Banpakugaku: Expo-logy, Issue No. 1
Edited by Society for Expo-logy(Editing Team: ARIGA Nobumichi, ICHIKAWA Fumihiko, INOUE Satsuki, IWATA Yasushi,SANO Mayuko, SEKINE Hitoshi, UKAI Atsuko, TANAKA Mineto)

Contents——
The Publication of Banpakugaku: Expo-logy……SANO Mayuko, Representative, Society for Expo-logy| Special Feature: Expos in a World without Colonies |Expos and the Disappearance of “Colonies”: Focusing on the 1972 Revision of theConvention relating to International Exhibitions* Representations of Africa at Expos* ……SANO Mayuko……Oussouby SACKOPavilions and Music: Maekawa Kunio’s Involvement in Postwar Expos*……INOUE Satsuki<Column> Support for Developing Countries at Expo 2025 Osaka, Kansai, Japan:

From the Perspective of Someone on the Ground ……ICHISAKA Hirofumi<Roundtable Discussion> What Does it Mean to be Equal?

……YOSHIDA Kenji, SATO Jin, IWATA Yasushi, SANO Mayuko| The Front Lines of Expo-logy |Japanese Cameras in the 1950s: Exports, Exhibitions, and Expos* …SHIRAYAMA Mari
Expo 1876 Philadelphia and Saigo- Ju- do- * ……SEKINE Hitoshi
The Holy Land of Expositions in Japan: Types and Stages of Expositions at Ueno
Park* ……KUTSUNA Takahiko| Expo Grab Bag |<Column> Notes on Expo Attractions in European City Guidebooks……ICHIKAWA Fumihiko<Column> Expos in Novels and Film Banpakugaku: Expo-logy……IWATA Yasushii

* Abstracts——
Expos and the Disappearance of “Colonies”: Focusing on the 1972 Revision of theConvention relating to International Exhibitions
SANO Mayuko
How did expos become like they are today? People currently think of them as international peacefestivals with pavilions from more than a hundred countries.
Since expos’ inception in the mid-nineteenth century, the existence of colonies “belonging” tothe host or major participating countries was a given. Exhibitions of colonies continued until Expo
1958 Brussels, and only in the 1960s did expos begin to depict a world consisting of (only) countries,
rather than countries and their colonies.
On the other hand, the 1928 Convention relating to International Exhibitions explicitly
listed “colonial development” as an exhibition theme example, a provision that survived until
the convention was amended in 1972, lagging behind the changing realities of expos. With thisconvention, a multilateral legal instrument that articulated the practices surrounding expos that
had begun to take shape in the previous century, the expo institution had become official andbased on an international agreement.
This article considers my initially-posed question from the following angle: how did colonies
disappear from expos? After understanding that representations of colonies, which have been
the subject of discourses critical of expos, were actually grounded in the legal framework that
supported expos, I will reveal, using materials held by the Bureau International des Expositions(BIE) and the British National Archives, that the framework’s revision process was characterized
by the self-transformation of the circle of developed countries that had been responsible for theexpo institution carried over from the pre-WWII period; they accepted, while showing resistance, achanging world in which colonial independence was advancing.

——
Representations of Africa at ExposOussouby SACKOThis paper discusses the problems of cultural representations and their importance, with afocus on cases of Africa, which has been interpreted and represented mainly from outside
perspectives. Representations of non-Western cultures have been studied in various quarters—
Japonisme is a typical example—but often places like Africa have been omitted. The scholarship on
representations of such places that does exist is by Westerners.
Unlike in early Expo history, as times changed, newly independent African nations became
able to participate in expos as “countries.” However, the content of their displays has still been
determined by how host countries perceive them. African countries have also responded to suchii

role expectations and exhibited the Africa outsiders want to see rather than the Africa Africans
want to show. In the first place, many African countries were somewhat induced to participate in
expos and did not understand the meaning of these events.
One effect of globalization is people being brought closer together. Amidst this, the culturesof countries, peoples, regions, and so on must be properly represented and interpreted by themembers of those cultures. What is important therein is a systematic understanding of indigenous
knowledge. In other words, tracing back as far as the process by which culture is recognized andgiven value as the heritage of a community. Expos of today should serve as sites for attempting andconfirming the importance of this mode of cultural representation. I believe my arguments in thisarticle are meaningful not only for Africa but also when applied to Asia and other regions.

——
Pavilions and Music: Maekawa Kunio’s Involvement in Postwar Expos
INOUE Satsuki
After World War II, Japan participated in Expo 1958 Brussels, World’s Fair 1964–65 New York, andExpo 1967 Montreal, and then hosted Expo 1970 Osaka. Being a series of large-scale expos over ashort time, these expos were interrelated, with preparations for the next one being made while theprevious one was being held.
From the perspective of music, this article reconsiders the expo pavilions in which Maekawa
Kunio was involved. Although the issue of colonialism does not directly appear here, hisinvolvement took place in parallel with the trend toward decolonization, and by looking at it, we
can acquire a more composite view of the period that is the focus of this special feature.
The Japan Pavilion he designed for Expo 1958 Brussels was highly acclaimed for skillfully
rendering the beauty of the connection between nature and architecture. From the beginning, heincorporated music into its display concept, aiming for an integrated and unified display. Maekawa
was then put in charge of the architecture of the Japan Pavilion at World’s Fair 1964–65 New Yorkand took the musical aspect a step further, asking Mayuzumi Toshiro to compose electronic music.
At Expo 1967 Montreal’s Japan Pavilion, Maekawa’s approach was not carried on. Architecture andthe displays were separated, and no strong unifying theme existed. At the time, Japan’s displays
were heavily criticized both at home and abroad for their commercialism, a criticism that wouldinfluence pavilions at Expo 1970 Osaka, which were already being prepared. The Japan Iron andSteel Federation, which was planning to exhibit at Expo 1970 Osaka, appointed Maekawa as
the general producer of their pavilion. Maekawa, adopting an idea of Ohara So-ichiro- that wasconsidered but never used for the government’s theme pavilion, completed the Steel Pavilion, thefocus of which was a music hall equipped with the latest sound equipment. It aimed to be “a site ofnew music creation.”——

Banpakugaku: Expo-logyiii

Japanese Cameras in the 1950s: Exports, Exhibitions, and ExposSHIRAYAMA Mari
The Japanese camera industry, which produced optical weapons during World War II, got a freshstart after the war through exports sent in return for the food aid by the USA, as well as throughgoods sold to the occupying forces. In 1950, its products, which had previously been seen as“cheap and poor,” were recognized by Photojournalists of the USA for their quality. After Japan’s
independence, it became an export promotion industry and went to the global market.
This article traces activities of the Japanese camera industry in the 1940s and 1950s, discussing
the industry-wide participation in the Second Annual Japan Camera Show (New York, USA, 1955)
and the exhibition of camera equipment at the pavilion of the Japanese government in the Expo
1958 Brussels. Soon thereafter, Japanese manufacturers fully participated in the world’s two major
camera trade fairs, MPDFA (USA) and Photokina (West Germany), and in the year following theexpo, their exports expanded significantly.
It is known that Japanese camera equipment received awards for their great performanceat the Expo1958 Brussels. However, recently found testimonials suggest that the international
credibility obtained through being a participant may have made the industry possible to join
Photokina. It seems that being selected as an exhibitor of the expo by the Japanese government
realized the Japanese camera industry’s participation in the trade fairs in Europe, which in turncontributed to the expansion of its exports.

——
Expo 1876 Philadelphia and Saigo- Ju-doSEKINE HitoshiThis article considers Saigo- Ju-do- and his participation in Expo 1876 Philadelphia. The governmentof Meiji Japan officially participated in this expo and established a commission to do so. Thecommission led Japan’s public and private sectors in sending many exhibition items to the venue.
Although this expo has been studied from various perspectives as an important early Meiji period
expo endeavor, the whole picture of Japan’s participation has not been made clear. There is little
research on the commission, which played a central role.
The Meiji government appointed Saigo- Ju-do-, army lieutenant general, as the commission’s
vice president and dispatched him to the expo. Ju-do- was a military and political figure duringthe Meiji period, and is known for commanding Japan’s Taiwan expeditionary forces in 1874.
Reviewing the history of Japan’s participation in expos, one realizes that it was unusual for alieutenant general to be appointed vice president of an expo commission—the person in charge on
the ground at the expo—and to travel to the United States.
Until now, scholarship has only briefly touched on Saigo- Ju-do-’s expo participation, and has
not examined the details of his expo activities. Why was he appointed vice president, and what
did he do in that capacity? This article examines the following three points: (1) the circumstances
surrounding Japan’s participation in Expo 1876 Philadelphia, the situation at the expo commission,iv

and the background of Ju-do-’s appointment as vice president; (2) the circumstances surrounding hisappointment and the reaction of people around him; and (3) his specific duties during the expo.

——
The Holy Land of Expositions in Japan: Types and Stages of Expositions at Ueno
Park
KUTSUNA Takahiko
Ueno Park is a center of art and culture in Japan. During the Edo period (1603–1868), Mt. Ueno
was a major religious site centered on the temple Kan’eiji and a sightseeing destination. One
reason Mt. Ueno became Ueno Park and developed from the Meiji period (1868–1912) onward wasexpositions.
In this article, I compile a list of expositions held or planned in Ueno Park and classify
them by organizer, name, and other criteria. They can be broadly divided into ones organized bygovernment/public organizations and by primarily private actors. I classified privately-organized
expositions into eight categories based on name, content, and other factors: a. Expositionsof industries that had already existed before the modern period/trade fairs; b. Expositions ofemerging industries; c. Expositions with “children,” “women,” or “household” in their titles; d.
Commemorative expositions; e. Expositions mainly for entertainment; f. Expositions related tocolonies and overseas; g. Expositions related to military affairs; h. Others/details unknown. Using
my classification, I share the diversity of expositions held at Ueno Park.
Also, based on the classification above, I examine the five stages Ueno Park expositions went
through over time—dawn, development, prosperity, transformation, and demise—and present therelationship between each stage and Japan’s modern history.
In conclusion, I suggest that a bird’s eye view of Ueno Park’s expositions is a bird’s eye viewof the history of expositions in Japan. Ueno Park’s transformation from a major site of expositions
to an art and culture center was the result of the park, amidst Japan’s modernization, continuallyfulfilling a role that of like international expo venues. I therefore propose the park is “the holy landof expositions in Japan.”Banpakugaku: Expo-logyv