Weaving Ties with the Worldfor 50 Years and OnwardMessage from President
In October 2022, the Japan Foundation (JF)celebrates its 50th anniversary. We would like toexpress our sincere gratitude to all those who havesupported our activities and to those who have worked
together with us in the field of international exchange.
Fifty years ago, Japan was in the midst of rapid
postwar economic growth and was speedily increasing
its presence within the international community. This
was a time when Japan became the world’s second
largest economy, hosting major events such as theTokyo 1964 Olympic Games, the World Expo 1970
Osaka and the Sapporo 1972 Winter Olympic Games.
Against this backdrop, JF was established on
October 2, 1972, with the purpose of “deepening
the understanding of other countries toward Japan,
promoting mutual international understanding, andcontributing to culture and other fields around the world,
thereby contributing to the development of a favorable
international environment and the maintenance anddevelopment of Japan’s harmonious relations withother countries” (Incorporated Administrative Agency,
Japan Foundation Law, Article 3). Since then, JF has been
engaged in cultural exchanges with other countries in
the fields of 1) arts and cultural exchange, 2) Japanese
language education overseas, and 3) Japanese studies
and international dialogue while responding to changes
in the international situation surrounding Japan.
We have produced this booklet in the hope that it
will offer you with an opportunity to look back on thesignificance of international cultural exchange andits potential future, while explaining JF’s 50 years ofhistory and introducing the voices of those who havesupported our activities in various ways. Unfortunately,
it is not possible to cover all of our activities over the pasthalf century, but key selections have been included. We
hope you will take a look at as many stories as possible
and experience the depth and breadth of exchange
between Japan and the rest of the world over the years.
Over the past 50 years, as globalization has progressed,
a better understanding of Japan has been promoted
throughout the world. Today, for example, there areapproximately 3.8 million people studying Japanese
language overseas, an increase of approximately thirty
times since the end of the 1970s. Compared to thepast, when interest in Japanese culture was limited
to specialists and enthusiasts, it is truly heartening tosee so many people around the world interested in andenjoying various aspects of Japanese culture.
On the other hand, the path forward is not necessarily
an optimistic one. Over the past two years, thecoronavirus pandemic has drastically changed our daily
lives and greatly restricted human interaction between
Japan and the rest of the world. In addition, it seems
almost every day the media reports the heartbreaking
scenes of frequent natural disasters in various parts of
the world as well as global events that have shaken thevery foundations of the international order.
However, it is precisely in turbulent times such asthese that the true value of cultural exchange is being
realized. In an increasingly multi-polar and uncertain
international society, it is more important than everfor Japan to strengthen its ties with people aroundthe world. While many countries are increasinglyinterested in soft power diplomacy, competition in thisfield is becoming more intense. Therefore, we feel that
we must work harder than ever before to maintain thepresence of Japanese culture on the global stage in the
future.
JF will continue to play the role of catalyst for
deepening mutual understanding and trust between
the people of Japan and overseas, and we will redouble
our efforts to build good relations between Japan andthe world. I would like to ask you all for your continued
support for our endeavors.
Finally, I would like to express my sincere gratitude to
the many people who kindly agreed to be interviewed
and provided a wealth of valuable information to
produce this publication.

October 2022

UMEMOTO Kazuyoshi
President
The Japan Foundation

02

Years of JF

Looking back on the 50-year history of the Japan Foundation
with symbolic photos of its activities by decade.

1970s

1

（1972 -1979）

Due to rapid postwar economic
growth, Japan became an
economic power. This increased
its international role and there
were voices both at home andabroad calling for a specialized
institution that would introduce
Japanese culture to the restof the world, promote mutualinternational
understanding
and culturally contribute to theworld. Against this backdrop,
the Japan Foundation (JF)was established on October
2, 1972 as a special legal
entity under the auspicesof the Ministry of Foreign
Affairs. Inheriting offices infive overseas cities from its
predecessor
organization,
the Society for International
Cultural Relations, JF has built
its foundation while responding
to changes in the internationalsituation surrounding Japan,
and has started projects that
continue in the fields of arts andcultural exchange, Japanese
language education overseas,and Japanese studies andinternational dialogue.

2

1980s

（1980 -1989）

1. In 1972, then Prime Minister TANAKA Kakuei
addressed the inauguration ceremony of JF
2. In 1974, writer Mr. André Malraux (France)
was invited

1

2

3

1. In 1981, “The Great Japan Exhibition: Art of
the Edo Period, 1600-1868” (U.K.) attracted
520,000 visitors
2. In 1984, the “African Film Festival” was held
3. In 1985, the Beijing Center for Japanese Studies
was established
4. In 1989, the Japan Foundation JapaneseLanguage Institute, Urawa was established4

As interest in Japan grewaround the world along withthe country’s economic growth,a major Japan festival was heldin the United Kingdom in 198182. JF organized the successful“GreatJapan
Exhibition:
Art of the Edo Period, 16001868” as a core project,attracting 520,000 visitors.
Since then, JF has cooperated
with art festivals and cultural
institutions in various countries
to strengthen the introductionof Japanese culture to othercountries. Meanwhile, in 1982,
six projects were conductedin Japan to commemorate
the 10th anniversary of theestablishment of JF, steppingup efforts to introduce othercultures to Japan. In 1980,
following the conclusion of theTreaty of Peace and Friendshipbetween Japan and China, theJapanese Language Training
Center in China (now the Beijing
Center for Japanese Studies)
was established, and to thisday continues to provide a highlevel of Japanese studies andJapanese language education.
During this period, the numberof Japanese language learners
around the world grew steadily,and in 1984 the Japanese
Language Proficiency Test wasadministered for the first timein 19 cities overseas. In 1989, theJapanese-Language Institute,
Urawa was established as a
training facility for overseas
Japanese language teachers.
03

1990s2（1990 -1999）

In 1990, the ASEAN Culture
Center was established to
introduce Asian cultures toJapan; in 1995, the Center was
reorganized as the Asia Centerto promote two-way exchanges
with Asian countries. Then, in
response to the end of the Cold
War and the intensificationof Japan-U.S. trade friction,
the Japan Foundation Center
for Global Partnership wasestablished in 1991 with theview of strengthening theJapan-U.S. alliance. Since then,in addition to existing programswith the U.S., many experts
have been nurtured who serveas bridges between the twocountries through intellectualand grassroots exchanges, andthere has been constant support
for joint Japan-U.S. efforts toaddress the challenges facing
the world. In 1997, the Japan
Cultural Institute in Paris(Maison de la culture du Japon
à Paris) opened as one of thelargest overseas centers throughFrench-Japanese,
publicprivate cooperation. That same
year, the Japanese-Language
Institute, Kansai was alsoestablished as a training facility
for diplomats, public officials,
researchers and various otherJapanese language learners
from each country.

©YAYOI KUSAMA

1

3Photo: YAKOU Masahiko4

1. In 1993, KUSAMA Yayoi served as Japanʼsrepresentative artist at Japan Pavilion in the 45th
Venice Biennale
2. In 1995, the Abe Fellowship Symposium,“50 Years Since the War: An Overview of U.S.-Japan
Relations and the Challenges for Policy RelevantStudies” was held
3. In 1997, the Maison de la culture du Japon à Pariswas established
4. In 1997, “Lear,” an international theater collaborationby artists from six Asian countries, premiered

1

2

Tsubaki Noboru + Muroi Hisashi The Insect World /Locust 2001 photo : Mikio Kurokawa

3

1. In 2001, the 1st Yokohama Triennale was held andattracted 350,000 visitors
2. In 2005, Istalif potters from Afghanistan were invited
3. In 2008, a Japanese language training program forprospective Indonesian care workers started

04

000
0s
200

（2000 -2009）As
globalization
advanced
and the presence of Japaneseculture in the world grew, there
were calls for a full-fledged
international art exhibition
to be held in Japan. Basedon many years of experience
participating in the Venice
Biennale, JF contributed to thesuccessful launch of the first
Yokohama Triennale in 2001,
attracting 350,000 visitorsfrom Japan and abroad. Thatsame year, with the terrorist
attack in the U.S. and the startof the Iraq War in 2003, thestrengthening of exchanges with
the Middle East region, and in
the wake of Hurricane Katrina,
which struck the southeastern
U.S. in 2005, the new agendaof “peacebuilding, disasterrecovery and culture” began tobe addressed. In October 2003,
JF transitioned from a special
legal entity to an independentadministrative agency. Then,in 2006, the Japan Foundation
China Center was establishedto promote youth exchange
between China and Japan.
With the Economic Partnership
Agreements with Indonesia
and the Philippines coming
into effect in 2008, Japanese
language training programs forprospective nurses and care
workers also began.

1

010
0s
201

2

（2010 -2019）

In the wake of the Great EastJapan
Earthquake,efforts
tosupportreconstruction
through cultural exchange
were strengthened. In 2014, inorder to build momentum for
the Tokyo 2020 Olympic andParalympic Games, the “WA
Project - Toward Interactive
Asia through Fusion andHarmony” commenced. A new
Asia Center was established to
expand and deepen two-way
exchanges with Southeast Asiaand other regions. Japonismes
2018, the largest-ever overseas
celebration of Japanese culture,
was held in Paris and otherFrench and Japanese cities
in 2018, with JF acting as thesecretariat and commemorating
the 160th anniversary of
diplomatic relations between
France and Japan. This festival
brought the broad appeal ofJapanese culture to more than
3.53 million visitors during the
8-month period. That same
year, the number of Japanese
language learners worldwide
reached 3.85 million. In 2010,
JF released the “JF Standard forJapanese-Language Education”
to accelerate the spread ofJapanese language education
to enhance the communication
skills of learners, and in 2019,
JF also launched the JapanFoundation Test for BasicJapanese (JFT-Basic) for those
who wish to come to Japan
under the Specified Skilled
Worker program.

© J FA

3
4

5

1. In 2013, the “Marugoto: Japanese Language and Culture,” Japanese language coursebooks
were published in multiple languages
2. In 2014, the “ASIAN ELEVEN,” football exchange program with Southeast Asia, began
3. In 2015, the “Sanriku-Asian Network Project,” an exchange program for performing arts
between the Tohoku region and Asia, began
4. In 2018, the “Japonismes 2018: Souls in Resonance” (France)
attracted more than 3.53 million visitors
5. In 2019, the “Japan 2019” (U.S.) attracted
more than 1.29 million visitors

2020s（from 2020 ）1© 2020 T I F F

2
1. In 2020, conversation series “Asia Lounge,” co-presented by the Japan Foundation
Asia Center & Tokyo International Film Festival, was held
2. In 2021, the “STAGE BEYOND BORDERS - Selection of Japanese Performances”
started, distributing stage performances online. A total of 92 ﬁlms were viewed
more than 9.5 million times

The spread of COVID-19 aroundthe world from February 2020
had a serious impact on cultural
exchanges. JF has activatedonline projects and otherinitiatives, so as not to close
its carefully built channels of
exchange between people inJapan and around the world. At
the same time, in April 2022, areorganization was undertaken
to develop the foundation’s
activities more effectively andefficiently. JF’s network ofoverseas offices, which started
with five cities around the world
when it was established 50
years ago, has since expanded
to 25 cities in 24 countries
thanks to the support of many
people.
05

JF Special
Stories
Exclusive stories about 50 years of JF,
focusing on our projects to weave ties with the world.

Culture［ 0 1 ］Souls in Resonance, The Legacy of “Japonismes 2018”［ 0 2 ］International Art Exhibitions in Venice and Yokohama Bring Together

Art and its Aficionados from around the World［ 0 3 ］Drama, Animation, Documentaries . . .

Sharing the Spirit of Japan with the World through TV［ 0 4 ］“Shunkan,” “Antigone,” “The Cherry Orchard,”
Expanding the Circle of Excitement beyond Language Barriers

Language［ 0 1 ］Japanese Language Education Blossoming in the Middle East from Cairo University;

A 50-Year Journey Alongside the Japan Foundation［ 0 2 ］A Second Home for Overseas Japanese Language Teachers,
Training Programs Offered by the Japanese-Language Institute, Urawa［ 0 3 ］“NIHONGO Partners,” Bringing Living Language and Culture
to Middle and High-School Students Studying Japanese in Asia

Dialogue［ 0 1 ］How Has America Viewed The Tale of Genji?
Genji ?

The Charm of Japan Elucidated by an American Scholar［ 0 2 ］“Heart to Heart”—Connecting the Hearts of the Younger Generation

to Expand the Japan-China Friendship Network［ 0 3 ］“Learning from One Another and Growing Stronger Together”
Bonds with Asia Nurtured through Sports［ 0 4 ］Two Programs that Link Japan and the U.S.,
Aiming to Develop the Next Generation of Leaders

Other sSpiritual Recovery through Local Traditions and Culture:
Overcoming the Disaster

More stories can be found on our 50 th anniversary website.
We hope you enjoy the variety of articles (see page 35 for the overview).
06

JF Special Stories

Culture［ 0 1 ］

Souls in Resonance,
The Legacy of “Japonismes 2018”

The Japan Foundation has had a focus on large-scale
Japanese cultural festivals for many years.
The key to broadening the understanding of Japanto as many as possible starts with the overall concept,
coupled with close collaboration
with the host country and related organizations.
The
Japan
Foundation(JF)
introduces various elements ofJapanese culture in creative ways. The
quintessence of such an activity can befound in large-scale Japanese festivals.
The “Japonismes 2018: les âmes enrésonance” (“Souls in Resonance”)
was considered particularly successful
in terms of its ripple effect. As a
Japanese festival, it was producedon an unprecedented scale, and washeld in 2018, which marked the 160th
anniversary of diplomatic relations
between Japan and France. JF acted
as the festival secretariat and took onfull responsibility from the planning to
the actual implementation. “We hope
to introduce the ‘unknown Japan.’This is the only aspect we want topromote through ‘Japonismes 2018,’”
stated ANDO Hiroyasu, then Presidentof JF, and Secretary General of theSecretariat.
“Japonismes 2018” was based on
the concept of the Japanese aesthetic,
and the resonance between Japanand France. Accordingly, humanity is
considered an integral part of nature,
which is itself revered and respected.
Harmony is valued, and differingvalues are shared and coexist witha spirit of tolerance. “Japonismes
2018” sought to share such Japanesesensibilities with the people ofFrance, from the ancient Jomon era tocontemporary digital art.

The “Eiffel Tower Special Light-up – Eiffel Tower
Dressed in Japanese Lights,” one of the official projects
under Japonismes 2018. A variety of symbolic Japanesedesigns were projected sequentially onto the Eiffel
Tower, including a view of “Fujin Raijin-zu Byobu’’(The Wind God and Thunder God, screens painted by
TAWARAYA Sotatsu and owned by Kennin-ji temple)(detail), a National Treasure which traveled to Europe.
Planners and Producers: Motoko Ishii & Akari Lisa-Ishii

Until then, the concept behind mostlarge-scale Japanese festivals held
overseas leaned towards whatever viewof Japan the host country expected.
“Japonismes 2018” was a joint project
between Japan and France, and JF’s
focus was to convey a view of theunknown Japan and the Japanesespirit through a program that evolved
from ideas offered up by both parties,
Japan and France.
The introduction of Japanese arts andcrafts at the International Expositionof 1867 in Paris brought Japaneseculture to a much wider international
audience, and the term “Japonisme”
soon became popular. In 2018, some
150 years later, this new project was07

A long line in front of the Petit Palais in
Paris, the venue for the “Jakuchū, theColorful Realm of Living Beings” exhibition.
The first full-scale Jakuchū exhibition in
Europe proved immensely popular.

named “Japonismes 2018,” with theyear added to draw a clear distinction
from 19th century Japonisme, which
included a fascination for Orientalism,
and reflecting a desire to convey the“current” situation of the Japanesepeople.

Introducing the Unknown
Culture of Japan from
Ancient Times to
the Present Day
However, the road to holding thefestival was far from smooth. For
example, when planning the exhibition“Jakuchū, the Colorful Realm of Living
Beings,” the initial reaction from the
French side was: “Jakuchū? Neverheard of him – how about Hokusai?”
The Jakuchū exhibition, which wasrealized after much back-and-forthdiscussion, attracted 75,000 visitors
during its limited four-week run, andwas so successful that a long line ofvisitors formed in front of the Petit
Palais, which hosted the exhibition.
The French cultural magazine,
Télérama, described the exhibition
as: “An unforgettable experience,”“Jakuchū’s genius is in his detail,”and concluded the article with,“This exhibition is perhaps the mostbeautiful gift Japan has bestowed onus.”
The subtitle, “Souls in Resonance,”reflects the concept of “resonancebetween Japan and France.” For
its first exhibition in France as an
official project, teamLab created a
new experiential digital art exhibition,“teamLab: Au-delà des limites(Transcending Boundaries)” at theGrande Halle de La Villette. In the
exhibition, the audience was able tobecome part of the full work, creatinga natural immersive experience ina digital world. This art exhibition
attracted 300,000 visitors. There wereconstant shouts of joy from children
during the exhibition, and visitorscommented: “The teamLab exhibition
was like going on a unique journey thatyou could never experience elsewhere.”
TeamLab’s exhibition was not
the only place for emotions thattranscended language. Embodying
the overall concept of the festival, theexhibition “FUKAMI – une plongée
dans l’esthétique japonaise (Fukami, aplunge into Japanese aesthetics)” washeld at Hôtel Salomon de Rothschild,a renovated 19th century mansion.
Along with works by old and newJapanese artists such as ANREALAGE,
MANABE
Daito,
Hokusaiand
SENGAI Gibon, works by Picasso andGauguin were also on display in an
ambitious attempt to create a dialogue
between East and West over theentire space. On social media, many
visitors expressed their satisfaction
with the exhibition, describing it as“An exhibition immersing visitors inJapanese aesthetics.”
A wide range of stage performanceswere put on, from Gagaku court
music to contemporary theater anddance, Vocaloid (featuring the popularcharacter HATSUNE Miku) and 2.5D

The
teamLabexhibition
featured a space combining
several artworks that werecreated digitally in realtime and changed due tothe presence of people. It
proved extremely popular tophysically dive into this art
without boundaries.
Exhibitionview,

teamLab:Au-delàdes limites, 2018, Grande Halle de La
Villette, Paris ©teamLab

08

HATSUNE Miku’s performance in France,
an official “Japonismes 2018” event, on
the first day of its first European tour,“HATSUNE MIKU EXPO 2018 EUROPE,”
for which tickets sold out immediately.
Many fans came to the venue at La Seine
Musicale, and in a post-performance
survey, all respondents agreed that theirfamiliarity with Japan had increased.

musicals. There were also large-scalespecial screenings introducing the 100year history of Japanese cinema, as well
as special features regarding Japanon local television. Many visitors,
from avid fans of Japan to those who
knew little about the country, enjoyedthis sampling of Japanese culture,
ranging from Japanese food, Japanesesake and crafts to festivals based on
various locations in Japan. Also, they
could enjoy events related to judo, tea
ceremonies, flower arrangement, Zen
and literature. The former Ministerof Culture in France, Jack Lang, said,“With ‘Japonismes 2018’ we have seena Japan that is far from stereotypical.”The Importance ofConnecting to the Future
During the eight months of“Japonismes 2018,” more than 300
events were held in more than 50 cities
across Japan and France, attractingsome 3.53 million visitors. This
figure alone surpasses the 2.2 million
population of Paris. It successfully
conveyed the aesthetics and valuesof Japanese people through a wide
variety of projects throughout its
duration, but in order to ensure that
this was not simply viewed as a one-off
event, it has been essential to continue
with so-called “follow-up events.”
One of the official projects was the“Interschool Presentation Day,” wherehigh school students from Japan andFrance were able to interact. One year
after the festival closed, in February
2020, JF invited some French highschool students who participated inthis project to Japan and provided
them with opportunities for homestays,
Japanese cultural experiences, andone-day enrollment in a Japanese highschool. Since then, the project has
fostered online exchanges among highschool students.
With the enthusiasm for “Japonismes
2018” still fresh in people’s minds, in2019 the stage moved to the UnitedStates for a Japanese festival called“Japan 2019.” JF carried out eight
official projects mainly in Washington,
D.C. and New York. Among them, threelarge-scale art exhibitions were heldby American curators who conducted
research in Japan as JF fellows.
These exhibitions, the culmination ofmany years of Japanese studies andJapan-U.S. exchanges, were highly
acclaimed by the local media as
well for their unique perspectives inintroducing the fascinating world ofJapanese art.
Cultural and artistic exchanges is one
area that appeals directly to people’s
hearts, creates a sense of empathy
that transcends language, and fosters
a broad range of fans of Japan byfacilitating new discoveries and the joyof shared creation. Japanese festivals,
demonstrating such essence, are theperfect opportunity to showcase not
only the ageless charm of Japan, butalso its new “face” – which is constantly
being updated. JF will continue tobring about these high-quality projects
around the world with the cooperationof many people so that visitors canexperience the multifaceted aspects ofJapanese culture.

View of the “Shinto: Discovery of the Divine in Japanese Art” exhibition,
one of the official projects under “Japan 2019.” Through six themes,
including Shintoism and Buddhism, the exhibition unraveled theinfluence on Japanese art by reverence for the gods. Dr. Sinéad Vilbar,
Curator of Japanese Art at the Cleveland Museum of Art, who curated
this exhibition, conducted research at Tohoku University as a 2002 JF
Fellow. Photo by David Brichford; courtesy of the Cleveland Museum of Art.

During the “Interschool Presentation Day,” the younger generation took on aleading role. High school students from Japan and France gave presentations
at the Japan Cultural Institute in Paris under the theme, “Discovering JapanFrance Exchange through People, Their Lives, and Their Works: The Role ofthe Individual in History leading to Japonismes 2018.” Photo: ©MIHO

09

JF Special Stories

Culture［ 0 2 ］

International Art Exhibitions
in Venice and Yokohama Bring Together
Art and its Aficionados from around the WorldThe Japan Pavilion designed by YOSHIZAKA Takamasa, which
stands at the Giardini, the venue for the Venice Biennale. The
building was renovated by ITO Toyo in 2014. Photo by Peppe Maisto

The Japan Pavilion exhibition at the “Venice Biennale,”which attracts worldwide attention,
has been a major project of the Japan Foundation since 1976.
Using our participation in Venice as a springboard,
we participated in the launch of the “Yokohama Triennale” in 2001.
The Venice Biennale is also known as
the “Olympics of Art.” This international
exhibition began in 1895 and operates
a national participation system. Japan
participated for the first time during
the 26th exhibition in 1952, marking
its return to the international art world.
The exhibition organizer of the Japan
Pavilion was the Japan Foundation’s(JF) predecessor, the Society forInternational
CulturalRelations(Kokusai Bunka Shinkokai). Since then,Japan has continuously participatedin the Venice Biennale, and from 1976,
JF has organized exhibitions in theJapan Pavilion. On the international
stage, which attracts people from allover the world, we present cutting-edge
contemporary art from Japan throughexhibitions by representative Japaneseartists.

Expectations ofa More Open Platform
for the Japan Pavilion
The Artistic Director of MAXXI, theNational Museum of 21st Century Arts
in Italy, Mr. Hou Hanru has been paying
10

close attention to the Japan Pavilion
since the 1990s. Mr. Hou describes
his impression of the Japan Pavilion
as follows: “In general, it reflects thecurrent state of contemporary art
both in Japan and internationally.
MIYAJIMA Tatsuo’s work in 1999
using digital counters embodied theatmosphere of the 90s, portraying
creativity emphasizing the role of newtechnologies in contemporary Japaneseand global culture. Also, TANAKA
Koki’s 2013 work proved a lively
collaboration of video and photography,
and the excellent use of the atrium spacein the Japan Pavilion was impressive.”
Mr. Tanaka’s exhibition at the Japan
Pavilion in 2013 was highly acclaimed,
and in 2017 he was invited to participate
in the Biennale’s special exhibition.
One’s reputation at Venice is also directly
connected to one’s global reputation,
as evidenced by ISHIDA Tetsuya, who
was invited to participate in the 2015
exhibition and was “discovered” in
Venice, leading to his solo exhibitions in
Madrid and Chicago.
Mr. Hou expressed his hopes for the
future of the Japan Pavilion saying,“I think art is an open platform. So,
I don’t see art as having anything to
do with competition. Art is all about
helping society to be more open towards
different people, cultures and so on.
There are so many wonderful artists
with different backgrounds working
in Japan, and we hope to be able tosee how they can present their special
angles to look at global issues.”
In addition to the art section,
the Venice Biennale initiated theInternational Architecture Exhibition in
1980, and since 2001, it has alternatedwith the art exhibition every two years.
Japan has been an official participant
since the fifth exhibition in 1991,
winning the Golden Lion award in
1996, when ISOZAKI Arata served
as commissioner, and in 2012, when
ITO Toyo served as commissioner. Ito
exhibited the process of creating “Homefor-All,” a place where those who losttheir homes in the tsunami could enjoy
a little respite in Rikuzentakata City,
which was severely damaged by theGreat East Japan Earthquake. This
exhibition, “Architecture. Possible here?
Home-for-All,” was highly evaluatedfor its courage and importance inquestioning the fundamental meaningof architecture through how it deals
with natural disasters.

TANAKA Koki’s work on display at the Japan
Pavilion in 2013. Mr. Tanaka exhibited an
installation titled, “abstract speaking – sharing
uncertainty and collective arts,” in which video
monitors and photographic works are placed
here and there, while flashlights and books, etc.
that appear in the video footage are scatteredthroughout the venue. The exhibition at the Japan
Pavilion received a Special Mention. Exhibition at thepiloti “painting to the public (open-air),” 2012 Photo: Takashi
Fujikawa, created with Aoyama Meguro, Photo: Keizo Kioku

The first Yokohama Triennale attracted
approximately 350,000 visitors during its twomonth duration. The photo shows the exhibits
mentioned by Ms. Shiota. Chiharu Shiota, Memory ofSkin, 2001. Installation: dresses, dirt, water, showers. Yokohama

2001 - International Triennale of Contemporary Art: Mega Wave
- Towards a New Synthesis, Yokohama, Japan. Photo by ITO
Tetsuo ©JASPAR, Tokyo, 2022 and Chiharu Shiota.

The Venice Experience
Lives on in Yokohama
An art critic and a senior advisor to
the Mori Art Museum, Mr. NANJO
Fumio is also well acquainted with JF’s
involvement with the Venice Biennale. “Iworked at JF from 1978 to 1986, serving
as program director for the exhibition
program. From that time on, I was in
the middle of a conflict between theJapan that foreign countries wanted
to see and the Japan that Japan itself
wanted to show. I was busy with theinternationalizationofJapanesecontemporary art as the two sides’
intentions clashed,” he said.
Mr. Nanjo’s encounter with the Venice
Biennale dates back to his days at JF,
when he was in charge of the Japan
Pavilion exhibition in 1984 as a staff
member. In 1988, after leaving JF, he was
the first Asian curator of the Aperto (nowdiscontinued), a gateway to success for
new artists, and in 1995, in celebration of
the 100th anniversary of the Biennale, heco-curated the exhibition “TransCulture:
La Biennale di Venezia 1995” with Dana
Friis-Hansen, featuring MURAKAMI
Takashi and up-and-coming artists fromdozens of countries around the world. It
was co-organized by JF and the Fukutake
Science and Culture Foundation andofficially supported by the Biennale.
He also served as commissioner of theJapan Pavilion in 1997 and the NAITO
Rei exhibit received high international
acclaim.
While participation in international
exhibitions in Venice and other countries
has expanded the international activities
of Japanese artists, there have also
been calls for Japan to have its own
international venues. In response, JF

took the lead in organizing the first“Yokohama Triennale 2001.” 109 artists
from 38 countries, including Japan,
participated. Mr. Nanjo was an artistic
director of the exhibition, along with
KOHMOTO Shinji, TATEHATA Akira
and NAKAMURA Nobuo.
The Yokohama Triennale 2001 came
together under the theme of “MEGAWAVE - Towards a New Synthesis,” withthe aim of positioning contemporary
art within society at large. It promoted
mutual understanding and dialogue
between citizens, a varied audience, andartists from Japan and abroad, without
being confined to the framework ofcontemporary art, while contributing to
the revitalization of urban communities.
As a result, large-scale exhibitions
appeared in various locations throughout
Yokohama, including facilities that
had not been associated with art
exhibitions in the past, such as Pacifico
Yokohama convention center and
Red Brick Warehouse No. 1. “I’ll neverforget overhearing an elderly personcommenting that even the trash on
the side of the road looked like art. In
selecting the artworks, we challenged theWestern-centric view of art by choosing
them with our own eyes and showing
them the choices and decisions we made.
The lively discussions that took place inpreparation for the event are an asset thatremain with us to this day. Our experiencein Venice is definitely alive and well in
Yokohama,” affirmed Mr. Nanjo.
The Yokohama Triennale is a stage forinternational presentations and a place
to disseminate information on Japanese
art to the world. At each Triennale,
Japanese artists participate along withforeign artists. One such artist is Ms.
SHIOTA Chiharu, who participated in
the first Triennale and is now based inGermany. Ms. Shiota recalls, “When Mr.
Tatehata came to Berlin for his research, I
was just exhibiting my work at a museum
there and he approached me. I was 27
years old, and I remember how happy
I was to have the opportunity to exhibit
on a large stage for the first time ever. I
was working on a piece about memory,
so I wanted to express memories fromthe skin that could not be washed away
by continually showering 14-meter large
mud-stained dresses.”
The exhibited work, “Memory of Skin,”mentioned by Ms. Shiota will remain in
the memories of many people along with
its overwhelming power, and she is now
one of the most prominent artists on
the international art scene. In 2015, she
was selected to represent Japan at the
Venice Biennale, and her installation“The Key in the Hand,” a red string
installation of 180,000 keys collectedfrom around the world and tied together,received great acclaim. Furthermore,“Shiota Chiharu: The Soul Trembles”
held at the Mori Art Museum in Tokyoin 2019 attracted 660,000 visitors. The
exhibition has since traveled throughout
the Asia-Pacific region and recently to
the Queensland Art Gallery | Gallery ofModern Art (QAGOMA) in Brisbane,
Australia in 2022.
Artists and professionals in theartistic and architectural fields continue
to engage in dynamic international
exchanges at the Venice Biennale andother major international art exhibitions.
JF will continue to convey the appealof Japanese art and architecture to theworld, not only by collaborating on such
exhibitions but also by supporting theartists’ continuing evolution.

Mr. Hou Hanru. Artistic Director of MAXXI,
the National Museum of 21st Century Arts,
Italy. In 1991, he became involved with the
Venice Biennale when serving as co-curatorof the French Pavilion. He was a member of
the International Committee for the 2008
Yokohama Triennale. Photo: ©Musacchio&lannielloMr. NANJO Fumio. Senior Advisor of theMori Art Museum and art critic. He has been
involved in numerous international art projects
to date, including co-curating “Against Nature:
Japanese Art in the Eighties,”which traveled toseven U.S. cities as a JF co-organized exhibition.

Ms. Shiota is an artist born in Osaka and living
in Berlin. “I believe that art is something thatcan be shared beyond language and national
borders, and that it can create a dialogue where
nationality and gender are irrelevant,” she says.
Shiota Chiharu ‒ Berlin, 2020 Photo by Sunhi Mang

11

JF Special Stories

Culture［ 0 3 ］

Drama, Animation, Documentaries . . .
Sharing the Spirit of Japan with the Worldthrough TV
Tokai TV and the JapanFoundation
co-produced“The Japanese Hospitality
Challenge: Bride and PrideSpin-off,” a documentary
about six foreigners who try
their hand at being serving
staff at a ryokan (Japanesestyle inn). The competitors,
hailing from Mexico, thePhilippines, Spain, Taiwan,
the U.S., and Uzbekistan,were selected from among
more than 100 applicants.
Although they clash at times,
they grow closer too.

Television has been highly instrumental in introducing
Japanese culture. The Japan Foundation is providing
TV programs overseas to bring people in Japanand around the world closer together.
The Japan Foundation (JF) has
been offering Japanese TV programs
to countries and regions with limited
opportunities to access Japanesecontent. For nearly 40 years, JF has
been undertaking these efforts toeffectively introduce Japanese culture
to a wider audience and has provided
a total of over 5,000 TV programs tomore than 170 countries and regions.
These programs have been winning
Japan a lot of fans, even in countries
previously unfamiliar with Japaneseculture.

“Oshin” and “Hanayome Noren(Bride and Pride)”Have Worldwide Popularity“Oshin” is one of the most popular
Japanese TV programs aroundthe world. JF helped to translate it
into many languages, having madethe program available in about 70
countries. The main character, Oshin,
who was born and raised in a farming
village in Japan’s north-eastern
12

Tohoku region and who lives an earnest
life despite numerous hardships,
won viewer’s hearts worldwide. The
popularity of the program in somecountries was even called “Oshin
Syndrome.” When the scriptwriter,
HASHIDA Sugako, passed away in2021, many people overseas mourned
her passing, demonstrating once again
the widespread appeal and deeprooted popularity of Oshin.
Even in recent years, some programs
provided by JF have become
international hits. These include thedaytime drama series “Hanayome
Noren (Bride and Pride),” whichbegan airing in Japan in 2010. The
series, in which a conflict between abride and her mother-in-law unfolds
in a long-established ryokan inn, hasbeen broadcast in about 20 countries
and regions and has gained massive
popularity. “I never expected such astrong overseas response to a drama
series about the relationship between
a woman and her mother-in-law.

Perhaps these are common concernsthat transcend language and culture,”reflects Mr. ICHINO Naochika, headof the Tokyo Production Departmentof Tokai Television Broadcasting(Tokai TV), who was responsible forthe production. “After all, people canrelate to the concepts of kindness andcompassion that the series explores. I
believe that the feeling of wanting tocare for others is something the wholeworld can understand. Also, when
I learned that JF was helping theseA ceremony for the handover of TV programsfrom Ambassador MIZUUCHI to Minister ofInformation and Media, Ms. Chushi Kasanda at
Zambia’s state-run broadcasting service ZNBC
in 2021. Courtesy of the Embassy of Japan in Zambia

Set in a long-established traditional ryokan inn, the drama “Hanayome
Noren (Bride and Pride)” depicts the battle between a former career
woman and her traditionally minded mother-in-law. In Japan, 205
episodes across four seasons were broadcast between 2010 and 2015.

programs gain viewership in countries
where we never expected them to bebroadcast, it sparked my interest. I
enjoy knowing who is watching ourprograms in which situations andwhere. As a drama producer, I find itvery rewarding.” In 2021, in response
to high levels of support overseas,
Tokai TV and JF jointly produced
the documentary “The Japanese
Hospitality Challenge: Bride andPride Spin-off.” In this documentary,
six non-Japanese women take on thechallenge of training as serving staff at
the traditional inn in which the drama
series is set.
Many Japanese medical dramas havealso become huge hits. “DOCTORS:The Ultimate Surgeon” starring Mr.
SAWAMURA Ikki, which was provided
to foreign countries as part of the JF
project, became incredibly popular in
Kazakhstan. Mr. Sawamura also had apositive response to the internationalviewership, saying, “I was surprisedthat it gained such popularity in acountry with a different medical
system and environment. All thecreators and I put a lot of work into theprogram, so I am very honored. There
are many comical exchanges between
Drs. Sagara (played by myself) andMoriyama (played by TAKASHIMA
Masanobu), but I’m glad that viewers
also feel the empathy and hope
conveyed by the doctors when theymust confront the issues faced by theirpatients.”
In some cases, programs offered by
JF have had an unexpected impact.
From 2006-2007, JF offered an
Arabic-language version of “Captain
Tsubasa,” an anime focusing on
football, to local TV broadcasters in
Iraq—where the sport is immensely
popular—during the country’s postwar

The popularity of “DOCTORS: The Ultimate Surgeon” in Kazakhstan was
so great that one of the country’s magazines ran a multi-page feature on
the show.

reconstruction
period.
Fifty-two
episodes were broadcast, in which
the main character, OZORA Tsubasa,
becomes a professional soccer player
and builds friendships with the world’s
top players while competing against
them. Previously, the program had
been broadcast via satellite only, but atthat time, few households in Iraq hadaccess to satellite broadcasts. WhenJF secured the anime’s terrestrial
broadcasting, we were able to share aworld of hopes and dreams with moreviewers, especially the children who
will go on to take responsibility forthe future of the Middle East. Up to2009, Japanese Self-Defense Forceunits were dispatched to Samawah,
Iraq, to provide humanitarian andreconstruction
assistance.
They
traveled around the region in water
trucks decorated with large “Captain
Tsubasa” stickers. This animatedprogram became the face of Japanand played a role in facilitating local
activities.

Local TV Stations as
Points of Contact for
Introducing Japanese Culture
The introduction of Japanese TV
programs by JF has proved to be very
useful for overseas TV stations. On
Canal 22, a national broadcasting
service in Mexico, about 7% of
broadcast programs feature at least
some Japanese content supported
by JF. Mr. Eduardo Nava, Directorof Programming at Canal 22, says,“Especially popular are TV drama series
such as ‘Carnation’ and ‘Gochiso-san
Bon Appetit!,’ as well as documentaries
that
show
Japanesequalities
throughout—for example, street scenesof Kyoto. Anime programs are very
popular not only with children, but

Mr. SAWAMURA Ikki, star of “DOCTORS: The
Ultimate Surgeon,” says, “As Japan’s role in theworld is changing these days, I feel that we canlearn a lot from how people overseas react toJapanese dramas about what we should cherish
in our lives.”also with adults. We schedule anime
programs at a later hour so that adults
can also watch them,” he says. “Aspectsof Japanese culture such as thescenery, nature, architecture, clothing,culinary customs and music that are
so different from Mexico’s have a lot of
appeal. Watching a TV series offers us a
glimpse into the daily life of an average
Japanese family and what they usually
eat. For most Mexican viewers, Japanis a distant place which they won’t havean opportunity to visit themselves, so I
feel responsibility and am happy that
we, as a TV station, can be a window
into Japanese culture.”
Feeling moved by the same story or
being exposed to different cultures
through television can help bring
distant countries and Japan closer
together. Japanese TV programs are
sure to continue playing a major role in
the exchanges between Japan and therest of the world.
13

JF Special Stories

Culture［ 0 4 ］“Shunkan,” “Antigone,” “The Cherry Orchard,”
Expanding the Circle of Excitement
beyond Language Barriers

From traditional performing arts to contemporary theater,
the Japan Foundation has shared its excitement with overseas audiences
through the introduction of Japan's unique performing arts.
It was the tireless efforts and enthusiasm of all involvedthat led to the realization of these historic performances.
Performing arts, where audiences cansee the performances live on stage, arethe starting point for cultural exchange,
conveying emotions that transcend
language to many people. The JapanFoundation (JF) has introduced awide range of Japanese performing
arts to overseas audiences. In 1973,
the year after its establishment, JF
organized the first Southeast Asian
tour by Takarazuka Revue, which washeld in three countries, even though
the infrastructure was hardly ideal. In
1979, JF presented a Grand Kabuki
performance in China to commemorate
the Treaty of Peace and Friendshipbetween Japan and the People’s
Republic of China. It was received
14

with great enthusiasm by the citizensof Beijing, and is still talked about
today. In 1989, a group including taiko
drum performer HAYASHI Eitetsu
and jazz pianist YAMASHITA Yosuke
traveled through six African countries.
In 2004, JF helped realize theBroadway revival of musical “Pacific
Overtures,” directed by MIYAMOTO
Amon, in commemoration of the150th Anniversary of the U.S.-Japan
Relationship. It was a historic event, as
it was the first Broadway production by
a Japanese director.
In striving to deliver the best
performances by the finest performers,
the overseas productions organized by
JF have occasionally brought about

A performance of “Antigone” in
New York as an official “Japan2019” project. Photo: Stephanie Berger

artistic fusions and innovative staging.
A good example is “Shunkan,” a joint
performance featuring Noh, Kabuki
and Bunraku that took place in four
European cities in 1994. This would
not have been possible in Japan, but
thanks to the conditions of the overseas
performance, it became a reality.

Realizing a Project that would
be Unthinkable in JapanThe background was the end of theCold War and the 125th anniversaryof the Japan-Austria Treaty ofAmity and Commerce. Until then,Eastern European countries had few
opportunities to be introduced toJapanese culture. JF’s aspiration to
deepen its relationship with thesecountries matched the timing of theVienna Art Week’s special feature on
Japan, which was held during thiscommemorative year. Under the title“Three Major Traditional Performing
Arts in Europe,” the production started
in Vienna, then went on to Warsaw,
Prague and London, attracting
audiences that cumulatively totaled
more than 10,000.
However, there were many obstacles
to making this happen. First ofall, a collaboration between Noh,
Kabuki and Bunraku represented an
unprecedented challenge. The artists
bearing these traditional performing
arts, however, all shared a strong
desire to tackle new challenges asmodern-day artists. They were able tosurmount all obstacles through their
enthusiasm and the joint efforts ofthe production staff and performers,
who were determined “to show theirbest with this rare opportunity” and“courageously push forward.” Thepowerful backing of classical theater
researcher KAWATAKE Toshio as
general supervisor and KANZE Hideo
as artistic director served to enthuse
their efforts. Another significant factor
behind its success was that the Japan
Arts Council, being in a position topromote the three performing arts, wastheir leading proponent.
Secondly, the difference in stage
structures between Europe and Japan
also posed a conundrum for thecreation of equipment and staging. At
the time, out of the four cities where theshow was to be performed, JF only hada base in London. Therefore, a special
system was put in place to coordinate
everything from travel arrangements tothe securing of theaters and the making

of stage sets locally and internationally.
However, as it turned out, theseexperiences proved to be a great asset
for JF.
“Shunkan” is a human dramawith timeless universality including
thoughts for one’s hometown, thesadness of separation and feelings
for loved ones. This creation, imbued
with the overwhelming expressivenessof Noh, Kabuki and Bunraku, clearly
conveyed the unique sensibilities
and sensitivities of Japanese people
to audiences from all over the world.
There were at least eight curtain calls
each time, all to lasting applause.
Dr. Peter Pantzer, then director of
the Institute for Japanese Studies
at the University of Bonn, attended
the Vienna performance. He wrote
in an article for JF’s “International
Exchange” magazine about a young
man who sat next to him at thetheater. He was an electrician who
seemed to have come straight fromwork. He told Dr. Pantzer that he had
attended a symposium about Japanese
performances and became interested
in stories about the artists, and that helonged to know more about Japan. His
story left an indelible impression on
Dr. Pantzer. He concluded the article
with the words, “Shunkan’s sufferinghas been rewarded.”

A Desire to Create
Universal Appeal in Theater
In 2019, a quarter of a century after
the excitement of “Shunkan,” the Greek
tragedy “Antigone,” produced by the

In 1979, JF organized the first performance by a Grand
Kabuki troupe in China. The 20-vehicle-long cavalcadeof performers, comprising some 70 members of thetroupe aboard luxury limousines and minibuses, with anaccompanying police escort, received a rousing welcome
from the citizens of Beijing.

influential director Mr. MIYAGI Satoshi,
enthralled New York audiences. The
performance was organized by JF as
one of the official projects of the Japan
Festival “Japan 2019” in the UnitedStates, with the Shizuoka Performing
Arts Center (SPAC), where Mr. Miyagi
is the General Artistic Director.
The impetus for this performancecame in 2017 when SPAC’s “Antigone,”
directed by Mr. Miyagi and supported
by JF, was selected as the opening
production of the Avignon Festival
in France. It was the first time in thefestival’s more than 70-year history thatan Asian theater company had opened
the prestigious festival. The New York
performance was thanks to Pierre
Audi, Artistic Director of Park Avenue
Armory, which was the venue for Japan
2019, who had been at the Avignon
Festival in 2017.
Regardingthe
productionof“Antigone,” Mr. Miyagi said, “Thevenue in Avignon was the courtyardof the Pope’s Palace, the pinnacle ofpower in Europe in times past. It has
a glorious history, but it also cohabitswith the souls of countless people who
experienced tragic deaths and remained
unnoticed. Mourning these unfortunate
souls with care is an important themeof ‘Antigone.’ We hoped to bring peaceto the innumerable souls present in
the Pope’s Palace. On the other hand,
I thought it was a strange coincidence
when I learned that the Park Avenue
Armory was also a former militaryfacility for an infantry regiment thatfought in the American Civil War. This
was also a place where the dead were

Curtain call at the Vienna performanceof “Shunkan.” London’s Daily Telegraphdescribed the moment at the end of theperformance when the three Shunkan
characters, played by Noh, Kabuki andBunraku performers, appeared on stage
simultaneously, saying, “In this moment,

we are not only given the realization thatthese three classical theatrical forms havevery different powers, but we are also
given three different insights into the same
situation at the same time. It took 600
years to reach this stage, but it was worth
the wait.”
15

Mr. MIYAGI Satoshi was appointed General Artistic
Director of the Shizuoka Performing Arts Center(SPAC) in 2007. “Antigone” was selected to open the2017 Avignon Festival. Photo: ©Ryota Atarashi

The performance of “Antigone” during “Japan 2019.”
During the run, there was also an educational performance
to which students at New York City public schools wereinvited. They were so rivetted by the performance thatthey gave a standing ovation. Photo: Stephanie Berger

gloriously interred. I am very gratefulto the Japan Foundation for connecting
me from France to the U.S.”
Mr. Miyagi said he sensed aconnection between the Japanesebelief that we all become Buddhas after
death and the line from “Antigone,”“If you die, you are all the same.”
Everything on stage, from the waterthat reminded the audience of the
Sanzu River, a mythological river inJapanese Buddhism, to the shadows
created by the lighting, resonatedwith the audience. As a result, tickets
for the New York performance weresold out on the second day. This is thefirst time in history that a Japanesetheater production has drawn an
audience of more than 10,000 in New
York City. Time magazine ranked thisperformance as one of “The 10 BestTheater Performances of 2019.”
What roles do the performing arts
play in international exchanges asvenues for sharing great emotions thattranscend cultural differences? Mr.
Miyagi states, “Theater is the mostnative form of expression, boundby one’s language, one’s body, andby the climate of the land one grew
up in, making it the hardest field tobecome universal. Yet I want to create
something universal there. The reason
is that the way people laugh should be
the same for everyone. Then there must
be the potential for people to empathizewith each other.”International
co-productions
provide an opportunity to explore thepossibilities of international exchange
through the performing arts. In
2021, SPAC led by Mr. Miyagi staged
Chekhov’s “The Cherry Orchard” with aFrench director, Mr. Daniel Jeanneteau,
16

at the Shizuoka Arts Theatre as part of“International Creations in PerformingArts” introduced by JF. This program
was initiated to maintain opportunities
for discussion and contact between
artists, which had been limited dueto the COVID-19 pandemic. At thesame time, it expanded new potential
for performing arts and one of thecharacteristics of the project is thatit introduced an observer system tovisualize the creative process. The
system documented the site of the
co-production from a third-party
perspective, and the final report isavailable on the JF website.
“The Cherry Orchard” is a coproduction with T2G - Théâtre deGennevilliers Centre Dramatique
National, with which SPAC hasestablished deep ties, and was able
to be performed under the various
restrictions imposed by the pandemic.
The fact that JF and SPAC invited Mr.
Jeanneteau and other French staff
members to Japan, despite their twoweek quarantine upon arrival, is anexpression of JF’s and SPAC’s belief
that the circle of cultural exchange
should not be closed. Mr. Jeanneteau

expressed the same sentiments before
the opening performance, saying,“I feel that this international coproduction, made possible with thesupport of the Japan Foundation and
SPAC, is a triumph and gives us hope.
I believe that we must never, under
any circumstances, give up on creationand on exchanges across national andethnic boundaries.”
In each of the performances,“Shunkan,” “Antigone” and “TheCherry Orchard,” a deep relationshipof trust was established among theperformers and the producers, andthis has resulted in performancesthat will be talked about for years tocome. In addition, although they are
all classical productions, they all sharethe same universality of storytellingthat transcends country and time. It
strongly appeals to our modern-day
hearts and minds. The miracle of aonce-in-a-lifetime encounter, in which
the audience and performers sharetime and space, is the quintessence ofperforming arts. JF will continue topromote performing arts performances
as a nexus that connects the amazing
talents of artists who create excitement.
SPAC AUTUMN – SPRING
2021 – 2022 #2 “The Cherry
Orchard” selected for theInternational Creations in
Performing Arts Programand performed at the
Shizuoka Arts Theatre (2021)© Miura Koichi

JF Special Stories

Language［ 0 1 ］

Japanese Language Education Blossomingin the Middle East from Cairo University;
A 50-Year Journey Alongside
the Japan Foundation

The Japanese speech contest
that was held at the Facultyof Arts, Cairo University,
on April 28, 2013. A totalof 14 students participated,
five at beginner level (2ndyear students) and nine atintermediate level (4th year
students).

The development of Japanese language education in the Middle East has centeredaround the Department of Japanese Language and Literature at Cairo University in Egypt,which was established with support from the Japan Foundation.
This article traces the journey of Japanese language education and Japanese studies,
which are bearing fruit in the Middle East.
In 1973, the year that Japan was hit
by the oil crisis, then Deputy Prime
Minister MIKI Takeo visited Egypt
during his tour of the Middle East.
That became the impetus for the
Department of Japanese Language
and Literature to be established thefollowing year at the Faculty of Artsof Cairo University, Egypt’s premiereacademic institution, becoming thefirst of its kind in the Middle East andAfrica. From the outset, the JapanFoundation (JF) began dispatching
Japanese Language Specialists to theuniversity in order to contribute to thedevelopment of Japanese language
education in the Middle East, and attimes there were four such specialists
dispatched in a year.

Later, in response to the growing
demand for Japanese language
education in the Middle East,
Cairo University began dispatching
Japanese language instructors toother institutions in Egypt and othercountries in 1989, and in 1994, it
opened a graduate school from which
many post-graduates have earned
their doctorates. In addition, the JapanFoundation, Cairo was establishedin 1995 as an important pillar of theJapanese language education support
program, further strengthening the
support system for the university.
From the 2000s onward, many books
and translations on Japanese culture
and Japanese language learningmaterials have been published by Cairo

University professors. In 2010, JF
published “The Basic Japanese-Arabic
Dictionary,” which was translated
by four of the university’s lecturers.
This was long awaited by learners ofJapanese, as, until then, there had
been no practical dictionary for use by
Arabic speakers studying Japanese.
Thanks to JF’s continuing support
and the efforts of local teachers, theenvironment for Japanese language
education is steadily improving andthe effects are also spreading to nearby
Saudi Arabia. The dispatch of Japanese
Language Specialists from JF ended
in fiscal 2010, and the university
became independent as a Japanese
languageeducation
institution.
In recognition of the university’s
17Dr. Karam Khalil Salem.
Professor Emeritus of Japanese
Language
andLiterature,
Faculty of Arts, Cairo University.
Doctor of Literature. He chaired
the department for eight years
in total, from 2003-2005 and2009-2015. He has contributed
to the development of Japanese
language education in the Middle
East by helping to establish
Japanese language departments
in educational institutions in
Egypt and other countries.

significant achievements in Japanese
language education in the Arabicspeaking world, JF awarded the JapanFoundation Award 2011 for Japanese
Language to the Department ofJapanese Language and Literature in
the Faculty of Arts at Cairo University.

More Students Pursuing
Japanese Literature Studies
at Cairo University
We spoke with Dr. Karam Khalil
Salem, professor emeritus at Cairo
University and former cultural
counselor at the Embassy of Egypt inJapan, about the ties between JF andthe Department of Japanese Language
and Literature at Cairo University,
which have been working together
for 50 years. “Many students comefrom Saudi Arabia, Syria and Africancountries to study Japanese at Cairo
University. The Japan Foundation andthe university have also dispatched
Japanese Language Specialists toother universities in Arabic-speaking
countries. In addition, the university
has regularly hosted Japanese speech
contests and international symposiums
on Japanese language with the supportof the Japan Foundation.” Dr. Karam
was also dispatched from Cairo
University to King Saud University
in Saudi Arabia from 1993 to 2002,
where he worked hard to improve theenvironment for Japanese language
education.
Dr. Karam describes the evolution
in the motivation of his students
to learn Japanese. “As Egypt has athriving tourism industry, many of theearly students who aspired to study
Japanese at Cairo University werethinking of working as tour guides ortravel agents. On the other hand, there
is also a segment of the population thatis genuinely interested in Japaneseculture, as the drama ‘Oshin,’ whichbecame very popular in the Middle
East in the 1980s, and the anime‘Captain Tsubasa’ that was broadcast
18

in the 1990s increased the momentum
to learn Japanese.”
According to a survey conducted by
JF in 2018, there were 110 students
enrolled in the department. “Someof our graduates have gone on to
become executives in large Japanesecompanies. The Arab Spring and the
COVID-19 pandemic have affected
the tourism industry, so some guides
are beginning to resume their studies
at the university to become certified
Japanese language teachers. The
number of students wishing tostudy literature has also increased,
which was perhaps influenced by the
production of a series of textbooks
on Japanese culture and literature in
Arabic. Authors KAWABATA Yasunari
and OE Kenzaburo are well known, and
MURAKAMI Haruki is very popular,of course,” he said. Also, in Egypt,
women’s social advancements aremaking progress, and there are manyfemale students in the Department ofJapanese Language and Literature.
“Some students study modern andcontemporary
Japanesefemalewriters such as HIGUCHI Ichiyo and
YOSHIMOTO Banana.”
When asked what is needed tocontinue fostering Egyptian people’sinterest in Japan, Dr. Karam replied,“Both sides should increase thenumber of exchange students anddeepen interactions. I also think it
would be good if more high-quality
Japanese TV dramas were aired, as‘Oshin’ aroused interest in Japan and
the Japanese language in the past.
Televisions, which can be found in theliving room of every home, have great
power as a catalyst for the public tobecome more familiar with Japan.”

Column Inserted inJapanese Language Textbook
Becomes Popular
In Saudi Arabia, where Dr. Karamalso taught, Japanese language
education has spread since theestablishment of a Japanese major
course at King Saud University in 1994.
Prof. Dr. Faris Shihab, who teaches
Japanese at the university, recalls,“At the time, King Saud University’s
College of Languages and Translation
sent requests to various countries todevelop foreign language personnel,
and the Japan Foundation dispatcheda Japanese Language Specialist fromJapan in August 1993. I used to study
Japanese at Cairo University and havebeen teaching Japanese at King Saud
University since 1994.”
When asked what interests people in
Saudi Arabia who study Japanese inJapan, Dr. Faris mused, “The image ofJapan is favorable due to the excellent
reputation of Japanese products, thecountry’s economic strength during
its rapid economic growth and the
popularity of Japanese anime. It seems
that interest in the Japanese language
and culture itself has led to students
studying the language. In addition, theIn 2010, a Japanese expert from the Grand Egyptian Museum Conservation Center was
invited to speak to Japanese exchange students and Cairo University students as part ofa cultural experience. The photo shows Dr. Karam introducing the speaker.

Prof. Dr. Faris Shihab. Professor of the Japanese
Language Program at King Saud University. Obtained
a Doctorate from the University of Tsukuba. In 2015,
he was awarded the Order of the Rising Sun, Gold
Rays with Rosette in recognition of his contribution
to promoting mutual understanding between Middle
Eastern countries and Japan.

results of a questionnaire we previously
conducted showed that some students
wanted to be able to introduce Islam,which is often misunderstood, inJapanese. This is a unique motivation
for learning foreign languages in Saudi
Arabia, which is home to the holycity of Mecca, perhaps because it isconsidered the mission of those bornin Saudi Arabia to introduce objective
and accurate information about Islam
to Japan.”“Japanese for the Arabs,” written by
Drs. Faris, Karam and others, is thefirst fully fledged textbook designed forstudents of Japanese in the Arab world.
We asked Dr. Faris what he focused onin the production process. “The firstpoint is cross-cultural understanding.
As students learn, they will naturally
deepen their understanding of thedifferent culture and will be able
to introduce their own culture in
Japanese. The columns at the endof each unit are also very popular. In
order to help students communicate

Dr. Faris teaching at King Saud University.

more smoothly with Japanese people,
we have included things related tothe contents of the conversational
sentences that are learned in each
unit. For example, in a unit discussing‘hanami,’ we wrote about cherry
blossoms and Japanese people, and ina unit on food, we introduced Japanesecuisine. I also heard that a family
member of one of the students said
that they too wanted to study Japanese
after reading the column.”
Dr. Faris said that “securing staff
and teaching materials” is necessary
in order to increase the number ofJapanese language learners in Saudi
Arabia in the future. “I have beenable to continue teaching Japanese
because of my connection with theJapan Foundation. I believe that
the King Saud University Japanesemajor course would not have survived
without such support as the dispatchof Japanese language teachers andsubsidies for teaching materials. I
would once again like to express mygratitude to the Japan Foundation.
In the future, I would like to look formore opportunities for students who
have studied Japanese at university
to visit Japan. It is also importantto secure employment that utilizes
Japaneselanguageskillsafter
graduation. The Embassy of Japan
has been very helpful in establishingcontacts between Japanese companies
and students, by holding events tointroduce Japanese culture and speech
contests, and I am very grateful forsuch cooperation.”
The seeds of Japanese language
education have blossomed in the
Middle East thanks to the efforts andenthusiasm of the local teachers. JF willcontinue to support the development ofJapanese language education aroundthe world and hopes that the numberof learners who become familiar withJapan and Japanese culture throughJapanese language education will
increase further.

“Japanese for the Arabs” has many example
sentences that can actually be used when
visiting Japan. There are also columns
on Japanese culture and the Japanese
language, making it enjoyable to read.
19

JF Special Stories

Language［ 0 2 ］

A Second Homefor Overseas Japanese Language Teachers,
Training Programs Offeredby the Japanese-Language Institute, Urawa

Japanese language teachers who are working overseas
play an important role in the promotion of Japanese language
education. At the Japan Foundation’s Japanese-Language
Institute, Urawa, our training programs support teachers whowant to continue to advance their careers.
Skillful Japanese language teachers
are essential in order to increase
opportunities for people to learn
Japanese around the world. According
to a 2018 survey conducted by theJapan Foundation (JF), there areapproximately
77,000Japaneselanguage teachers worldwide. This

The Japanese-Language Institute, Urawa also
has a library specialized in Japanese language
education with a comprehensive collection ofJapanese language education materials andrelated resources from around the world.
20

is 18.9 times the number that existed
in 1979, according to the survey.
However, there is a constant need to
improve teaching ability, and JF offersa variety of training and support foroverseas Japanese language teachersat the Japanese-Language Institute,
Urawa (the Institute) in Saitama City,
and at JF’s overseas offices.
Since the Institute opened in 1989,
more than 10,000 teachers have gone
through the training program, taking
advantage of its exclusive facilities
and experts in Japanese language
education who work there. Program
graduates are now working aroundthe globe. In addition to long-termand short-term on-site training
programs, the Institute also offers
country-specific training programs incooperation with partner governments
and ministries of education, programs
co-sponsored by other organizations

and online training programs.
Our training programs currently
include the “Basic Training Program”
for teachers who are at an earlystage in their careers in order tocomprehensively
improve
theirJapanese language skills, acquire
the basic teaching methodology anddeepen their knowledge of Japan.
Additionally, the “Japanese-Language
Program” to further improve teachers’
Japanese language skills as well as the“Comprehensive Japanese Teaching
Methods Program” for those withmore than two years of teachingexperience to improve their teaching
methodology and to cultivate theirability to understand other cultures
are also available. Participants in our
on-site training programs stay at theInstitute for intensive training. During
this training, not only are there excitingclassroom lessons with Japanese
language teachers from around theworld, there are also field trips, school
visits and Japanese cultural activities
such as “ikebana” (Japanese flower
arrangement), Japanese calligraphy
and Japanese tea ceremony. In
response to COVID-19, from fiscal
2020 we have been offering online
programs as well.

What I Learnt
from the Institute Isa Learner’s Perspective
Let’s hear from some of theteachers who went through ourtraining programs. First, we have
Ms. Cholpon Kanbalayeva, working
at the Kazakhstan-Japan Center for
Human Development (KJC) which wasestablished in 2002 to support humanresource development in Kazakhstan
and to promote mutual understanding
between the two nations. At KJC, sheis the manager of the JF Japanese
language course which was launchedin the spring of 2012.
After beginning her Japanese
language studies at Al-Farabi Kazakh
National University, Ms. Cholpon

Ms. Cholpon’s training session at the2016 conference for graduates of the JF
Course Instructor program. A shot of her
giving a group presentation on designinga support course for specific purposes.

started working at the KJC, initiallyon a part-time basis. While assisting in
the making of teaching materials, shebegan studying to become a Japanese
language teacher and joined theInstitute in May 2011 to participate in
our Comprehensive Japanese Teaching
Methods Program. This was just twomonths after the Great East Japan
Earthquake. “Of course, I hesitated,”says Ms. Cholpon. “My family was also
against it, but I decided to take theopportunity and when I arrived, I wasvery moved by the news that those who
were affected by the earthquake wereprioritizing saving other people’s lives
over worrying about their own families.
In order to understand how they could
act in such a way I watched a lot ofnews on TV. Looking back now, I knowthat I went to Japan at the right time.”
During this time, JF formed the“JF Standard for Japanese-Language
Education” based on the “Common
European Framework of Reference
for Languages,” which is being widely
introduced as a set of guidelines forforeign language education around theworld. As a framework to think about
the methods of teaching and learning
Japanese and evaluating student
learning achievement, it is used fordesigning courses, creating lessons
and making evaluations. According
to Ms. Cholpon, “The training at theInstitute also followed this standard,and every day we were instructed toevaluate our own mock classes outof three grades and write comments.
Back then, because I was on thelearning side, I always wondered why
I had to do this process every day, but
after returning to my country and now
a teacher myself, I have finally cometo understand its significance. Thanks
to my experience as a learner, I can
now put the tools learned through thetraining into use.”
Since then, Ms. Cholpon has taken
part in a number of our on-site
programs. Participants share theirexperiences and after returning

to their home countries, they put
what they have learned into practiceas teachers. “I learned a lot about
making curriculums and designingcourses and this became useful for myposition as a manager of the Japanese
language course,” says Ms. Cholpon.
“Eventually, I would like to createa network of participants who havecompleted the program so we canshare our experiences with students
who have just joined.”

Opening Up a Career Path andTaking the On-Site Program
While Gaining Experience
Next, we spoke with Ms. Katharina
Dudzus, a full-time teacher at theJapan Cultural Institute in Cologne.
She took the “Graduate Programin Japanese Language and Culture(Master’s Course)” at the Institute in2007. This program started in 2001 as
a collaboration between the Institute,
the National Graduate Institute for
Policy Studies, and the National
Institute for Japanese Language andLinguistics, with the aim of developing
educators who can take on the role of aleader in the field of Japanese language
education in their home countries.
During her long career, Ms. Dudzus
has participated in many training
programs.
However, there were twists andturns before Ms. Dudzus became afull-time Japanese teacher. As a child,Ms. Dudzus developed an interest inJapan through a close Japanese friend.
Majoring in Japanese at university,
she began studying the language inearnest and went to study in Japan fora year after entering graduate school.
After graduation, she worked as a
CIR for three years at a town hall in
Ishikawa Prefecture. There she had theopportunity to teach German to local
students, which sparked her interestin teaching languages, and she beganconsidering a career as a teacher. “Ifound Japanese to be interesting as alanguage. However, in Germany, there
were already many native Japaneseteachers at the time, so I was worried
about whether I would be able to find a
job as a Japanese teacher in the future,”says Ms. Dudzus. “After returningto Germany, I began studying tobecome a Japanese language teacher

at Landesspracheninstitut NordrheinWestfalen
while
also
teaching
Japanese privately. Luckily, in 2005,
I managed to become a part-timeteacher at the Japan Cultural Institutein Cologne, where I had been working
part-time in the library.”
It was during this time that Ms.
Dudzus learned of the Graduate
Program in Japanese Language andCulture, and she joined in 2007. “I had
the luxury of learning in an intensiveclass of a small size. I was envious
when I heard from the Asian teachers
who took the program with me that intheir home countries there was a highdemand for Japanese language study
for the purpose of job seeking, andthat there were many opportunities for
employment as a Japanese language
teacher.”Upon her return to Germany, Ms.
Dudzus worked a total of four parttime jobs while improving her career.
Finally, in 2011, she became a full-timeteacher at the institute. She talked
about her ambitions, saying, “I want
to focus on training Japanese language
teachers in Cologne from now on. I
would also like to resume teaching
Japanese cultural experience courses
and visit schools to teach Japanese
after the COVID-19 pandemic settles
down.”The tireless passion every Japanese
languageteacherhas
towards
learning is the driving force behindthe dissemination of the Japanese
language throughout the world. Manyof the Japanese language teachers
who participate in the training at theInstitute, who come from all over theworld, already possess a wealth ofknowledge. For this reason, we provide
a place where participants can learn not
only from the Institute’s experts, butalso from each other. As a second home
for Japanese language teachers working
abroad, we at the Institute warmly
welcome educators visiting Japan.

In 2017, Ms. Dudzus was in charge of theJapanese language trial course at the Japan
Cultural Institute in Cologne during an evening
event called, “Lange Nacht der Museen” (LongNight of the Museums).
21

JF Special Stories

Language［ 0 3 ］“NIHONGO Partners,”
Bringing Living Language and Culture
to Middle and High-School Students
Studying Japanese in Asia

The “NIHONGO Partners” program dispatches
Japanese citizens to Asian countries
where the Japanese language is taught, to support classes
in local schools. This new form of international exchangebegan in 2014 and has continued,
enduring through the COVID-19 pandemic.
Do you know about “NIHONGO
Partners,” who are dispatched to
middle and high schools in Southeast
Asia and other Asian countries asassistants for Japanese language
lessons and to introduce the cultureof Japan? Over eight years between
2014 and 2021, the Japan Foundation(JF) dispatched approximately 2,500
NIHONGO Partners to 12 countries
and regions: Brunei, Cambodia, China,
Indonesia, Laos, Malaysia, Myanmar,
the Philippines, Singapore, Taiwan,
Thailand and Vietnam, with manyscheduled to arrive in 2022.
Although the requirements for
NIHONGO Partners vary dependingon the location, an applicant mustbe (1) between 20 and 69 years of
22

With their diverse backgrounds, NIHONGO
Partners are the perfect candidates toconvey the real-life image of the Japanesepeople. For those living in the communities
to which they are dispatched, it can be theirfirst encounter with a Japanese person.

age and a Japanese national, (2)competent in daily conversation in
English and (3) available to participate
in the whole training schedule prior
to their departure (approximately 4
weeks). Applications are acceptedfrom anyone and neither knowledge ofnor experience in Japanese language
education is required. Once they
pass the application screening andinterviews, applicants will go throughtheir pre-dispatch training before
departing to their destinations for up

to one year.
Why dispatch NIHONGO Partners
when they are not specialists inJapanese language education? The
answer is that in the Asian region,
second-language education is welldeveloped and Japanese has always
been a popular second language.
Additionally, after the 2000s, more
people from the younger generations
became interested in the Japanese
language through pop culture andJapanese companies began to expand

have learned many things about the
local lifestyle I never knew such as theFilipino nature of cherishing family
and friends.” Keeping in mind that
the NIHONGO Partners’ job at school
is to take on a supportive role, shemade an effort to make it easier for theteachers to conduct classes by taking
charge in the Japanese pronunciation
lessons, writing on blackboards andintroducing the culture.

What Are the Benefitsof Mutual Cross-Cultural
Understanding?

Ms. Tamaoki was dispatched to the Tondo
district, an impoverished area in Manila. She
taught 12 Japanese language classes four daysa week, making sure that the students enjoyedlearning the Japanese language and culture. To
this day, she still exchanges messages throughsocial media with the people she met there.

into the region.
For
these
reasons,
Japaneselanguage education became populareven at a middle school level. However,even today, increases in the numberof teachers and opportunities to meetin person with Japanese citizens havefailed to keep pace with the rapid
increase in the language’s popularity.
In addition to the more recent
dispatch of NIHONGO Partners, JF
has been dispatching specialists to
support Japanese language education
institutions around the world since
its establishment in 1972. We believethat having Japanese citizens serveas partners of Japanese language
education across a wider range ofeducational settings and on a closer
level will provide more complete
support for students and teachers ineach country.

What Does It Mean
for Japanese Citizens
to Set Foot in Local Areas?
“To further understand Japanese
language and Japanese culture, the
NIHONGO Partners program is ahighly strategic and excellent method,”says Prof. Dr. Ir. Achmad Jazidie,
the Director General of Secondary
Education at the Ministry of Education
and Culture of the Republic ofIndonesia when this program wasinitiated in 2014 and who signed theagreement for the implementation of
the program as the person in charge.
“It is crucial to pass on language andculture from person to person, andface to face. When Japanese citizens as
NIHONGO Partners were dispatched
to Indonesian high schools, I highly
expected them to go beyond teaching
the language and tell us about what itmeans to be Japanese.”With his background of studying
abroad in Japan during the 1980s
and 1990s, Prof. Jazidie felt a strong
need for Japanese language education
for the younger generations of his
country as the future workers. Also,
as Indonesia is a large country withmany islands, there was the problemof educational disparities by region.
From that perspective, NIHONGO
Partners were valuable as they weredispatched even to rural areas.
The mission of NIHONGO Partners
includes learning the local language,
understanding the local culture andspreading that experience extensively.
“We have many Muslims in ourcountry and they are often perceived
as scary or frightening. I believe that
the NIHONGO Partners program is agreat system for Japanese people to get
rid of such prejudices and understandthe real Indonesia,” says Prof. Jazidie.
Just as Prof. Jazidie says, a majorityof our NIHONGO Partners haveaccumulated intercultural exchange
experiences, which cannot be attained
through ordinary travel, at theirdispatch destinations. Ms. TAMAOKI
Chika is one such partner. She wassent to Manila, the capital of thePhilippines, for eight months from
July 2019. Previously, Ms. Tamaoki
worked in real estate. Although she had
traveled to the Philippines before, shesays, “Working at a local high schooland living within the community, I

Ms. Tamaoki says, “I believe I myself
evolved at my dispatch destination.
There were times when things did
not go according to plan or I was put
in charge of something out of the blue
and thanks to that, I became more
flexible and less concerned about
trifling matters.” She is now working
for a support company related to theSpecified Skilled Worker programand is in charge of teaching Filipinos
who come to Japan as foreign skilledinterns. “Thanks to my experience asa NIHONGO Partner through which
I was able to further understandFilipinos and their culture, I cancommunicate smoothly and know how
to convey the Japanese language andculture. From now on, I would like to
use my teaching skills to pay back the
support and kindness I received fromthe Filipino community.”
To meet the growing needs andexpectations from Japanese language
education institutions and learners
in Asian countries, the NIHONGO
Partners program continues toexpand. In an era when we can connect
with the world online easily, the valueof real human connections, like thoseoffered by NIHONGO Partners, isperhaps even greater.

Prof. Achmad Jazidie currently holds the
position of Rector of Nahdlatul Ulama
University Surabaya. He comments, “I wish
for the program to continue and dispatch
even more NIHONGO Partners.”
23

JF Special Stories

Dialogue［ 0 1 ］

How Has America Viewed The Tale of Genji?
The Charm of Japan Elucidated
by an American Scholar
The banner for the 2019 exhibition“The Tale of Genji: A Japanese Classic
Illuminated” displayed in the main
entrance hall of the Metropolitan
Museum of Art.

The Japan Foundation has long supported researchersin Japanese studies around the world through a wide range ofprograms that bolster relations between Japan and other countries.
As a result, a deeper understanding of Japan has been promoted
in many different ways.
The Japan Foundation (JF) has
three main focus areas: Culture,
Language, and Dialogue. “Dialogue”
consists of two fields: “Japanesestudies” and “global partnershipprograms.” Since its establishment,
JF has provided grants to Japanesestudies researchers in other countries,
in addition to organizing symposiums
and collaborative projects that allow
intellectuals from various countries
to engage in dialogue with scholars
in Japan. Promoting the creation ofhuman networks to develop solutions
to global issues is another importantarea of JF’s work.
JF has offered the “Japanese Studies
Fellowships” program since theorganization’s establishment in order
to increase the number of researchersin Japanese studies overseas whostrengthen mutual understanding
between Japan and the rest of the24

world. This program provides support
for preeminent foreign scholars in thefield of Japanese studies to conduct
research in Japan. It is available
to scholars and researchers in thehumanities and social sciences, as wellas graduate students who are writing
their doctoral dissertations. To date,nearly 7,000 researchers have traveled
to Japan as fellows.

Realizing the Importance ofExtra-disciplinary Research
While Studying in Japan
Harvard
University
Professor
Melissa McCormick is a two-timeformer JF fellow (1995 and 2013)
who curated the opening exhibition
for “Japan 2019”, a Japanese cultural
festival held in the United States in
2019. The exhibition was titled “TheTale of Genji: A Japanese Classic
Illuminated,” and was co-organized

Prof. Melissa McCormick.
Andrew W. Mellon Professorof Japanese Art and Culture,
Harvard University. A leading
expert on The Tale of Genji andpremodern Japanese art andliterature. Her work, including
numerous articles on medieval
emaki (picture scrolls) inboth English and Japanese,
has expanded the scope andmethods of examining andinterpreting literary artifacts.
She has been a JF fellow twice,in 1995 and 2013.
Photo by Martha Stewart

by JF and the Metropolitan Museumof Art, New York (The Met). Curated
by Prof. McCormick and Dr. John T.
Carpenter, Mary Griggs Burke Curatorof Japanese Art at The Met, it displayed
138 objects, including two National
Treasures and nine Important
Cultural Properties as well as manyother picture scrolls, hanging scrolls,
folding screens, calligraphy, and evenmanga. It was the most comprehensive
overseas exhibition ever held on thetheme of The Tale of Genji, and washighly acclaimed by The New YorkTimes and The Washington Post. With
over 210,000 visitors, the exhibition
nurtured new interest in Japan.
Prof. McCormick first became
interested in The Tale of Genji as
an undergraduate studying at the
University of Michigan. After reading
the English translation and learning
about “The Tale of Genji Scroll,” sheNational Treasures were also
exhibited at The Tale of Genjiexhibition at The Met, cocurated by Prof. McCormick.
Visitors looking at one such
National Treasure: “The Taleof Genji, Sekiya Miotsukushi
Screen” by Tawaraya Sotatsu(Seikado Bunko Art Museum
collection).

became fascinated by the intricate
ways in which text (words) and pictures(images) were interrelated in Japanese
art and calligraphy. In graduate school,
she studied ancient Japanese andgained knowledge of Japanese cursive
script (kuzushiji) and the variant kanasyllabary (hentaigana). “It’s importantto read the translation and get themeaning, but it’s still best to look at theoldest manuscripts, to consider what
the author might have been trying tocommunicate and what her readers
would have understood,” explained
Prof. McCormick.
In 1995, she visited Japan as a JF
Fellow. At the time, she was writing
her doctoral dissertation, and her
mentor was Professor CHINO Kaoriof Gakushuin University. Prof. Chino
advised her, “If you want to understandJapanese art and culture, you need totake a variety of courses including ones
on architecture.” She then enrolled in acourse with Professor Emeritus NISHI
Kazuo of Kanagawa University, who
specialized in architectural history.
Prof. McCormick recalls those days:“I have fond memories of Prof. Nishi
and his graduate students. Once inthe deepest cold of winter, we visited
a temple in Kyoto and measured theThis was the first time that manga art
was exhibited at The Met, but in theroom where the original drawings of“Asaki Yumemishi” were displayed,
many visitors spent a long timescrutinizing the details. A talk event
was also held with Prof. McCormick and
Yamato Waki (left).

size of the paper used for the painted
sliding doors (fusuma) and were
given a special tour of Nijo Castle asa reward. I realized the importance ofstudying how Japanese painting was
integrated with its environment andof engaging in fields outside of my own
research area.”

Using the Fellow Experiences
to Lead the Exhibition
to Success
In 2013, she returned to Japan as a JF
Fellow, but this time also as a professor
at Harvard University. Since then, asa researcher of art history, focusing
on the interrelationships between art
and literature, she has taken a broader
and deeper interdisciplinary approachto researching painting forms, social
history, and the intention behindthe creation of works of art. Prof.
McCormick’s broad perspective was fully
demonstrated in the 2019 exhibition“The Tale of Genji: A Japanese Classic
Illuminated” at The Met.
Prof. McCormick says: “I was happy
to work with my colleagues in the
U.S. and in Japan to help display
138 objects in the show, and to bring
National Treasures and designated
Important Cultural Properties to New
York. One aim was to help museum
attendees unfamiliar with The Taleof Genji understand that it is not asuperficial romance. Of course, the tale
hinges on elements associated withthe romance genre, but its depictionof court life and political maneuvering,as well as its Buddhist worldview have
had a profound impact on Japaneseculture and society.”
The world of The Tale of Genji has
been expressed not only in moderntranslations, but also in various media
in Japan, such as Noh, Takarazuka
performances, and animation, withvarious interpretations having emergedin each media format. Among them,
YAMATO Waki’s manga “Asaki
Yumemishi” has been especially
popular and is a remarkable work ofart. In the exhibition, an entire room
was dedicated to Yamato’s work and to
introducing her original paintings forher manga. At a talk event with Prof.
McCormick held during the exhibition,
Yamato was asked why she turned
The Tale of Genji into a manga. “Withmanga, one can understand the totalityof an entire page of pictures at a glance.
The Tale of Genji is an extremely longnovel written more than a thousand
years ago with a vast number ofcharacters. Because it is written inclassical language, it takes perseverance
for people today to read. But withmanga, I thought I could convey theappeal of the text to many people.”
Prof.
McCormick’s
deep
understanding of and passion forJapan, which was strengthened
through her experience as a JF fellow,
made the exhibition captivating bothfor those who knew nothing about The
Tale of Genji, and for those who knew it
well. The significance of the fellowship
program is to promote Japanesestudies in other countries, and toincrease the number of Japan experts.
Furthermore, knowing the interests ofthese experts will help Japanese people
learn about the individuality of theirown country, which they may not havenoticed before. It is our hope that thesevaried approaches to Japanese studies
by scholars with diverse perspectives
will further promote the appeal ofJapan to the world.

At Harvard University, Prof.
McCormick teaches “Humanities10,” a year-long course for firstyear students. The class focuses
on globally influential works ofliterature, as well as philosophy,
religion and traditional culture.
The works studied in the course
range widely from Homer to The
Tale of Genji to Virginia Woolfand W.E.B. Du Bois.
©Waki Yamato/Kodansha Ltd.

25

JF Special Stories

Dialogue［ 0 2 ］“Heart to Heart”—Connecting the Heartsof the Younger Generation to
Expand the Japan-China Friendship Network

Young people from Japan and China, coming to understandeach other and developing friendships by spending time together.
The Japan Foundation has been promoting dialogue amongst
young people—the future leaders of Japan-China relations—through a variety of exchange programs, including long-term
invitation programs and collaborative events.
In 2006, the Japan Foundation(JF) launched the “Japan-China
21st Century Friendship Program”
with the aim of promoting deeper
exchange among the next generationof Japanese and Chinese youth, andestablished the Japan Foundation
China Center to be the department incharge (reorganized into the Global
Partnerships Department in April
2022). The previous year, 2005,
was a year of rapidly cooling JapanChina relations in which large-scaleanti-Japanese demonstrations wereseen throughout China. At the sametime, however, many young Chinese
people were fascinated by Japanese
pop culture, including manga, anime,
TV dramas and fashion. There was adiscrepancy between the harsh JapanChina relations seen in everyday news
coverage and the passionate interest
directed by Chinese youth toward26

content coming out of Japan. There
were also few opportunities for young
people in Japan to learn directly about
the reality of Chinese society achieving
dramatic economic growth. These
circumstances called attention to theneed for Japanese and Chinese youth
to be able to engage in direct dialogue
and learn from each other, as thefirst step toward developing futureoriented Japan-China relations.

Hoping for a New Worldand Seizing the Opportunity
to Study in Japan
The “Japan-China 21st Century
Friendship Program” engages invarious efforts under the theme,“Xin lian xin,” which means “Heartto Heart.” Their main program, the“Long-Term
Exchange
Programfor Chinese High School Students,”
is an invitation program aimed at

Chinese high school students studying
Japanese, giving them the chance tostay in Japan for one year and attend
a Japanese high school, while livingwith a host family or in a dormitory.
One of the students who participatedin this program was Ms. Liu Siyu, whocame to Japan as part of the program’s
fourth cohort in 2009.
Ms. Liu began learning Japanese in2005, when she was in her first yearof junior high school. This was a time
when many Japanese companies wereexpanding into China—even the TVs
in her parents’ home were made inJapan—leading to strong interest in the
country. Ms. Liu says that she applied
to the program as a high school student
because she “had a yearning for a newworld.” She says, “My generation waseven hungrier for knowledge of theoutside world than people are now,
but only a few of us were able to study
abroad. It was a privilege reserved for a
few really affluent families. That’s why
I didn’t hesitate at all to apply to thisprogram—this opportunity that would
let me study abroad on public funds if I
were chosen.”
Ms. Liu passed the exam with flying
colors and came to Japan with 35 of her

The first group of Chinese high school students came to Japan in 2006. By
2019, a total of 442 high school students had visited Japan across 14 groups.

peers. The students from the program
are dispersed throughout Japan, from
Hokkaido Prefecture to Okinawa
Prefecture; she was sent to Takaoka
City in Toyama Prefecture. “I reallywanted to go to Tokyo, and not knowing
where Toyama was, I was anxious andconfused at first. But in hindsight, I
feel very grateful that I was able tocome here. It’s unusual to be able to say
you’ve lived in Toyama, so it serves as aconversation starter even now.”

The World beyond
the “Obstacle” ofthe Toyama Dialect
Ms. Liu was the only foreigner
at the high school she attended in
Toyama Prefecture. “Since none of
my classmates could speak Chinese or
English, it took me a long time to get toknow them, and there were times whenI struggled. I was able to overcome thatobstacle, though, when I made an effort
to speak to people in Japanese, andeven more so when I was able to speak
the Toyama dialect fluently. I would
listen carefully to the dialect as it was
being used, memorize phrases, andthen try using them the next day. I’dget such a positive response, and it wasmore practical and interesting thanwhen I was just studying Japanese in
China. That was when I really started

having fun—making friends, joining
the tea ceremony club, and getting toknow junior and senior students.”
For Japanese high school students,
the sight of foreign students fromother countries is an inspiration, andfor Chinese high school students,
who have been devoted to academia
since childhood, Japanese highschool students who instead devote
themselves to extracurricular activities
and school events, and also spend time
just hanging out, are a breath of fresh
air. The simple interest and empathy
felt for their peers stood before themgoes beyond any image that they may
have seen in the media and online. Ms.
Liu says, “I was a high school student
at the time, and because I had not
yet fully developed my worldview, I
was able to accept the new culture,including the Toyama dialect, with
open arms. If I had grown up without
that, I might have judged othercountries based solely on my own
worldview. I think that every culture
has parts that are acceptable and parts
that are unacceptable, so I think it’dbe good for both sides if we could justcoexist without prejudice.”
After spending a year in Japan, thehigh school students return to China
and choose their own paths for the
future. Some of them enter a JapaneseIn the 10 years since, Ms. Liu(left, with her host brotherand sister) has kept in close
touch with her host family,
contacting them frequently.
“I go back to Toyama every
year during the Bon Festival
in August. My host brothermoved to Tokyo for college, so
I also sometimes take him out
to dinner. I’ve lived in Tokyo
longer than him,” she said.

Centers for “Face-to-Face Exchanges,”
located in 18 cities across China,
provide Chinese youth with the latest
information about Japan and promoteexchange between Japanese andChinese youth. This photo shows anevent held at the Chengdu Center for“Face-to-Face Exchanges” in 2020.

university, while others study at a
Chinese university, or study abroadin other countries in Asia, Europe
or the U.S. Ms. Liu went on to attend
the Shanghai University of Financeand Economics, where she studiedbusiness and Japanese, while also
joining “F-Katsu,” a team that aims
to revitalize the Centers for “Faceto-Face Exchanges” established by
JF at universities and other venues
around China to offer opportunities forinteraction. In this program, university
students from Japan and China
collaborate to plan and run cultural
festivals. Ms. Liu participated throughcosplay and by setting up a makeup
booth for the festival. After graduation,
she came to Japan again, this time towork for a major Japanese advertising
agency in Tokyo. She works with both
Japanese and foreign companies andhas been involved in global strategies,
drawing on her experience as a student.
The “Long-Term Exchange Programfor Chinese High School Students”
has been on hiatus since 2019 due tothe COVID-19 pandemic. JF, however,has held an online exchange program
called the “Japan-China High SchoolStudent Dialogue and Collaboration
Program” since 2020. Through thisendeavor, young people from Japanand China are able to communicate
with each other and get to know andunderstand each other. We hopethat these small efforts will serve asa foundation for expanding the circle
of friendship between Japan and
China, building a relationship of trust
between the two countries.
27

JF Special Stories

Dialogue［ 0 3 ］“Learning from One Anotherand Growing Stronger Together”
Bonds with Asia Nurtured through Sports

The photo is from whencoachesofGiravanz
Kitakyushu were dispatched
to Cambodia for a shortperiod of time. Photo courtesyof Giravanz Kitakyushu

The Japan Foundation has been engaged
in sports exchange projects since its establishment.
Here, we would like to introduce several unique projects
that JF has implemented involving judo and footballin Asia in recent years.
Through sports, one can easilyinteract with people from all over
the world without relying on words.
Since its inception, JF has been
dispatching experts in sports such as
judo, wrestling, gymnastics, volleyball,
karate, etc., to Southeast Asia, Africa,
the Middle East, and other areas.
From 1977 to 2001, JF organized shortoverseas tours for large sports teams
made up of around 20 members,
primarily to compete in friendly
matches. In 1981, JF launched a
special project to promote interchangewith the countries of the Middle East
through sports. This project involved
the long-term dispatch of instructors,
as well as the dispatch of delegationsfor kendo, aikido, football, etc., over a
period of five years.
We would now like to introduce two
unique judo and football projects,
which follow from these past
28

achievements, that JF has implemented
recently in Asia.

Judo:
Linking Japan and ASEAN
through the Principle ofMutual Welfare and Benefit
First, the judo-based “JAPANASEAN JITA-KYOEI PROJECT” wasjointly implemented by the JF Asia
Center and the Kodokan Judo Institutefor six years from 2016. It was basedon the principle of “JITA-KYOEI”(mutual welfare and benefit) advocatedby the founder of judo, KANO Jigoro
Shihan—“Achieving a state of mutual
trust and assistance benefits boththe individual and society at large.”“Mutual welfare and benefit” is aphilosophy that is closely linked with
the Asia Center’s mission of “nurturing
a spirit of empathy and coexistence
among Asian people.” The aim ofAs part of the JAPAN-ASEAN JITA-KYOEIPROJECT, young coaches from throughout
ASEAN who will lead judo programs in theirrespective countries were invited to the Kodokan
Judo Institute to participate in internationalseminars where they were taught correct
theories and techniques. The participants wereawarded certificates of completion at the closing
ceremony. Photo courtesy of the Kodokan Judo Institutethis project was to promote cultural
exchange and mutual understanding
between Japan and Southeast Asia
through judo.
Mr. OTSUJI Hirofumi, managerof the International Department of
the Kodokan Judo Institute in chargeof this project, recalls: “We reallyfocused on developing instructors ineach country who will go on to teachand spread judo throughout Asia,
especially in ASEAN countries. The
idea of the project was to develop
instructors who will lead judo in eachcountry and to use this scheme as astarting point to educate and enlighten
judoka, coaches and referees.”
In addition to dispatching judo
instructors from Japan to various
countries, young coaches from eachcountry were also invited to participate
in training camps held at the Kodokan
Judo Institute. In between judo
instruction, the participants had
the chance to experience facets ofJapanese culture such as calligraphy.
Furthermore, this project included
exchanges with presidents of several
national judo federations and thecreation of educational videos for
instructors. This was not a one-way
project; the teachers also learned fromthe experience, Mr. Otsuji recalls.
“We are constantly learning as we
pass on our knowledge and skills withenthusiasm. I couldn’t be happierthat the Kodokan Judo Institute is
working with the Japan Foundation
to contribute to the advancement of
judo in Asia and elsewhere as a bridge
between Japan and the rest of theworld.”

Football:Seeds of Goodwill Sown
by “ASIAN ELEVEN”
The other project is “ASIANELEVEN,” a football exchange with
Southeast Asia that has been jointly
implemented by the JF Asia Center,
the Japan Football Association (JFA)and the Japan Professional Football
League (J.League) since 2014. This
project is part of “Sport for Tomorrow,”
an international contribution andexchange project promoted by Japanthrough public-private partnerships
in its role as the host country of theJudo instructors weredispatched to Bhutan
as part of the project.
This led to the Bhutan
Judo Association joining
the International Judo
Federation in 2016.

Photo courtesy of the Kodokan
Judo Institute

In 2019, the ASIAN ELEVEN
Project held a friendly match“JapaFunCup” at J-Village
Stadium in Fukushima. A
team transcending national
borders made up of U-18
players from each country
that took part in this project
claimed a splendid victory
over a Tohoku U-18 team.
Photo: ©JFA

Tokyo 2020 Olympic and Paralympic
Games. The aim of ASIAN ELEVEN is
to share the knowledge and experiencecultivated by Japanese footballwhile also building good rivalries
and friendship with Southeast Asian
countries through football. It has also
focused on dispatching coaches anddeveloping players with the aim ofelevating the level of “Asian football.”
FIFA/AFC Instructor and JFA
Deputy Technical Director ONO
Takeshi explains, “Over the past 30
years or so, Japanese football has
grown rapidly and Japan is now able
to compete on an equal footing withmany of the world’s powerhouses. The
Southeast Asian countries who havewitnessed the rise of football in Japan
have high expectations for this project,thinking, ‘we’re next!’ Coaching inthese countries goes beyond merely
elevating the level of football; it is also
necessary to consider how to develop
players and build a training system, inenvironments with different culturesand customs. The coaches also havelots to gain, as the opportunity tocoach in such an environment is notavailable in Japan. Bringing home theexperience from coaching overseas
will also improve the level of Japanese
football.”
Of course, there are language
and cultural barriers. Mr. OHARA
Kazunori, Technical Director of theFootball Federation of Cambodia, who

is responsible for the developmentof the local youth teams and theircoaches, explains, “Even before talking
about football, creating an atmosphereof open communication within theorganization can be difficult. Thatsaid, we should not simply impose
the Japanese way of doing things. It is
important to understand others and tofeel that you are also growing throughthis learning process and are happy
with it. I believe that this will lead tointernational exchange in the truest
sense.”
Meanwhile, top football players
and young executives of footballfederations from various countries arealso invited to Japan, which is useful
not only for improving skills but also for
person-to-person exchanges. Mr. Onoof JFA explains, “During their stay,
we provide them with opportunities
to learn about Japanese culture. As
the participants are carefully selected
top young players and executive
candidates, they will play central
roles in promoting the developmentof football in their country after they
return home. And if they are able to
make connections, this will facilitatesmoother communication because
there will be many opportunities tomeet again face to face at international
matches in the future. So, the ‘bonds’
that have been forged by learning
together will live on in various ways.”
What these two projects have incommon is that neither is focusedsolely on improving skills in sports.
As they both target young people,
they highlight the importance ofopportunities to encounter Japaneseculture and have educational value interms of “courtesy” and “interaction
with the local community.” What isborn through international exchange
is not victory or defeat. Together we allgain new friendships and new bonds,
because the appeal of sports is the
chance to learn from each other andgrow together. JF will continue to help
build bridges to the rest of the world
through sports.
29

JF Special Stories

Dialogue［ 0 4 ］

Two Programs that Link Japan and the U.S.,
Aiming to Develop
the Next Generation of Leaders

The Japan Foundation has long focused on projects todeepen communication between experts from various countries.
In terms of Japan-U.S. relations, programs have been created to develop
future generations of leaders and build networks in both countries.
Since its earliest days, the JapanFoundation (JF) has been continuously
promoting dialogue between experts
from around the world. Here, wewould like to focus on two programs
JF has been promoting with the U.S. tofacilitate intellectual exchange.

The Birth of the Abe
Fellowship Program
From the late 1980s through the
1990s, a deterioration in sentimenttoward Japan caused by trade friction
cast a dark shadow over U.S.-Japan
relations. In 1990, the late former
30

Foreign Minister ABE Shintaro visited
the United States as a government
envoy to commemorate the 30th
anniversary of the Japan-U.S. Security
Treaty. It was during these travels
that he proposed the creation of theJapan-U.S. Partnership Fund withthe hope of overcoming the growing
tensions through the promotion ofmutual understanding. Abe’s vision
was strongly supported by the leaders
in both the U.S. and Japan, and thefollowing year, the Japan Foundation
Center for Global Partnership (CGP)
was established, financed by theJapan-U.S. Partnership Fund.

Group photo of the participantsof the fifth cohort (2018-2023– prolonged due to the global
COVID-19 situation) of “TheU.S.-Japan Network for the
Future” program during theirvisit to Washington, D.C.

CGP’s philosophy was that the peopleof the United States and Japan andother countries around the globe needto pool their wisdom and cooperate tosolve global concerns and issues facing
the international community. Witha mission statement acknowledging
that “the United States and Japan arepartners sharing major responsibilities
in world issues” and with the aimof “deepening and broadening
the interchanges between our two
countries from a global perspective,”
CGP supported various U.S.-Japan
joint
research,
dialogues
andcollaboration projects and focused on

Dr. Pharr received the 2016 Japan Foundation
Award for her longstanding efforts andsignificant contributions to the promotionof international mutual understanding,particularly between the U.S. and Japan, as
well as advising numerous JF’s programs.

fostering a new generation who could
play a role in the U.S.-Japan global
partnership. Its core program was
the “Abe Fellowship Program.” This
program supported interdisciplinary
and international research on the mostpressing current global policy issues byscholars from both countries. Since its
inception, 447 Abe Fellows have been
supported, and many continue to be
active internationally, particularly inthe field of policy research.
“The birth of the Abe Fellowshipreflects the rise of Japan’s positionin the world. At the time, Japan’s
importance in policy debates was
growing,” says Susan J. Pharr,
Professor Emeritus of Harvard
University, where, until 2021, she
was Edwin O. Reischauer Professorof Japanese Politics. Dr. Pharr, who
has been committed to deepening
intellectual exchange between the U.S.
and Japan, came to Japan in 1978 as aJapan Foundation Fellow in JapaneseStudies and again in 1994 as an Abe
Fellow; in 2016 she was a JapanFoundation Award recipient.
Dr. Pharr stated, “In the early 90s,
when Japan was in its bubble period,
tension over trade was high. Many of
the commentators who were voicing
opinions were not very well informed
about Japan. So there was much to
be gained by bringing Japan experts
into the debate to provide backgroundand context to the discussions thatwere going on, and at the same time todeepen the knowledge of outstanding
scholars and experts in other fields whowanted to learn more about Japan.
The Abe Fellowship, by supportingthese endeavors, greatly enriched thepolicy debate over issues and problems
relating to Japan. Many countries
today seek to engage U.S. experts inthe study and analysis of their part of
the world by offering them fellowships
and study trips; it’s a competitivemarketplace out there. Among thesevarious programs, the Abe Fellowship
Program stood out for its success inattracting outstanding applicants.
When you look at who the leading
commentators are on issues related
to Japan, a great many deepened theirknowledge during their time as Abe
Fellows. The program truly stands out
as a signal achievement of the JapanFoundation.”

Dr. Susan J. Pharr, is a Professor Emeritus
at Harvard University, where, until 2021,
she was Edwin O. Reischauer Professorof Japanese Politics. For 32 years she was
Director of the Harvard Program on U.S.Japan Relations. Her research has exploredthe social basis for democracy in Japan andglobally. Photo by Martha Stewart

The Next Generation of
Leaders for the Future of
U.S.-Japan Relations
In 2009, a new program, “The U.S.Japan Network for the Future,” waslaunched, co-organized by JF andthe Maureen and Mike Mansfield
Foundation. The program is designed
for mid-career individuals and the
younger generation of Japanese
specialists, such as researchers andpractitioners, who are expected to
be involved with shaping U.S. policy
and public opinion. Study tours andtraining programs are held several
times over a two-year period inJapan and the U.S. to deepen theirGroup photo of the participants of thethird cohort (2014-2016) of “The U.S.Japan Network for the Future” program
during their study tour in Japan.
Standing in the center are Dr. Pharr and
Dr. Vogel of Harvard University. Dr.
Vogel passed away in December 2020.
31

understanding of issues pertinent
to Japan-U.S. relations and to form
networks amongst themselves. The
Network is comprised of 84 members
and recently announced and started
activities with the sixth cohort. Dr.
Pharr and a distinguished teamof advisors, including the late Dr.
Ezra Vogel, Professor of the Social
Sciences Emeritus at Harvard, were
instrumental in launching the original
program with a mission to foster the
next generation of intellectual Japanoriented leaders in the United States.
Dr. Pharr reflected on the
background of the program’s creation.
“Our particular focus was younger
generation scholars and researchers
in the academic world who had adeep knowledge of Japan, but who
were under pressure to focus purelyon academic research in order to
get tenure. While supporting themin their academic work, we wanted
to encourage them to expand theirhorizons and learn more about issues
and problems of importance in U.S.Japan relations, and to contribute topolicy debate. We set three goals. First,
we wanted to inform participants
about current issues and engage themin the way I just described. Second,
we wanted to help them along intheir chosen careers and facilitate
networking between participantsin different institutions to foster
collaboration and mutual support.
Finally, we saw the program as a way
to keep Japan studies alive and well.
Many scholars have multiple interests,
and can get pulled towards the study ofother parts of the world. The Network
program creates incentives to keep
scholars and experts engaged in the
study of Japan.”
Dr. Pharr continued, “With theestablishment of this program,
Japanese studies among the younger
generation is once again being
revitalized. The strength of the
program is that it targets a wide rangeof people involved in politics including
think tanks and NPOs as well as
academics. What we want to produce
are future leaders. Some of our past
participants have begun to work
as Japan specialists in think tanks,some have also become outstanding
researchers leading Japan studies inNorth America, while others hold key
government positions.”
Dr. Joshua Walker joined theprogram in 2016-2018 as a participantof the fourth cohort. He is currently
President and CEO of the Japan
Society in New York. Having lived in
Hokkaido from a very early age until
18, we asked about his motivation
for participating in the program.
“When I left Japan at the age of 18, I
thought I must learn to become an
American when I went to university. I
had hoped to one day work as a bridge
between Japan and the U.S., but I also
wanted to work more widely. So, after
graduating from college, I worked for
the U.S. government in areas outsideof Japan.”A major turning point for Dr.
Walker was the 2011 Great East
Japan Earthquake. “For me, Japan
was a familiar country where I spenttime from the age of one. I took
Japan for granted, I didn’t appreciate
Japan fully. I actually thought that
I had lost my parents in the Great
East Japan Earthquake, and when I
saw the pictures of what happened
to Tohoku, I realized I had to dosomething for Japan and the people
who were suffering. So, after thatmajor tragedy, I began to focus more

Dr. Joshua Walker is President andCEO of the Japan Society, a Japan-U.S.
exchange organization in New York
City. He is a Senior Fellow at the Centerfor the Study of the Presidency andCongress, Adjunct Associate Professorof International and Public Affairs
at Columbia University, Presidential
Leadership Scholar, David Rockefeller
Fellow of the Trilateral Commission,
Munich Security Conference Young
Leader, and Nakasone YasuhiroAward Winner.

Group photo of the participants of the fourth cohort(2016-2018) who visited Japan, including Dr. Walker
who stated, “In addition to the high quality of education,
this program combines the unique experience ofJapanese culture and in-depth discussions that can only
be had in a retreat setting. The bonds I have formed withmy mentors and participants are lifelong assets to me.”32

on Japan, little by little. Even whenlooking at global issues, I began tothink about them in relation to Japan.
Later, a friend introduced me to thisprogram, and I applied. I was very
surprised when I recognized that “thisis a Japan program; it’s going to havea global reach.” When I participated,the mentors were amazing. It was apleasure to meet Professor Vogel, who
had always been a big part of my life,
and to spend so much time with him
and form such a deep relationship.”Through this program, Dr. Walker
says he has become acutely awareof the importance of the U.S.-Japan
relationship. “I think there should
be more successors to the older
generation such as Professor Vogel
and Professor Pharr. Japan needs
friends like us, Americans for the next
generation. I still keep in touch withmy fellow participants, and we feel a
responsibility to give back to the next
generation.”
Today, the world is once again in the
midst of turbulent times. Dr. Pharr
stated, “I can’t remember any time
when international relations have beenshifting as much as they have. But there
are alliances that are anchored during
this period of change and U.S.-Japan
relations were built brick by brick overthe post-war period, coming out of aterrible war and have held together
at the grass roots. The intellectual
exchange component of that is crucial.
This is a structure that took a long time
to build, and needs to be preserved tohelp us in this new fluid situation weare now entering.”
JF will continue to support theefforts of tomorrow’s leaders in Japanand the U.S. to resolve global issues, inorder to contribute to the world basedon Japan-U.S. cooperation.

JF Special Stories

OthersSpiritual Recovery
through Local Traditions and Culture:
Overcoming the DisasterThe
transnational
collaborative performanceand workshop “Genealogyof the Lion/Deer Dance” atthe Sanriku International
Arts
Festival
2019.
Japanese and Balinese
local performing arts,
which share the common
aspect of lion/deer masks,
were performed together.
Photo: IDA Yuki

After a massive natural disaster, supporting steps by locals
toward recovery and rebuilding communities can be asimportant as work done to repair buildings and infrastructure.
The Japan Foundation has been working on “spiritual recovery”
through traditional and cultural exchanges
in areas where disasters and conflict have occurred.
The Great East Japan Earthquake
occurred on March 11, 2011, causing
extensive
damageinJapan’snorth-eastern Tohoku region. In
the years that have followed thisdisaster, the Japan Foundation (JF)has implemented a wide range ofreconstruction assistance projects inthe area. Here, we would like to share
how JF has been involved in the processof helping local residents connect
with the world through international
cultural exchange programs, using
the traditional culture of the disasterstricken areas as a source of support.
Since the earthquake and tsunami
occurred, the devastation caused by
the disaster has been conveyed to therest of the world. Consequently, imagesof disaster may first come to mind topeople outside of Japan, despite thenatural richness of the Tohoku region.
It was felt, not just by JF but by many
people in Japan, that it would bebetter if we could promote the appealof Tohoku in a more positive manner.
JF held a series of discussions onwhat could be done, based on the two
keywords of “culture” and “exchange,”
as befits an international cultural
exchange organization.
In March 2012, JF organized amonth-long comprehensive cultural
program, “Overcoming the Disaster:
Gratitude from Japan to the World,”
which featured stage performances,
exhibitions, lectures, films anddocumentary screenings and otherprograms about Tohoku and its
recovery and revitalization. These were

In 2012, Wakumizu Kagura and Ondekoza &Musicians gave a moving performance at theUnited Nations General Assembly Hall. Fillingthe huge venue with exhilaration, this concert
was a great success, with standing ovations
continuing long after the performance ended.
Photo by Lee Wexler

held in the U.S., France, China andother countries to express gratitude
for the support sent to the area fromall over the world. On stage, the kaguramusicians, performing a style oftraditional music passed down throughgenerations in the Tohoku region,
were joined by taiko drummers andother musicians from different genres33

to create a performance that conveyed
the essence of Tohoku. Attending theperformance at the United Nations
General Assembly in New York—one ofthe venues where the event was held—
then-Secretary-General Ban Ki-moon
delivered the powerful message thatthe international community stands
with Tohoku.

Exchange Programs
for Youth with Experienceof Similar Disasters
JF has long been involved in
activities devoted to helping restore
local community traditions and culture
after disasters and conflict.
The year after Hurricane Katrina
caused heavy damage to New Orleansin the U.S. in August 2005, JF
dispatched experts who had played
key roles in recovery work following
the Great Hanshin-Awaji Earthquakeof 1995. JF has continued to carry out
dialogue-driven projects to share andpass on experiences. This accumulated
know-how was immensely useful in
the Great East Japan Earthquake
reconstruction assistance project.
During fiscal 2012, JF implemented
10 new projects under the theme“Beyond March 11th—Uniting with theWorld.” Among these were exchange
programs for young people fromJapan and other countries with similar
experiences of disasters, which aligned
perfectly with the aspirations of theparticipants.
One such project was the Miyagi-New
Orleans Youth Jazz Exchange. A
month after the earthquake, the Swing
Dolphins, a junior jazz orchestra from
Kesennuma City, Miyagi Prefecture,
deprived of its instruments by thetsunami, received new instrumentsfrom New Orleans. Since the city,
known as the birthplace of jazz, andJapan had exchanges in the past, there

were strong existing bonds. Basedon this connection, in October 2012,a high school jazz band from New
Orleans visited three disaster-stricken
areas in Miyagi to support local
residents through music. They also
performed with local junior jazz bands.
The following year, members of the
Swing Dolphins visited New Orleans
and reunited with their friends there
to perform. Their mutual respect gave
rise to harmonies in both music and infriendship.
Another project, the MinamisanrikuChile Youth Music and Poetry
Exchange, was an exchange of poems
and stories by high school students who
had personally experienced disasters.
Students from Minamisanriku Town,
Miyagi Prefecture, which was hit by
the tsunami, and from Constitución,
central Chile, which was hit by thedevastating earthquake in February
2010, could share their own stories inworkshops in Japan and Chile. Acrossthe sea, youth from these two regions
engaged in meaningful dialogue.

Projects Connecting Tohoku’s
Sanriku Region with Asia
through the Performing Arts
Furthermore,
the
JF
Asia
Center, newly established in 2014,
implemented
ongoing
culturalexchanges between Tohoku’s Sanriku
region and other parts of Asia. The
Sanriku-Asian
Network
Project(SANPRO), which began in 2015,
was one such exchange program.
Performing artists from Southeast
Asia were invited to Sanriku and local
performing artists were sent from
Sanriku to countries in Southeast Asia.
Mr. ONODERA Sho, a resident of
Minamisanriku and a preserver of
the Gyozan-ryu Mitobe Shishi Odori
deer dance, a traditional performing
art passed down in the former Sendai

Mr. ONODERA Sho (far right)
participated in the Bali visit
program. While there, he had
the opportunity to learn local
Balinese performing arts. He
says that experiencing different
performing arts enabled him todeepen his understanding of
the Shishi Odori he performs.
Photo courtesy of ONODERA Sho

In 2018, seven young dancers
selected from Shishi Odori groups
from Iwate and Miyagi prefectures
visited Bali, Indonesia. For abouta week, they conducted exchanges
with Balinese dance and gamelangroups. Photo courtesy of ONODERA Sho
34

Domain including Minamisanriku,
visited Bali, Indonesia in 2018 as partof the SANPRO program.
Mr. Onodera, who was a vocational
college student at the time, recounts
his memories of that visit. “I performed
the traditional Shishi Odori of
Minamisanriku with students from theperforming arts clubs of high schools
in Miyagi and Iwate prefectures. I wasin the fifth grade of elementary school
when I started performing the dance.
I couldn’t imagine that this dance,
which originated more than 300 years
ago and had only been performed
within our local community, would
ever leave Japan and be seen by people
from other countries. As we wereshown traditional Balinese dances
and talked with the dancers, I realized
something. Although the instruments
and the tempo of the two traditional
dances are different, the intention of
the dances is the same: to drive away
the evils that inhabit the land and topray for people to live in happiness.
I think that Sanriku and Bali are faraway from each other and our cultures
are completely different, but there is
a commonality in our local dances. I
would never have realized this if wehadn’t joined the exchange.”
Mr. Onodera says that his experienceof participating in the exchange
program has given him a new passion
for the Shishi Odori. “The dance hascontinued for more than 300 years,
undeterred by earthquakes, but some
aspects of it such as its origin still
remain a mystery. I’d like to unravel
these mysteries, little by little, while
continuing to engage in exchanges with
communities in various regions. I also
hope to communicate with children to
create an interest in the dance, so that
it will continue to be performed in the
future.”These exchanges between Japan andAsia were triggered by natural disasters
but will lead to leaps forward increating a new future for Japan’s local
performing arts. JF intends to keep
widely sharing the discoveries thatemerge when people meet face-to-face.

Special Website - Overview
Explore more exciting content createdjust for the JF 50 th Anniversary celebration on the special website.

JF Special Stories

Delivering Japan’s Outstanding Stage Performances Online
to Every Corner of the World● Helping Cherry Blossoms Bloom the World Over:
Developing a Global Network of Japanese Language Institutions● The Hub of Japanese Culture on the Banks of the Seine,
Welcome to the Japan Cultural Institute in Paris● The Japan Foundation Prizes for Global Citizenship—Linking the Regions of Japan with the World. . . and more will be added.
●

Also discover 50 years of JF history together with data to explore.

https:// jf 50. jpf. go. jp/en /JF Worldwide

The Japan Foundation has a global network consisting of the Tokyo headquarters,
Kyoto office, two Japanese-language institutes and 25 overseas offices in 24 countries.

The Japan Foundation
50th Anniversary
Published in October 2022.
Written, edited and published by:

The Japan Foundation

1- 6- 4 Yotsuya, Shinjuku-ku, Tokyo
160 - 0004, Japan

CologneParis
Moscow
LondonBeijing
Budapest
MadridNew Delhi
Rome
YangonCairo
Bangkok
Kuala Lumpur
Jakarta

Seoul
Hanoi

Japan

ManilaVientiane

Phnom Penh
SydneyLos Angeles

Toronto
New York

Mexico CitySão Paulo

Copyright ©2022 The Japan Foundation,
All Rights Reserved.

35

The Japan Foundation 50th Anniversary