of negative words like “no”

When youʼre touching the yarn, it feels like going intoor “donʼt.” Donʼt touch, donʼt go there, donʼt come near,another dimension. I would suddenly remember things that

donʼt take off your mask etc. People really dislike constantly

I hadnʼt really been thinking about consciously, like going on

being told not to do something. So weʼre trying to avoid this.

a small journey. I think there is a sort of switch that gives us

Our focus is on learning.

a sense of distance from the surrounding world or creates a

We show our users (members) online videos of handwashingslight change in our sensory channels; and I think the poweror how to put on masks, and we incorporate the thumbs upthat turns on that switch lies in the relationship between thesign or elbow-bumping as we canʼt touch with our hands.

yarn and the hand that touches it, you know.

We have created areas where itʼs OK to take off your mask
and talk because we have plastic guard boards up.

--------------------------------------------------------------------------------------

Yasuaki Igarashi (Artist)--------------------------------------------------------------------------------------

Noriko Takada (Staff member, Itabashi-ku Komone Fukushien)
From an interview with Hiroshi Tamura, RAKUDA STUDIO (July 7, 2020)

From TURN LAND Atelier La Mano “Tele-Hand Project” (November 8, 2020)

Being able to talk, even when far apart

Holding hands tightly

I just remembered that I went out with a group of deaf peo-

To give an example, if a deaf-blind person is talking and I

ple on the invitation of my signing teacher. When I went

want to tell them to just be quiet for a minute due to what'salong, the venue turned out to be a disco. The idea of non-going on around us. I probably wouldnʼt say “shut up,” buthearing people going to a disco surprised me. But I thought

would hold their hand tightly. In doing so, they understandit was handy in the sense that discos are really noisy.

that this is a situation where they need to bite their tongue.

While a group of hearing people might strain to hear each

Finger Braille does transmit the sound of words by tapping

other, this isnʼt a problem for deaf people, who are able totheir fingers like a Braille typewriter. But more than that it

talk in sign language, even when far apart.

has also made me realize that touch based communicationis created within relationships realized between individuals.

--------------------------------------------------------------------------------------

Yumiko Takashima (Sign Language Interpreter)
From TURN Meeting No.12 (November 29, 2020)--------------------------------------------------------------------------------------

Satoko Mishina (Associate Professor, Faculty of Education,
Miyagi University of Education)
From the third TURN Lab Study Groups (September 28, 2020)

The “newcomer” in the formof new furniture

The deep muscle of the imaginationIʼve talked about what it would be like if there was an organ

The “newcomer” in the form of new furniture destroys thein the body that controlled the power of imagination, andorder of the old room with the abandonment of old furniture

I do believe that there is something like an inner muscle atand the rearrangement of the room, taking away the sense

work somewhere deep inside the body - for times when theof comfort as a result.

imagination tries to touch upon something invisible as it
does, or when you reach out to a world you donʼt understand.

--------------------------------------------------------------------------------------

Maho Isono (Anthropologist)--------------------------------------------------------------------------------------

From TURN JOURNAL SUMMER 2020 – ISSUE 04 (June 11, 2020)

Kentaro Onishi (Dancer / Performer)
From an interview with Hiroshi Tamura, RAKUDA STUDIO (September 1, 2020)

Being who you are in sign language

I keep running away,
which has made me who I am todayItʼs about being OK to be different, because everyone isdifferent. Nasu-san is Nasu-san, Monkey Takano is Monkey

I think Iʼm the sort who keeps running away from things.

Takano. I think I express who I am, even in sign language.

Iʼm running away from things I donʼt like. This is because I

Everyone is different, people stimulate each other, so isnʼt it

think Iʼll be scared if I go there.

better to get on with life while respecting those differences?

For example, I have vision that once I join a company,

I think itʼs the same with songs. Nobody sings in exactly the

I would become the sort of person who does anything tosame way, and each personʼs singing ability is different.

make money. Iʼve never had a proper job at a company.

I think itʼs the same thing.

I mean, with my personality, if I did it, Iʼd just want to go
along with everything there. I particularly tend to do what--------------------------------------------------------------------------------------

Iʼm told by my seniors, parental figures, people like that.

Monkey Takano (Representative, Shuwa Friends)

Which is why I run away from here, and I run away from there,

From TURN Meeting No. 12 (November 29, 2020)

with as little fuss as possible, so as not to get into that sortof situation; and as a result of continually running away,
this is how I am now.
--------------------------------------------------------------------------------------Tomohiko Yukihashi (Founder, Tabi suru fukuya-san Made In)
From TURN LAND Kimagure Yaoya Dandan “Otona Zukan Special Edition”(August 13, 2020)

When itʼs hard to overcome differences

Reversal of the situation regarding“society” and “distance”

I think the world has become a place where being “different”
works in a very negative way. Young and old, non-Japanese

Because we are “social,” we are being told to refrain fromand Japanese, people vulnerable to COVID-19 or those not“interaction” and maintain “distance” between one another.

so vulnerable... In a world where people arenʼt happy unless

Currently people who have lively conversations in a “social”

you divide, categorize or pronounce one side wrong, I thinkenvironment are considered “anti-social.”

itʼll be hard going for TURN in the future. Overcoming differ-This was completely unthinkable before COVID-19. It is asences is a pretty phrase, but when itʼs hard to overcome

if the situation regarding “society” and “distance” has beendifferences, I feel that words alone arenʼt enough. Then I

completely reversed.

wonder what TURN - and myself - should do.
---------------------------------------------------------------------------------------------------------------------------------------------------------------------------

Baku Momoki (Senior Researcher, Ritsumeikan University)

Hiroshi Tamura (Director and writer

From TURN JOURNAL AUTUMN 2020 – ISSUE 05 (September 8, 2020)

at film production company, RAKUDA STUDIO)
From conversation during interviews with artists (July 25, 2020)

Dusty old lifestyle

It depends on each person

In terms of the post-COVID world, we have a feeling that

What was surprising was that some people havenʼt beensomething new will happen, but it's not something that “will”

affected by the COVID-19 situation. That is to say that theychange us. If we donʼt dismantle the fully automated differen-

were operating alone to begin with; people who before

tiating machine that which caters for discrimination, clarify

coming to Harmony would spend time in libraries or stayits structure, and create an opposite mechanism, things willat home alone. There are more people like this than you

be boring, and weʼll just go back to our dusty old lifestyle.

might think but they feel pressurized by attending daily care

Needless to say, no new culture will come out of that.

facilities; and even if we tell them they can come and goanytime, itʼs ingrained in them somewhere that they have to--------------------------------------------------------------------------------------

come and go at set times.

Tatsushi Fujihara (Historian)

When they are released from this idea, they happily send

From TURN JOURNAL SUMMER 2020 − ISSUE 04 (June 24, 2020)

us pictures every day, call us and so on, and really seem tofind something unexpectedly enjoyable about it. It reallydepends on each person you know.
--------------------------------------------------------------------------------------

Katsunori Shinzawa (Manager, Harmony)
From an interview with Hiroshi Tamura, RAKUDA STUDIO (June 27, 2020)

Keeping the “Three Cs” dear

I feel like Iʼm an entertainer
and nothing more

Environments that place importance on the connection be-

I was worried whether I was interacting in the real sense

tween people are completely at odds with environmentsof the word. I mean, I didnʼt know if we were on the samethat avoid the so-called “Three Cs.” The concepts of people

wavelength. When Iʼm with someone face-to-face, my actions

interacting, sharing “skinship,” talking together intimately,

and their reactions occur almost in parallel, but through aand socializing with people in meaningful and expressive

computer screen it feels more like a delayed reaction.

ways are important concepts to what we do, so when we were

In some sense it's bidirectional, but it lacks spontaneity andtold to do exactly the opposite, I truly wondered what to do.

speed. When Iʼm online, it feels like work: instead of enjoying

But of course, if we stopped operating, especially in the sensethings together, I am the one who creates the sense ofof providing day support here for the elderly, it would on

enjoyment in them.

the contrary be disadvantageous with a huge downside, so

Up until now the experience included physically leaving mywe have taken it upon ourselves to stay in operation with-house to go to Sakuranbo (the welfare facility).

out a break, while keeping the “Three Cs” dear.

As an experience it felt like something out of the ordinary,
involving plenty of stimulation and discovery, but there--------------------------------------------------------------------------------------

is none of that in online interaction. When I was in the

Taeko Ooi (Director, Certified NPO Momo no kai)same place the relationship felt more equal, and I felt like

From an interview with Hiroshi Tamura, RAKUDA STUDIO (August 4, 2020)

I was blending in with everyone else. That makes you feel
comfortable. As an entertainer I discovered a different side
to myself when I spent time with them; one who foundthings interesting and fun like I never did before. With online
interaction, I feel like Iʼm an entertainer and nothing more.
--------------------------------------------------------------------------------------

MACHEE DEF (Rapper)
From TURN Interactive Program meeting (October 24, 2020)

“Disorder” and “order”

Going out and leaving my ideas
notebook behind

Being “disorderly” is something very important to us deep
inside, even though it is the opposite of “orderly.”

Hardly anyone would show up at what I thought was the

The word “orderly” can mean neat, principled, standard,meeting time. The other person wouldnʼt listen to me thethe way something should be, the norm, something weway I wanted them to when I was talking to them.

should be as adults. With good intentions, the concept andSometimes the conversation would go off on a tangent.

practice of being “orderly” is drummed into people at special

Another me appeared. One who started to get annoyed,needs schools and facilities for people with disabilities.

being frustrated with my relationship with them.

However, the ripple effect of being “disorderly” can mean

One morning I realized that I had gone out and left behindthe joy of deviation, the expansion of values, and thea notebook, which I always had on me to jot down ideas

discovery of alternatives. I believe “disorder” gives rise to

and prepare for the meetings, in my room.

unprecedented possibilities.
---------------------------------------------------------------------------------------------------------------------------------------------------------------------------

Kentaro Onishi (Dancer / Performer)

Reiji Suzuki (Director, Kapu Kapu assisted living facility / Theater writer)

From TURN on the EARTH: I Am the Echo of the Earth (June 11, 2020)

From TURN Meeting No.10 (February 2, 2020)

“I” am not alone

The free and not so free alike

The biggest change to happen around me was the change

I have a renewed sense of a balanced mixture of convenient

to an online style of enjoying theater, but unlike before there

and inconvenient, free and not so free alike being just right.

was no sign language or text service, and all I did was drift

Otherwise not everyone can live a pleasant and comfortable

aimlessly around the internet.

life. I feel that we need to place importance on our daily lives

Masks are now compulsory, and we are required to maintainwhile accepting the present, value others, and give everythingphysical distance, but we are working to overcome thiscareful thought and consideration. In doing so, I think we canphysical distance with various technology and innovations.

rediscover cultural activities that we have once forgotten.

......
I also predict that sign language will become more wide---------------------------------------------------------------------------------------

spread as a means of overcoming the limitations of physicalHiroko Kondo (Owner, Kimagure Yaoya Dandan)

distance. Even two meters apart with a partition in between,

From TURN JOURNAL SUMMER 2020 – ISSUE 04 (May 29, 2020)

if thereʼs transparent glass or suchlike, people can talk via
signing with no difficulty.
“I” am not alone, as I drift around this “new way of living.”--------------------------------------------------------------------------------------Eri Ishikawa (General Secretariat, NPO Theatre Accessibility network)
From TURN JOURNAL SUMMER 2020 – ISSUE 04 (June 3, 2020)

Where images take shape

Encountering the “unknown”
in front of you

What sort of shapes do they (deaf-blind people) prefer?
Simply creating the shape of fried chicken in my workshop,

Exploration and art share similarities. For example,

each person had their own idea of what shape fried chicken

the aspect of encountering the “unknown” in front of you,was, each producing the shape they liked the most.

and plunging into it.

This was extremely interesting. Ultimately, I feel that if itweren't for people who look at things through the medium--------------------------------------------------------------------------------------of shape there may not be such clear-cut directionality.

Tappei Noguchi (Art Explorer)

I hold aluminum foil workshops on a routine basis, but on

From TURN LAND Kimagure Yaoya Dandan “Machi ni Derunba”

this occasion I got the feeling that details had been carefully
incorporated; that I was finally able to connect with theimage they had in their minds.
--------------------------------------------------------------------------------------Emi Tomizuka (Artist)
From the third TURN Lab Study Groups (September 28, 2020)(September 20, 2020)

Sensing the desire to convey something

A wisp of fluffy alpaca wool

Feeling something and being able to specifically convey

A boy with autism who came to the museum didnʼt look atwhat you feel to someone else are two different things.

the workshop Iʼd set up but pinched a wisp of fluffy alpaca

I think the value of a person's existence lies in the fact thatwool on the table, and with a puff blew it up towards thethey sense the desire to convey something in the person

ceiling. The sight of the light coming through from the sky-trying to convey it. How do you convey something? Itʼs notlight high above was just divine, and I got what it was allabout seeing or hearing but about having the desire toabout. The boy had unconsciously drawn out the essence of

convey. If you can communicate that feeling, that's enough.

that space.
I sensed that by following the unspoken rules of the muse---------------------------------------------------------------------------------------

um, I had unwittingly lost sight of my own sensitivity towards

Katsuhiko Hibino (TURN Supervisor)

these kinds of things. They (people with similarities to the

From TURN Meeting No. 11 (September 19, 2020)boy) have the power to draw out the essence of places andpeople.
--------------------------------------------------------------------------------------

Yasuaki Igarashi (Artist)
From TURN on the EARTH: I Am the Echo of the Earth (June 19, 2020)

What we lack can be counterbalanced
by people who have itItʼs OK to be that way!
There might be times when youʼre feeling down, or messed

I once again feel, as I did when I took part in last yearʼs TURN

up. But itʼs OK to be that way! Because of COVID-19, itʼs still

FES 5, that we should use the abilities we have rather thandifficult to socialize, but give yourself a hug and love yourself.

be conscious of what we donʼt have: what we lack can becounterbalanced by people who have it. I would like to firmly--------------------------------------------------------------------------------------

engrave this on my heart and body from now on.

Madame Bonjour JohnJ (Drag queen / Performer)--------------------------------------------------------------------------------------

Akiko Yano (TURN Supporter)
From the third TURN Supporter Study Sessions report (October 26, 2020)

From TURN Meeting No.11 (September 19, 2020)

---------------------------------------------------------------------------------------------------Profile----------------------------------------------------------------------------------------------------

network ｜ Ishikawa carries out programs and

TURN since its first year. He organizes the theater-

views with people living in evacuation shelters inactivities to provide and promote support for di-themed “Komone-za” project with the members anddisaster-stricken Yuriage, Miyagi Prefecture. He isverse audiences, for people who have dificulity instaff of Itabashi-ku Komone Fukushien, a welfarea Specially Appointed Professor in the Department

and wish to enjoy performing arts, together withfacility in Tokyo.

of Body Expression and Cinematic Arts, College ofthe deaf community spearheading these activities.

........................................

Contemporary Psychology at Rikkyo University.

Her involvement in TURN has concentrated on

Ai Oomasa........................................

coordinating accessibility for TURN FES.

Curator, Hajimari Art Center ｜ With an interest in

Katsunori Shinzawa........................................

“communication that occurs when people move

Manager, Harmony ｜ Shinzawa runs Harmony,

Kanayo Ueda

their hands together,” Oomasaʼs ventures include

a facility for people living with mental health

Poet / Founder and manager, NPO The Room for

hospital art projects and local exhibitions. She has

issues, where they can spend their days doing as

Full of Voice Words and Hearts “Cocoroom” ｜ Ueda

been in her current role since 2016.

they please. Harmony has participated in TURN

launched cocoroom in 2003, a community hub........................................

since 2015. From 2017 Harmony began TURN

whose activities revolve around the themes of

Ibuki Ozawa

LAND, developing initiatives with artists Takafumi

creative expression, autonomy, work and society.

Child psychiatrist ｜ After working as a psychiatrist,

Fukasawa and Laila Cassim.

Based in Osakaʼs Kamagasaki neighborhood,

Ozawa worked at multiple hospitals as a child........................................

........................................

she initiated projects like the “Kamagasaki Uni-

psychiatrist. A clinical practitioner specializing in

Reiji Suzuki

Yuki Aoki

versity of Arts” and the “Communal Health Centre”

the fields of trauma, abuse, and developmental

Director, Kapu Kapu assisted living facility / Theater

Dancer / Choreographer ｜ Started the dance groupand has run a guesthouse here since 2016.

disabilities, she is an advisor to numerous local

writer ｜ Suzuki runs Kissa Kapu Kapu coffee shop

“Newcomer ʻHʼ Sokerissa!” in 2005, collaborating........................................

governments.

and Kapu Kapu Community Workshop in thewith members who are homeless in the search for

Yoshikazu Ueno........................................

Hikarigaoka residential area of Yokohamaʼs Asahi“dance arising from the concept of bodies living in

Program Officer, Higashiyama Zoo and Botanical

Midori Kubota

Ward where local residents socialize with people

the moment.” He participated in TURN FES 3 and 4.

Gardens, Nagoya City ｜ Ueno graduated from the

Director, Certified NPO Creative Support Let's ｜with disabilities. His works as a theater writer in-........................................

Graduate School of Humanities and Human Science

After her eldest son was born with severe disabil-clude Eureka and Monthly Lawson Ticket.

Yasuaki Igarashi

at Hokkaido University. Prior to his current post,

ities, she established Creative Support Letʼs in........................................

Artist ｜ Through collaboration with local people,

he served as Associate Professor at the Center for

2000, a nonprofit organization tackling social inclu-

Rio Sekiba

Igarashi links the land with nature, modifying

Human Evolution Modeling Research affiliated tosion through art. She took part in TURN FES 1 and 3.

Guide, Dialogue in the Dark ｜ Sekiba, who is blind,scenery in various regions by connecting local life

the Primate Research Institute, Kyoto University.

........................................

facilitates activities that provide experiences andand culture, in aesthetic and sympathetic ways.

He specializes in animal welfare, zoo studies, andHiroko Kondo

encounters which use senses other than vision.

He has participated in TURN since its first year.

comparative cognitive behavior.

Owner of Kimagure Yaoya Dandan ｜ Owner ofShe was a tour guide at TURN FES 5, and also ad-

Together with Atelier La Mano he runs TURN LAND........................................

organic produce and natural food shop Kimagure

vises on accessibility for TURN Meetings.

“Hand Project” for growing and spinning cotton.

Taeko Ooi

Yaoya Dandan in Ota Ward, Tokyo. Dandan has........................................

........................................

Director, Certified NPO Momo no kai ｜ Ooi operates

been credited as the first of its kind to start the

Yumiko Takashima

Maho Isono

the Momosan fureai no Ie day service for the elderly

now-nationwide initiative Kodomo Shokudo (“Chil-

Sign Language Interpreter ｜ As a freelance sign

Anthropologist ｜ Went into independent practiceout of a spare classroom at a local school, as welldrenʼs Cafeteria”) movement in Japan. She has

language interpreter, Takashima engages in inter-

after working as Associate Professor at the Inter-as Kagayaki-tei, a community space with a cafeteria.

been involved in TURN LAND since 2017.

preting and sign language teaching. A pansexual,

national University of Health and Welfare. Isono

In 2017 artist Katsuya Ise began visiting Momosan........................................

she has lived with her deaf partner for twenty years.

began an online course aimed at working people

fureai no Ie as part of the TURN Interactive Program.

Osamu Jareo

In 2005 they applied for and received a certificate

to promote the appeal of anthropology. She spe-........................................

Dancer / Choreographer ｜ Jareoʼs wide-ranging

from Setagaya Ward recognizing their same-sex

cializes in medical anthropology.

Kentaro Onishi

activities include performing and choreographing

partnership.

........................................

Artist / Dancer ｜ A performer who continually seeks

the Totsu-Totsu Dance project with elderly people........................................

Eri Ishikawa

the “spirit of dance” to discover the charm of places,in Maizuru, Kyoto Prefecture, and appearing in

Noriko Takada

General Secretariat, NPO Theatre Accessibility

people, and customs. Onishi has participated in

Salto Mortale, a performance inspired by his inter-

Staff member, Itabashi-ku Komone Fukushien ｜--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

Staff member working at Itabashi-ku Komone

Emi Tomizuka

producing rap for TV shows and more. He joined

people through lectures and workshops.

Fukushien (welfare facility), a day care facility which

Artist ｜ Founded Yanaka-no-okatte and engages in

TURN in 2019, interacting and collaborating with........................................

offers daily life caregiving services as well as Typeplanning and running art projects as its director.

the welfare facility Sakuranbo.

Akiko Yano

B employment continuation support services.

For 2020, Tomizuka, who has participated in TURN........................................

TURN Supporter ｜ Participated in TURN FES 5 as a

Komone has been involved in TURN since 2015,

since the projectʼs first year, explores the possibil-

Satoko Mishina

TURN Supporter

carrying out TURN LAND activities with artists

ities for collaboration with others through work-

Associate Professor, Faculty of Education, Miyagi........................................

Kentaro Onishi and Atsushi Miyata from 2017

shops with deaf-blind people using aluminum foil.

University of Education ｜ Mishina has been active

Tomohiko Yukihashi

onwards.

........................................

as an interpreter and caregiver since before theFounder, Tabi suru fukuya-san Made In ｜ Yukihashi........................................

Yoshinari Nishio

establishment of the Japan Deafblind Association.

travels around Japan creating things and ideas

Kenji Takano

Artist ｜ Focuses on the relationship between dress-

She has taught at special needs schools for thewhenever and wherever he happens to be. In 2016

Director, Atelier La Mano ｜ In a town house overing, fashion and communication, implementing

visually impaired for over twenty years. Serves as

he relocated to Beppu City in Oita Prefec-ture, where

100 years old in Machida City, Takano works to-projects in Japan and overseas in collaboration withadvisor at TURN Lab.

he works on activities and projects to “create cul-gether with people with disabilities to create andlocals and students. For TURN FES 1 he represented........................................

ture.” He has participated as a guest in Kimagure

produce crafts by hand. After participating in TURN

Urban Culture Commons, Faculty of Regional

Baku Momoki

Yaoya Dandanʼs TURN LAND.

from the first year hosting interactive programs with

Promotion, Nara Prefectural University, where he

Senior Researcher, Ritsumeikan University ｜........................................

artist Yasuaki Igarashi, from 2017 Atelier La Manohimself works.

Specializes in the history of social thought.

Katsuhiko Hibino

has been organizing TURN LAND.

........................................

Conducting research on the political theories of

TURN Supervisor / Artist ｜ Currently Dean of the........................................

Tappei Noguchi

Hannah Arendt.

Faculty of Fine Arts and Professor of the Depart-

Miyuki Tanaka

Art Explorer ｜ Treating them as “unknown,”........................................

ment of Intermedia Art at Tokyo University of theCurator / Producer ｜ Tanaka regards disability as

he explores systems and spirituality that fluctuate

Atsushi Mori

Arts. Hibino also holds the post of Director ofa perspective which enables us to perceive thethrough the act of movement, and searches for

Publicist, General Affairs Section, National Univer-the Museum of Fine Arts, in Gifu Prefecture. He

world in new ways, and this is the theme on which

the origins of art from situations that arise in thesity Corporation Tsukuba University of Technology

is Member of Executive Committee of Football

she bases exhibitions, performances, movies,

moment. From 2019 he has been involved in TURN

｜ Deaf-blind from birth, from the age of three

Association and Chairman of Committee for Social

games and other projects going beyond the con-LAND organized by Kimagure Yaoya Dandan.

Mori started going to a daycare facility for young

Responsibility. He received the Minister of Educa-

fines of category. She began participating in TURN........................................

children with hearing difficulties, learning tactile

tion, Culture, Sports, Science and Technology

Lab Study Groups in 2020.

Tatsushi Fujihara

sign language and fingerspelling. Mori majored inAward at Japanʼs Art Encouragement Prize in 2015........................................

Historian ｜ Associate Professor at the Institute

Information and Communication Accessibility,(Art Promotion Division).

Hiroshi Tamura

for Research in Humanities, Kyoto University,

at the graduate school of the Tsukuba University........................................

Director and writer at film production company

specializing in the history of agriculture and theof Technology, engaging in research on the possibilities for practical deaf-blind support using ICTRAKUDA STUDIO ｜ Since jointly setting up RAKUDA

history of thought with a focus on food.

STUDIO, Tamura has produced a diverse body of........................................

(information and communications technology).

film and video work. From TURNʼs first year he has

Madame Bonjour JohnJ........................................

continued to film and currently in production ofDrag queen / Performer ｜ Desires a world of glitter

Monkey Takano

TURNʼs upcoming documentary.

and happiness beyond boundaries, continuously

Representative, Shuwa Friends ｜ With both par-........................................

sings “ YES! FUTURE.” Former head of community

ents and younger sister, Takano was brought up

Takuya Tomizawa

center akta in Shinjukuʼs Ni-chome district. She hasin a deaf family. In 2015, Takano founded Shuwa

Head, Tokyo Cotton Village ｜ Runs Tokyo Cotton

participated in a wide range of TURN programs,

Friends to teach, produce educational materials for,Village, a hub where patrons can gather and learn

including TURN FES.

and distribute information on sign language.

how to grow and spin Japanese cotton. In 2020 he........................................

Based on personal experience such as “the differ-came on board as advisor on cotton cultivation and

MACHEE DEF

ences between deaf peopleʼs sign language andspinning for TURN LAND held at Atelier La Mano.

Rapper ｜ MACHEE DEF is involved in work as a “raphearing peopleʼs sign language,” Takano conveys........................................

creator,” writing songs for commercials, directing /sign languageʼs appeal and the daily lives of deaf--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

TURN Interactive Program

About TURNSOCIALLY INCLUSIVE ART PRACTICE PROJECTThis collaborative program provides repeated opportunities for encounters andmutual interaction between artists and social welfare facilities as well as communities of people requiring various forms of social support. Artists in the program
also carry out research to explore phenomena not readily apparent in society anddaily life.

TURN LAND
In this program, social welfare facilities and communities plan participatory programs together with artists. Added to the sites' original functions is a differentrole as a cultural facility open to the community where members of the public cangather, creating a setting for the day-to-day implementation of TURN.

TURN is the umbrella term for an art project that intends to

TURN FES

bring creative interaction through encounters among people,

In this festival, the activities of diverse artists and partner facilities and communities
who carry out the TURN Interactive Program and TURN LAND come together under
one roof. Visitors experience TURN close up through displays of creative work, workshops, talk events, original programs and more.

transcending differences in customs and background, suchas disabled/non disabled, generation, gender, nationality
and living environment. Over 80 artists, and 60 facilities andcommunities have participated until now. Based on various
programs unfolding throughout year, practicing both widely
across Japan and abroad.
---------------------------------------------------------------------------------------

Supervisor: Katsuhiko Hibino (Artist / Dean of the Faculty of Fine Arts and professor
in the Department of Inter-media Art, Tokyo University of the Arts) / Project Director:
Tsukasa Mori (Project Coordination Division Program Director, Arts Council Tokyo)/
Organized by: Tokyo Metropolitan Government, Arts Council Tokyo (Tokyo Metropolitan Foundation for History and Culture), the nonprofit organization Artʼs Embrace,Tokyo University of the Arts

TURN Meeting
This is a setting for sharing, speaking about and considering the possibilities of
TURN. Along with participating artists and relevant members of partner facilities
and communities, as well as invited special guests from different fields, we consider
TURN from a variety of diverse perspectives.

TURN LabA study group discussing and considering a variety of perceptual worldviews andmethods of co-existence with diverse people, based on research themes selectedby artists and experts from every field.

Overseas Program
In collaboration with cultural and arts organizations both domestic and overseas,
TURN expands its practices overseas. Participating artists interact with welfare facilities and local communities using traditional techniques, in each country, developing exhibitions, workshops or performances.
(e.g. “ TURN in HAVANA,” “ TURN in TUCUMAN, BIENALSUR,” etc.)

TURN 2020-----------------------------------------------------------------------------------------------------------

February

TURN Meeting No. 10
Using examples of the community gathering places and activities of a variety of people such as theelderly, people with disabilities, laborers and travelers, these talks were designed to deepen insights
in terms of “developing values through finding enjoyment in differences”, and “diverse environments.”-----------------------------------------------------------------------------------------------------------March

Temporary suspension of TURN Interactive Program and TURN LANDTURN Interactive Program and TURN LAND were postponed due to concern regarding COVID-19.

-----------------------------------------------------------------------------------------------------------May

Cancellation of TURN FES 2020 announced
In May, the cancellation of TURN FES 2020, scheduled to be held at multiple venues including Tokyo
Metropolitan Art Museum from July through September, was announced.

-----------------------------------------------------------------------------------------------------------

June

Assessing whether to resume interactive activities
Assessing the implementation methods for activities under the TURN Interactive Program and TURN
LAND, it was decided that each project will be activated gradually according to each programʼscharacteristics - incorporating methods of remote interaction such as online communication andwritten correspondence.

-----------------------------------------------------------------------------------------------------------July

TURN Lab starts
The first study group was conducted online. For subsequent sessions participants will get together
online about once a month.
--------------------------------------------------------------------------------------------TURN JOURNAL: publication of first tabloid edition
The first tabloid edition of TURN JOURNAL was published. To be produced regularly throughout theyear in summer, autumn, winter and spring with a view to responding to an ever-changing society.
--------------------------------------------------------------------------------------------“TURN on the EARTH: I Am the Echo of the Earth” exhibition
Opening of “TURN on the EARTH:I Am the Echo of the Earth,” an exhibition introducing TURN activities in 6 countries (Argentina, Peru, Brazil, Ecuador, Cuba and Poland) at The University Art Museum,
Tokyo University of the Arts from July 23 through September 6. The exhibition featured the works of
10 artists who took part in TURN overseas programs.
-----------------------------------------------------------------------------------------------------------

September TURN Meeting No. 11
The first TURN meeting held online tackled accessibility in a virtual environment. With a deafblind
person as our guest, sharing a variety of world views focusing on the keywords communication
methods, perception and images.
-----------------------------------------------------------------------------------------------------------

November

TURN Meeting No. 12
Focusing on the theme “deaf culture,” discussing the delight of dialogue developed through facial
expressions and sign language.

TURN NOTE
Words among TURN 2020

March 19, 2021
Editorial Supervisor: Tsukasa Mori (Project Director of TURN, Arts Council Tokyo)
Editor: Yuki Tamura (the nonprofit organization Artʼs Embrace),
Maria Hata (Arts Council Tokyo)
Editorial Cooperator: the nonprofit organization Artʼs Embrace［Eriko Amo, Kanako Iwanaka, Laila Cassim, Makoto Tamaoki,

Takuto Higashino, Makoto Higashino, Misako Murakata, Marina Yamaguchi］,
Arts Council Tokyo［Yukari Araki, Tomohiro Hasegawa］
Design: Genki Abe
Translation: Office Miyazaki
Printing: Watanabe Printing
Published by: Arts Council Tokyo,
Tokyo Metropolitan Foundation for History and Culture
Kudan First Place 8F, 4-1-28, Kudankita, Chiyoda-ku, Tokyo 102-0073
Tel: 03-6256-8435
Email: info@turn-project.com
URL: www.artscouncil-tokyo.jp
TURN official site: https://turn-project.com©2021 Arts Council Tokyo,
Tokyo Metropolitan Foundation for History and Culture
All rights reserved

“Tokyo Tokyo FESTIVAL”

is an initiative that unfolds a variety of cultural programs in the run-up to
the Olympic and Paralympic Games held in Tokyo, promoting its appeal
as a city of arts and culture. TURN is carried out as part of it.